THE DIAPASON DECEMBER, 2007

The Brick Presbyterian Church New York City Cover feature on pages 30–32

Dec 07 Cover.indd 1 11/8/07 8:39:21 AM

a total cleaning and releathering. Given siderably smaller than the Trinity organ the prices that have been bandied about (about 100 ranks). St. John the Divine THE DIAPASON for the “temporary” instrument, it prob- (another historic Aeolian-Skinner from A Scranton Gillette Publication ably would have cost the same or less to the 1950s, 150 ranks) is being rebuilt for Ninety-eighth Year: No. 12, Whole No. 1177 DECEMBER, 2007 restore this legendary organ with up-to- about $5 million after the disastrous gift date retrofi tting and new consoles in the shop fi re. Established in 1909 ISSN 0012-2378 Skinner tradition. My advice would be to store the his- An International Monthly Devoted to the Organ, 5) Dr. Burdick will not be at Trin- toric Aeolian-Skinner intact for many the Harpsichord, Carillon, and Church Music ity forever. Given the prestige of Trin- years, with the intention of reinstalling it ity Wall Street, when a replacement is at a later date with upgrades. It would be hired, I am sure the new director of a shame to sell it piecemeal, as the organ music will want a real pipe organ to had its own integrity and worked as an CONTENTS Editor & Publisher JEROME BUTERA [email protected] replace the current digital organ. New integrated musical unit. 847/391-1045 pipe instruments (even with some digi- I have worked with many organ com- FEATURES tal voices because of space or budgetary panies in sales, construction and consult- In celebration of the 100th birthday, concerns) are being installed around the ing for the last 35 years. There is a time October 27, of Helmut Walcha: Associate Editor JOYCE ROBINSON city for an average of $26,000 per rank. and place for digital organs. Trinity is not Artist-Teacher—Part 3 [email protected] This would put the cost of the Trinity’s one of them. by Paul Jordan 21 847/391-1044 real organ (with two consoles and chan- Regarding St. Paul’s Chapel, the The University of Michigan cel/gallery divisions) at about $4.5 mil- Schlicker organ was really never satisfac- Historic Organ Tour 54 Contributing Editors LARRY PALMER lion in today’s money. A new Casavant tory. Perhaps a new mechanical-action by Jeffrey K. Chase 24 Harpsichord at Brick Church, NYC of 118 ranks was pipe organ built in the early American recently installed at about $2.5 million; style to suit the building historically or a Stylistic Features of Frescobaldi and Froberger in St. James, Madison Ave. has a $5 million pipe organ with some digital voices could Buxtehude’s Ciacona in C minor, BuxWV 159 JAMES MCCRAY by Marijim Thoene 27 Choral Music Schoenstein under contract ($3 million be installed there. for the organ, $2 million for the case Frederick A. Tripodi BRIAN SWAGER and structural work), which will be con- Greenwich, Connecticut NEWS & DEPARTMENTS Carillon Letters to the Editor 3 Here & There 3, 4, 5, 6, 8, 10, 12 HERBERT L. HUESTIS OrganNet Forum Nunc Dimittis 8 Osiris Organ Archive Carillon News by Brian Swager 12 www.mdi.ca/hhuestis/osiris Here & There In the wind . . . by John Bishop 12 e-mail: [email protected] On Teaching by Gavin Black 14 Watch for The Diapason’s 2008 Re- Ohnstad. For information: REVIEWS Prepress Operations DAN SOLTIS source Directory, which will be mailed . Music for Voices and Organ 16 with the January issue. The only compre- hensive directory and buyer’s guide for The First Church of Christ, Book Reviews 18 THE DIAPASON (ISSN 0012-2378) is published monthly New Recordings 18 by Scranton Gillette Communications, Inc., 3030 W. Salt the organ and church music fi elds, the Wethersfi eld, Connecticut, continues 3 ″ ″ New Organ Music 20 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Directory is printed in a 5 ⁄4 x 8 hand- its music series: December 9, Christmas Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 book format, and features an alphabeti- concert (Holst, Christmas Day; Rutter, New Handbell Music 20 MSG RLY. E-mail: . Subscriptions: 1 yr. $35; 2 yr. $55; 3 yr. $70 (Unit- cal listing of companies and individuals, Gloria), choirs, brass, percussion, hand- CALENDAR 33 ed States and U.S. Possessions). Foreign subscrip- with complete contact information, in- bells; January 27, Super Bell XV Concert, tions: 1 yr. $45; 2 yr. $65; 3 yr. $85. Single copies $6 cluding web and e-mail addresses, and a the fi ve handbell choirs of First Church; ORGAN RECITALS 36 (U.S.A.); $8 (foreign). product/service directory. February 17, Colonial concert, sights Back issues over one year old are available only CLASSIFIED ADVERTISING 38 from The Organ Historical Society, Inc., P.O. Box 26811, Additional copies of the Directory are and sounds of 18th-century America. Richmond, VA 23261, which can supply information on available for $5 each. For information: For information: 860/529-1575, ext. 209; availabilities and prices. 847/391-1045; . . Periodical postage paid at Rockford, IL and additional Cover: Casavant Frères, Saint-Hyacinthe, mailing offi ces. POSTMASTER: Send address changes Quebec, Canada; The Brick Church, to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, St. Paul’s Church, Doylestown, Camp Hill Presbyterian Church, New York, New York 30 Arlington Heights, IL 60005-5025. Pennsylvania, presents its series of Ad- Camp Hill, Pennsylvania, has announced Routine items for publication must be received six vent recitals on Tuesdays at 12:30 pm: its music events: December 9, Advent weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contribu- December 4, Richard Spotts; 12/11, Lee Lessons & Carols; 12/24, Lessons & tors of articles should request a style sheet. Unsolicited Milhous; 12/18, Lee Milhous, with so- Carols; April 13, 2008, Anthony Leach www.TheDiapason.com reviews cannot be accepted. prano. The music series continues: 12/16, and Christyan Seay. For information: This journal is indexed in the The Music Index, an- notated in Music Article Guide, and abstracted in RILM Lessons & Carols; January 5, Schola Can- 717/737-0488; . Abstracts. torum. For information: 215/348-5511; Send subscriptions, inquiries, and ad- Copyright ©2007. Printed in the U.S.A. . Music of the Baroque presents its dress changes to THE DIAPASON, holiday brass and choral concerts: De- 3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability St. Peter in Chains Cathedral, Cin- cember 13, Grace Lutheran Church, Arlington Heights, IL 60005. for the validity of information supplied by contributors, cinnati, Ohio, continues its music series: River Forest, Illinois; 12/14, St. Michael’s vendors, advertisers or advertising agencies. December 2, Advent Lessons & Carols; Church, Chicago; 12/22 and 23, Divine 12/9, Vocal Arts Ensemble of Cincinnati, Word Chapel, Techny. For information: No portion of the contents of this issue may be reproduced in any form without the specifi c written permission Canterbury Brass Quintet, Jubilate and . of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for Lyric Choirs of the Cincinnati Children’s other courses or for the same course offered subsequently. Choir. For information: 513/421-2222; Trinity Wall Street presents early . music with the Trinity Choir and the Rebel Baroque Orchestra: December The Cathedral Church of St. John, 16 and 18, Handel, Messiah; January 29, Albuquerque, New Mexico, continues its Monteverdi, Vespers of 1610. For infor- Letters to the Editor music series: December 2, Advent Les- mation: . sons & Carols; 12/21, Polyphony–Voices of New Mexico; 12/23, Christmas Les- Bryn Mawr Presbyterian Church, Virtual organ 1) The four-manual Aeolian-Skinner sons & Carols; January 6, Choral Even- Bryn Mawr, Pennsylvania, continues its After reading John Bishop’s column was a rebuild, with many new pipe addi- song. For information: music series: December 16, Christmas in the September issue, along with the tions, and one of the largest pipe organs . concert, Bryn Mawr Chamber Singers announcements in the “Here & There” in New York. The rebuild even incor- and Youth Chorale. For information: section about the fate of the historic porated some pipework from the origi- Trinity Episcopal Church, Santa 610/525-2821 ext. 836; Aeolian-Skinner organ at Trinity Church nal Henry Erben instrument in the late Barbara, California, presents Advent . Wall Street, I felt compelled to respond. 1800s and some unique stops from the organ recitals: December 2, Mahlon Please note that I have no vested interest E. M. Skinner rebuild, which in my mind Balderston; 12/9, Charles Talmadge; The Friends of the Kotzschmar fi nancially or in my reputation concern- have never been replicated. 12/16, Emma Lou Diemer; 12/23, David Organ (FOKO) continue their concerts ing this matter. 2) The 1970s rebuild included a new Gell; also on December 14, Christmas in Portland, Maine’s Merrill Auditorium: I worked on the design (both tonal deluxe console in the gallery (the chancel carol sing-along and wassail party. For December 18, Ray Cornils, with brass; and placement) and assisted in voicing console had already been replaced when information: . January 27, Rob Richards; February 8, the pipe organ under Larry King in the the choir was moved to the chancel) and Dennis James, silent fi lm accompani- early 1970s. Larry was a consummate repositioning all of the existing pipework The Cathedral of St. Mary of the ment. For information: 207/883-4234; musician, who was always open to new (notably, the “ruckpositiv” that was on Assumption, San Francisco, California, . trends in music—the fi rst organist (I be- the gallery fl oor behind the small façade continues its organ recital series on Sun- lieve) in a major church to have a Moog and moved to inside the case). days at 3:30 pm: December 2, Arthur St. Bartholomew’s Church, New synthesizer attached to the instrument, 3) This magnifi cent, historic organ was Johnson; 12/9, Vytenis Vasyliunas; 12/16, York City, presents music for the sea- performing concerts with tape, synthe- second to the last Aeolian-Skinner to be Matthew Walsh, with soprano; 12/30, son: December 18, Christmas concert, sizer and organ, in which I participated completed (St. Bartholomew’s, NYC was David Hatt; January 6, Epiphany Les- the Boy and Girl Choristers, St. Bar- several times. I also played many con- the last; the Kennedy Center in Wash- sons & Carols; 1/20, Jonathan Dimmock. tholomew’s Festival Brass; 12/20, An- certs (including the dedicatory recital ington, DC was fi nished by Robert Sipe, For information: thony Newman, harpsichord, with Eu- series) on this one-of-a-kind magnifi cent a former Skinner employee) before the . genia Zukerman, fl ute; 12/31, William K. historic instrument. The organ was also premier organ company in the United Trafka. For information: 212/378-0222; featured in several recordings, including States went bankrupt. The Church of St. Louis, King . “Great Organs of New York” during the 4) How much damage was actually of France, St. Paul, Minnesota, 1996 AGO convention. caused by 9/11 besides dust and grime? continues its ninth season of Tuesday The Church of St. Joseph, Bronx- The fate of this organ is in real jeop- Despite damage to the neighborhood, “Lunch-Time” recitals: December 4, ville, New York, continues its music se- ardy under the current musical director. I believe there was little or no “hazard- Kristina Langlois; 12/11, Christopher ries: December 31, choir and soloists, Dr. Burdick is a brilliant musician with a ous material” fl ying around the church Wallace; 12/18, Robert Vickery; Janu- music of Howard Helvey; January 6, degree in electronic music, but let’s look being sucked into the organ. I would ary 8, Sharon Kleckner; 1/15, St. Olaf Epiphany Lessons & Carols. For infor- at the facts. assume the organ would simply require studio; 1/22, Joe Henry; 1/29, Melanie mation: 914/337-9205.

DECEMBER, 2007 3

Dec 07 pp. 2-20.indd 3 11/8/07 8:40:47 AM The fourth annual Workshop on Sa- ten double-spaced pages of text. Propos- mation: Association des Grandes Orgues graphed by Christoph Sandig. The image cred Music will take place January 19 als will be read for originality, clarity, and de Chartres, 22 Cloître Notre Dame, is used with the permission of the Stadt- at the University of Texas at Austin, appropriateness for oral presentation. 28000 Chartres, France; geschichtliches (State Historical) Muse- where Judith and Gerre Hancock are co- The proposal should include a cover let- ; um Leipzig. The cropped photo, which chairs of the organ department and the ter listing the title of the paper and the . the observer, was inspired by a 2004 Center. Workshop sessions in sacred or- the author. poster for the Leipzig Bach Festival. The gan literature, service-playing, conduct- After the convention, the paper may Organs in Art, an international con- design was approved by NYC’s Depart- ing and improvisation will be conducted be submitted to The American Organ- ference, will be held October 15–17, ment of Transportation and produced by by the Drs. Hancock. Dr. James Morrow, ist magazine for possible publication. 2008, presented by the Research Center Titan Worldwide Outdoor Advertising. director of choral activities, and Dr. B. All proposals must be received by Jan- for Music Iconography at the City Uni- The Bach Vespers runs from October 28, Glenn Chandler, director of the School uary 31, 2008. versity of New York Graduate Center 2007 to April 27, 2008, with a two-week of Music, will lecture. The day will con- and the Organ Historical Society. Papers break in January. For a complete sched- clude with a Messiaen Retrospective, an The Dublin International Organ are invited on various topics related to ule: . organ recital given by students of the or- Competition takes place during the organs in art and organs as art. Abstracts gan studio. For information: Pipeworks Festival, June 20–29, 2008 at of 200–300 words may be submitted be- Father J. Michael Joncas and com- . Christ Church Cathedral, Dublin, Ire- fore February 1, 2008. For information: poser Marty Haugen were honored by land. The competition is open to organ- and . Musicians (NPM) during the organiza- Massachusetts, announces the second prize €5,000 and recital engagements tion’s national convention in Indianapolis annual anthem competition, open to (King’s College, Cambridge; Westmin- July 9–13. Father Joncas is the recipient composers under the age of 40 (birth ster Cathedral, London; St. Paul’s Ca- of the 2007 Jubilate Deo Award, which date no earlier than January 2, 1968), thedral, London; St. George’s Windsor; recognizes major contributions to the with a $1200 prize. Anthem submissions St. Bavo, Haarlem; St. Patrick’s Cathe- worship life of Catholics in the United should be for SATB choir with organ ac- dral, Dublin; St. Michael’s Church, Dun States. Marty Haugen was honored as companiment; length between fi ve to Laoghaire; Christ Church Cathedral, the 2007 Pastoral Musician of the Year eight minutes; compositions previously Waterford; Galway Cathedral); second “for songs of the love and faithfulness written and performed will not be ac- prize €3,000; third prize €1,500. of God and of the praise, lament, and cepted; text: “Thou, who art the light of The jury includes Thomas Trotter, prayer of God’s people.” the minds that know thee, the life of the Hans Fagius, David Higgs, Margareta Other NPM honorees include Ben- souls that love thee, and the strength of Hürholz, and Daniel Roth. Deadline for nett Porchiran of Pittsburgh, Pennsylva- the thoughts that seek thee: help us so to applications: January 31. For informa- nia, as the Director of Music Ministries know thee, that we may truly love thee, tion: . Division Member of the Year; Barbara so to love thee that we may fully serve Varian Barrett of San Mateo, California, thee, whose service is perfect freedom; The Canadian International Or- as the Music Educator of the Year; and through Jesus Christ our Lord. Amen.” gan Competition takes place October the Lansing, Michigan, Chapter as the (Gelasian Sacramentary, 750 A.D.) 8–17, 2008, in Montreal, with $65,000 NPM Chapter of the Year. GIA Publi- Send entries to William Ness, 2008 in prizes. The competition is open to cations of Chicago received the NPM Anthem Competition, First Baptist organists of all nationalities born after Music Industry Award for its contribu- Church, 111 Park Ave., Worcester, MA October 17, 1973. First prize $25,000, tions to Gulf Coast hurricane relief, and 01609; . Post- career development with Karen Mc- Peter’s Ways Tours of Jericho, New York mark/e-mail date no later than January Farlane Artists, and CD recording for was recognized with the 2007 Steward- 2, 2008. The winner will be announced ATMA Classique; second prize $15,000; ship Award. by March 3. First performance will be third prize $10,000. The deadline for given by Chancel Choir at First Baptist applications is February 1, 2008. Church on May 4. For information and The jury includes Marie-Claire Alain, guidelines: William Ness, 508/755-6143; Gilles Cantagrel, James David Chris- . tie, Hans-Ola Ericsson, James Higdon, Tong-Soon Kwak, Mireille Lagacé, Bowling Green State University, Ludger Lohmann, and Gillian Weir. Bowling Green, Ohio, announces its 34th The fi rst round takes place at Église Im- annual organ competition for a $4,000 maculée-Conception (Beckerath organ); scholarship on February 23. Application second round at Église St-Jean-Baptiste deadline: February 1. For information: (Casavant); and fi nal round at Notre- 419/372-2192; . Dame Basilica (Casavant). For informa- tion: . The American Guild of Organ- ists National Convention, to be held The 21st Chartres International in Minneapolis, Minnesota, June 22–26, Organ Competition takes place Sep- 2008, will include workshops focusing on tember 7, 2008 at Chartres Cathedral, the organ works of Olivier Messiaen as France, with rounds for interpretation part of a pedagogy track. Graduate and and improvisation. Open to organists postgraduate students are invited to sub- from ages 18 to 35, the competition of- mit a proposal on any topic related to the fers a fi rst prize of €2,000 and a world organ works of Messiaen. concert tour. Deadline for applications is Authors should submit their paper and February 5, 2008. The jury includes Fran- Colin Andrews and Janette Fishell abstract electronically to Nancy Cooper, çois-Henri Houbart, Sophie-Véronique Bach banner chair of the committee on professional Cauchefer-Choplin, Aude Heurtematte, Colin Andrews and Janette Fishell education ([email protected]). Philippe Brandeis, Alena Vesela, Benoît A series of light post banners recog- recently completed their eighth tour of The paper should include no more than Mernier, and Hans Davidsson. For infor- nizing the 40th season of Bach Vespers Japan, with concerts in Yokohama’s Mi- at Holy Trinity Lutheran Church in nato Mirai Hall, University of Tokyo, and New York City will appear from Octo- Lilia Hall. The Anglo/American duo also ber through April 2008 on Central Park performed in York Minster, UK, Soro West and West 65th Street. The design International Festival in Denmark, and features Bach’s face in a large cropped at the cathedrals of Bordeaux and Di- version from the Leipzig portrait of by jon, France. Mr. Andrews gave recitals Elias Gottlob Haussman, 1746, as photo- at Bristol and Hereford Cathedrals, UK,

Olena Bratishko, Martha Stiehl, Kevin P. Monteith, Daniel E. West, and Patricio Amerena

University of Wisconsin-Milwau- Krebs, Albinoni and Callahan, and con- Cathedral of St. John Choir at Canterbury Cathedral kee students of Martha Stiehl’s studio cluded with Bach’s Toccata in D-mi- presented a program for a convocation nor, BWV 565, played by the instruc- The Cathedral Choir of St. John’s cies at St. George’s Chapel, Windsor and of the University’s Peck School of the tor, Ms. Stiehl, in honor of Halloween. Cathedral, Albuquerque, New Mexico Canterbury. Music for the tour included Arts on Friday, October 26. Pictured The recital was performed on the A. O. (Iain Quinn, director of cathedral music Gerald Near’s Missa Orbis Factor and here (l to r) are Olena Bratishko, Mar- Smith Memorial Pipe Organ (Austin and cathedral organist; Maxine Thevenot, The Lord Is My Light by Peter Hallock tha Stiehl, Kevin P. Monteith, Daniel 1928, Buzard 2002, IV/59) at Kenwood associate organist-choir director) under- (a former lay clerk at Canterbury Ca- E. West and Patricio Amerena. The United Methodist Church, adjacent to took their fi rst tour to the UK in August thedral). Services were directed by Iain program included works by Bach, the UWM campus. 2007. They sang for weeklong residen- Quinn and Maxine Thevenot.

4 THE DIAPASON

Dec 07 pp. 2-20.indd 4 11/8/07 8:41:14 AM and was recitalist/faculty member for the “Deep River” with trumpeter Brent Ghi- Oundle Summer School, UK. Dr. Fishell glione. The two new works for organ and was a faculty member for the Richmond, trumpet are available from Jazzmuze, Virginia Pipe Organ Encounter. Inc. Scores may be seen on the Jazzmuze website: . A new organ work by James Biery was premiered by Margaret McElwain CONCORA artistic director Richard Kemper in a concert on June 4 at Ke- Coffey received a “Major Achievement” nilworth Union Church, Kenilworth, Award from the Hartford Symphony Illinois. Fantasia on “O Sanctissima” Orchestra at its annual meeting last Sep- was commissioned by Margaret Kem- tember. He was presented with a plaque per, organist of the church, in honor of which states: “The Hartford Symphony Dr. Gilbert W. Bowen’s retirement after Orchestra salutes Richard Coffey for 37 years as senior pastor of Kenilworth outstanding and inspiring artistic lead- Union Church. ership of the HSO’s two major choral partners, CONCORA and The Hartford James Brinson, organist/choir di- Chorale.” rector of the Mercersburg Academy in In accepting the award, Mr. Coffey Pennsylvania, performed the premiere said, “The current relationship of CON- of Joe Utterback’s setting of “Joshua Fit CORA and The Hartford Chorale with Richard Coffey the Battle of Jericho” with trumpeter Pe- the Hartford Symphony Orchestra is at ter DelVecchio at the R. E. Lee Memo- an unparalleled level of exuberance. To Founded by Richard Coffey in 1974, Leon W. Couch III rial Episcopal Church, Lexington, Vir- all of you who are musicians of the HSO, CONCORA is Connecticut’s premier ginia. Jack Partridge, organist/director I salute you for your discipline, dedica- professional choir. The Hartford Chorale Leon W. Couch III is featured on of music at First Presbyterian Church, tion, devotion, and the good spirit that is a symphonic chorus of more than 140 a new recording, Hamburger Rhetorik, Regina, Saskatchewan, Canada, present- you bring to the great choral and orches- men and women who are selected annu- on the Pro Organo label (CD 7166). Re- ed the premiere of Utterback’s setting of tral masterpieces.” ally by audition. corded on the Noack organ at Christ the

thth ConcertArtistCooperative 20ANNIVERSARY

Colin Andrews Cristina Garcia Banegas Emanuele Cardi Shin-Ae Chun Maurice Clerc Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Organist/Harpsichordist/ Interpreter/Improviser/ Recording Artist Organ Faculty and Chair Recording Artist Recording Artist Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Director of Music and Organist Titular Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Redeemer Lutheran Church St. Benigne’s Cathedral East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Clair Shores, Michigan Faculty School of Music Director, International Organ Festival St. Maria della Speranza National Conservatory Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy Dijon, France

Leon Couch Laura Ellis Faythe Freese Johan Hermans Michael Kaminski Organist/Lecturer Organist Organist/Lecturer Organist / Lecturer / Organist College Organist Associate Professor of Associate Professor of Organ Recording Artist Director of Music Ministries Assistant Professor of Organ Organ and Carillon School of Music Conservatory of Music Saint Francis Xavier Church and Music Theory University of Florida University of Alabama St. Quintinus Cathedral Brooklyn College Faculty Converse College Gainesville, Florida Tuscaloosa, Alabama Organ Concert Series St. Francis College Faculty Spartanburg, South Carolina Civic Organist Brooklyn, New York Hasselt, Belgium

Angela Kraft Cross William Kuhlman Tong-Soon Kwak David K. Lamb Maija Lehtonen Organist/Pianist/Composer/ Organist Organist Organist/Choral Conductor/ Organist/Pianist/ Recording Artist Professor of Music Emeritus Professor of Organ Oratorio Accompanist Recording Artist Organist Luther College College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Congregational Church Decorah, Iowa Yonsei University First United Methodist Church Oulu Polytechnic San Mateo, California Artistic Director Columbus, Indiana Organ and Violin Torch International Organ Academy with Manfred Grasbeck Seoul, Korea Helsinki, Finland

www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988

DECEMBER, 2007 5

Dec 07 pp. 2-20.indd 5 11/8/07 8:41:32 AM King Lutheran Church, Houston, Texas, is Ernst Pepping’s Wie soll ich dich emp- of their new CD (No: 8.559337) of his the program includes works by Buxte- fangen, Vorspiel I, available in MP3 and Symphony of Seasons (Symphony No. 1), hude, Scheidemann, Böhm, Bruhns, Lü- streaming audio formats at Concerto for Harp and Orchestra, Lairs beck, Bach, and Mendelssohn (Sonata . of Soundings, In Memory H.H.L., and No. 6). Also included is an extensive es- Phoenix and Again. All of these works say, as well as all the registrations used, have been recorded by Kirk Trevor and in a 24-page booklet. For information: the Slovak Radio Symphony Orchestra, . with harpist Jacquelyn Bartlett and so- prano Janeanne Houston. For informa- Elaine S. Dykstra is the author of tion: . Deducing the Original Sounds of Bach’s Organ Works: An Historical Account of Thom Miles is featured on a new re- the Musical Capabilities of the Organs cording on the 1866 Koehnken & Co. That Bach Knew, published by the Ed- organ at the Isaac M. Wise Temple, win Mellen Press. The book presents a Cincinnati, Ohio (Arsis SACD 157). The study of Bach’s written evaluations of program includes works by Mendels- various organs and the specifi cations of sohn, Schumann, Berlinski, Bolcom, organs with which he was familiar. The Basilica of St. Madeleine, Vezelay, Bennett, and Buck. For information: few registration examples attributable to France . Bach are considered in light of the docu- mented registration practices of some of presented the new work in two concerts, Godwin Sadoh is the author of three his contemporaries and in the context of on August 24 in St. Florentin and August recently published books. The Organ other relevant constraints and infl uences 26 in Vezelay, both located in the pictur- Works of Fela Sowande: Cultural Per- of the time. esque Burgundy region of France. The Robert Burns King spectives (iUniverse Publishing, 124 Preface by Pieter Visser; 188 pp.; composition of the fi ve-movement work pages, $13.95; 800/288-4677, ) focuses on selected or- . acoustical space in the historic 12th-cen- his retirement as organist-choirmaster of gan works by the most celebrated African tury Romanesque Basilica of St. Mad- First Presbyterian Church, Burlington, art musician, Fela Sowande (1905–1987), eleine in Vezelay, the primary locale in North Carolina, effective December 31. Nigerian organist-composer, musicolo- which St. Bernard of Clairvaux was active He will continue as a teacher of organ gist, broadcaster, folklorist, and African- and also the site of the launching of the and will remain active in the ministries ist. He is the fi rst African to popularize Second Crusade. The August 24 concert of the church. organ works by natives of Africa in Eu- was part of the Points d’Orgue concert During his 45-year tenure, King has rope and the United States, and was one series at the Cistercian church of St. Flo- developed the church’s program of sacred of the pioneer composers to incorporate rentin, and the August 26 concert at the music opportunities for the congregation indigenous African elements such as folk- Vezelay basilica was part of the Heure and the wider community. He supervised songs, rhythms and other types of tradi- d’Orgue concert series. The events were the design, acquisition, and installation tional source materials in solo works for supported (in part) through “Subito,” the of the James Lee Love sanctuary organ organ. The discussion of Sowande’s mu- quick advancement grant program of the (Schantz) and the Holt chapel organ (An- sic highlights the relationship between San Francisco Bay Area Chapter of the dover), and recently directed the addi- traditional and contemporary musical American Composers Forum. The Le- tions to and restoration of the sanctuary processes in post-colonial Nigeria. Roi-Nickel Duo has been invited to re- instrument. He has overseen the acqui- Intercultural Dimensions in Ayo turn to France in the near future to pres- sition of three Steinway grand pianos, Bankole’s Music (iUniverse Publishing, ent more concerts, and these will include a harpsichord, timpani, a second set of 142 pages, $13.95; 800/288-4677, ) is about the life and lumière. The work will be published by carillon. He has conducted vocal choirs music of Ayo Bankole (1935–1976), a Frank Ferko E. C. Schirmer. for adults and children, and handbell Nigerian organist-composer, church mu- choirs for adults and youth, and directed sician, pianist, music educator, and mu- Frank Ferko’s most recent organ James Kibbie continues his annual an annual series of concerts. A member sicologist. A discussion of Ayo Bankole’s duet, L’espace de lumière, commissioned holiday tradition of offering free down- of the Presbyterian Association of Musi- compositions highlights the infl uence by Timothy and Nancy LeRoi Nickel, loads of a recording on his house organ, cians, he also served as state chairman of European and African cultures on received its world premiere performanc- a 7-stop Létourneau tracker, as an “au- and dean of two AGO chapters. his music; other topics include the cur- es in August. The LeRoi-Nickel Duo dio holiday card.” This year’s recording Born in Conway, South Carolina, King rent state of art music in Nigeria, a brief began studying piano at age fi ve. He history of organ building and design in earned a bachelor’s degree from Furman Nigeria, a biography of Ayo Bankole, his University, studying organ with Lindsay major organ solo works, African pianism professional Smith, and a master’s degree from Union as an intercultural phenomenon, solo art Theological Seminary as a student of songs, and a chronological synopsis of the Searle Wright and Vernon deTar. He was three generations of music composition awarded a Fulbright scholarship for study in Nigeria from the late 19th century to musiciansicianiician in France in 1961–62, where he studied Ayo Bankole’s era. with Jean Langlais and Maurice Durufl é, Joshua Uzoigwe: Memoirs of a Ni- pastoral theological and was awarded the Prix de Virtuosité gerian Composer-Ethnomusicologist from the Schola Cantorum in Paris. (Booksurge Publishing, 152 pages, $14.99; 866/308-6235, presents the life and music of Composer of the Week for the week of Joshua Uzoigwe (1946–2005), Nigerian Master of August 27 in celebration of the release composer-ethnomusicologist. Uzoigwe Sacred Music www.luthersem.edu/msm

“We seek to give musical and theological flesh and bone to those who are called to serve the church as leaders of the people’s song.”

– Dr. Paul Westermeyer, Director

Celebrating the new Wicks organ at St. Robert Bellarmine Church are (front) David Spicer of First Church of Christ (Wethersfi eld, Connecticut), and Veronica Fareri of the host church; and (rear, left to right) Mark Wick of Wicks Organ Company (Highland, Illinois), Gerald Oehring of Gerald Oehring & Associates (Lincoln, Nebraska), Father Donald Shane of the host church, and Steve Kehm of Oehring Associates. (Photo by Dana Spicer)

David Spicer played the dedication digital voices controlled by a 3-manual recital of the new Wicks organ at St. console. The program included works by Armstrong Aspaas Ferguson Rodland Westermeyer Robert Bellarmine Church in Omaha, Bach, Beethoven, Yon, Elmore, Haydn, Nebraska, on June 21. Wicks Opus 6397 Scull, Wagner, and Reubke. has 52 ranks of pipes and a package of

6 THE DIAPASON

Dec 07 pp. 2-20.indd 6 11/8/07 8:41:50 AM P C bttjpo pvout/!Cfshibvt!Pshbo!Dpnqboz!jt!mppljoh!gps!tfwfsbm!! joejwjevbmt!xjui!fyqfsjfodf!up!ßmm!uif!gpmmpxjoh!ofxmz!dsfbufe!qptjujpot/!Jo!bmm!dbtft-!uif!! xpsl!jt!efnboejoh!boe!sfrvjsft!b!usvf!tfotf!pg!dpnnjunfou!boe!efejdbujpo/!! Kpc!tqfdjßd!fyqfsjfodf!jt!qsfgfssfe-!cvu!tljmmt!jo!sfmbufe!ßfmet!xjmm!cf!tuspohmz!dpotjefsfe/

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Quality Pipe Organ Building & Maintenance Since 1967 studied music at the University of Nige- Tournemire, was published in issue no. was named for the donor of the organ, ria, Nsukka, Guildhall School of Music 278–279 of L’Orgue. Dr. Friauff is or- the late Mrs. Gladys H. G. Wiedemann and Drama, London, and the Queen’s ganist and music director at St. Andrew’s of Wichita. They read: “Professor Rob- University in Belfast, Ireland, where he Episcopal Church in Ann Arbor, and ert Town, whose dedicated effort re- obtained his Ph.D. in ethnomusicology presently adjunct professor in organ at sulted in the acquisition of The Great under John Blacking. This monograph Eastern Michigan University. Marcussen Organ and the creation of examines the socio-cultural factors that Wiedemann Hall.” most infl uenced Uzoigwe’s creative thought, inspiration and imagination. Uzoigwe’s life and music explicate the imprint of two cultural worlds, Western and African—Igbo/Yoruba. William Whitehead and assisting John Eliot Gardiner with the famed Monteverdi Choir. Whitehead won fi rst prize at the Odense International Organ Compe- tition in Denmark in 2004 and holds many other awards and honors. He has performed in South Africa, France, Den- mark Russia, Scotland, as well as exten- sively in England at major venues and festivals including those in Litchfi eld, Cheltenham, and Hampstead and High- gate. He is a graduate of University Col- lege, Oxford, where he was organ scholar, Robert Town and Lynne Davis and of the Royal Academy of Music, with a further graduate degree from King’s Robert Town, Professor Emeritus of Vernet Duo College London. His organ teachers Organ at Wichita State University, Wich- have included Dame Gillian Weir, Naji ita, Kansas, was honored at the Sep- French organist Olivier Vernet has Hakim, David Sanger, David Hill, James tember 18 Rie Bloomfi eld Organ Series established a performance duo with his O’Donnell, and David Titterington. recital. On behalf of the School of Mu- sister, the French opera star Isabelle His most recent of seven compact disc sic in the College of Fine Arts, his suc- Vernet, which will be represented in releases, Dances of Life and Death on Timothy Tikker cessor, Lynne Davis, gave a synopsis of North America by Phillip Truckenbrod the Chandos label, won fi ve stars from the events leading up to the installation Concert Artists. Miss Vernet, a mezzo- the magazine BBC Music, the Diapa- Timothy Tikker gave the fi rst Ameri- of the Marcussen and Son organ (IV/84 soprano, is a veteran of many oper- son Découverte award in France, and can performance of Debout sur le Soleil: ranks) and the opening of the Wiede- atic roles at leading opera companies was his fi rst entirely solo recording. His Chant de Résurrection (“Standing on the mann Recital Hall in 1986. Town and throughout Europe as well as in South next solo CD was released by Herald in Sun: Song of Resurrection”) by Jean- the recognition of his students played an America, Canada and the United States, 2007 and coincided with a feature article Louis Florentz on September 30 dur- integral role in realizing the dream of a where she appeared most recently in on the artist in the international journal ing the 47th annual conference on organ new recital hall built specifi cally for an Chicago with Plácido Domingo. She also Choir & Organ. music of the University of Michigan. Tik- organ of recital proportions. does a good deal of recital work and has ker presented the work in a lecture-recit- Town was organ instructor at WSU appeared as soloist with numerous Eu- al, playing the 124-rank Aeolian-Skinner from 1965 until his retirement from the ropean orchestras. She has recorded for organ at Hill Auditorium. Deborah Fri- faculty in 2006. During his tenure, three Ligia Digital, Decca, and EMI. Nunc Dimittis auff served as console assistant, which new organs were installed on the cam- Olivier Vernet is organist of Monaco role included not just page-turning and pus, including the Marcussen, as well as a Cathedral, professor of organ at the registration, but actually joining in play- Reuter practice organ (1970) and a Law- French Regional Conservatory in Nice, Lucien Deiss, C.S.Sp., died on Oc- ing some of the most complex passages. rence Phelps and Associates two-manual and a performer of international reputa- tober 9. His funeral was celebrated on Debout sur le Soleil, composed 1989– tracker for his new studio in Wiedemann tion. Writing of their work as a duo, the October 13 at Seminaire des Missiones 91, is Florentz’s longest single-move- Hall (1986). There are now fi ve organs French newspaper Dernieres Nouvelles in Larue, France. Best known to Roman ment organ work, a symphonic poem on the campus, including a two-manual d’Alsace says of Miss Vernet: “She can Catholics in the U.S. through his scrip- inspired by the book of the same title M. P. Möller (1956), which was installed overlay the bursts of the organ without tural songs such as “All the Earth,” “Keep by Fr. Jean Leclercq of Notre-Dame in the just-completed School of Music effort [and] rise above full organ like a in Mind,” and “Grant to Us, O Lord,” Fr. Cathedral, Paris, as well as by Florentz’s complex within the Duerksen Fine Arts tornado, launching a surge of thrills.” Deiss was also widely known in Europe ethnomusicological study of Ethiopian Center, and a Casavant (II/15 stops, and the United States as a scholar in the Orthodox liturgy and chant. The perfor- 1965, designed by Lawrence Phelps) in The young English organist William fi elds of sacred scripture and patristics. mance commemorated the 60th anni- Grace Memorial Chapel. Robert Town Whitehead, who will be represented He was selected by Pope Paul VI to co- versary this year of the birth of Florentz, has recently pledged an endowment for in North America by Phillip Trucken- ordinate the Lectionary psalter following as the conference celebrated Marilyn the maintenance of campus organs. brod Concert Artists, is organ professor the Second Vatican Council. His Biblical Mason’s 60th year of teaching organ at The Rie Bloomfi eld Organ Series was at Trinity College of Music and music Hymns and Psalms was one of the fi rst the University of Michigan. endowed in 1994, and the Ann and Den- director at St. Mary’s Church, Bourne collections of congregational music for Timothy Tikker is college organ- nis Ross Faculty of Distinction in Organ Street, both in London. Previous posi- Roman Catholics. For this he was given an ist at Kalamazoo College and organist professorship was endowed in Professor tions included seven years teaching at honorary doctorate in sacred music from at St. Thomas the Apostle Church in Town’s honor in 2005. Two plaques were the Royal Academy of Music in London, Duquesne University. An advocate of the Ann Arbor, Michigan. His essay on the presented, one for Robert Town and one service on the music staff of Westminster reforms of Vatican II, Fr. Deiss dedicated Symphonie-Choral, op. 69 of Charles to be placed in Wiedemann Hall, which Abbey and later of Rochester Cathedral, much of his life to liturgical catechesis

RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595

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8 THE DIAPASON

Dec 07 pp. 2-20.indd 8 11/8/07 8:42:47 AM www.ioti.com VirtuosoPIPE ORGAN CONTROL SYSTEM 877 462 4684

The World’s Great Spivey Hall Chose Organists Choose The Virtuoso Pipe The Ruɲatti Organ Organ Control At Spivey Hall. System. through workshops and the well-known Fantasia for Viola and Organ Rorate Coeli, on to found the Helicon Foundation, a 1982. “Deiss days” sponsored by WLP (then Landscapes of Patmos (organ and percussion), New York-based ensemble whose rep- Here & There World Library of Sacred Music). 1984. ertoire included music by Mendelssohn, Tres iubilationes (brass and organ), 1987. Schumann, and Brahms. Two Invocations for Trombone and Organ, Bärenreiter announces the release 1987. Rudolf “Rudy” O. Inselmann died of the complete edition of the organ and Sunday Music, 1957–59. July 6 in Newport Beach, California at piano works by Louis Vierne, with an Laudes, 1964. the age of 72. He majored in piano at editorial team headed by Helga Schau- Ten Chorale Preludes, 1971. Wartburg College, Waverly, Iowa, then erte-Maubouet. The edition will include Two Chorale Fantasias, 1972. Small Chorale Partita, 1978. attended Capital Bible Seminary and works published during Vierne’s lifetime, Faust, 1979–80. became an ordained Lutheran minister. those previously unpublished, and those Mutationes, 1980. He received an MA in organ from Indi- attributed to him. This will be an Ur- Versetti, 1982. ana University and a doctorate in sacred text edition, based on an evaluation of A Festive Voluntary (On Good King Wences- music from the University of Southern all available autographs, fi rst prints, and las), 1986. California in Los Angeles. After teach- hitherto unpublished letters. The fi rst Hommage à Buxtehude, 1987. ing music at the University of El Paso, three volumes of the edition will be pub- Job (organ), 1987. he joined the faculty of Christ College, lished in January 2008. Each volume will Two Festive Preludes, 1990, 1992. Biblical Dances, 1990–91. now Concordia University, Irvine, Cali- include a critical commentary (in Ger- Petr Eben Amen, es werde wahr, 1993. fornia. He served as organist at Church man, English, and French), with details Momenti d’organo, 1994. of the Good Shepherd in Arcadia; St. on editorial methods, sources, as well Czech composer Petr Eben died Oc- Hommage à Henri Purcell, 1994–95. Clement’s Episcopal Church, San Cle- as a preface with performance sugges- tober 25 at his home in Prague at the age mente; St. Kilian Catholic Church, tions. The complete organ works will be of 78. Born January 22, 1929, in Zam- Mission Viejo; and Our Lady Queen of available at a special subscription price berk, Eben began piano study at age six Angels, Newport Beach. Dr. Inselmann (€255). For information: and organ at nine. At 10, he composed was dean of the Orange County AGO . his fi rst musical pieces. As a teenager, he chapter from 1998–2000; he was also a was imprisoned in the Nazis’ Buchenwald longtime member of the Music Teach- Doblinger has announced new re- concentration camp. After the war, he ers Association of California. leases: Herbert Paulmichl, Ad Commu- studied piano and composition at Prague’s nionem (Five Pieces for Organ, op. 199, Academy of Music. Henry Ray Mann died June 30 in €11.90), The Seven Words of Christ on He taught for several decades, fi rst at Greenville, Michigan. He was 72. A the Cross (op. 189, €12.90); Maximilian Prague’s Charles University, and later at graduate of the University of Richmond, Stadler, 8 Praeambula, ed. Rudolf Wal- the Academy of Performing Arts. From he earned a master of sacred music de- ter (€12.90); Viennese Pieces for Flute 1977–78, Eben was teaching composition gree at Union Theological Seminary in Clockwork, transcribed and edited by at the Royal Northern College of Music in New York City, where he served as or- Helmut Kowar (€12.50); Viennese Or- Manchester, England. In 1990 he became ganist-director in several churches and gan Music from around 1600, ed. Erich professor of composition at the Academy formed an organbuilding fi rm in partner- Benedikt (€17.00); and Viennese Or- of Performing Arts in Prague and presi- ship with Larry Trupiano. Henry Mann gan Music from around 1650, ed. Er- dent of the Prague Spring Festival. was known for his skill and artistry in the ich Benedikt (€18.00). For information: Over his career he composed some 200 Albert Fuller manufacture and voicing of wood pipes. . pieces, including works for organ and He retired to Trufant, Michigan in 1992, piano, orchestral and chamber compo- Albert Fuller, harpsichordist, conduc- subsequently serving as organist at Set- GIA Publications, Inc. has an- sitions, oratorios, masses and cantatas tor, teacher and author, died September tlement Lutheran Church. nounced new releases: John Ferguson, as well as pieces for children. Among 22 at his home in Manhattan, at the age Hymn Harmonizations, revised and his best-known works were the organ of 81. As co-founder in 1972 and artistic Bruce E. Mathieson died July 19 in updated in fi ve volumes; Hymns for a cycle Job; the oratorio Sacred Symbols director of the Aston Magna Foundation Morgantown, West Virginia, from inju- Pilgrim People, the fi rst new hymnal for for the Salzburg Cathedral; Windows in Great Barrington, Massachusetts, he ries sustained in an accident. He was 50 Congregational churches in almost 50 (four movements for trumpet and or- was among the pioneers of the revival of years old. Early in his 42 years of organ years, the result of a joint effort of GIA gan inspired by Marc Chagall’s stained playing baroque music on the original in- playing, he won two junior organist com- and the National Association of Congre- glass designs for a synagogue in Jerusa- struments for which it was conceived. A petitions. He was a graduate of Holyoke gational Christian Churches (G-7200, lem); and Prague Te Deum. He concert- frequent recitalist, Fuller also recorded Community College with an associate $18); and Hand-Me-Down Songs (CD- ized around the world, performing his extensively, including the fi rst Ameri- degree in music. Mr. Mathieson served 728, $14.95), a recording of time-hon- compositions as well as improvisations can original-instrument complete set of in the U.S. Navy for 24 years, and was ored favorites, chosen by Alice Parker on organ and piano, including at Paris’s Bach’s Brandenburg Concertos. The 1977 the organist on the U.S.S. Enterprise and edited by James Heiks. For informa- Notre Dame Cathedral, London’s Royal recording, made at the Metropolitan Mu- during his service on that ship; he also tion: . Festival Hall, and the Crystal Cathedral seum of Art, became the initial release of played for Pope John Paul II while in in Garden Grove, California. the Smithsonian Institution’s recording Rome. After retiring from the Navy, he Michael’s Music Service has an- Eben’s music is regularly performed program and went on to sell more than worked for West Virginia University and nounced new releases. Suite Eucharis- throughout Europe, the USA, Canada, 100,000 copies. was organist at Point Marion Baptist tique by Xavier Mathias is a suite for or- Japan and Australia. He was awarded Born July 21, 1926, Fuller grew up in Church in Point Marion, Pennsylvania; gan on Salve Sancte Parens. These pieces many prizes for his works: 1990, by the Washington, D.C., where he was a boy so- he also assisted the choir of Westover for manuals present familiar chants in Czech government for his organ cycle prano with the choir at the National Ca- United Methodist Church in Westover, settings suitable for liturgical use. It has Job; 1991, the Ordre Chevalier des Arts et thedral and studied organ with Paul Cal- West Virginia. He was a charter member never before been published in a useable des Lettres from the French Minister of laway. He went on to study harpsichord of the new Monongahela AGO chapter form; the errors in the original printing Culture; 1992, Professor (honoris causa) at the Peabody Conservatory of Music in West Virginia. Bruce Mathieson is have been corrected; . the German Künstlergilde; 1994, doctor- Hindemith, and then went to Paris on a mother, two brothers, three sisters, and The Lost Chord, by Arthur Sullivan, ate (honoris causa) from Prague Charles Ditson fellowship. He made his New York two grandchildren. is transcribed by Reginald Barrett. This University; and in 2002 he received a high debut at Town Hall in 1957, and in 1964 1898 transcription was made by an Czech decoration, the Medal of Merit. joined the faculty of Juilliard as professor Roy G. Wilson died May 31 at the Englishman who lived most of his life Eben is survived by his wife Sarka and of harpsichord. He was also on the faculty age of 92 in El Paso, Texas. A graduate in America. Also included is a photo of three sons, Marek, David and Krystof. of Yale University, 1976–79. of New Mexico State College, he earned the original cover of the song and some Eben’s works for organ include: In 1972, Fuller founded the Aston a master’s degree from Texas West- postcards of the words of the song; Concerto for Organ and Orchestra No. 1 Magna Foundation. Up to 30 perform- ern College and focused his career on . Concerto for Organ and Orchestra No. 2, mer to study and play early music on the schools. A lifelong musician, he served Visitors to the page can hear a recorded 1983. Windows on the Pictures of Marc Chagall original instruments. Fuller left the Aston Grace United Methodist Church for performance by cornet and piano that (trumpet and organ), 1976. Magna Foundation in 1983 and went over 50 years as organist, choir director, Arthur Sullivan heard in 1888, and lis- or as both. He regularly provided music ten to Sullivan’s comments as recorded for the Grace pre-school program and by Thomas Edison. area school districts, and accompanied Also on the website are several LPs for solo and ensemble contestants. A of organ music, including an early re- member of the El Paso AGO chapter, cording of Lyn Larsen playing classic he served as dean on several occasions. music, some uncommon Ashley Miller, Mr. Wilson is survived by two daugh- and the recording by Thomas Murray ters, a son, eight grandchildren, and of the Franck chorales; . OrganmasterShoes FAST Delivery Ɣ 3 Widths HALF Sizes Available

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Rhenen on March 29, 2008. The winning piece(s) and a selection of the other en- tries will be performed that day. All the composers of the performed pieces will be informed in advance. Two (good readable) copies must be sent (please no originals!). The date on the envelope will be used to determine the timely receipt. Send them to Freek Bakker, the secretary of the jury (address below). Participants must write their name, address, the title of the submit- ted piece(s), and a short curriculum vitae in a letter that accompanies the entry or entries. Also, every participant agrees to the publication and performance in the scope of the competition. The prize- Allen theatre organ winning composition(s) and a selec- tion of other interesting entries will be with blue side panels and outlined in published and distributed by the Dutch gold leaf trim. The console interior is a Carillon Guild and the Cunera Carillon contrasting fl at black with a satin varnish. Association after the competition. The organ’s audio system consists of 25 The deadline for entries is Tuesday, speaker cabinets, housed in three cham- January 1, 2008. For further informa- Ruffatti organ for Johns Creek Baptist Church, Alpharetta, Georgia (Photo credit: bers in Dr. Scott’s music room. tion, contact the secretary of the jury: Nancy Daley) The new Allen replaces a four-manual Freek Bakker, Van Kluyvelaan 14, electronic organ that Scott built himself 3862 XG Nijkerk, The Netherlands; on October 14. Ruffatti also completed in the late ’70s, which now has a new phone: +31 (33) 245 90 53; e-mail: a fi ve-manual organ for the new 2200- home with the Free State Theatre Organ . seat sanctuary of Johns Creek Baptist Society in Baltimore, Maryland. For in- Church in Alpharetta, Georgia. The or- formation: . gan was shipped in May, and the instal- lation crew arrived on June 17; headed by Piero Ruffatti, they worked 12 to 16 In the wind . . . hours a day. Marcio Rigatto and Fab- by John Bishop rizio Scolaro arrived in August to begin Carillon News tonal fi nishing and were later joined by by Brian Swager Francesco Ruffatti and Daniele Rigatto. The convention of conventions The dedication was played on October Conventions are big business. Tens of 21 by Joyce Jones. Jean Guillou played Carillon composition competition thousands of like-minded people gather the dedication recital on the expanded On the occasion of the 750th anniver- in huge hotels and exposition halls for three-manual Ruffatti organ re-installed sary of the city of Rhenen, The Nether- orgies of sales, parties, seminars, and ex- into St. Matthew Cathedral (Duomo de lands, and the 50th anniversary of the hibitions. Poking around the Internet, I Ruffatti 5-manual console for Johns S. Matteo) in Asiago, Italy. For informa- Van Bergen carillon in the St. Cunera found that the Specialty Equipment Mar- Creek Baptist Church, Alpharetta, tion: . tower, the Cunera Carillon Association is keting Association expects about 130,000 Georgia (Photo credit: Nancy Daley) very pleased to announce an internation- attendees at their 2007 convention to be eMedia Music Corp. has announced al carillon composition competition. This held ten days from now at the Las Ve- the addition of a new two-volume CD- competition is organized in cooperation gas Convention Center. SEMA (serving ROM set to their series of music tutorial with the Dutch Carillon Guild. the specialty automotive industry since CD-ROMs. eMedia Piano & Keyboard St. Cunera was a virgin and mar- 1963) deals with custom equipment for Method Deluxe features eMedia Piano tyr. She was born a princess from York, cars and light trucks. They are planning & Keyboard Method and Intermediate England. On October 29, 340, she was a seminar for the 2007 convention titled Piano & Keyboard Method in a two-vol- strangled by Aldegonde, the wife of King Mean and Green: Bio-fuel Hummers, ume CD-ROM set priced at $99.95. The Radboud, out of jealousy. She is now the Fords, and off-road machines, where method includes everything needed to patroness of the city of Rhenen. they will be exhibiting a 700-horsepower learn to play, with over 450 audio- and The best composition will be awarded Hummer powered by bio-fuel. They’re video-enhanced lessons and more than a fi rst prize of €1,500. The second and not telling what the fuel mileage will 150 songs in a variety of musical styles. third prizes are €1,000 and €750. Fur- be—500 bushels-per-hour? It isn’t easy When used with a MIDI controller, it thermore, there is an incentive prize of being green. provides specifi c feedback on playing €750 for the best composition by a com- In early December, the Las Vegas mistakes, including wrong notes and poser under than 30 years old. Anyone Convention Center will host the NFR rhythms. Other features include a met- may submit more than one piece. Only (National Finals Rodeo) Cowboy Christ- ronome, recorder, variable-speed MIDI pieces that have not entered other com- mas Gift Show. They expect 20,000 at- keyboard tracks, accompaniment tracks, petitions or were published before are tendees. Last March the Nightclub and and ear training exercises. For informa- welcome, and only original compositions Bar Convention & Trade Show attracted tion: . for carillon are allowed; no arrangements 38,000 people, and in August 13,000 of existing works. However, variations on people attended the convention of the Paul A. Scott, M.D., is the proud new a song or an existing theme will be ac- American Pool Players Association at the owner of a fi ve-manual Allen Theatre cepted. There is no limitation on the du- Riviera Hotel in Las Vegas. Organ in his Ocean City, Maryland ration or diffi culty of the entries. Given Las Vegas hotel prices, the cost Ruffatti organ, Wesley Chapel, Elkton, residence. The 55-rank specifi cation was A piece must be playable on a stan- of travel and food, and the propensity of Maryland (Photo credit: Nancy Daley) largely created by renowned theatre or- dard European four-octave carillon: 47 conventioneers to consume various com- ganist Simon Gledhill and features digi- bells, 4 octaves without low c-sharp and modities with unusual gusto, the amount Fratelli Ruffatti has released vol. tal samples retrieved from pipe organs d-sharp. Pedal range from c to g1, man- of money involved in these huge shows VII, no. 1 of its newsletter. Recent proj- built by Wurlitzer, Morton, Kimball and ual from c to c4. To assure total objec- is incomprehensible. How do they man- ects include the seven-rank tracker or- E. M. Skinner. Nearly 400 stoptabs are tivity, an entry may not have any signs or age the logistics? Imagine the swirl at the gan for Wesley Chapel of Elkton, Mary- utilized to control the instrument. marks that can reveal the identity of the hotel check-in desk when 50,000 people land. Two of the stops are divided. Don The custom console is fi nished in a composer. The names of the winning are trying to check in on the same day. McFarland played the dedication recital soft yellow semi-gloss paint, accented composer(s) will be revealed to the jury Last week the American Institute of only after their deliberations. Organbuilders gathered at the Valley A committee of judges consisting of Forge Conference Center and Radisson Ton Hartsuiker (musician and former di- Hotel in King of Prussia, Pennsylvania. rector of the Sweelinck Conservatory of The Specialty Equipment Marketing As- MANDER ORGANS Amsterdam), Carl Van Eyndhoven (caril- sociation has about a ten-year head start lonneur and carillon teacher), Marco de in membership development. Founded Goeij (composer), and Gideon Bodden in 1963, their convention is now among New Mechanical (carillonneur), will evaluate all entries the largest in the country. The AIO was received by the deadline. The jury judges conceived in 1973 and chartered in 1974. Action Organs on originality, musicality, and usefulness I don’t know the exact count, but I be- or effectiveness for the instrument. The lieve that around 250 of us attended, and judges may also decide not to award any to be truthful, I doubt we’ll get into tens composition, or to divide the prize mon- of thousands any time soon. ey between more than one submitter. This seems like a small group, but Exquisite The announcement of the prize-win- friends who are not involved in the organ Continuo Organs ning piece(s) will take place at the annual world are amazed when I tell them I’m St. Peter’s Square meeting of the Dutch Carillon Guild in going to a national convention involving London E 2 7AF • England [t] 011 44 20 7739 4747 PACCARD [f] 011 44 20 7729 4718 [email protected] Cast bronze bells Digital carillons www.mander-organs.com www.christophpaccard.com Imaginative Reconstructions 800/849-6670

12 THE DIAPASON

Dec 07 pp. 2-20.indd 12 11/8/07 8:43:43 AM LAVISH APPOINTMENTS ~ EXCEPTIONAL TONALITY ~ ARTISTIC INTEGRITY OPUS I OPUS II

PEDAL CHOIR 32 Contre Bourdon 16 Contra Viole 16 Diapason 8 Viola 16 Bourdon 8 Viola Celeste 16 Lieblich Bourdon (Sw) OPUS III 8 Gedackt 16 Contra Violone (Ch) 8 Erzähler 16 Salicional (Ec) 8 Erzähler Celeste 16 Violone (Gt) Allen Organ is proud to announce the commission 4 Prinzipal 8 Octave of yet another Allen Elite™ organ. After consideration 4 Koppelflöte 8 Gamba (Gt) 4 Viole 8 Flauto Dolce (Ec) of other builders, the church’s decision for Opus III 4 Erzähler 8 Gedackt was based on three key areas of Allen superiority: 2 2/3 Nasat 4 Choralbass 2 Blockflöte 4 Flute sound, service and voicing capabilities. 1 1/3 Quintflöte Mixture IV Mixture III 16 Bombarde With a tonal scheme reminiscent of the great 8 Clarinet 16 Trompette (Sw) Harp–(Skinner) 8 Trumpet E. M. Skinner, Elite Opus III is a three-manual, Celesta 4 Clarion 73 stop instrument with a floating Echo Division 8 Festival Trumpet (nc) 8 Festival Trumpet and 36 audio channels. When compared with Tremulant SWELL the French Romantic specification of Opus II, ECHO (Floating Division) 16 Lieblich Bourdon the stop list of this newest Elite confirms the 16 Salicional 8 Geigen 8 Flauto Dolce 8 Salicional individuality and uniqueness of every Opus. 8 Flute Celeste 8 Voix Celeste 8 Muted Strings II 8 Flute Celeste II 8 Vox Angelica 8 Rohrbourdon 4 Orchestral Flute 4 Geigen Octave Chimes 4 Traverse Flute Tremulant 2 2/3 Nasard 4 Antiphonal 2 Piccolo 1 3/5 Tierce COUPLERS & GENERALS Fourniture IV TM 8 Great to Pedal 16 Trompette 4 Great to Pedal 8 Trompette 8 Swell to Pedal 8 Oboe 4 Swell to Pedal 4 Clarion 8 Choir to Pedal 8 Festival Trumpet (nc) 4 Choir to Pedal Tremulant MIDI on Pedal 8 Swell to Great GREAT 8 Choir to Great 16 Violone MIDI on Great 8 Diapason THE GOLD STANDARD OF ORGAN BUILDING 8 Swell to Choir 8 Metalgedackt Choir Unison Off 8 Harmonic Flute for discerning customers MIDI on Choir 8 Gamba MIDI on Swell 4 Octave 4 Spitzflöte KEY CHEEK PISTONS Pedal Divide 2 2/3 Twelfth Echo on Swell 2 Fifteenth Echo On Great Mixture IV Echo On Choir 8 Trumpet Allen Organ Company LLC All Swells to Swell 8 Festival Trumpet (nc) 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Echo Expression Swell Tremulant Phone: 610-966-2202 • Fax: 610-965-3098 Echo Expression Great Chimes E-mail: [email protected] • Web site: www.allenorgan.com Echo Expression Choir several hundred organbuilders. These passed from console to chamber using a ees, and most companies employ fewer lectures in a large conference room at the are the people who say, “I didn’t know single wire. In my memory, multiplexing than ten people. In this environment, convention hotel. Those lectures were on there were any of you left.” I’m feeling was the fi rst scary leap. Simply put, the the importance of the supply house is in- subjects as diverse as rebuilding and re- pretty good, how about you? system is based on a clock that scans all creased as we can decide independently pairing Möller pitman chests, recovering Any convention has an exhibit hall in the console outputs a prescribed num- whether or not to build pedalboards “in keyboards, and confl ict resolution. which vendors show their wares to mem- ber of times per second and sends a code house,” or which solid-state control sys- Patrick Murphy, whose organbuilding bers of the trade. There were almost 25 along the wire to the chamber where it tem best fi ts the design and function of workshop is in Stowe, Pennsylvania, was fi rms exhibiting at the AIO convention, is “unscrambled” by another clock. For the console we design. the chair of the convention, and the staff including companies that provide leath- someone who started with trackers, it I thank the people from the compa- of his company was present through- er, specialty tools and hardware, key- was hard to imagine that it would work nies who exhibited at the AIO conven- out answering questions, guiding us as board restoration, organ pipes, console or that it could be reliable. At about that tion. I appreciate the hard work you’ve sheep on and off the buses on schedule, parts, and of course, solid-state control time, there was a Star Trek movie dur- done developing new products. The and providing a cheerful and welcoming systems. The exhibits hall is open for sev- ing which the USS Enterprise was under American organ industry is strengthened presence. Randall Dyer (Randall Dyer eral hours each day, especially in the eve- reconstruction and the famous Trans- by your efforts. The fees you paid for ex- & Associates of Jefferson City, Tennes- ning when it becomes the locus for the porter was malfunctioning. When a crew hibition space helped make this valuable see) is the chair of the AIO’s Convention convention’s social life. After dinner peo- member was “beamed” up or down, the experience possible. And thanks for the Overview Committee. These folks de- ple swirl through the exhibits, run into machine failed to unscramble the mol- candies, wine, keychains, and door prizes serve the gratitude of America’s pipe or- old friends, make new friends, and head ecules accurately, resulting in horrible you provided! gan community for their contribution to off to the hotel bars in small groups. scrambling of human tissue. Would this Earlier this year I wrote a two-part the education, celebration, and advance- One benefi t of this tradition is the dis- happen to our organ music? essay about the new life of the famous, ment of American organbuilders. pelling of myth—I’ve been doing busi- At fi rst bad things did happen. One enormous, and almost indescribable I have always thought that organ- ness with suppliers to the organbuilding system I worked with had a clock that organ in the former Wanamaker’s De- builders are a collegial bunch. Although trade for 30 years, and it’s fun to meet was going too slow, resulting in herky- partment Store (May and June 2007, we are competing with each other in those with whom you’ve spent countless jerky organ music. And lightning strikes “Size Matters”). In it, I wrote that Phila- a small market, we are typically will- telephone hours. You get to form a per- were death. I was caring for a couple delphia boasts an unusual array of very ing to assist each other with advice and sonal connection with the person who an- large organs that had new multiplexing large organs. The Wanamaker organ exchange of ideas, and even by sharing swers the phone at the order desk, and to systems, and I sweated out thunder- (6/462), the Austin organ (4/167) at Ir- workers when projects get larger than a discuss technical problems in detail with storms with good reason. vine Auditorium of the University of small staff can handle. But during most the engineers who design and build the Now we are getting used to software- Pennsylvania, and the Dobson organ of the working year, we are buried in or- equipment. Over the years I have found based systems in which the organbuilder (4/124) at the Kimmel Center (home of gan chambers in our own areas, seem- great value in knowing the people I talk connects the console controls (key- the Philadelphia Orchestra) add up to ingly out of touch with what our col- with on the phone. These relationships boards, stop knobs, piston buttons, swell 753 ranks in three organs that are within leagues are doing. In King of Prussia, are unspeakably valuable when I’m call- shoes) to rows of pins, and using software a few miles of each other. The Wana- Pennsylvania, we came out of our holes ing from a job site where wedding limos determines which pin does what. After maker Store and the Kimmel Center blinking in the sunlight, and shared a are showing up outside and the organ is the organ is fi nished, you could decide to are within walking distance. The partici- wonderful week of professional growth acting up. change divisional pistons into generals by pants in the AIO convention had a won- and companionship. Nice to see you all. I got active in organbuilding in the late updating the software through e-mail. derful opportunity to hear these three See you in Knoxville next year. Q 1970s just as solid-state controls for pipe It’s fun to think back a few generations giant and wildly diverse instruments in organs were entering the market. I had to the time when electro-pneumatic two successive days. my start in workshops that specialized in combination actions and pitman chests While organ-people will no doubt al- tracker-action organs, and my immature were introduced. Any good modern or- ways refer to the Wanamaker Store in understanding didn’t allow much space gan builder knows the symptoms of trou- Philadelphia, credit must be given to On Teaching for digital equipment. I knew many peo- ble in a pitman chest. But when those Macy’s Department Store, now the pro- by Gavin Black ple who resisted or ignored using it. I was chests were fi rst being perfected, techni- prietor of this most grand of retail spac- fortunate to work for several years along cians must have sweated out mysterious es. Robin Hall is an executive vice-presi- side an old-timer who had worked per- problems the way I have with solid-state dent in charge of Macy’s Department of Pedal playing, part II: sonally next to Ernest Skinner (in fact, I gremlins. Annual Events, the group that produces opening exercises assumed the care of two Skinner organs In the exhibit hall of the AIO con- the Thanksgiving Day Parade and July Last month I closed by stating that he had helped install in the 1920s and vention, I was most impressed by the Fourth Fireworks along with numerous there are three reliable ways of fi nding had maintained ever since!) who said, sophistication of new developments in fl ower shows and musical reviews. There notes at the pedal keyboard with accu- “that stuff is for you young guys.” solid-state pipe organ controls, and even can be no division of a modern American racy, namely: 1) fi nding notes absolutely, In the ensuing generation, many if more impressed by the sophistication of corporation more enthusiastic or better in relation only to your position on the not most organbuilders have had at my colleagues, the organbuilders, who in equipped for the care of this most sin- bench; 2) fi nding the next note that a least some experience with solid-state the last 30 years have worked hard to un- gular of pipe organs. In the brief period given foot has to play in relation to where equipment, and many use it exclusively. derstand the function, uses, and benefi ts since their occupation of the store, they the other foot just was; and 3) fi nding the Years ago, I remember being easily be- of this equipment. I joined in conversa- have funded extensive and expensive next note that a given foot has to play in wildered. I would stand trembling with tions in which organbuilders were sug- long-needed repairs, provided a large relation to where that foot last was or my hand on the switch before turning gesting improvements, offering solutions amount of space in the building dedi- what that last foot just did. I also said that on a system for the fi rst time and would to problems, and describing innovative cated to an organbuilding workshop, and while all three of these are useful and be looking for smoke, unfairly (to both ways they’ve found to use existing con- established a collegial relationship with necessary, it is the last one that is actually the supplier and myself) assuming that trols. I saw an institutional comfort level Curt Mangel, curator of the organ, and the most useful and the best source of there would be smoke to see. I handled that can only be to the benefi t of our cli- Peter Conte, Grand Court organist. To really secure, comfortable pedaling. This the circuit boards as though they were ents. We’ve come a long way, baby. hear Peter and Curt talk about the people month I want to elaborate on that idea, poisonous, and while I understood what Because I’ve been involved in some of Macy’s is to hear a gushing exceeded and then to describe a beginning exer- they were supposed to do, I had no idea very large organ projects in recent years, only by the amazing sounds of the organ cise based on this third approach. how they did it. I’ve noted an important way in which or- itself. (Please refer to this column in the For the moment, we are concerned Enough time has passed that we’ve gan organbuilding industry has changed. May and June issues of The Diapason only with the use of the toes in pedaling. been through generations of solid-state Seventy-fi ve years ago, when American for more about the Wanamaker Organ.) This is emphatically not because I believe equipment. Looking back, the earli- organbuilders were producing thousands Anyone who has attended an organ in eliminating the use of the heel or in est systems seem pretty primitive. The of organs each year, there were a num- convention knows the bus rides—hun- restricting it in principle—as noted last companies offering them went to great ber of companies that had hundreds of dreds of like-minded people rattling month, I consider every part of the foot trouble to make the pin-boards (rows employees. It was much easier for such across the countryside on a tight sched- to be fair game for playing pedal keys. of pins where you connect the wires a large company to marshal the forces to ule to hear and see organs. Along with Rather it is because the gesture of point- from the console controls to the system) erect a 32-foot Principal, or just to trans- the organ demonstrations, there were ing with the toe is more natural and basic look as much like traditional pipe organ port an organ of 100 ranks or more. They workshop tours (Patrick J. Murphy & As- as a way of using the foot, and therefore equipment as possible. Later, multiplex- had people employed in experimental sociates and Nelson Barden at Longwood should be the beginning and the basis of ing was introduced—logic-based sys- roles, developing combination actions, Gardens), workshop seminars on mount- pedal technique. In fact, although “toes- tems that reduce organ music to data relays, and new types of voices. Today it’s ing toe-studs, stenciling façade pipes, and only” pedaling is quite rightly linked to streams that allow the information to be rare to fi nd a company with 100 employ- rebuilding Spencer organ blowers, and older repertoire and performance prac- tice (17th and 18th century, approximate- ly), even in the 19th and 20th centuries, David Petty & Associates without any specifi cally “historical” in- Organbuilders tent, it was often recognized that the toes were the logical place to start in teaching pedal playing. For example, the infl uen- 27 Marlboro Lane • Eugene, OR 97405 tial and often reprinted organ method (541) 521-7348 [email protected] of Sir John Stainer begins its pedal play- ing work with the toes alone. Once any student is fully profi cient at fi nding note patterns at the pedal keyboard with his or her toes—given that the technique is fl uid and comfortable—it will be easy and natural to use the heel for some or even many notes. Playing with the heel is, in a way, a special case of fi nding a note with a foot in relation to what that foot just did, and it can be very reliable. Of course, there are musical and histori- cal considerations that might argue for or against the use of heel in any given situation, and I will discuss these at some length in a later column. It is more natural and intuitive for a person to judge or know how far he or she has just moved one foot than to

14 THE DIAPASON

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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue * Hillsboro, Oregon 97124 503.648.4181 * fax: 503.681.0444 America’s Most Respected Organ Builder Email: [email protected] * www.rodgersinstruments.com know spontaneously how far one foot is sented by the note-surface of pedal lines, Once a student is seated comfortably the note based on the approach de- from the other or how far one foot will be in which of course there are all sorts of on the bench I suggest the following: scribed in 2) above. It is important that from the other after it has been moved. intervals and all sorts of patterns as to 1) Find the lowest “A” on the pedal the student keep everything very slow It is this intuitive judgment that makes which foot is playing what. (For a couple keyboard. It is fi ne to do this by looking, so as to have plenty of time between it possible for us to drive cars knowing of classic cases of this, see the two long for now. each two notes to think about all the de- that we will hit the brake when we need pedal solos from the Bach F-major Toc- 2) Play that note with the left foot, us- tails, without any need to panic. to. In order to tell how far one foot is cata and the pedal part from the Widor ing whatever part of the foot can most 5) Once this scale seems comfort- from the other foot it is necessary to link Toccata). It makes sense for an organist comfortably push the key down fairly able—slow, light, even, accurate, and the two feet together by creating some to pick any pedal line apart, to see which close to the nearest raised keys but with- feeling easy to the student—the next sort of juxtaposition of the legs, for ex- foot is playing what and to look for sim- out touching them. This will (essentially) step is to play an A major scale in exactly ample by keeping the knees more or less ple, memorable, or useful patterns. I will always be part of the toe region of the the same way. This, of course, introduces together or by keeping the upper legs return later to this idea as it applies to foot, and will be the outside of the foot less regularly spaced one-step intervals. more or less parallel and roughly a con- experienced organists hoping to improve for some players and the inside for some. and so is more challenging. It is normal, stant distance apart. All such constraints their happiness with their level of pedal (For a very few students with quite small in fact nearly universal, for a student to on the position that a player assumes on mastery. However, this approach makes feet it will be the very tip of the foot.) land in between e and f coming down the organ bench are perhaps acceptable even more sense for a beginning organ The question of which particular part of from f-sharp, for example. The way to or even comfortable and good for some student. A simple set of exercises will the foot can most comfortably address correct this is again simply to say, on the students or players. But they are also the enable a new student to take the intui- the key will depend on the angle at which next time through that moment, “I must main source of the discomfort—initially tive sense of where a foot is in relation the foot is approaching the key, which move my foot a tiny bit farther.” This physical but then increasingly mental as to where it has just been, train it to be will in turn depend on the student’s pos- works remarkably well. well—that many organists and prospec- increasingly precise, and tie it in solidly ture on the bench. The more the student tive organists feel with the instrument. to the particular logistics of the pedal tends to keep his or her knees together, This simple, basic scale-based exer- In fact they are the reason that a steady keyboard. One important benefi t of the more likely it is that the inside of the cise is extraordinarily effective in train- stream of interested students end up giv- learning pedal playing this way is that foot will be the most comfortable for ing the sense of what it feels like to ing up the organ, as I mentioned in last after only a very few exercises that feel playing this A; the more the student lets move one foot the distance of one step. month’s column. Of course some of the like exercises, any student is able to use his or her knees drift apart the more like- This is the foundation of secure pedal physical constraints that are suggested essentially any pedal line as practice ma- ly it is that the outside of the foot will be facility. Next month I will introduce as ways of orienting the two feet to each terial. This makes it easy to keep things more comfortable. Neither one is right exercises that train that same sense in other are intended only for the begin- interesting for the student and for the or wrong; there is no reason to favor one more complicated musical contexts, and ning of study and are meant to be modi- teacher, and allows the student to have a over the other. It is very important to let expand the scope of what we are asking fi ed or dropped later on. However, they satisfying sense of being connected from the student fi gure out, starting from an each foot to do. Q are still often damaging to the process of the very beginning to the world of real individually comfortable posture, what a student’s becoming comfortable with music and to the tradition of great organ- details are right for that student as to foot Gavin Black is the director of the Princeton the instrument initially, and the success ists through the ages. position for playing particular notes. Early Keyboard Center in Princeton, New that students have moving past this dis- In keeping with all of the above, the (Note: by the time the student has Jersey. He is at work on a pedal-playing meth- od that will probably be available in the fall comfort varies considerably. Organizing fi rst thing that I ask a new student to played and released the A once or twice, of 2008. He welcomes feedback by e-mail at the learning of pedal facility and tech- do in preparing to work on pedal play- he or she should quit looking at the pedal . Expanded versions nique around an awareness of what each ing is to sit in the middle of the organ keyboard, and rarely look again). of these columns with references and links, foot is doing with respect to its own posi- bench in a way that is comfortable, re- 3) Ask the student to play A then B. along with a collection of pedal exercises, can tion allows the student to avoid this sort laxed, and informal. Most people have This should be done slowly and lightly, be found at . of problem altogether, and also leads been trained—subliminally if in no without either slithering the foot along to a remarkably secure mastery of the other way—to arrange themselves more the keyboard or snapping the foot high pedal keyboard. or less “at attention” in situations that into the air between the two notes. The Musically, of course, any pedal part is seem even vaguely formal, including the foot should trace a small arc that moves Music for Voices the sum of what the right foot plays and situation of a music lesson or a musical directly from the center of one key to the what the left foot plays. A listener does performance. However, any posture that center of the next. If the student misses and Organ not know, and probably does not care, needs to be maintained consciously and the B, then on the next attempt he or she by James McCray which foot is playing what. However, that involves any discernible use of mus- should compensate in the opposite di- from a technical point of view, a pedal cles is probably at risk for creating ten- rection from the miss. If he or she played part consists of two separate lines, one sion and should be avoided. Of course it A–C, then on the second attempt he or The loss of multi-movement choral for the right foot and one for the left is possible to imagine an exaggeratedly she should think “I should move my foot settings (a mirror of today’s church foot, just as any keyboard piece consists “informal” posture—slumped over to a tiny bit less far.” If the mistake was culture) of a left hand part and a right hand part. one side, for example—that would in- the other way then the thought should It often makes sense to analyze the tech- deed have to be corrected. I have, how- also be the other way. This simple way The composer reveals the innermost be- nical work required to learn a keyboard ever, never once actually encountered of thinking about the logistics of missed ing of the world and expresses the deepest wisdom in a language which his own rea- piece as consisting of the two separate a situation in which a student’s natural, notes is remarkably effective for correct- son does not understand; like a somnam- tasks required of the two hands. It also comfortable posture presented any sort ing them, in this context and in others. bulist, who tells things of which he has no often makes sense to analyze a pedal of problem for organ playing. It is im- 4) Once the student has successfully clear knowledge in his waking state. This is part as the two separate tasks required portant to start off with the bench at a played back and forth between A and the reason why, in a composer more than of the two feet. Pedal lines approached good height. The height is probably right B several times, ask the student to play in any other artist, man and artist are quite this way usually reveal themselves to be if the act of utterly relaxing the legs and the notes of an A natural-minor scale, separate and distinct. conceptually very simple. Something like back—completely letting go, as if fl op- up and down, very slowly and lightly. —Arthur Schopenhauer (1788–1860) 80% of all notes in the pedal repertoire ping down on a couch—does not quite The lower four notes (A–B–c–d) should The World as Will and Idea are generated by one foot or the other make the feet inadvertently play pedal be in the left foot, the upper four (e– The American church music land- doing one of the following three simple keys. This will prevent the student from f–g–a) should be in the right foot. For scape is rapidly changing. The number actions: repeating a note, moving one having to use muscle tension to keep the each note, the student should make an of organ majors in colleges, for example, step, or moving two steps. This is a much legs and feet up away from the pedal appropriate decision as to foot position has been in decline for years. Church simpler technical picture than that pre- keyboard while playing. and what part of the foot actually plays and concert halls have dwindling popu- lations. Traditional church services with the standard choir singing a weekly an- Log On and take the tour! them seem to be far less common than

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16 THE DIAPASON

Dec 07 pp. 2-20.indd 16 11/8/07 8:44:38 AM 20 years ago, and the use of multi-move- Missa pro defunctis (Requiem), Franz lines, always with solid instrumental sup- chestra version, making the work much ment choral settings during a church von Suppé (1819–1895). SATB, SATB port. It is not clear why Villa-Lobos calls more accessible. This huge work has service has become so rare that creat- soli, and large orchestra, Carus-Ver- this a mass-oratorio and this edition has frequent choral divisi and extended vo- ing this column of reviews on them may lag, 40.085/03, €99.00 (D-). no commentary. It is an interesting work cal ranges, especially in the soprano and seem a waste of time for many readers. There are 13 movements in this Latin and one that merits attention from con- tenor. The organ adapts the original or- Furthermore, although there are excep- Requiem. The large orchestra has paired ductors, probably for concert purposes. chestral timbre so that it retains the color tions, the average size of church choirs winds and includes a huge brass section The ending “dona nobis pacem” is more and character of the music. The organ is far smaller. So, in all this malaise, including four horns. The music is very of a demand than a prayer, as the setting part, on three staves, is somewhat chal- where is church music heading? dramatic with a colorful orchestration. ends with a dynamic of fff. lenging. There are extended solo pas- This writer is aware of one church in Full voice ranges are employed for the sages and this diffi cult music will require the area that lost over half of its popula- choir and they have very expressive lines, Truro Eucharist, David Briggs. SATB outstanding singers. This work is beyond tion over the decision to install a new or- divisi passages, and an extended section and organ, Chestnut Music (Ameri- most church choirs, and will need a large gan in the sanctuary. People did not want where they sing antiphonally with the can distributor, 70 LaSalle St. #128, chorus of very competent singers, but it “to see money wasted on purchasing a solo quartet. This setting will require a New York, NY 10027), $8.45 (M). is great music. new organ.” After lengthy debate over a big choir and orchestra and is about 70 This mass, by British composer period of several years, the decision was minutes’ duration. The orchestral parts Briggs, is in a lovely edition and clearly Te Deum, Johann Nepomuk Hummel fi rmly in place that the organ, which had are €74.00 and choral parts €16. marked. The organ part, on three staves, (1778–1837). SATB, orchestra and served that church for almost 50 years, has some registration suggestions and, organ, Cantate Music Press, CAN would indeed be replaced. As a result of Vidapura (Missa-Oratorio), Heitor except for a few brief right-hand fl owing 9002.01, full score $22.95 (D-). that decision families changed churches, Villa-Lobos. SATB, SATB soloists, or- lines, is relatively easy. The choral parts This is a fi rst edition of Hummel’s 15- the population of the church dropped by gan (or orchestra), Editions Max Es- have some soprano divisi, and a few brief minute Te Deum, which has a large or- almost half, and, in fact, a new church chig (France), M.E. 9010 (Theodore solo passages. Although the Kyrie is in its chestra; an alternate reduced instrumen- was formed by those who left; it became Presser Co.), $46.75 (M). traditional Greek, the other movements tation is available from the publisher. one in which there is no choir. This 22-minute setting is a Latin mass are in English. There is some dissonance, The organ part is not soloistic, usually The decline of church music has be- that contains all of the major movements but generally very attractive music. doubling the low strings as a single line. come so acute that there are numerous including the Credo. It dates from 1919 The choral parts are not diffi cult, pri- books and articles about its erosion. and follows traditional tonal relation- Te Deum marily in a syllabic four-part chordal set- Certainly one of the most widely read ships. The organ reduction, made by ting with minimal melismas. The large books on it is Marva Dawn’s Reaching the composer, is curious in that the fi rst Te Deum, Anton Bruckner (1824– orchestra is used throughout and has an Out Without Dumbing Down, which has page of the Kyrie uses three staves then 1896). SATB, SATB soli, and organ, important role in the total impact of the sparked considerable interest. Her com- stops; there is no pedal indication for the Bärenreiter, BA 7524, €12.95 (D). music, with several dramatic effects to mentary on the culture of church today two staves, which are used for almost Bruckner’s famous Te Deum has been enhance the Latin choral text. should be required reading for all who all the remaining music except for one arranged for organ by Andreas Kohs. are involved in church music at any lev- brief soloistic section where the pedals This setting is another one of Bären- Festival Te Deum, John Leavitt. el. The book is published by William B. are clearly marked. The choral parts are reiter’s large-scale works that has been SATB, brass choir, percussion, Eerdmans Publishing Company, Grand not diffi cult but often have contrapuntal adapted for organ from the original or- organ or piano, Concordia Pub- Rapids, Michigan, and is available in a soft cover, ISBN 0-8028-4102-3 (www. eerdmans.com). The day of full-time church work for musicians has already become a memory. The number of churches where a full- time musician is employed is embarrass- ingly small. Some of the reasons for this are fi nancial, of course, but there also may be an attitude issue. A great many of us have reached the age of retirement. The ... a voice for my soul changing culture of church music is in part because many of us who have tried to champion the traditions of today’s wor- ship services through the use of music by such giants as Bach, Buxtehude, Britten, and others are now reaching retirement age. Newer generations are becoming the leaders, but unfortunately many lack a broad view of church music history. As we retire from our church careers it is a good idea to heed the words of Anne Lamott, an author of such books as Grace (Even- tually) and Plan B, Further Thoughts on Faith. One’s job or career tends to be how we are defi ned to others and to our- selves. When that is no longer the driv- ing force of daily routines, there is a huge sense of loss that is oppressive, and that is why so many people who have retired go back to work. So, for all of you who are about to stop being church musicians, please consider staying in the battle. Your background, commitment, and expertise are needed now more than ever. In some ways, the future of church music depends on people who have this experience and interest. We must be as proactive about church music as those people who were against it and left the church. So instead of that easy formula-based anthem, give some thought to bringing to your choir and congregation an extended work that will challenge them. As the wonderful American composer Ernest Bloch (1880–1959) said, “Only that art can live which is an active mani- festation of the life of the people. It must be a necessary and essential portion of that life, and not a luxury.” The Mass

Missa Brevis, McNeil Robinson. SATB and organ, C. F. Peters Corp., #68154, $5.75 (M). There is no Credo in this Latin Missa www.johannus.com Brevis, which has the organ part on three staves with registration suggestions. Both choral and organ parts are well crafted yet simple in design, making the music very useful. There is limited contrapun- tal writing for the voices, which tend to move syllabically and primarily in similar rhythms. There is a brief soprano solo, and the opening of the Kyrie, which has a moderately high tessitura, would work the JOHANNUS revolution well as a soprano solo, although that is not indicated.

DECEMBER, 2007 17

Dec 07 pp. 2-20.indd 17 11/8/07 8:44:56 AM lishing House, 97-6895, full score Not unlike William Dowd, Frank denwoche’,” by Axel Unnerbäck (“From 1637–1641”). Despite the fact that Franz $20.00 (M+). Hubbard, Wallace Zuckermann and ‘Schnitger Week’ to ‘Sweden Week’”) de- Tunder and Dieterich Buxtehude played Brass choir includes three C trumpets, David Way in the world of harpsichord scribes Vogel’s role in the establishment this organ more than 50 years, this Stell- two trombones, one bass trombone, building, he gave himself over complete- of Swedish organ culture. How much wagen opus was entirely replaced in and tuba; timpani and small percussion ly to the vision of organ building in the better this article would have been if 1851. The disposition of that organ, un- are also needed. Leavitt’s setting is in antique style. His infl uence was seminal provided in English translation! fortunately, is a matter of conjecture. English with some divisi singing for the in the development of the artisan or- Chapters 5 through 9 are entirely on 18. “Eine Lütticher Quelle zur Ver- women. The music is syllabic, without gan building we know and even take for compositional techniques. breitung des gleichstufi gen 19tönigen contrapuntal vocal lines, often in block- granted today. 5. “Gleichwie sich fein ein Vöglein . . . Stimmungssystems in der ersten Hälfte chord rhythms. It is very exciting music These 21 essays in honor of Vogel’s Zu den Choralbicinien Johann Pachel- des 17. Jahrhunderts,” by Paul Peeters that will need a large choir, although 65th birthday range from remembrances bels,” by Michael Belotti (“The Chorale (“A Liege Source on the Dissemination the vocalists rarely have to try and to articles of musicological signifi cance Bicinia of Johann Pachelbel”). of Equal Nineteen-Note Temperament oversing to be heard since the brass has in organ building, composition and per- 6. “Anmerkungen zu Stil und Satz- in the First Half of the Seventeenth minimal areas where they play with the formance practice. They cover every- technik in Samuel Scheidts Görlitzer Century”). An excursion into the rather choir, usually having bursts of sound thing from congregational singing to sty- Tabulaturbuch,” by Konrad Brandt bizarre world of equal temperament be- between choral phrases. This is a work lus phantasticus. In the realm of organ (“Remarks on Style and Compositional yond 12 semitones! that singers and audience will greatly building they touch upon the organs of Technique in Samuel Scheidt’s Görlitzer 19. “Modernism, Mexico, and Musi- enjoy and one that could be done by Tannenberg in America to the restora- Tabulaturbuch”). cal Instrument Restoration,” by Edward solid church choirs. tion of antique organs in Mexico. This 7. “The Enigma of the stylus phantas- Charles Pepe. Four notions of mod- wide range of topics is a little confusing ticus and Dietrich Buxtehude’s Praeludi- ernism are visited: those of innovation, Te Deum, Douglas Coombes. SATB, at fi rst and is aggravated by the lack of um in G Minor (BuxWV 163),” by Pieter universality, reduction of non-western S solo, brass quintet and keyboard, English translations of several articles in Dirksen. This musicological exposition cultures, and individualism. These are Lindsay Music (Theodore Presser German. How handy it would have been demonstrates that the fantasia style was compared to historicism in the revival- Co.), $13.95 (M+). to have side-by-side translations instead carefully through-composed rather than ist organ culture and the nostalgia that The brass parts are available only of summaries! However, the content is of improvisational. created a yearning for artisan expression on rental; this choral score uses piano, suffi ciently high quality to warrant mul- 8. “Zusammenhänge zwischen den in organ building as opposed to indus- which has a very independent part with tiple readings. Vokal- und Orgel-Magnifi cats von Hie- trial production of the pipe organ. Pepe soloistic passages. The English text is set This 400-page volume includes 21 ronymus Praetorius,” by Frederick K. points out how modernist notions are at primarily in syllabic chordal fashion, with chapters, which are divided into four Gable (“Correlations between the Vocal tremendous odds with historical con- limited contrapuntal vocal lines. The so- areas: and Organ Magnifi cats of Hieronymus cepts in organ building and the work of prano solo is not extensive, sometimes • Harald Vogel, with essays by John Praetorius”). the old masters. He also makes an excel- singing alone but more often above a Brombaugh, Elizabeth Harrison, Ma- 9. “A Late-Romantic Motet Intabu- lent case for the inclusion of Spanish ele- choral background. This is a work that sakata Kanazawa and Axel Unnerbäck. lation: Sigfrid Karg-Elert’s Organ Tran- ments in the organs of Mexico. will challenge but will be attractive to the • Keyboard Literature, with articles scription of J. S. Bach’s Singet dem Herrn 20. “David Tannenberg: Remnant of listener and singer. by Michael Belotti, Konrad Brandt, Piet- ein neues Lied,” by Sverker Jullander. a Lost European Organ Culture?” by er Dirksen, Frederick Gable and Sverker These musicological articles appear Bruce Shull. The organs of David Tan- Jullander. to deviate tremendously from the main nenberg are described, and the restora- • Performance, with essays by Klaas theme of the book. This is a complicated tion of the Home Moravian Church in Book Reviews Bolt, Wim Kloppenburg, Keith Hill, situation for the English reader, given Salem, North Carolina is documented. Marianne Ploger and William Porter. that only summaries are provided for ar- Shull’s article explores fascinating as- • Organs, Organists, and Organbuild- ticles in the German language. pects of restoration in the areas of origi- Orphei Organi Antiqui—Essays in ers, with articles by Laurence Libin, 10. “Congregational Singing in a Cri- nal voicing and construction practices. Honor of Harald Vogel, edited by Lynn Edwards Butler, Gregory But- sis Situation,” by Klaas Bolt. This is a Shull cites the theories of Kristian Weg- Cleveland Johnson. Westfi eld Cen- ler, Felix Friedrich, Ibo Ortgies, Paul reprinted article that brings the reader scheider that “Tannenberg organs more ter, P.O. Box 505, Orcas, WA 98280. Peeters, Edward Pepe, Bruce Shull and back to Vogel’s concept of organ cul- correctly appear to stem from a branch $74.95 non-members, $64.95 mem- Joel Speerstra. ture and the need for studying antique of organbuilding that has once been bers, . A summary of the chapters: organs and the musical language they well-established in eastern Germany.” Orphei organi antiqui is a catchy little 1. “Harald Vogel’s Infl uence on Con- make possible. 21. “The Compenius Organ: An Al- phrase that honors Harald Vogel by ex- temporary Organbuilding: One Organ- 11. “The Beauty of Unpolished Con- chemical Wedding of Sound and Sym- amining his multiple roles in the revival builder’s Story,” by John Brombaugh. gregational Singing: The Concepts of bol,” by Joel Speerstra. This is a study of the antique organ. Editor Cleveland John Brombaugh recounts his fi rst Klaas Bolt,” by Wim Kloppenburg. Klop- of this world-famous cabinet organ’s Johnson (professor of music at De Pauw meeting with Harald Vogel, and their penburg critiques Bolt’s previous article iconography. The symbols found on this University) regards him as the “Orpheus discussion of “what good organs were all with perception and clarity. “organo di legno” (organ with only wood of organ building” according to the prac- about.” He recounts Vogel’s gift of access 12. “The Craft of Musical Commu- pipes) are described as a combination of tices of the master organ builders of the to important organs and how this affect- nication,” by Keith Hill and Marianne engineering and emblem. This is a very historic period. As outlined in several ed his career. Ploger. This is an attempt to elucidate involved description, full of symbolism. chapters of the book, he was indeed the 2. “Harald Vogel: Teacher,” by Eliza- concepts of style in the performance of Speerstra comes up with a very complex prophet of this most amazing renaissance beth Harrison, recounts Vogel’s role as music. It comes under the heading of the supposition that stretches the imagina- of organ construction, both as player and teacher and performer. Harrison re- psychology of aesthetics, and attempts to tion in the attempt to fi nd order and teacher. Those that gathered around him counts how Vogel attracted students defi ne “affect,” that elusive element of purpose in this highly ornamented or- included organ builders of incredible from Germany, North America, and Ja- the baroque. gan case. vision and perception, students with a pan, introducing them to the organs and 13. “Johann Herbst’s Arte prattica & The extremely wide range of these magnifi cent dedication to the art, and the inevitable task of “re-learning” how poëtica: A Window into German Im- articles requires a somewhat open-end- performers who “knew what good is.” to play the organ in the early style. She provisational Practice in the Mid-seven- ed reading and a rather broad defi ni- Cleveland Johnson points out that tells how Vogel “taught by immersion . . . teenth Century,” by William Porter. A tion of the central theme of the revival Jan Pieterszoon Sweelinck was referred He just put me in places where I had no well-known practitioner of improvisation and dissemination of knowledge about to as the “Orpheus of Amsterdam.” alternative to learn.” describes an early instructional manual the historic organ. Broad study of so Known for his pupils and disciples, he 3. “Harald Vogel as Catalyst in Japa- on counterpoint. many aspects is critical to a general un- was also called the deutsche Organ- nese Organ Culture,” by Masakata 14. “The Future of Historical Organs derstanding of the work of the master istenmacher. Like Sweelinck, Vogel Kanazawa, recounts Vogel’s visits to Ja- from a Curatorial Perspective,” by Lau- organ builders of the historic organ as can also be called an “Organist Maker” pan from 1963 onwards. This is a record rence Libin. This article gives a fi ne ar- we have come to know it. Those who for his “lifelong efforts to rescue and of organ building in Japan, showing how gument in favor of saving endangered follow in Harald Vogel’s footsteps have revive a musical culture, which, in the Vogel infl uenced Hiroshi Tsuji and the instruments by saying that “intellectual a formidable task ahead of them. Care- mid-twentieth century, was in danger infl uence of the North German Organ argument alone will not suffi ce; sympa- ful and thoughtful reading of this book of being lost on the rocks of unques- Academy on Japanese students. Vogel thetic appreciation based on enjoyment will be a valuable tool for even a lim- tioning modernity.” As Johnson points had a “profound impact on organ tastes is equally necessary.” Bravo! ited understanding of this subject, and out, Vogel’s contribution will be sealed in Japan, steering Tsuji, among others, 15. “Rare, Newly Invented Stops: is highly recommended. by the many individuals he has helped away from the ‘all purpose organ’.” Scheibe’s Organ for St. Paul’s Church, —Herbert L. Huestis equip to carry on these aspirations. 4. “Von ‘Schnitgerwoche’ zu ‘Schwe- Leipzig,” by Lynn Edwards Butler and Gregory Butler. The authors investigate two traits in this organ that were new A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church in the eighteenth century—variety and New Recordings are pleased to announce that the installation of their new 5-manual, 93-rank pipe organ has begun. mildness of tone. The fortepiano had just been invented at this time and soft and Go to www.pipe-organ.com to view the complete specification of this and other projects. elegant tone was a real contrast to previ- The Organ at St. Giles’: The Rieger ous organbuilding. organ of St. Giles’ Cathedral Edin- 16. “Heitere Anekdoten um den Hof- burgh. Played by Michael Harris. organisten Johann Ludwig Krebs und York CD 1 72; den Hoforgelbauer Tobias Heinrich . Gottfried Trost,” by Felix Friedrich. The disc, total time 76 minutes, 20 How sad this article was not available seconds, contains Hymne d’actions de in English (“Light-hearted Anecdotes grâce: Te Deum, by Jean Langlais; Con- About Court Organist Johann Ludwig certo in A minor (BWV 593), by J. S. Krebs and Court Organ Builder Hein- Bach; Partita “Wer nur den lieben Gott rich Gottfried Trost”). “A characteristic lässt walten,” by Georg Böhm; Prelude selection of stories and narratives, select- and Fugue in G, op. 109, no. 2, by Ca- ed from literary and archival sources . . .” mille Saint-Saëns; Fantaisie in A, by This is a real look into the organ world César Franck; A Song of Sunshine, by Al- of the time. fred Hollins; Coronation March (1953) 17. “Über den Umbau der großen Or- Orb & Sceptre, by William Walton, arr. gel der Marienkirche zu Lübeck durch McKie; Prelude on “Rhosymedre,” by A.E. Schlueter Pipe O rgan Co. Friedrich Stellwagen, 1637–1641,” by Ralph Vaughan Williams; Symphony No. 800-836-2726 Ibo Ortgies (“Regarding the Rebuild 1–Final, by Louis Vierne. One useful ad- Box 838, Lithonia GA 30058 www.pipe-organ.com by Friedrich Stellwagen of the Large dition to the table of contents: the pub- Organ in the Lübeck Marienkirche, lisher for each composition is given; in

18 THE DIAPASON

Dec 07 pp. 2-20.indd 18 11/8/07 8:45:14 AM some cases this means, of course, of the performance of Keith Chapman’s excit- and mysterious clunks. This CD is no ex- tre, etc., well played by Mr. Carpenter, edition used. ing arrangement of “Bring a Torch, Jea- ception to that principle; the fl ip side is who makes the most of the gentle and The organ was built by Rieger in 1992, nette, Isabella.” Richard Elliott’s rhyth- that there is an immediacy and presence, lovely sounds of this small organ. Seven a three-manual of 57 stops (about 82 mically charged and technically precise which often shows how it really sounded. anthems and songs appropriate to the ranks). The Positive (fi rst manual) seems playing brings Chapman’s creative writ- The choir is well balanced and expres- Christmas season are sung expressively to me very successful with a useful cho- ing to life. The featured vocal soloists sive. Preces are by Craig Phillips, chants and harmoniously by the Winston-Salem rus based on the Principal 4′ and quite perform arrangements of traditional by David Hurd and Stephen G. Schaef- Children’s Chorus, ably accompanied by “baroque” reeds. All of the instrument’s carols (as in Frederica von Stade’s stir- fer (Psalms 111, 112, 113 sung continu- David Pulliam. This large group of young reeds are very fi ne, and the pedal organ ring performance of “The First Noel”) as ously), the Magnifi cat and Nunc dimittis people encompasses ages 8–18. is impressive with 14 stops including two well as traditional secular favorites (An- from Howells’ Collegium Regale. The The Christmas music of the Mora- 32′s. Actually, this instrument, a bit of a gela Lansbury reprises her Tony award Psalms are beautifully rendered, and the vian tradition is a chief interest of this sensation in Great Britain in 1992, is not winning role as “Mame” in “We Need discreet organ accompaniment never in- recording. All the examples should be unusual for North America, and there a Little Christmas”). The incredible trudes. This is a large parish of over 4000 better known. Karl Gottfried Lowe’s “O are many organs by Rieger and others of voices of Bryn Terfel, Audra McDonald, members and obviously is beautifully Most Gracious, Welcome Child” can very similar makeup. The Swell contains and Renée Fleming are also featured in served by the cathedral musicians. Dr. only be described as gorgeous music, as a number of mutations in addition to traditional Christmas tunes and spiritu- Schaeffer plays the fi nal hymn, “All My is “Morning Star, O Cheering Sight” by reeds, and the number of solo possibili- als. The exceptional recording quality Hope on God Is Founded” and the excit- Francis Florentine Hagen. Boeringer’s ties is considerable. The organ acquits enhances the joyful listening experience ing Trumpet Tune of Craig Phillips as the “In Natali Domini” is marred by intona- itself well in all of the pieces on the disc. offered by this gifted musical cast. fi nal voluntary. This estimable group has tion problems occasionally. Ah, volun- I would have liked a more piquant sound —Steven Young sung Evensong in seven English cathe- teers! Bless ’em. in the Böhm partita, and I found the Bridgewater State College drals. It is easy to hear why. —Charles Huddleston Heaton fl utes dull in the slow movement of the Bridgewater, Massachusetts Pittsburgh, Pennsylvania Bach concerto, but these are objections An Old Salem Christmas. Moramus to the registration, not to the organ. Chorale, James Bates, director; One pleasant rediscovery for me was Evensong at The Advent. Cathedral Winston-Salem Children’s Chorus, Sigfrid Karg-Elert: The Complete Or- the Hollins work, which, despite a less Church of The Advent, Birming- Barbara C. Beattie, director; Scott gan Works—Volume 2. Stefan Engels, than promising title, is a fi ne organ ham, Alabama; Stephen G. Schaef- Carpenter, organ. 1800 Tannenberg organ; the Skinner organ of Toledo mood piece well worth resurrecting. fer, organist and director of music; Organ, 13 ranks, restored by Taylor Cathedral, Ohio, USA. Priory Records Walton’s march, in Sir William McKie’s Timothy S. Tuller, organist; Möller & Boody. Raven OAR-860, $14.98; PRCD819, . arrangement, is a really impressive or- organ, 100 ranks. Recorded live on . Three Improvisations, op. 108; Ca- gan march that displays the reeds at St. October 12, 2003; order from book- This disc is divided into approximate thedral Windows, op. 106; Chorale Giles’ beautifully. store: 205/323-2959; . group of 27 volunteer singers specializ- Thee,” W17C; Three New Improvisa- St. Giles’ since 1996, is English trained A live recording of any service any- ing in Moravian music, singing the fi rst tions, op. 142. and was assistant at Leeds Parish Church where seems destined to contain the part, followed by mostly familiar organ I reviewed the fi rst volume of The and Canterbury before going to Edin- occasional cough from the congregation compositions by Bach, Dupré, Balbas- Complete Organ Works of Sigfrid Karg- burgh. He has concertized throughout Britain and in Germany. Despite his ex- perience on the great Silbermann organs ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD

of Saxony, he seems to me less happy in DYERCASAVANT FISK GARLAND GOULDING & WOOD HENDRICKSON FRERES DOBSON R. the baroque pieces than elsewhere. The accompanying booklet contains information about organ, music, and performer in English, French, and

German. BOODY A well-played interesting mixed pro- gram on a good organ. You will enjoy it! —W. G. Marigold Urbana, Illinois

The Wonder of Christmas. Live per- formances of the Mormon Taberna- cle Choir and Orchestra at Temple Square featuring Renée Fleming, Angela Lansbury, Audra McDonald, Frederica von Stade, and Bryn Ter- fel. Mormon Tabernacle Choir, 2006. . Joy to the World, arr. Wilberg; Whence Is That Goodly Fragrance Flowing?, arr. Wilberg; Oh, Come, All Ye Faith- ful, arr. Wilberg; Carol of the Bells, arr. Bradford; The First Nowell, arr. Wilberg; Christmas Processional: Gloria in Excel- sis Deo, Wilberg; Sweet Little Jesus Boy, arr. Davis; Children, Go Where I Send Thee, arr. Davis; Winter Wonderland, arr. Harris; We Need a Little Christ- mas, arr. Azevedo; White Christmas, arr. Harris; Sleigh Ride, arr. Harris; Bring a Torch, Jeanette, Isabella, arr. Chapman; What Shall We Give to the Babe in the Manger?, arr. Wilberg; Angels, from the Realms of Glory, arr. Wilberg; “Hallelu- jah” (from Messiah), Handel. This latest release of Christmas music by the Mormon Tabernacle Choir is noth- ing short of an extravaganza. The out- standing choir, world-class soloists, im- pressive orchestra, superb organist, and the brilliant musical leadership of one of America’s fi nest choral musicians, Craig What Does Your Ministry Value? Jessop, make for a compact disc worth listening to and sharing with others. This Certainly not temporal trends, flashy fads, or short-term vision! Choose the musical recording compiles selections from live instrument that reflects your permanent witness. concert performances spanning the last fi ve years and features a wide variety of musical styles to suit every taste. New Build a Pipe Organ! arrangements and classics meet in this holiday spectacular. From the opening To receive information about pipe organs strains of “Joy to the World,” arranged by Mack Wilberg, associate conductor of and recognized pipe organ builders the choir, to that most traditional holiday A write or call toll free 1-800-473-5270 favorite, the “Hallelujah Chorus” from P Handel’s Messiah, this disc is sure to or on the web @ www.apoba.com please. The beautiful choral singing, the O Associated Pipe Organ Builders of America clarity of the diction, and the precision B A P.O. Box 155 • Chicago Ridge, Illinois 60415 of the both the choral and instrumental ensembles create an exceptional listen- ing experience. & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT The magnifi cent organ of the Taber- nacle is featured prominently in several NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP carol arrangements as well as in a solo

DECEMBER, 2007 19

Dec 07 pp. 2-20.indd 19 11/8/07 8:45:33 AM Elert, recorded on the Späth organ of gan in a way evocative of the overwhelm- a selection of pieces popular in Anglo- leaps, and a plethora of ornamentation. the St. Georgskirche in Riedlingen, ing waves of the sea, and then drops back American society. It is a unique source Of considerable interest is the written- Germany, in the February 2007 issue to a whisper on the celeste in an epilogue for early American keyboard music. out cadenza by Pelham, which contains of the The Diapason. Stefan Engels based on the Kyrie at the end. This is an Of the 19 pieces in this volume, seven the only fi ngering indications in the MS. has recorded the second volume of the extremely well-crafted piece that de- are vocal pieces including a four-move- The fi nal keyboard piece is a setting of series on the 4/76 1930 E. M. Skinner serves to be better known and which ment cantata Alexis by Johann Pepusch, “Bonny Jean, a Scotch Tune,” in similar organ, Op. 820, at Our Lady of the Most might well, both because of its nature as with arias and recitatives and plenty of vein to “Through the Wood Laddie.” Holy Rosary Cathedral in Toledo, Ohio. a “storm” piece and because of its associ- Alberti bass work for the LH. Also in- Two further pieces in appendices in- While this would not have been ex- ations with the Titanic, appeal to a wide cluded is “A song set to Musick,” one of clude a treble line only to a minuet by actly the sort of instrument Karg-Elert audience of the general public. only three pieces known to be by Karl Pelham, and a Bass Minuet by Pachel- would have been used to in Germany, The fi nal three tracks on the compact Pachelbel; moving mainly in quarters bel, complete with fi ngering, taken from he would undoubtedly have approved disc are taken up with Karg-Elert’s Three or eighth notes, it is one of only two a MS of 1739. The preface gives a most the choice, since he was a good friend New Improvisations, op. 142. These pieces in the minor key. It would have valuable detailed introduction to Pel- of Mr. Skinner and a great admirer of represent Karg-Elert at his most impres- been helpful if the opening ritornello ham’s life (also to his descendants), to his instruments. This particular Skinner sionistic. As the notes inform us, they had actually been printed in full after bar the MS, and also to the ornamentation. organ is an outstanding example, both were originally written for the theatre 67 rather than the MS indication of two Pelham’s own table included just the because of its fi ne tonal qualities and organ—an instrument whose colors fas- bars followed by “etc.” names and signs without any explanation, because of the meticulous way that it cinated Karg-Elert—as Five Pastels for Other vocal pieces include the short but the editor has included facsimiles of has been restored, even down to retain- Cinema Organ. Two of the fi ve, “Iberian” “The Modest Question” set by Mr. the explanations from Purcell’s Rules for ing its original electro-pneumatic com- and “A Jolly Fellow,” have unfortunately Russell, who was a prolifi c composer Graces and Prelleur’s ornament table bination action and relays. not survived. The surviving three were of songs; two examples of song in the and fi ngering illustration from 1731. The recording begins with the Three arranged for classical organ and post- Masque of Comus by Thomas Arne, the This edition presents pieces of varying Impressions, op. 108, entitled “Sun- humously published in 1936. They are fi rst of which includes LH eighth-note quality and diffi culty (the simpler dances set,” “Starlight,” and “Elegiac Poem.” entitled “Stimmen der Nacht,” “Valse runs in octaves in the fi nal appearance are typical of those found in so many All three might be taken together to as mignonne,” and “Romantisch.” These of the opening bars that rounds off the publications in England in the early 18th evidence for the claim that Karg-Elert works are full of color, both in their chro- piece; “A Song on a Lady of Quality” set century), but the quantity of ornaments was Germany’s leading impressionist matic textures and in their spacious use to music by Mr. Marchant, which con- in some of the pieces will need careful composer. The fi rst two, gently sug- of the Skinner organ’s multi-hued pal- tains some fl orid vocal passagework in practice. The volume is an essential pur- gestive of the beauties of the natural ette. In the second of the Three Impro- 16th-note runs and dotted rhythms; and chase for all who are seriously interested world, are very different from the third, visations, the spirited “Valse mignonne,” “The Happy Shepherd,” a short ditty by in the development of keyboard music in originally subtitled Feuerbestattung the origins of the piece as a work for Doctor Greene. It is interesting that key- the 18th century in America. There are (“Cremation”) and apparently intended theatre organ are unmistakable. It has of board-style ornaments are written in the two facsimiles. The editing and printing to be evocative of soaring fl ames. The late become one of the composer’s most vocal part. All these pieces are on two are excellent; it is very much to be hoped Three Impressions are followed by one popular works. staves only and the performer must de- that other early American MS may be of Karg-Elert’s better-known works, Ca- Those who enjoyed the fi rst compact cide whether to double the vocal line or made available in the future. thedral Windows, a series of six pieces, disc will probably enjoy this one even treat the bass as an unfi gured bass to be —John Collins some of which are based on Gregorian more. I thoroughly recommend it. used for improvising an accompaniment. Sussex, England chants and others on familiar Christmas —John L. Speller There is, of course, no reason why these carols such as Resonet in Laudibus and St. Louis, Missouri pieces should not also be considered for Adeste fi deles. In several of the indi- performance on keyboard alone. vidual pieces effective use is made of The instrumental pieces vary consid- New Handbell Music repeated short motifs sounding like the erably in quality and standard. The fi rst tolling of a bell, while there is a lucidity New Organ Music one is a simple setting of “King George’s and brilliance in the compositions that March,” originally found in Handel’s op- Be Still My Soul, arranged for 3–7 evokes the light of stained glass. Ac- era Rinaldo, that is similar to the march- octaves of handbells by Cynthia cording to a surviving letter of the com- The Peter Pelham Manuscript of es of Jeremiah Clarke. The second piece, Dobrinski. Agape (Hope Publishing poser, Cathedral Windows was written 1744—An Early American Keyboard a minuet mainly in two voices, may well Company), code #2412, $4.50, level in a single day and was the result of the Tutor. Edited by H. Joseph But- have been composed by Pelham himself. 3 (M+). enthusiasm Karg-Elert felt when fi rst ler; published by Wayne Leupold The next piece is an almand originally Here is an ambitious arrangement of introduced to liturgical chant in Turin as American Classic and Romantic from a ballet produced by Campra and the beautiful tune Finlandia. With the Cathedral by one of his students, the Organ and Keyboard Music no. 7, Danchet, but in bars 12–13 Pelham has full complement of bells, this reharmoni- Baroness Ricci de Ferres. WL600204, $23.75; . provide a kind of fi ve-fi nger exercise in tral piece because the harmonic material hymn, “Nearer, my God, to Thee,” with This volume presents the contents of eighth notes. is massive and luscious. There are some the sinking of the Titanic, when it was a manuscript dated 1744 that was com- There follows a minuet by Robert Val- innovative harmonic deviations that said to have been played by the ship’s or- piled by Peter Pelham, who was born entine that is probably a transcription paint the text for each verse. A challenge chestra, though there is some dispute as in 1721 in London and who immigrated of an instrumental work, there being no for most choirs, but a rewarding one. to precisely which tune was used. In the with his family to Boston in about 1727. known surviving keyboard pieces by him. case of Karg-Elert’s Chorale Improvisa- From 1733 he received training for nine There are further examples of scale runs Night of Silence, handbell solo (3 oc- tion, “Nearer, my God, to Thee,” based years from Karl Theodor Pachelbel who that increase the pedagogical value. The taves), with piano accompaniment, on Lowell Mason’s tune Bethany, the as- had settled as organist in Charleston, next piece is a setting of the anonymous arranged by Sue Garton. GIA Publi- sociation with the Titanic is very much to South Carolina, where Pelham gave les- Scottish air “Through the Wood Laddie,” cations, Inc., G-6273, $6.00 (M-). the fore. Karg-Elert wrote the piece as sons on the harpsichord and spinet. He which has quite a selection of ornaments For those choirs who are fortunate a memorial to his friend Alfred Jochade, was considered the leading musician in that will test the performer’s ability for to have a solo ringer, this is a lovely who was the oboe player in the Titanic’s Williamsburg, and his 1744 copybook clean playing. A gavotte by Handel is Christmas piece that begins with some orchestra and who was thus one of the of spinet lessons contains almost all that taken from the middle section of the original material, which incorporates musicians who went down with the ship is now known of his compositions, the Overture to Ottone, and has four bars of the Silent Night melody. The piano later while playing the hymn. In the middle melody of a minuet being the only other quarter notes in octaves in the LH with takes the melody, with the bells assum- of the piece the hymn tune is combined surviving work. This copybook contains some leaps that make the piece more ing a descant role. A separate solo part with the German chorale melody, Aus some anonymous works that are prob- diffi cult. A minuet by Lully (in A minor, is provided, along with some helpful tiefer Not schrei ich zu dir (“Out of the ably by Pelham himself, a piece by Karl the second minor-key piece in the collec- suggested choreography for the ringer. deep I call unto thee”), using the full or- (now known as Charles) Pachelbel, and tion) is considered to be by the Belgian This would be a nice addition for any Jean-Baptiste Loeillet; published also in solo ringer’s repertoire. Prelleur’s and Bremner’s books, in Pel- ham’s MS it is regrettably incomplete, so Here We Come A-Wassailing, ar- A gift subscription to from bar 37 onwards the editor has in- ranged for 3–5 octaves of handbells, cluded Prelleur’s version that is certainly by David R. Kent. Beckenhorst THE DIAPASON similar in style. Bremner’s version, being Press, HB295, $4.25, level 3 (M). somewhat different, is included in an This traditional English carol is pretty appendix. There are several octave pas- straightforward from beginning to end; The perfect gift for organist colleagues, students, teachers, choir sages in the LH, particularly in the Prel- however, because of the wide range of directors, clergy. leur section. bells, and the rhythmic bantering be- The next two pieces are nos. 5 and tween 2/4 and 6/8, some interesting Each month your gift will keep on giving by providing the important news 11 from Handel’s Water Music. Again, effects are created. This is a lively and of the organ and church music fi eld. Send in the form below with your the fi rst page being missing in the MS, well-created arrangement—fun to play check and know that your gift will be just right. For information, contact the editor has provided a transcription as well as listen to. editor Jerome Butera, 847/391-1045; . in similar style from Handel’s original. The fi rst piece is simpler than the sec- Keep It Simple, Volumes 1 and 2, $35 one year USA ($45 foreign) ond, which is very effective on the organ, arranged for 3 octaves of handbells with plenty of LH 16th-note scales and or handchimes, by Lloyd Larson. THE DIAPASON eighth-note passagework. Selections Agape (Hope Publishing Company), 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025 from the Water Music were popular in Code No. 2368 and 2389, $8.95, lev- America and are included in several ear- el 1 (E+). ly American keyboard books. After this, a The arranger states that the settings in For (Name) ______minuet in C may well be another compo- both volumes are, by design, intended to sition by Pelham; similar to a minuet in be accessible for all ringers, regardless of Street ______G in a copybook of 1739 (here included one’s musical background. Volume 1 is a in an appendix), Pelham’s version is cer- compilation of eight of the most promi- City ______tainly superior in compositional skills, nent and favorite yuletide melodies. Vol- with greater tonal interest. The next ume 2 contains eight favorite hymn tunes State ______Zip ______piece, a setting of “Combatti di Forte” intended to be simple without sounding from Handel’s opera Rinaldo, is of con- simplistic. Either or both of these vol- siderable diffi culty in comparison with umes are a great bargain and they con- From: ______the dance movements, with tricky LH tain a wealth of good, solid material. octaves in conjunct movement as well as —Leon Nelson

20 THE DIAPASON

Dec 07 pp. 2-20.indd 20 11/8/07 8:45:52 AM In celebration of the 100th birthday, October 27, of Helmut Walcha: Artist-Teacher—Part 3 Paul Jordan

Parts 1 and 2 were published in the and venerable traditions. This context October and November 2007 issues of may help provide the “logic” behind THE DIAPASON, respectively. the postwar decisions of most German Protestant church authorities to remove Improvising and composing most of the Victorian-era hymns from Under the rubric of ‘Performing and the books and—in a sense: artifi cially, by Recording’ I sought to clarify Walcha’s sheer act of will—to replace them with concept of the relative places of the the sorts of older hymns which, e.g., had objective and subjective, the calculated still been in common use when Bach and the spontaneous, the performance included settings of them in his Orgel- for the moment and the recording for büchlein (and elsewhere), but which had the ages. As discussed, these categories long since, by the “organic” processes of pertained mainly to the role of the per- history and changes of taste, gone out of former in interpreting and rendering use (and out of the hymnals). the compositions of other musicians. In I describe these aspects of the broad contrast, say, to a Paul Hindemith, Wal- existential and the related ecclesiastical cha’s primary role and, at least for many situations also as the context in which decades, the main basis of his reputa- Walcha, at the turn of the decade from tion, was as an interpreter. This empha- the 1940s to the 1950s, committed a bold sis may have meanwhile shifted some- act, which was in some sense to haunt what, particularly in the Anglo-Saxon him for the rest of his life. As a respon- worlds of sacred music, where the four sible and already established artist in his volumes of his own Chorale-Preludes, own 40s, he felt self-confi dent and also— as published by Peters Verlag, have be- looking at the world around him—some- come liturgical staples, recognized for how impelled to publish an article, in a their quality, originality and accessibil- widely read sacred music journal, about ity even by younger musicians who may the organ music of Max Reger (who had never have heard Walcha’s performanc- died, in the midst of the fi rst world-con- es as an organist, and in particular his fl agration, in 1916). interpretations of Bach, either live or in In it Walcha made several key points their recorded embodiments. that I recall from my own reading—I It is useful to understand that these had, a decade after its publication, to compositions grew out of Walcha’s ex- seek the article out in the library. He tensive liturgical praxis—for, of the dared to express a less than positive hundreds if not thousands of worship evaluation of the pervasive chromati- services he played, virtually all included cism, grandiosity and hyper-expressiv- improvisations, and in particular of cho- ity of Reger’s idiom—in conversation, rale-preludes in many diverse styles, at least, I recall a comparison with the idioms, textures, durations, and degrees overbearing decadence of the Völker- of “modernity” and complexity. Indeed, schlachtdenkmal (Monument to the these publications are the only form in Battle of the Nations) in Leipzig. More which Walcha allowed his improvisation- importantly, he claimed that Reger’s or- al art to be preserved. At the same time, gan music was not, in the truest sense, as he would be the fi rst to concede, there organ music! It wrote out explicitly, in is a clear line between the spontaneity of mountains of notes, the very octaves improvisation and the fi xed and calculat- and other overtones that the organ ed structures of written compositions. “produces by itself,” by virtue of its Ursula Walcha (photo courtesy Jérôme Do Bentzinger) His wife Ursula—indispensable assis- tonal structure, e.g., in the mixtures of tant in Walcha’s learning of new scores the principal chorus, in the realization to their essences, might prove to be rel- side—evidently expected dyed-in-the- (she played each voice separately as of much simpler, basic notations that in- atively insignifi cant. wool Romanticists to close the book and dictation into his memory), in helping deed have been appropriately reduced, Not leaving it there, Walcha pro- go home, now cured of their Reger addic- to evaluate his registrations (and, when by real organ composers (e.g., Bach), to ceeded, in notational form, to reduce the tion. Or, he didn’t care . . . And he went necessary, pulling stops), and in his trav- the bare contrapuntal and harmonic es- opening strains of one of Reger’s grand- on to unmask the late-Romantic master els (these three roles cited from among sences of the music. Not only the sound, est and most renowned organ opuses to in yet another respect. He quoted lengthy her innumerable contributions to his but even the appearance of Reger’s such essences, to their “actual” musical samples of inner voices from fugues by welfare and success)—was wont to voice music, Walcha implied, was overladen meanings, expressed in plain four-part Reger, voices which were, indeed, distin- her view that her husband’s composi- and pretentious and tended to hide the harmony. Having thus “unmasked” the guished by being undistinguished, if not tions, fi ne as they were, did not quite presence of ideas, which, once reduced reality, the professor—he had his naïve virtually shapeless. He implied that such represent the full glory of his improvisa- tions. Still, we are fortunate to have them for their intrinsic values and as a minimal record of this artist’s most personal—and often moving—manner of conveying the meanings of the tunes and texts of hymns, and of his considerable capaci- ties as a musical thinker within as well as outside of the Bachian “box.” Provocateur for his times (Walcha and Reger) Regardless of whatever preoccupa- tions we may nurture with matters of cosmic order, time (eternity) beyond human or even natural history, peren- nial philosophies and unalterable truths, we are also all children of our own time, embedded in its more or less chaotic his- tory, and subject, with little recourse, to EHGLHQWRUJDQFRP its shifting winds. For Germans the year 1945 marked the “zero hour,” as Hitler and his minions had severely ruptured the integrity of the nation’s spirit and the opposing Allies reduced a large portion of its “physical plant” to rubble—to- gether also leaving virtually no survivors untouched by loss of friends and family. With World War II coming so close on the heels of—and even more destructive than—the earlier “war to end all wars,” the newly traumatized mood was less one of quick fermentations and liberations than of a need to reexamine the bases of one’s existence, to slough off all that was superfl uous, and even to seek renewal in QRZZLWKPXVLFDQGYLGHR a return to long-lost but once well-tried

DECEMBER, 2007 21

Dec 07 pp. 21-23.indd 21 11/8/07 8:47:45 AM voices can be retained only on a short-or- “Good luck, Helmut!,” I thought when der basis—they lack the kind of identity he told me this. (But if anyone could do that would enable them to penetrate to it . . . ) This did not of course mean that the deeper layers of musical appercep- he was going to start learning to play tion. This demonstrated, too—here, the some French music—there seemed coup de grâce—that Reger was writing to be an uncrossable line there; yet at fugues on paper only, fugues that had least he wished to fi nd out more about some visual “earmarks,” but lacked the the language behind it . . . substance of genuine polyphony. Again, the late gentleman is revealed to have Friends, successors been something of a four-fl usher . . . When it came time to think about In a concession, Walcha acknowledged his successors, at school and church, the likelihood that it was not merely ig- Walcha, as might be expected, thought norance that prompted Reger’s lavishly judiciously. While there were several doubled and tripled notation: it was of his former students, on both sides probably made necessary by the relative of the Atlantic, who he believed would lack of overtones in the tonal structure be qualifi ed to succeed him in either of the organs with which Reger had con- or both positions, he also thought it tact, organs built, self-evidently, before wiser—at least in making suggestions the Orgelbewegung (the neoclassicist to the school administration—to move reform movement of the 1920s) had suc- outside of “the family.” The Geneva or- ceeded in bringing back the earlier type ganist and recording artist Lionel Rogg of instruments with their richer overtone and he admired each other’s playing and resources. But this too becomes evidence had exchanged views in letters; on bal- against the continuing credibility—or vi- ance, Rogg seemed a worthy candidate able use—of Reger’s organ compositions: both to carry forth the pedagogical work designed for organs that required the use within a congenial aesthetic tradition of so many fi ngers all at once, they will and to sustain the prestige of the church sound harsh, if not ridiculous, if applied Helmut Walcha at St. Laurens Church, Alkmaar, the Netherlands music division of the Hochschule. Com- to our current instruments that have all ing from Geneva, however, Rogg was un- these overtones already—and properly ing decades and did not necessarily fi nd discipline, structured by his sense of time, derstandably less than enthusiastic about so—built into their tonal structures! No, Walcha unreceptive. There were two was extraordinary; on top of all the organ the contours and ambiance of post-war Reger—Walcha believed—would be possibilities: if the work was to be one and harpsichord music, and the entire Frankfurt as a city; while the chance to found to have not much going for him in that Walcha himself had once played, Lutheran hymnal—including the words preside over the Schuke across the river this newly “essential” world of 1950. he might well take it on, and—relearn- of hymns with thirteen verses—he also just might have been able to persuade And then the consequence. In the ing it quickly from listening—would had his datebook in his head. When I him, Walcha was still yearning for a few light of the foregoing considerations, he soon also even be able to demonstrate once gave him a long-playing album for more years of unencumbered work at his said, “I have decided to strike Max Reger it again at the console . . . If it were a his birthday in October and a few days Dreikönigskirche. In the end, the suc- from the list of composers whose works piece unfamiliar to Walcha, there were later asked if he had heard it, he said, “Oh cessor at school was Edgar Krapp, who, students at the Frankfurt Hochschule other, often quite willing teachers avail- no, I won’t be able to listen to that until it is said, convinced Walcha and the oth- are required to play.” One might ask: If able at the school. [Disclosure: during February—it’s scheduled for the 19th, ers with an especially cogent rendition of students here in New Haven in 2007 are my own Frankfurt time, Armin Schoof after my afternoon nap.” When at my les- the C-minor Passacaglia and Fugue. not required to play Reger, why should studied Reger’s great F-minor work with son on February 20th I remembered to Later, at church, Walcha was suc- students in Frankfurt in 1950 have been Walcha—though it is not specifi cally in- inquire if he’d yet had a chance to listen ceeded by his recent student Renate required to? But those were different cluded in the Coppey-Kunz repertoire to the album (the early Swingle Singers Meierjürgen, who had already been di- times, and in a different country. The ar- list—while I enjoyed learning the much singing Bach), he responded immediate- recting the choir and was something of ticle occasioned “storms” of professorial smaller, but also tellingly “Regerian” Pre- ly, “Oh yes, we listened to it yesterday, as an expert on his Chorale-Preludes. This protest in endless letters of rebuttal in lude in A Minor from Opus 69 with Prof. planned, right after my nap . . .” appointment kept matters at the church, subsequent issues of the journal. Part of Hartmann at the cathedral downtown.] Helmut and Ursula (though I never literally, in the family for the rest of the the trauma was due to a confl ation of “not In wrapping up this episode, which I used those words) made time for quiet Walchas’ lives, inasmuch as Frau Meier- required to” with “forbidden to.” Anoth- have narrated in detail because I believe social events with the students—often jürgen, a single woman, had also agreed er part was a nervous fear of a creeping it to be of interest yet perhaps not read- in their home—and with their friends. to move in with the Walchas on Has- return of the kind of authoritarianism ily accessible to other American organ- There was never an impression that they selhorstweg, where she became instru- and censorship that had characterized ists, my own feelings are that, despite a were rushed, under deadline pressures, mental in helping both of them to cope German cultural life during the “thou- number of inherent misunderstandings, or had not gotten enough sleep. In the with the diffi culties of old age and now sand year empire” from 1933 to 1945. it formed a characteristic, if marginal part summers they loved to take long walks continues to reside. Her successor at the Another element was no doubt simple of the process of cleaning up from the in the Black Forest—and, after a few ex- church became Andreas Köhs, a concert envy of and dislike for Helmut Walcha, vestigial messiness of some Romanticism planations, he had the layout of the land- organist and choral-orchestral conduc- coupled with an outspoken rejection of along with some forms of potential bru- scape memorized (just as he knew, and tor as well as a music editor with a ma- his opinionated outspokenness. Another tality, which that emotional/artistic nexus could give you a guided taxi tour of the jor publisher. Like most German organ- may have been a sense that as the duly had left behind in the political and cultur- Frankfurt cityscape). They also managed ists today, given the slow attrition of the appointed head of the Frankfurt school’s al sphere [the line, say, from Wagner’s to to attend concerts, of his colleagues, or churches’ budgets under the continuing Church Music Institute, Walcha had the Hitler’s anti-Semitism], and that the con- of students such as myself who might system of church fi nancing via state-col- prerogative to make such decisions with- troversy engendered by Walcha’s boldness be performing in other media (e.g., he lected taxes, and with a dwindling con- out enduring such a challenge—but did was needed, or useful, in 1950, as a healthy wanted to hear recorder, he wanted to gregation as almost everywhere, he faces it have to be with that rationale, and that means to help clarify both aesthetic and hear counter-tenor; or, if I happened to an ongoing struggle to maintain, if not provocative publicity?! human rights positions in certain German play an organ concert near where they expand the program—meaning, in this If not already in that written context, musical circles—and this even if perhaps were vacationing, they might show up case, to continue Dreikönigs’ traditional Walcha did eventually offer the addi- there is now no one left who could still unexpectedly and socialize with us after- contributions to the city’s cultural life in tional explanation that while in wartime agree in all specifi cs with either Walcha’s wards—other students have told similar a manner worthy of the memory of the he was memorizing the 48 W.T.C. Pre- or some of his critics’ theses. stories . . .). relatively recent tenures, at this institu- ludes and Fugues in the country retreat, In retrospect, it is hard to imagine how tion, of such stellar historical fi gures as he came to realize that there was not Lifestyle, discipline, personal time, all this was possible, especially inasmuch (the conductor and, later, Thomas-Kan- enough room in his mind to accommo- hobbies as he could read neither words nor music tor) Kurt Thomas and Helmut Walcha. date their highest-density substance and The Walchas’ personal lifestyle was in Braille. They listened to some radio, The Walchas had several concen- still hold on to the discursive Reger organ characterized primarily by modesty and and he alluded to their reading entire tric circles of friends, relatives and as- extravaganzas that he had learned and simplicity, an almost vegetarian diet, books (including novels) together, she sociates. Among their closest friends often played in his younger years; some- herbal teas, regular afternoon naps, an reading to him regularly in the evenings. in their later years, in addition to Frau thing had to give. A related question can- occasional glass of wine; after the inter- He was curious, and the questions he Meierjürgen, were the late composer not be repressed: Is there anyone alive national success of his recordings—his asked of people were meaningful and Kurt Hessenberg and his wife Gisela; who knows and plays, or was there ever D Minor Toccata and Fugue record- well formulated; it was a pleasure to try harpsichordist Maria Jäger-Jung, who anyone who knew and played—during ing alone, he once told me, fi nanced his to answer to his satisfaction. His main died this year; the organist Karl Köhler, the same period of life—the entire Well- house organ—the couple could have hobby, I think—as well as a way to prac- formerly in charge of much of the litur- Tempered Clavier as well as a set of giant lived in much greater opulence; but they tice—was playing his house organ. In gical organ program at the Hochschule Reger organ works, both from memory? chose not to do so. For one thing, such his retirement he did so purely for fun, and still residing in Frankfurt; the late In any case, the occasional determined a change could have impinged on the ac- telling me, for instance, how nice it felt Berlin painter Gerhard Rechenbach Frankfurt student did propose Reger customed quietude and focus requisite to be freed from the compulsion of al- (who painted the portrait of Helmut for study in the lessons over the ensu- for his ongoing musical attainments. His ways playing for note perfection. Though Walcha that still adorns the living room his harpsichord playing seemed not as on Hasselhorstweg), and the loyal Adolf idiomatic, sensuous, mellifl uous as, say, Kirschner, still living in Frankfurt, with Gustav Leonhardt’s (or as his own organ whom the friendship dated back to the playing), he did enjoy the East German year 1935. In addition it is clear that they cembalo he had at home. enjoyed a close relationship with Chris- In his retirement he turned also to tel North-Wittmann (the oldest daughter other enjoyments—listening to Wag- of Pastor Paulus North), who at one time ner (as he had in his youth)—or learn- directed the church’s choir, and her fam- ing French(!), something he felt he’d ily, as also with Helmut Walcha’s former missed out on throughout his music assistant Agathe Calvelli-Adorno (a niece studies and professional life. Of course of the late eminent philosopher) and her he had to approach this in his own sys- brilliant scientist-husband Rainer Jae- tematic way, starting with the music: nicke. Of course there were important from his tutor he wanted fi rst to fi nd friendships lost to death—I think of the out how to pronounce all the nasal late Erich Thienhaus, who on behalf of word endings, in, en, an, on, un (hard Deutsche Grammophon recorded many enough to distinguish in context . . . ). of Walcha’s early albums, and his com-

22 THE DIAPASON

Dec 07 pp. 21-23.indd 22 11/8/07 8:48:52 AM an endpoint has been reached . . . ) of attending to playing-styles informed by reconsiderations and revisions without the most recent historiography, and which life and history are not possible. even from such seductively looser and But the primary focus of his work and more “casual” kinds of musical gestures teaching was the artist’s obligation to as seem favored among some of the deal responsibly—a path at least as chal- younger artists, I confess that what I do lenging—with the immanent structure fi nd largely missing these days is a sense and character of each individual work, of the deep interpretative responsibility not by subjecting it to a patented solu- to the essence of each individual work, tion, but by minute examination and and the consequent specifi c and lucid analysis—of its specifi c language and be- internal organization of each musical ing and discernible structure and expres- rendition, which characterized and was sive intentions—by the eyes and intellect so widely appreciated half a century ago and heart and (rather than by theories) in the work of Helmut Walcha. Perhaps, via the inner ear informed by these three prompted by his centennial, a broad and human faculties and supplemented by detailed reconsideration of the sound such intriguing general stylistic man- recordings of this artist, in conjunction dates or suggestions as are contempora- with his educational legacy, could facili- neously proffered through the insights or tate a reformulation (resolidifi cation?) opinions of historians. of our interpretative priorities—within I have enjoyed listening to recordings a new hermeneutical cycle of conscious- and performances by some of the bril- ness—and thereby also contribute, in liant young organists entering church and analogy to his work’s earlier direct appeal concert life today. Much of their work beyond the confi nes of the organ world, conveys a fi ne visceral excitement—pas- to bringing our instrument and its reper- Kurt Hessenberg with Helmut Walcha in the mid-1960s (photo credit Paulus North, sion has not been lost! While the gen- toire yet a step closer—as most of us de- courtesy Jérôme Do Bentzinger) erations may be well advised to eschew sire—toward the center of mainstream directly “interfering” with each other, contemporary classical music culture. panion—a couple to whom, in my recol- to good historical research than to sub- empathy and respect for the mysteries It is my hope that, by way of encour- lection, the Walchas referred quite often. jectivity or spontaneity; indeed he knew of new (or old) perceptions and of dif- aging such an undertaking or at least Helmut Walcha and many of his former that, as an intrinsic part of our lives and ferent internally driven emphases need discussion, recollections by others who students, on both sides of the ocean, kept times, it contributed inevitably and often perhaps not preclude some benefi cial re- knew or felt strongly about Helmut in touch with each other, some in more usefully—or usably, for it needs to be ciprocal stimulation and cross-fertiliza- Walcha—along with other relevant com- rigorous, some in looser ways. But the af- used and not worshipped—to change, tion (as another part, indeed, of the in- ments or critiques prompted by this ar- fections from and for the Walchas were via those endless hermeneutic cycles eluctable historical hermeneutic). While ticle—will be forthcoming in the pages and are spread around the planet. No- (no matter how often we like to believe I can—and have tried to—learn from of The Diapason. Q where do his work and person continue to be more revered, for instance, than today in Japan. The organ in the musical world Our instrument is grandly self-con- tained and we are, with few exceptions, not required to interact with other mu- sicians in order to enjoy it; in addition, it usually sits, not portable, in church buildings and liturgical contexts a good step or two removed from the venues and concerns of the larger—and secu- lar—musical world. We congregate less with other musicians than among our- selves, and then with clergy and church people for whom music is often one of several means toward approaching reli- gious goals but rarely an end in itself. In these circumstances it may not be sur- prising that some organists have, over the last seven or eight decades, been drawn to doctrines that advocate simplistic solu- tions to the problems of musical interpre- tation—cries of “everything legato except repeated notes!, everything detached!, everything portato except for occasional couplets!, no Romanticism!, no Clas- sicism!, only Eclecticism is American!, organs without tremulants!, no thumbs!, never legato over the bar-line!, no cases!, no swells!, no electric bellows!, no combi- nations!, no more tracker-action!, choral accompaniment only on British organs!, never play from memory!, always play from memory!, historical temperaments only!, Spanish Renaissance organs to the Johns Creek Baptist Church rescue!”—etc. Is there a reader who has not heard all Alpharetta, Georgia of these cries? Is it a problem that none of them ever crossed the lips of Helmut Five manuals • 103 ranks Walcha? It is a problem, for us—I sub- mit—that almost none of them ever crosses the lips of an oboist or a singer or a violinist or a composer or a pianist . . . For any of these people, to advocate such creeds would soon render them dysfunctional as musicians. For them the issue is, and has to be, the virtually endless variety of means available, and required!, for convincing, communica- tive interpretation of music. How and where have we, do we (through our iso- lation?), go wrong, become so narrow? Out there, also—scratched beneath the surface—even the Harnoncourts and Hogwoods, Herreweghes and Gardin- ers would admit that delving ever deeper into the cave of history, to retrieve from its dim light ever greater jewels of truth, of authentic instructions from the dead (instructions then to be enforced by a kind of Early Music Police, analogous to composers’ Avant-garde Music Police of the 1960s), is not actually the way, not the Distinguished pipe organ builders of Padua, Italy primary way, in which musical interpre- tation evolves (or “improves”)—among www.ruff atti.com Via Facciolati, 166 • 35127 Padua, Italy organs@ruff atti.com people living in a 21st century. Telephone (39-049) 750-666 Telefax (39-049) 850-483 In the United States: 330-867-4370 Helmut Walcha was no more opposed

DECEMBER, 2007 23

Dec 07 pp. 21-23.indd 23 11/8/07 8:49:16 AM The University of Michigan Historic Organ Tour 54 Jeffrey K. Chase

hat a special trip the Marilyn organ (reconstructed by Hoffmann in Mason University of Michigan 1999) on the fourth level. It was to test WHistoric Organ Tour 54 this this organ that Bach came to Arnstadt in past July 9–22 was, tracing the cities 1703. He was so appreciated that he was and churches limning the lives and ca- hired as organist and remained employed reers of J. S. Bach and Buxtehude and, here until 1707, when he took his 200- among others, the organ builders Silber- mile walk to Lübeck to hear and learn mann, Schnitger, Trost and Marcussen! from Buxtehude, a trip that resulted in Entitled “In the Footsteps of Bach and his dismissal and move to Mühlhausen. Buxtehude,” it included visits to historic Marilyn Mason’s friend Gottfried Praller organs in Mühlhausen, Weimar, Eisen- demonstrated this Wender/Hoffmann ach, Arnstadt, Altenburg, Frauenstein, instrument with performances of Buxte- Freiberg, Dresden, Leipzig, Wittenberg, hude’s Ciaconne in d and Bach’s Fugue in Hamburg, Lübeck, Århus, Odense and d. On the third level of this church, now Copenhagen. Much was learned and ex- referred to as the Bachkirche, is a 1913 perienced by its fortunate participants. Steinmeyer organ, also reconstructed by After arriving in Frankfurt at approxi- Hoffmann in 1999. mately 7:30 a.m. and after having collect- Our last stop in Arnstadt was the near- ed all of the participants fl ying in from by New Bach Museum containing, inter various locations, we boarded a beauti- alia, the console Bach played upon in St. ful, very modern bus to commence our Boniface and some historic holographic journey of exploration. music manuscripts. Bach House in Eisenach from the back

Mühlhausen, Weimar, Eisenach, Altenburg, Frauenstein, and and Arnstadt Dresden Our fi rst stop was at St. Blasiuskirche The next day, after breakfast, we de- in Mühlhausen, where Bach had worked parted for Dresden, but with two inter- from 1707–1708 (this year being the mediary stops. The fi rst was in Altenburg 300th anniversary of Bach’s arrival there to view and play the 1735–1739 Tobias from Arnstadt). While there, Bach sub- Heinrich Trost (1673–1759) organ in the mitted plans for rebuilding the organ. castle church (“One of the great organs This organ, however, was replaced in of the world,” says Marilyn Mason). Bach the 19th century with a new instrument. played this organ in September 1738 or But turnabout is fair play, and from 1739 and again in October 1739, when 1956–1958 the 19th-century organ was Bach’s pupil Krebs was the organist, as removed; the Alexander Schuke compa- he was for the last 25 years of his life. ny built a new organ based upon Bach’s This fi ne organ was also played by We- plans, but with the addition of fi ve new ber, Liszt, Agricola and Schütz. Today registers to support the performance of Felix Friedrich, who has edited and pub- modern organ literature. The casework lished several volumes of Krebs’s work, of this Schuke organ exemplifi es the in- is the organist. Altenburg is known as dustrial style of the former East German the playing card capital of the world, be- regime and its banal aesthetic. cause playing cards are made here, and Then on to Weimar where Bach spent the castle museum contains an interest- ten years as a musician to the Grand ing collection of both old and new cards. Duke; where Bach was imprisoned in The second stop was in Frauenstein, 1716 for requesting to resign from his the birth city of the revered organ build- position to take another; and where, in er Gottfried Silbermann (1683–1753) 1717, Bach was fi rst mentioned in print, and the site where Werner Mueller being called “the famous Weimar organ- established the Gottfried Silbermann ist.” After checking into the outstanding Museum, which contains, among other Elephant Hotel, next door to the build- things, a reproduction of a one-manual, ing in which Bach lived from 1708–1717 no-pedal organ in Bremen, and upon and where his sons Wilhelm Friedemann which we each shared playing a theme and Carl Philip Emmanuel were born, and variations by Pachelbel on Was Gott we took a short stroll in the rain to visit thut, das ist wohlgetan. While there, we the Parish Church of Sts. Peter and Paul, learned that the property has recently where, beginning in 1707, Bach’s relative been sold to developers, so most likely and colleague Johann Gottfried Walther the museum will be removed to anoth- was organist. er building. Early the next morning we boarded Now in Dresden, we visited the Dom the bus and departed for Eisenach, or Hofkirche (the Dom was the main where J. S. Bach was born on March 21, church in a town) containing a 1755 1685. He was baptized at St. George’s Silbermann organ, his largest and last, Church, where Luther had sung in the with three manuals and 47 registers, choir and had also preached. That bap- and which was last restored by Jehmlich tismal font, which has a pedestal carved in 1971. Then we walked past the por- like a wooden basket, is still in use today. celain mural of the kings of Saxony on At that church, located on the Market the street leading to the Frauenkirche, Square (that day it was market day), we which, however, we could not visit due were treated to an organ recital (well at- to the late time of day. So on to a fi ne tended by the public) performed by the dinner at one of the outside restaurants. young Denny Philipp Wilke, an organist from Nürnberg, who studied with Latry Freiberg, Leipzig, Rötha, and van Oosten. Wilke performed Bach’s and Stürmthal Prelude and Fugue in D, the Scherzo The next day we traveled to Leipzig Paul Merritt playing the Silbermann organ in the Georgenkirche in Rötha. This from Vierne’s Organ Symphony No. 2 via Freiberg to visit Silbermann’s Opus is the organ on which the “Marilyn Mason” organ at the University of Michigan and the Franck A-minor Choral on the 2 (1714) with three manuals and 44 reg- was based. 1982 Schuke of Potsdam organ. This fall isters and last restored by Jehmlich in Wilke was scheduled to record a recently 1983. We also visited the Jakobikirche, pointed simulated foliage. We played an is not a relic of the days of Bach’s tenure, discovered transcription by Dupré of just outside the old city wall, where we 1862 fi ve-manual Ladegast organ re- but an 1889 Wilhelm Sauer instrument Liszt’s Ad nos, ad salutarem undam. played a two-manual Silbermann. This worked over the years by Sauer and by last restored in 1993. It is here that Bach After lunch we visited the Bach Muse- church is an old, very plain building but Eule. Currently part of its electronic is buried. um (Bach’s birth house), where we heard with an active congregation. The priest, stop action is by Porsche, whose name is No University of Michigan organ tour a talk describing and demonstrating two rather than an organist, let us in and ex- prominently displayed on the beautiful to this area would be complete without small period organs, a spinet, a clavicem- plained that the congregation can’t afford wood of its art deco-like console. From a stop in Rötha to view the 1721 G. Sil- balo and a clavichord, and in which a an organist. Can you imagine: a church the Nikolaikirche it was a short walk to bermann organ in the Georgenkirche, crystal drinking cup, the only item re- with an historic Silbermann organ and the legendary Thomaskirche, originally because this instrument was chosen by maining from the Bach household, is no organist! Any volunteers? part of a 13th-century monastery and the Charles Fisk and Marilyn Mason as the displayed. One of the rooms is set up as In Leipzig we lunched on the Niko- other main city church, and the one at model for what is now known as the Bach’s composition room in Leipzig pre- laistraße before entering the Nikolai- which J. S. Bach was cantor from 1723 “Marilyn Mason Organ” in the Universi- sumed to have looked. kirche, whose congregation was a leader until his death in 1750 and with which he ty of Michigan School of Music, Theatre Then back in the air-conditioned bus in the democratic movement before the is most closely associated. Because this and Dance—Fisk and Mason thought it, for a drive to Arnstadt to visit St. Boni- fall of the Berlin Wall. This church has a church is such a tourist attraction, all we of all known G. Silbermann organs, best face Church, containing a 1703 Wender very ornate interior decorated with sharp could do was look around; the organ here suited to the U-M space.

24 THE DIAPASON

Dec 07 pp. 24-26.indd 24 11/8/07 8:50:18 AM Gale Kramer playing the Ladegast/Eule organ in the Nikolaikirche in Leipzig. Note the Porsche name on the console The bronze doors with Luther’s 95 in the lower right portion of this picture Theses on the Schlosskirche in and the Rollschweller to the left of the Wittenberg two swell pedals.

the church where Buxtehude had worked portative organ with pull-down pedals from 1668 to 1707. Its historic Schnitger and a bird stop, which has been restored organ and the Totentanz organ (named by Ahrend in the Netherlands. after a painting in the church) were de- The design of the 13th-century Ae- stroyed by bombs in 1942. gidiankirche is unusual because its pews The Domkirche, founded by Henry face the preacher and not the altar. It the Lion in 1173, today makes modern has a choir screen from the Renaissance use of space. Its Romanesque towers with eight panels depicting the life of survived the war, but its Gothic portions Christ. Its original organ dated from A portion of the old console of the Jacobikirche in Hamburg showing stops with fell. Its contemporary (1960) stained 1629 and was built by Scherer of Ham- the heads of the donors glass window in the west end is especial- burg. The case, not in baroque style, but ly beautiful. The 1699 Schnitger organ, with small, refi ned details suggestive of Next, an unscheduled visit to Stürm- 32′ stop because he wanted his church to originally built here but burned during earlier times, was created by a famous thal to tour a country church, where a be the only one in town to have a 32′ stop, the war, had been played by Handel, Lübecker carver. This is one of the few funeral was in progress. Zacharias Hil- but Schnitger foiled him by building two Mendelssohn and Mattheson. A 1970 organs built during the Thirty Years debrandt (1688–1757), a protégé of G. 32′s—a Principal and a Posaune. Bach Marcussen instrument now sits on the War, in which the independent north- Silbermann, built this organ, a one-man- applied for the organ post here in 1720, north wall. There are raised auditorium ern German cities were not obliged to ual with pedal, but got into trouble with but he would have had to pay a fee to get seats on the west end where the organ fi ght. Now, the old cabinetry with its Silbermann because of Silbermann’s per- the job. Instead a wealthy man with the used to be and a small positiv organ is in intricate light and dark inlaid wood fi g- ceived competition. Hildebrandt invited money to pay (bribe!) was hired. the choir space. Here also is a charming ures is more interesting than the 1992 Bach to play this bright, high-pitched This was the organ whose pipes were Baggio di Rosa 1777 Italian one-manual Klais instrument it contains. instrument and Bach wrote Cantata 194 removed to safe storage during WWII, for Hildebrandt. thus saving this organ when the church and loft were subsequently destroyed. Wittenberg, Lüneburg, Hamburg, This Schnitger organ, which used to and Neuenfelde hang higher on the wall, was eventually The next day, Saturday, began with a restored by Jürgen Ahrend in 1950 and long drive to Hamburg with a fi rst stop again in 1993. It was Schnitger’s habit “The sound comes from along the way in Wittenberg, birthplace to reuse pipes, so pipes from the 1500s of the Lutheran Reformation, to visit were incorporated by Schnitger. (This in the revered Martin Luther sites. We did contrast to Silbermann, who used only within you.” not play the organ in the castle church, new material.) Its temperament is be- another major tourist attraction and tween meantone and Werckmeister III which now has Luther’s 95 statements (modifi ed meantone). The faces of its immortalized in bronze on its doors (the donors are immortalized on the original doors upon which Luther nailed his 95 stopknobs of the original console, which Theses on 31 October 1517 have long is displayed on a balcony but is not part since been replaced). of the currently functioning instrument. The second stop on the Hamburg Albert Schweitzer has played this organ, journey was in Lüneburg to visit the and Marilyn Mason has proclaimed it Michaeliskirche, where Bach had ma- one of the great organs of the world. triculated in the choir school. This triple- We also visited the Michaeliskirche in naved, Gothic, red-brick hall church with Hamburg, the main city church, a rococo drastically leaning pillars contains an or- room with curved balconies. The gallery gan with a typical North German case organ was built from 1909–1912 by E. F. and with pipes from many eras. This was Walcker of Ludwigsburg. With its fi ve originally the church for a Benedictine manuals and 163 stops, for a time it was monastery, and thus the private church the largest organ in the world. We played and sepulchral vaults for the reigning music including French pieces that work families of the Billungs and Guelphs. well on it. The restored organ in the side Tobias Gravenhorst is the current choir- gallery we did not play, nor did we play master. The organ here consists of an old a small organ in the choir space. There case with new contents last reworked in were many visitors coming and going in 1999–2000 by Sauer, which used to be a this church. large fi rm but now is only a small compa- St. Pankratius, a small church with a ny. One might speculate whether Bach, rural setting in Neuenfelde, is the buri- as a young boy in the choir school gazing al place of Arp Schnitger (1648–1719) up at the organ case, got the idea of put- and was his home church for a number ting “Soli Deo Gloria” at the end of his of years. He built this high baroque- compositions from the “Soli Deo Gloria” style, two-manual, 34-stop organ for this All Saints Episcopal Church, Atlanta, GA inscription at the top of the organ case. church in 1688 and the bulletin board in- Raymond & Elizabeth Chenault, Music Directors Sunday mornings are, of course, the time vites people to worship on Sunday to the Quote overheard during the Dedication Service when churches are fulfi lling their main accompaniment of the Schnitger organ. function as houses of worship for their congregations, so for us Sunday morning Lübeck Member, Associated Pipe Organ is free time. On Monday, our last day in Germany, John-Paul Sunday afternoon we visited the fa- we journeyed to Lübeck, the fi rst Ger- Builders of America mous Jakobikirche in Hamburg, where we man city bombed in World War II (in Buzard 112 West Hill Street were hosted by a friendly female organist response to the Germans’ bombing of Pipe Organ Builders Champaign, Illinois 61820 who knows English well. Reinken was on Coventry, England), where we visited the city committee in 1693 when the or- four important churches. The fi rst was 800.397.3103 • www.Buzardorgans.com gan was built by Arp Schnitger. Reinken the Marienkirche, where Ernst-Erich didn’t want this church’s organ to have a Stender, organist, was our host. This is

DECEMBER, 2007 25

Dec 07 pp. 24-26.indd 25 11/8/07 8:50:38 AM this fi rm celebrated its 200th anniversary last year. Still in the ownership of Mar- cussen’s descendants, it has been in this location in Aabendraa since 1829. Our tour was conducted by a Marcussen rela- tive. We concluded this day in Århus. Århus, Odense, and Copenhagen The fi rst stop the next morning was at the Århus Domkirke, the largest church in Denmark. Originally containing a Schnitger organ, the current instrument is a 1928 Frobenius, which has been placed behind the 1730 Kastens console and is the organ on which Gillian Weir recorded the complete works of Franck, Messiaen and Durufl é. Its 8′ Voix hu- maine is modeled after that in Ste. Clo- tilde in Paris (César Franck’s church). After lunch we left for Odense, the birth city of Hans Christian Andersen, and visited St. Canute’s Cathedral, lo- cated next to a beautiful city park. This cathedral contains three organs: the smallest and oldest is the Jens Gregersen instrument built c. 1843; the second old- est is the main organ built by Marcussen & Søn in 1965 and using the façade of Jerry Jelsema plays the Cavaillé- its 1756 predecessor; and the newest, in Coll organ in the Jesuskirken in the east end of the cathedral, was built Copenhagen by Carsten Lund in 1999. Then on to Copenhagen for a visit to the Church of & Søn dated 1888 set in a Jürgen Hin- the Holy Ghost with its 1986 Marcussen richsen angel façade dated 1790. From & Søn organ; the opulent Jesuskirken, 1864 to 1920 this part of Denmark had built by the Carlsberg brewing family been part of Germany, and during World and containing in front one of the last War II this church’s bells were removed Cavaillé-Coll organs (dated 1890) built to Hamburg to be melted down for mu- and, in the rear, a 1993–1994 Jensen & nitions manufacture, but were fortu- Thomsen instrument; and a city tour. nately rescued just at the end of the war before being melted. Danish churches Roskilde have ships suspended from the ceiling to On the penultimate day we visited as a symbol recalling that human life is the impressive Roskilde Cathedral con- sustained by God; the nave is called the taining a 1991 Marcussen & Søn three- church ship. The patron of this church manual, 33-rank organ. We were granted was the Duke of Augustinborg. special access to the upper gallery from From there we bussed to the Søn- which to view this magnifi cent edifi ce, The organ in the Dorothea Chapel at the royal Sønderborg Castle in Denmark. Note derborg Castle; however, when we ar- which is the burial place of many Danish the stop pulls hanging from the casework. rived the streets were blocked. We soon kings and queens and with its wonderful learned that this was for the security trompe l’oeil paintings of heroic exploits The Jakobikirche is where Hugo Dis- built in 1637 and based upon an anony- of the visiting Queen Margrethe, who on various side chapel walls. tler—who had a good sense of history and mous builder in 1515, was last restored had arrived in her royal yacht to visit From there we visited the environ- resisted romantic modifi cations to the by Brothers Hillebrand in 1978. With this coastal castle. However she left mentally friendly chapel organ, an 1882 great organ, built by Joachim Richborn this organ being 70% original, today one promptly at 2 pm, and we were granted A. H. Busch & Sønner rebuild at Ledre- in 1673 and last restored by Schuke/Ber- hears what would have been the sounds entrance to hear a recital on this recon- borg Castle. The resident organist (from lin in 1984—was the organist from 1931 of 1637 and of 1515. The Werckmeister structed Renaissance organ by its or- Tennessee!) gave a demonstration of this to 1937. This organ contains pipes from a temperament is tuned one step above ganist. Originally there was a 1570 Rot- unusual single-manual instrument to Blockwerk from the 1400s; Schuke added A=440. Distler had this organ in mind tenstein-Pock instrument, which was which the pedal is always coupled, which a Swell as part of his restoration in 1984. when he composed Nun komm, der enlarged to two manuals with nine and has not been electrifi ed and requires an This organ is approximately 20% original Heiden Heiland. fi ve stops, respectively, in 1626; each assistant to work the bellows. We re- and includes an 18th-century pedal divi- manual has a slightly different compass. turned to Copenhagen to give a public sion. Interestingly, there are two match- Ulkebøl, Sønderborg, and The present instrument is a 1996 Mads recital at St. Andreas Church. ing organ cases, north and west, both in Aabendraa Kjersgaard reconstruction set in the On Saturday, our last day together, swallow’s nest design. The main case is in The Ulkebøl Lutheran Church was original 1570 façade; D-sharp and E- many spent the day shopping and en- Renaissance style and the Positiv case is our fi rst stop in Denmark. Although fl at are separate pitches because of the joying the city, while others visited the in Baroque style. this church has housed an organ con- (probably) meantone tuning. Trinity Church with its three-manual, The Jacobikirche three-manual, 31- tinuously since the beginning of the 16th From there we were treated to a Mar- 53-rank, 1956 Marcussen & Søn organ register smaller organ by Stellwagen, century, its current organ is a Marcussen cussen factory tour. Founded in 1806, rebuilt by P. G. Andersen in 1977 and the Garnisonkirche. Our communal din- ner, at an historic local restaurant, was a bittersweet gathering, knowing that the camaraderie created by this tour’s partic- /44/(%533/2'!.0!243 ipants was a unique organism and never to be duplicated. Unlike any other instrument, no two 4RADITIONAND0ROGRESS organs are the same and, to be fully un- derstood and appreciated, should be personally touched and experienced. &ORMORETHANYEARSWEHAVEBEENDESIGNINGANDBUILDINGORGAN Thus, one of the primary values of these CONSOLES CHASSISANDPARTSASWELLASCOMPLETEMECHANICALAND tours is to acquaint oneself with the fa- ELECTRICALTRACKERANDREGISTRATIONSYSTEMSFORPIPEORGANS mous historic organs of the world to ex- perience what it is about each that makes it so revered. And on this two-week, /URENTHUSIASMnCOUPLEDWITHTHEOPPORTUNITIESPROVIDEDBY multi-city tour of northern and eastern MODERNTECHNOLOGYANDFUELLEDBYOURGENUINEEXCITEMENTFOR Germany and Denmark, the participants EXPERIMENTSnlNDSEXPRESSIONINTHECONTINUOUSFURTHERDEVELOP “experienced” approximately 43 organs MENTOFTHE/44/(%533RANGEOFPRODUCTSANDSERVICES dating from the 16th through the 20th centuries. But it’s not just about the or- gans. It’s about the camaraderie with or- 7HATEVERYOUTOUCHANDHEARINORGANBUILDING gan afi cionados, too. Q 9OULLALWAYSCOMEACROSSONEOFOURIDEAS Jeffrey K. Chase is a practicing attorney in Ann Arbor, Michigan, with a concentration in %VERYWHEREANDAROUNDTHEWORLD the area of estate planning. He is a member of /44/(%533n9OURCREATIVEPARTNERINORGANBUILDING the bar of the United States Supreme Court. Prior to becoming an attorney, he earned a bachelor’s degree in music literature and a master’s degree in musicology. He has been a published feature writer and music critic for The Michigan Daily and The Detroit Free /44/(%533'MB(n'ERMANY Press and has also written for High Fidelity 0HONE ns&AX n magazine. Currently he also reviews classical E -AILHALLO OTTOHEUSSDEs)NTERNETWWWOTTOHEUSSDE music compact discs for All Music Guide, an online music reference source. Photo credit: Bela Feher

26 THE DIAPASON

Dec 07 pp. 24-26.indd 26 11/8/07 8:51:00 AM Stylistic Features of Frescobaldi and Froberger in Buxtehude’s Ciacona in C minor, BuxWV 159 Marijim Thoene

Sublimity fl ashing forth at the right mo- microcosm of Buxtehude’s composition- Example 1. Basso ostinato in Buxtehude, Ciacona in C minor ment scatters everything before it like a thunderbolt… al devices, which can be found in Fresco- —Longinus baldi and Froberger. In addition to mir- roring their form, he quotes rhythmic s scholars and musicians celebrate motifs. The dotted eighth-note followed Athe music of Buxtehude three hun- by a sixteenth and vice versa are promi- dred years after his death, I ask myself, nent motifs in Frescobaldi. See Example as an organist, how would I describe 2 from his Toccatas Terza (Per l’Organo the drawing power of his organ music? da sonarsi all levatione), Quarta, and What is it that speaks to me and draws Sesta from Book II of his Toccatas and me to his music? To be perfectly can- Canzonas, etc. of 1637. While Fresco- Example 2a. Rhythmic motifs, Frescobaldi, Toccata Terza, Book II did, I ask a lot from the music I choose baldi uses these rhythmic patterns spar- to learn. I want high drama. Give me ingly, Buxtehude repeats them through- Longinus’s aesthetic of great art: “It out a section. (See Example 3, measures must have something of the sublime in 17–20, 21–24, 25–28, 114–117, and 118– it.” Great music must have epic qualities 121.) Frescobaldi’s dramatic use of sus- like Virgil’s Aeneid or Homer’s Odyssey; pensions, which dominate the Toccata in short, it must describe the human per Elevatione from Messa delli Apostoli condition with tragedy and comedy, in his Fiori Musicali, is mirrored briefl y tension and release, despair and hope, in Buxtehude’s Ciacona in C in measures and it must have the essence of a dance. 3 and 7. Buxtehude’s mercurial shift in I chose Buxtehude’s Ciacona in C minor mood from sorrow to joy, the latter char- because it contains all of the qualities acterized by triplet fi gures, can also be mentioned above, and all of them oc- found in the abrupt shifts in mood in cur within the structure of a dance form Frescobaldi’s Toccata Prima (Book II of that Buxtehude calls a “ciacona.” Toccatas and Partitas), as well as in Fro- I think that the greatness of Buxte- berger’s Toccata I, II, IV, XII, XIII, XVI hude’s writing is based in part on his XIX, XXV, XXVI; Froberger’s Fantasia I; ability to borrow from the techniques Froberger’s Canzona III, IV, V, VI; and of Frescobaldi and Froberger, and to Froberger’s Capriccio I, II, IV, VII,VIII, incorporate them into his own work. Us- X, XII, XIV, and XVIII. Froberger’s burst ing imitation, Buxtehude follows what of joy, a dance section, contrasting with Longinus deemed a natural process to more somber sections, appears in Bux- attain greatness: “Greatness of soul must tehude’s Ciacona in C minor in the 9/8 Example 2b. Frescobaldi, Toccata Quarta be fed and developed by an enthusias- section, measures 122–137. tic imitation and emulation of previous Using Buxtehude’s Ciacona in C mi- great poets and writers.” The similarities nor as a focus, the following topics will in form and motifs of Buxtehude’s Cia- be addressed: cona in C minor and in works by Fresco- (1) What is the structure of his Cia- baldi and Froberger are compelling. The cona in C minor? (2) How did this Italian most dramatic “borrowing” apparent in ostinato form and the overall persistence Buxtehude’s Ciacona in C minor is his of repeated motifs that characterize the use of the ostinato ground, as found in canzonas of Froberger reach Buxtehude? Frescobaldi’s Cento Partite sopra Pas- The ostinato form is Italian in origin and sacagli. By extension, Buxtehude’s use its fi rst appearance in North German rep- of repetition of a melodic motif as the ertoire (with the exception of Martin Ra- structural basis of his composition is deck, active 1623–83) is in Buxtehude’s Example 2c. Frescobaldi, Toccata Sesta found in Froberger’s Canzona VII. ostinato organ works. (3) What elements Frescobaldi’s use of the ostinato ground, of form of Frescobaldi’s Cento Partite so- and Froberger’s use of a melodic motif, pra Passacagli and Froberger’s Canzona repetition of a harmonic pattern and me- VI in A minor are found in Buxtehude? lodic pattern are fused in Buxtehude’s (4) What clues in performance practices Ciacona in C minor. His ciacona’s basso can be applied to Buxtehude’s Ciacona ostinato (ground), which occurs some- in C minor from Italian sources? (5) times in succession, sometimes inter- What elements of Buxtehude’s Ciacona mittently, is the unifying element within can be seen in J. S. Bach’s Passacaglia in the composition. (See Example 1.) As in C Minor? (6) What is the signifi cance of J. S. Bach’s Passacaglia in C minor, the repetition in this work? ostinato pattern is the foundation of the composition. Frescobaldi’s use of osti- nato and Froberger’s use of a repeated motif are transformed in Buxtehude’s Ciacona in C minor. The signifi cance of the Ciacona in C minor, BuxWV 159 Philipp Spitta placed Buxtehude’s Pas- sacaglia in D minor and the two ciaconas in C minor and E minor at the begin- ning of the fi rst volume of his edition of Buxtehude’s organ works, which was published in 1875. Spitta, in his letter to Brahms, says of these three works: “For beauty and importance [they] take the precedence of all the works of this kind at the time, and are in the fi rst rank of Buxtehude’s compositions.”1 After see- ing the D-minor passacaglia, Brahms wrote to Spitta: “ . . . when I become ac- quainted with such a beautiful piece as the Ciacona in D minor by Buxtehude, I can hardly resist sharing it with a pub- lisher, simply for the purpose of creating joy for others . . . ”2 Kerala Snyder, in her book, Dieterich Buxtehude: Organist in Lübeck, notes that Brahms referred to Buxtehude’s Passacaglia in D minor as the Ciacona in D minor. She makes the observation that in Brahms’s time as well as Buxtehude’s, the terms ciacona or chaconne and pas- sacaglia were interchangeable. Buxte- 823 Massachusetts Avenue • Indianapolis, Indiana 46204 hude himself titles his works ciacona and passacaglia.3 800.814.9690 • www.gouldingandwood.com The Ciacona in C minor contains a

DECEMBER, 2007 27

Dec 07 pp. 27-29.indd 27 11/8/07 8:51:49 AM 1. The structure of Buxtehude’s and the Divine Voice (bass) denounces Example 3a. Buxtehude, dotted rhythms, mm. 17–29 Ciacona in C minor them all with biblical words.7 The structure is succinctly analyzed in Willi Apel’s The History of Keyboard 2. How was the music of Fresco- Music to 1700: baldi and Froberger transmitted to Buxtehude? The Ciacona in C minor consists of 38 As mentioned previously, Buxtehude variations on the ostinato subject which is was, with the exception of Martin Ra- heard in the bass unchanged for the fi rst deck, the only north German composer seven variations and then freely varied in other voices. Sometimes the transformation to write keyboard ostinato pieces. They of the subject goes so far that its contour is were composed primarily in Italy and entirely lost and only the harmonic scheme South Germany. Although Buxtehude remains, as, for example, in variations VIII, never visited Italy, Italian musicians were IX, and X. . . . Variation XX is also very free, engaged at the Marienkirche in Lübeck as Buxtehude modulates to G minor. In or- during Buxtehude’s tenure as organist— der to return to C minor, he inserts a fi fth an Italian castrato in 1672, the singer Example 3b. Buxtehude, dotted rhythms, mm. 114–121 measure. Beginning with variation XXI ‘Longlio’ in 1687 and another unnamed each variation is literally or almost literally 8 repeated (XXI=XXII, XXIII=XXIV, etc). Italian in 1693. It is thought that Buxte- Thus the chaconne falls into three main hude was introduced to Frescobaldi and sections of seven, thirteen, and eighteen Froberger through Matthias Weckmann variations, respectively, the fi rst marked by (1619–1674), organist at the St. Jacobi a strict ostinato, the second by a particu- Church in Hamburg from 1655 who met larly free treatment of the subject, and the Froberger in the Dresden court about third by paired variations.4 1653.9 Weckmann was married in Lübeck and Tunder was his best man. It is im- The Ciacona is mercurial in its portant to note that Matthias Weckmann moods, beginning in a somber, serious founded a collegium musicum in 1660 in mood and altering to a light, dance-like Hamburg. They performed “pieces from mood. Then in variations XVII through Venice, Rome, Vienna, Munich, Dres- XXII a dotted eighth and sixteenth note den, etc. indeed, this collegium attained motif dominates, and in variation XXIX such fame, that the greatest composers through XXX the reverse of that rhyth- tried to attach their names to it.”10 Example 4. Frescobaldi, harmonic structure mic fi gure is heard: the sixteenth note Buxtehude may have had access to followed by the eighth note. Buxte- Frescobaldi’s music through the music hude’s meter is in 3/4 throughout, with library of Tunder’s in the Marienkirche the exception of variations XXXI–XXX- in Lübeck, which had the largest col- IV, which are in 9/8. lection of Italian publications of church It is this juxtaposition of contrasting music in Germany. Granted, there are moods, i.e., dark versus light, a sort of many motives and styles of fi guration of exaggerated formality with the dotted Frescobaldi that appear in Buxtehude as rhythms versus a rather unbridled exu- mentioned previously. berance, which makes for high drama in the work. Buxtehude was no stranger 3. What formal elements of Fresco- to drama. So popular were Buxtehude’s baldi and Froberger are found in Abendmusiken, an annual concert series Buxtehude? of musical drama, sponsored by business Frescobaldi’s monumental harpsi- men of Lübeck and open to the public chord work, Cento Partite sopra Passa- free of charge, that in 1682 police were cagli, published in 1637, the year of Bux- hired to ensure the peace.5 The dramatic tehude’s birth, contains compositional fl avor of his Abendmusiken is seen in the techniques that are mirrored in some rhythm of Buxtehude’s bass-line remains and he was granted leave to study with summary of the libretto of 1684: degree in Buxtehude’s C-minor Ciacona. constant, Frescobaldi’s does not, Buxte- Frescobaldi in Rome. He studied there The work is analyzed in detail in Freder- hude’s is memorable and Frescobaldi’s until 1640.12 The documents are scant Heavenly Joy of the Spirit on Earth ick Hammond’s book, Girolamo Fresco- is not! For Buxtehude the ostinato har- regarding the life of Froberger; however, over the Incarnation and Birth of Our baldi: His Life and Music. Hammond monic structure is inviolable; he may it is known that he returned to Italy some Dearest Savior Jesus Christ, in separate summarizes the tonal centers, mensu- depart from it briefl y, but always returns time before 1649 and may have studied acts, in opera style, with many arias and 11 ritornelli, brought into a musical harmony ration and form of each section. Both to it. Unlike Frescobaldi’s Cento, the en- with Carissimi. In a letter to Kircher he works, for the most part, are based on a tire composition rests on this hauntingly mentioned performing in the courts of for six concerted voices, various instru- 13 ments and cappella voices. repeated harmonic structure. beautiful bass line while above it soar Florence and Mantua. The year 1637 The Most Frightful and Most Joyful; Frescobaldi’s Cento begins with a Pas- contrapuntal dialogues, spirited dances, also marks the year of the publication of Namely, the End of Time and Beginning sacaglia that is constructed on a descend- and fl ights of fantasy. Frescobaldi’s Second Book of Toccatas, of Eternity, in dialogue style, also shown ing tetrachord (D to A). Frescobaldi Yet, no matter how different Fresco- Canzoni, etc. The imitative counterpoint in fi ve scenes, for fi ve concerted voices, in- 6 immediately sets up, within the large baldi is from Buxtehude the composi- ever present in Frescobaldi’s canzonas is struments, etc. construct of a repeated harmonic frame- tional technique is the same. Returning at the heart of Froberger’s canzonas. In work, a series of short melodic motives to the structure of Cento, following the Froberger’s Canzona in A minor, a single His sense of the dramatic as well as his that add cohesion to the Passacaglia. Ciacona in F major is a Passacaglia in C motif is the basis of the whole composi- gift for comedy is seen in a work dated Following the Passacaglia is a Corrente, major characterized by dotted rhythms tion. See Example 5 showing the open- 1688, Wacht! Euch zum Streit, a work then a Ciacona in F major built on this as in Buxtehude’s C-minor Ciacona; then ing theme of Froberger’s Canzona VI originally thought to be by Buxtehude harmonic progression: I-V-vi-I6, IV, VI. a C-major Ciacona, a Passacaglia in A and its rhythmical transformation. The but now in question. Its text is made up (See Example 4.) Here one sees Fresco- minor, another Ciacona in A minor. The motif undergoes rhythmical transforma- of biblical quotations, chorale verses, baldi’s use of an ostinato ground, which Cento ends with a Passacaglia in D mi- tion, but is ever present, much like Bux- and new poetry, with the main emphasis forms the foundation for his Ciacona in nor. In Frescobaldi there are dramatic tehude’s ostinato bass line. At the core of on the new strophic poetry. It is scored F within the Cento. In this section, mea- shifts in mood within sections as in Bux- Froberger’s Canzona VI is a theme that for fi ve or six vocal soloists, two violins, sures 133–140, the harmonic progression tehude, but in a more diffuse way. undergoes transformation but remains two violas, and continuo, with a brief and is repeated four times. Elements of the remarkable ostinato singable and memorable. optional appearance for trombones. The Compare Example 4 with Example 1 C-minor Ciacona may also be found in the characters are all allegorical. In the pro- to note the differences between Fresco- canzonas of Froberger, which no doubt 4. Performance practices logue, Avarice, Wantonness, and Pride baldi’s ostinato bass with Buxtehude’s. were infl uenced, in part, by Frescobaldi. Buxtehude’s Ciacona in C minor is (three sopranos) argue among them- Here one sees a technique that under- In 1637 Froberger was court organist sectional and moves from darkness to selves as to who is the most powerful, goes transformation in Buxtehude. The for Emperor Ferdinand III in Vienna light. Is it appropriate to change tempi? Fischer Organ Company Pipe Organ Services 2107 W. 12th St. Allen Digital Organs Erie, PA 16505 Insurance Appraisals (814) 833-8863

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28 THE DIAPASON

Dec 07 pp. 27-29.indd 28 11/8/07 8:52:11 AM Example 5a. Froberger, theme and rhythmic transformation Example 6. Guillou’s transcription of Moussorgsky, Promenade

Example 5b. Froberger, rhythmic transformation touch, something that brings comfort be- Music to 1700, Bloomington: Indiana Univer- cause it is always there. Q sity Press, 1972, pp. 611–12. 5. Snyder, p. 65. This paper was presented on June 26, 6. Ibid. 2007 at the 28th International Organ and 7. Ibid, p. 70. Church Music Institute, celebrating “Buxte- 8. Geoffrey Webber, North German hude and Liturgical Music,” at the Univer- Church Music in the Age of Buxtehude, Ox- sity of Michigan. ford: Clarendon Press and New York: Oxford University Press, 1996, p. 50. Marijim Thoene is a native Californian. 9. Snyder, p. 247. She received a B.M. degree in Liturgical Mu- 10. Ibid, p. 109. sic from Peabody Conservatory, an M.M. in 11. Frederick Hammond, Girolamo Fresco- Organ Performance from the University of baldi: His Life and Music, Cambridge: Har- Southern California, and an M.M and D.M.A. vard University Press, 1983, p. 218. in Church Music/Organ Performance from 12. George J. Buelow, “Johann Jacob Fro- the University of Michigan. She has also stud- berger,” The New Grove North European Ba- ied at the Queen’s College and University Col- roque Masters, New York: W. W. Norton and lege in Oxford, the Organ Academy in Pistoia, Co., 1985, p. 155. Example 5c. Froberger, rhythmic transformation Italy, and at the University of Salamanca. 13. Ibid. She has been director of music at churches 14. “Li Passacagli si potranno separata- in Baltimore, Oxfordshire, San Diego, Ann mente sonare, conforme à chi più piacera con Arbor and New Orleans, and has been on agiustare il tempo dell’una è altra parte cossi the faculty at the University of New Orleans, delle Ciaconne” from Aggiunta to the fi nal and Our Lady of Holy Cross College in New edition of the First Book of Toccatas. Orleans. Her CD, Mystics and Spirits, was 15. Girolamo Diruta, The Transylvanian, recorded on the Dobson organ at St. Joseph trans. Murray C. Bradshaw and Edward J. Abbey in St. Benedict, Louisiana. Her second Soehnlen, Volume I 1593, Henryville, PA: In- CD, Wind Song: Music for Organ and Flute, stitute of Medieval Music, 1984, pp. 52–53. has just been released and was also recorded 16. Christoph Wolff, J. S. Bach the Learned at St. Joseph Abbey. Among her favorite topics Musician, New York: W. W. Norton and Co., is “Fierce Beasts and Gentle Creatures Who 2000, p. 97. Play the Organ in Medieval Manuscripts.” 17. The New Bach Reader, ed. Hans T. Da- vid and Arthur Mendel, revised and enlarged Notes by Christoph Wolff, New York: W. W. Norton 1. Cited by Kerala J. Snyder, Dieterich and Co., 1998, p. 11. Buxtehude: Organist in Lübeck, New York: 18. Wolff, J. S. Bach, p. 96. In answering that question it may be ap- be seen as a deliberate essay in genre- University of Rochester Press, 1987, p. 235. 19. Peter Williams, The Organ Music of J. propriate to take Frescobaldi’s words to composition, very likely under the infl u- 2. Ibid. S. Bach, I, Cambridge: Cambridge University heart. Under the title of “Cento Partite ence of Buxtehude.”20 Bach emancipates 3. Ibid., p. 237. Press, 1986, p. 255. sopra Passacagli” Frescobaldi offers these the form, but always, as in Buxtehude, 4. Willi Apel, The History of Keyboard 20. Ibid., p. 254. words: “The Passacaglias may be played the theme of the Passacaglia is ever pres- separately, like the chaconnes, according ent, singable and memorable. Unlike to the performer’s wishes, whilst adjust- Buxtehude, Bach presents the ostinato INTHROP NIVERSITY The work of the ing the movement from one variation to bass line fi rst as a solo voice in the pedal, W U Æolian-Skinner Organ 14 the next.” Certainly, one should con- giving emphasis to its importance as the Rock Hill, South Carolina Company under the sider the suspensions at the beginning of foundation of the entire work. Buxtehude’s Ciacona and choose a tempo leadership of G. Donald Harrison (1889-1956) has garnered much interest that would not obscure the suspensions. 6. The signifi cance of repetition in the past decade, though the number of instruments remaining in If one must play Buxtehude on a tracker Repetition occurs on many levels. In unaltered condition from his tenure is lamentably few. Winthrop organ with a heavy action, one can look Buxtehude’s Ciacona in C minor, fi rst to Girolamo Diruta, who addressed how the ostinato theme in the pedal recurs, University’s Opus 1257 was an to approach the sometimes formidable unchanging in pitch, sometimes slightly all-new instrument when task of playing on such an instrument. altered rhythmically; variations are re- completed in 1955 and has seen Diruta says: Let the arm guide the hand. peated, and on a detailed level, motives In other words, use the weight of the arm are repeated within a variation. All of this only two minor changes since to depress the keys. He also says that one serves the purpose of creating a unifi ed, then, showing a respectful must press and not strike the keys, one organic whole. In repeating a variation awareness of this instrument’s must caress the keys as though one were he allows the listener to savor music for caressing a child.15 the second time. At the core of fi ne art is value. “artful” repetition . . . it promotes sym- The D. B. Johnson Memorial 5. Buxtehude’s infl uence on Bach’s metry and patterns that give pleasure to Organ is located in the resonant Passacaglia the eye and ear. Buxtehude’s Ciacona in All of Buxtehude’s ostinato works C minor is like a stage on which the char- Byrnes Auditorium and are found in the Andreas Bach Book,16 acters experience sorrow, joy, confl ict displays all of the hallmarks of an anthology compiled before 1700 by and resolution and the conclusion seems Harrison’s style, including a relatively mild Great division without reeds; Johann Christoph Bach of Ohrdruf, Jo- to be an affi rmation of cosmic harmony. hann Sebastian Bach’s older brother and One has only to look in Corliss Arnold’s several mixtures with each providing a different texture; a powerful Swell teacher.17 In all probability Bach knew Organ Literature: A Comprehensive division with French-inspired reeds; and a general emphasis on tonal clarity Buxtehude’s Ciacona in C minor in 1705, Survey to see that the ciacona/passaca- over density. when at age 20 he received permission glia is alive and well. On May 16, 2007, I to leave his post as organist at the New was in the Duomo in Florence and heard We are honoured to have been selected by Winthrop University to carry Church at Arnstadt to travel on foot 250 Jean Guillou play a brilliant, memorized out a mechanical restoration of this exceptional instrument. At the miles to Lübeck to hear Dieterich Buxte- recital. He concluded his recital with his completion of our work in the fall of 2008, every aspect of Æolian- hude. He was there for almost a quarter transcription of Modest Moussorgsky’s of a year, staying three times longer than Pictures at an Exhibition, with no fewer Skinner’s Opus 1257 will have been examined, documented and his four weeks of granted leave time. than fi ve movements entitled Promenade conservatively restored without tonal changes. Throughout this project, it As Christoph Wolff comments, “From (“Passeggiata”). How refreshing to hear is our pleasure to work in close consultation with the instrument’s curator Bach’s vantage point in 1705, there was this majestic and joyous theme recur simply no other musician who could of- over and over again. See Example 6 for and Professor of Music Emeritus at Winthrop, Dr. David Lowry. fer him so much.”18 the opening of the passacaglia. This re- Bach’s monumental Passacaglia in C curring theme is an “artful” repetition, minor, BWV 582, with its twenty varia- giving the listener a talisman for his ORGUES LÉTOURNEAU LIMITÉE tions over its eight measure ground, is journey, like a stone worn smooth by his reminiscent of Buxtehude’s Ciacona in United States Canada C minor. As Peter Williams points out, 1220 L Street NW 16355 avenue Savoie “a series of conventional fi gurae are used THE WANAMAKER ORGAN Suite 100 – No. 200 St-Hyacinthe, Québec (one after the other) in a texture varying Listen to it worldwide over the Washington, DC J2T 3N1 from one to fi ve parts.”19 20005-4018 Tel: (450) 774-2698 No autograph of BWV 582 survives; Internet! Hourlong streamcasts Tel: (800) 625-PIPE Fax: (450) 774-3008 however, an early copy exists and Wil- are featured at 5pm ET the first Fax: (202) 737-1818 [email protected] liams comments that “the earlier the Pas- Sunday of each month at wrti.org [email protected] www.letourneauorgans.com sacaglia was composed, the more it can

DECEMBER, 2007 29

Dec 07 pp. 27-29.indd 29 11/8/07 8:52:32 AM Cover feature

Casavant Frères op. 3837 (2005) The Brick Presbyterian Church in the City of New York A brief history of Brick Church’s Casavant organ Ever since my fi rst encounter with the Cavaillé-Coll archives at Oberlin dur- ing my student days there in the early 1980s, it has been a dream of mine to be involved in an organ project that would recreate the sounds of the French sym- phonic organ in a North American set- ting. When an anonymous donor came forward to provide funding to replace Brick Church’s long-ailing Austin organ, I knew that the time had come to act upon my dream. In November 2001, I invited four inter- nationally recognized organ builders from the United States, Canada, the Nether- lands, and Germany to bid on a new organ for the Brick Presbyterian Church in the City of New York. I provided the builders Part of the Grand-Orgue division with a preliminary specifi cation and de- showing the mounted section of the sign for the organ. The proposed design Grande Fourniture stop (and a ton of was strongly modeled after those instru- slotted tin pipework!) ments built in the latter part of the 19th century by the renowned Parisian organ builder, Aristide Cavaillé-Coll. Upon re- viewing the proposals from these four organ builders, it was particularly telling that three out of the four builders re- quired the assistance of the pre-eminent Cavaillé-Coll expert Jean-Louis Coignet in order to successfully realize this or- gan. In July 2002, Brick Church commis- sioned organbuilders Casavant Frères of Ste-Hyacinthe, Québec, for a new elec- tric slider chest organ of 88 independent stops (101 speaking stops), 118 ranks and 6288 pipes. This organ, with its dual six- teen-foot façades, was installed during the summer of 2005. As Jean-Louis Coignet writes later in Casavant Op. 3837, The Brick Presbyterian Church of New York this article, tonally recreating a French symphonic organ in the 21st century is not an easy task. Even for a fi rm such as Casavant with its long history, the tech- niques of voicing in this style had long departed the fi rm. After thorough dis- cussion and experimentation with the The Récit’s Voix humaine (foreground) Casavant voicers, we fi nally decided and Basson-Hautbois upon Jean-Sébastien Dufour, one of the younger voicers at Casavant, to be the whenever they are situated in the high head voicer for this project. Mr. Dufour parts of a building; on the contrary they was the most willing and also the most profi t by being installed in the lower skilled of Casavant’s voicers to realize parts. The small choir organs give a Dr. Coignet’s explicit directions. Mr. striking example of this fact.” So, far Dufour was assisted in his labors by Yves from considering it a pitfall to have to Champagne, Casavant’s senior voicer. put the organ in chambers on both sides Jean-Louis Coignet, Jacquelin Rochette of the chancel, I took the best advan- (when Coignet was in France), and I tage of the situation. carefully guided the voicing process both After much discussion with Keith in the factory and at Brick Church. S. Toth, whose clear vision and strong The Brick Church project was a very determination were so important all detailed and complex one. I am thankful throughout the building of Opus 3837, to the trustees of Brick Church for provid- I realized that the best instrument for ing the support for me to travel to Casa- Brick Church would be an organ fairly vant on the average of once every four similar to the one built by A. Cavaillé- weeks during the construction of the or- Coll for the Albert Hall in Sheffi eld, gan. This hands-on oversight allowed for England in 1873 (this organ was unfor- a most exacting and fruitful collaboration Close-up of the console tunately destroyed by fi re in 1937). An- with Casavant. In any large organ project, other inspiration came from the organ in things can develop that are not planned with his encyclopedic knowledge of the Notes from Jean-Louis Coignet on Paris’s Notre-Dame Cathedral as I heard unless there is continuous and careful symphonic style of organ building, have Casavant Frères Opus 3837 it in the mid-1950s. It is a shame that this oversight. I am thankful to André Gre- contributed immensely to the success of Designing an organ in the French sym- organ, which was Cavaillé-Coll’s favorite, millet, then president of Casavant Frères, the organ both mechanically and tonally. phonic style is by no means a diffi cult as- was completely altered from its original who gave me much freedom to interact The Brick Church organ has few peers signment. However, building a new organ tonal character in the late 1950s and ear- with the various departments within Casa- in North America in its ability to accu- today in that style is more challenging as ly 1960s, as was César Franck’s Cavaillé- vant. In essence, Mr. Gremillet allowed rately reproduce the sounds of the great it requires using techniques, particularly Coll organ in Sainte-Clotilde, Paris. me to act as their project director for this French organs. This organ also holds a of winding and voicing, which have not The Notre-Dame organ displayed a project. Such collaboration is rare in the special place in the Casavant opus list. been in customary use for a long time. unique sound effect. In no other organ, organ industry. Mr. Gremillet also allowed It is the last instrument to be completed Fortunately, there exist a few examples with the exception of the Jacquot organ Jean-Louis Coignet to realize his dreams by Casavant with Jean-Louis Coignet as of fi ne French symphonic organ building in Verdun Cathedral, had the “ascend- and directives in a manner that had not their tonal director. Upon completion of that can be carefully studied in order to ing voicing” typical of the best French been afforded Coignet previously at Casa- this organ, Coignet retired from his posi- regain these techniques. These few ex- symphonic organs been so splendidly vant. The scholarly and artistic interaction tion at Casavant and also his position as amples remain, in spite of the many mis- achieved. In fact, the main features of between Jean-Louis Coignet, Casavant, expert organier for the City of Paris. guided alterations that had been perpe- the French symphonic organs are: and myself on all matters involving this in- This organ, a gift of one anonymous trated during the 20th century on many • a well-balanced proportion of foun- strument made for as perfect a realization donor, is called the Anderson Organ in symphonic organs, especially in France. dation, mutation and reed stops as possible. recognition of the dedicated ministry of As soon as I was consulted about the • huge dynamic possibilities made The Brick Church commission en- The Reverend Dr. Herbert B. Anderson Brick Church project, I visited the sanc- possible by many very effective enclosed abled Jean-Louis Coignet and Casavant and his wife Mrs. Mary Lou Anderson. tuary and evaluated its dimensions and divisions to realize, without any compromise, a Dr. Anderson was senior pastor of Brick acoustics as well as those of the organ • voicing of fl ue pipes with French large, new instrument fully in the French Church from 1978 until 2001. chambers. At that time I remembered slots—“entailles de timbre” (different symphonic tradition. Dr. Coignet’s life- —Keith S. Toth what Cavaillé-Coll had written concern- from the Victorian slots used in some long, fi rsthand experience with the great Minister of Music and Organist ing the location of organs (in De l’orgue Anglo-American organs) and with Cavaillé-Coll organs as expert organier The Brick Presbyterian Church et de son architecture): “It is noticeable nicking sufficient enough to prevent for the historic organs of Paris, along New York City that the effect of organs is largely lost any “chiff”

30 THE DIAPASON

Dec 07 pp. 30-32.indd 30 11/8/07 8:53:54 AM timbre” has to be opened one diameter Grand-Orgue (I) 1. Bourdon (1–12 common with No. 78; 13–61 from No. 3) 32′ — from the top of the pipe. Its width should 2. Montre (70% tin, 1–18 in façade) 16′ 61 be either 1/4 of the pipe diameter for 3. Bourdon (1–24 wood, 25–61 30% tin) 16′ 61 most principals, 1/3 of the pipe diameter 4. Montre (70% tin, 2–6 in façade) 8′ 61 for strings and some principals, or 1/5 of 5. Salicional (70% tin) 8′ 61 the pipe diameter for fl utes. It should be 6. Bourdon (1–12 wood, 13–61 30% tin) 8′ 61 noted that the harmonic part of Flûtes 7. Prestant (70% tin) 4′ 61 2 ′ harmoniques has to be cut dead length 8. Quinte (70% tin) 2 ⁄3 61 9. Doublette (70% tin) 2′ 61 and without slotting (though some or- 2 10. Grande Fourniture III–VII (70% tin) 2 ⁄3′ 326 gan builders used to make slots even 1 11. Fourniture II–V (70% tin) 1 ⁄3′ 224 on harmonic pipes). As Jean Fellot very 12. Cymbale III–IV (70% tin) 1′ 232 correctly wrote: “Slotting had enormous 13. Basson (70% tin, full-length, extension of No. 14) 16′ 12 consequences on voicing. It is not exag- 14. Baryton (70% tin) 8′ 61 gerated to claim that this small detail Grand-Orgue Grave triggered a real revolution.” Grand-Orgue Muet Of particular importance in the forma- tion of our voicing goals for Opus 3837 Grand-Chœur (I) 15. Violonbasse (Open wood, extension of No. 17) 16′ 12 was a visit by Keith Toth, Dr. John B. 16. Flûte harmonique (70% tin) 8′ 61 Herrington III, and me to the unaltered 17. Violon (1–12 open wood, 13–61 70% tin) 8′ 61 1898 Cavaillé-Coll organ of Santa María 18. Flûte octaviante (70% tin) 4′ 61 la Real in Azkoitia in the Spanish Basque 19. Grand Cornet V (From No. 20) 16′ — territory. This three-manual organ with 20. Cornet V (30%/70% tin, from Tenor C) 8′ 245 A double-rise reservoir for the Récit two enclosed divisions was the last in- 21. Bombarde (70% tin; full-length) 16′ 61 division 22. Trompette (70% tin) 8′ 61 strument completed under the direction ′ ′ of Aristide Cavaillé-Coll, and was voiced 23. Clairon (70% tin, breaks back to 8 at F#4) 4 61 Grand-Chœur Grave • a winding system that utilizes dou- by Ferdinand Prince. Immediately upon Grand-Chœur Muet ble-rise bellows hearing and inspecting this organ, Mr. • ascending voicing with full organ Toth and I knew that our voicing goals Positif (II) dominated by the reeds were well founded and attainable. More- 24. Quintaton (1–24 wood, 25–61 30% tin) 16′ 61 over, at the same time, I was supervising 25. Principal (70% tin) 8′ 61 Building process of Opus 3837 the restoration of two little-known Pari- 26. Dulciane (70% tin) 8′ 61 27. Unda maris (From GG, 70% tin) 8′ 54 Specifi cation: The fi rst step con- sian organs built in the symphonic style: ′ sisted in establishing the fi nal specifi - the Cavaillé-Coll-Mutin (1903) organ in 28. Flûte harmonique (70% tin) 8 61 29. Bourdon (1–12 wood, 13–61 30% tin) 8′ 61 cation of the instrument. It was based Saint-Honoré-d’Eylau and the Merklin 30. Prestant (70% tin) 4′ 61 upon the preliminary stoplist prepared (1905) organ in Saint-Dominique. This 31. Flûte douce (30% tin, with chimneys) 4′ 61 2 by Keith Toth. The main change from enabled me to handle pipes that had not 32. Nasard (30% tin) 2 ⁄3′ 61 Mr. Toth’s specifi cation was dividing the been altered (both organs had escaped 33. Flageolet (30% tin) 2′ 61 3 Grand-Orgue into two parts, Grand- the neo-classic furia!), to note their exact 34. Tierce (30% tin) 1 ⁄5′ 61 1 Orgue and Grand-Chœur, in order to parameters and compare their sound to 35. Larigot (30% tin) 1 ⁄3′ 61 1 ′ gain more fl exibility. This is something new pipes being voiced. 36. Septième (30% tin) 1 ⁄7 61 37. Piccolo (30% tin) 1′ 61 that Cavaillé-Coll had done in his most Winding: Large reservoirs were 1 38. Plein Jeu II–V (70% tin) 1 ⁄3′ 233 prestigious organs. So, the Brick Church used throughout, some with double- 39. Clarinette basse (70% tin) 16′ 61 organ has actually fi ve manual divisions. rise bellows, in order to ensure ample 40. Trompette (70% tin) 8′ 61 The “chœur de clarinettes” in the Positif wind supply. The overall wind system is 41. Cromorne (70% tin) 8′ 61 as well as the various “progressions har- remarkably stable, even when the “oc- 42. Clarinette soprano (70% tin) 4′ 61 moniques” are features that were typical taves graves” are used, but with a subtle Tremolo (Tremblant doux) of the organ in Paris’s Notre-Dame. The fl exibility that enhances the instru- Positif Grave Grand-Orgue Bassons 16′ and 8′ were ment’s intrinsic musical qualities. Wind Positif Muet also inspired by that organ, as well as the pressures are moderate (from 80mm on ′ Récit (III) independent mutations of the 32 series the Positif to 135mm for the Solo Tuba), 43. Bourdon (1–24 wood, 25–61 30% tin) 16′ 61 in the Pédale. which accounts for the unforced tone of 44. Diapason (70% tin) 8′ 61 Apart from the stops peculiar to the the instrument. 45. Flûte traversière (70% tin) 8′ 61 French symphonic organ, the Brick Windchests: Slider chests with elec- 46. Viole de gambe (70% tin) 8′ 61 Church organ offers a few special ef- tric pull-downs were used for the manual 47. Voix céleste (From CC, 70% tin) 8′ 61 fects that were not known in France in and upper Pédale divisions. The large 48. Cor de nuit (1–12 wood, 13–61 30% tin) 8′ 61 49. Voix éolienne (From Tenor C, 30% tin, stopped pipes with chimneys) 8′ 49 the 19th century. Three ranks of pipes basses were placed on electro-pneumat- ′ (Flutes douce and céleste, Cor fran- ic windchests. 50. Fugara (70% tin) 4 61 51. Flûte octaviante (70% tin) 4′ 61 çais) made for the 1917 Brick Church Console: Lively discussions and visits 2 52. Nasard (30% tin) 2 ⁄3′ 61 organ by the esteemed American or- with Keith Toth resulted in an elegant 53. Octavin (70% tin) 2′ 61 gan builder Ernest M. Skinner, an ad- console with all controls readily acces- 54. Cornet harmonique II–V (30%/70% tin) 8′ 245 mirer of Cavaillé-Coll, were placed in sible. The console, with its terraced 55. Plein Jeu harmonique II–V (70% tin) 2′ 228 the Solo division. We also retained an stop jambs of mahogany and oblique 56. Bombarde (70% tin; full-length) 16′ 61 interesting Cor anglais (free reed stop) stopknobs of rosewood and pao ferro, is 57. Trompette harmonique (70% tin) 8′ 61 58. Basson-Hautbois (70% tin) 8′ 61 made in Paris by Zimmermann in the patterned after those built by Casavant ′ late 19th century and imported by the in the late 19th and early 20th centu- 59. Voix humaine (70% tin) 8 61 60. Clarinette (70% tin) 8′ 61 Casavant brothers for one of their early ries. The highly carved console shell is of 61. Clairon harmonique (70% tin) 4′ 61 organs. The late Guy Thérien, who built American red oak and is patterned after Tremolo (À vent perdu) the chapel organ at Brick Church, in- the communion table in the chancel of Récit Grave stalled this stop in the previous Austin Brick Church. The manuals have natu- Récit Muet organ. The Récit’s Voix éolienne is an- rals of bone with sharps of ebony. The Récit Octave other unique stop that only appeared in pedalboard has naturals of maple and Sostenuto Cavaillé-Coll’s large organ at St-Ouen in sharps of rosewood. Rouen. This undulating stop is of chim- Expression: The enclosures are built Solo (IV) 62. Flûte majeure (1–24 open wood, 25–61 30% tin) 8′ 61 ney fl ute construction for the most part. with double walls of thick wood with a 63. Flûtes célestes II (Existing Skinner pipework) 8′ 110 Its companion stop is the Cor de nuit. void between the walls. The shades are 64. Violoncelle (70% tin) 8′ 61 With both stops drawn, a slow undula- of extremely thick dimension. These ele- 65. Céleste (70% tin) 8′ 61 tion is heard. This fl ute celeste has a ments allow for the performance of huge 66. Viole d’amour (70% tin) 4′ 61 haunting beauty not found in the fl ute crescendos and diminuendos. 67. Flûte de concert (70% tin) 4′ 61 2 celestes of the Anglo-American organ. Conclusion: Such a complex under- 68. Nasard harmonique (70% tin) 2 ⁄3′ 61 Pipework: All the pipework was made taking would have never been success- 69. Octavin (70% tin) 2′ 61 3 ′ according to Cavaillé-Coll scalings; ful without the collaborative spirit that 70. Tierce harmonique (70% tin) 1 ⁄5 61 71. Piccolo harmonique (70% tin) 1′ 61 metal pipes are made either of “etain prevailed throughout the process and 1 72. Clochette harmonique (70% tin) ⁄3′ 61 fi n” for principals, strings, harmonic certainly not without Keith Toth’s de- 73. Tuba magna (Tenor C, from No. 75) 16′ — part of the fl utes, and reeds, or “etoffe” termination and involvement. In fact, 74. Cor de basset (70% tin, hooded) 16′ 61 (30% tin) for the bourdons. Wood was on many points, he acted as a “maître 75. Tuba mirabilis (70% tin, hooded from CC) 8′ 61 used for the bourdons up to B 8′. Wood d’oeuvre”—during the phase of prepara- 76. Cor français (Existing, revoiced; on separate chest) 8′ 61 was also used for the large Pédale stops tion, we had nearly daily phone conver- 77. Cor anglais (Existing, revoiced) 8′ 61 and for the Contre-Bombarde 32′. For sations that were most enlightening. His Tremolo (À vent perdu) reed stops we used Cavaillé-Coll’s typi- numerous visits in the workshop as the Solo Grave Solo Muet cal parallel closed shallots and also tear organ was being built proved extremely Solo Octave drop shallots for the Bassons and Clari- useful. It was a great privilege to col- Sostenuto nettes 16′ and 8′. laborate with an organist who has such a Voicing: Much research on the vari- deep understanding of the French sym- Pédale ous voicing parameters was done in phonic organ. His absolute resolve for 78, Soubasse (Stopped wood, extension of No. 82) 32′ 12 order to achieve the desired tone: fl ue only the very best was most inspiring. It 79. Flûte (Open wood) 16′ 32 80. Contrebasse (70% tin, 1–18 in façade) 16′ 32 width, toe openings, and nicks were is our hope that this new organ will serve ′ measured on a few carefully preserved and uplift the congregation of the Brick 81. Violonbasse (Grand-Chœur) 16 — 82. Soubasse (Stopped wood) 16′ 32 French symphonic organs. The slotting Presbyterian Church and that, together 83. Montre (Grand-Orgue) 16′ — was particularly well studied. Thanks to with the magnifi cently renovated sanctu- 84. Bourdon (Récit) 16′ — 2 documents from the Cavaillé-Coll work- ary, it will enrich New York City’s grand 85. Grande Quinte (Open wood) 10 ⁄3′ 32 shop in my possession, it was possible musical heritage. 86. Flûte (Open wood) 8′ 32 to recreate the exact tone of the French —Jean-Louis Coignet 87. Violoncelle (70% tin, 2–6 in façade) 8′ 32 symphonic “fonds d’orgue.” In his stud- Châteauneuf-Val-de-Bargis, France 88. Bourdon (1–12 stopped wood, 13–32 30% tin) 8′ 32 2 ′ ies on pipes, Cavaillé-Coll documented 89. Grande Tierce (70% tin) 6 ⁄5 32 1 ′ this matter quite well: the “entaille de Photo credit: Keith Toth 90. Quinte (70% tin) 5 ⁄3 32

DECEMBER, 2007 31

Dec 07 pp. 30-32.indd 31 11/8/07 8:54:13 AM 4 91. Grande Septième (70% tin) 4 ⁄7′ 32 Récit C1 C2 C3 C4 C5 C6 92. Octave (70% tin) 4′ 32 Bourdon 16 205x170 120x100 72 48 32 22 93. Flûte (Open wood) 4′ 32 Diapason 8 130 82 53 34 22 13.5 94. Cor de nuit (70% tin) 2′ 32 Flûte traversière 8 120 76 58 43 30 19 95. Contre-Bombarde (Wood, full-length, hooded, extension of No. 96) 32′ 12 Viole de gambe 8 90 56 34 21 13 8 96. Bombarde (1–6 wood, 6–32 70% tin) 16′ 32 Voix céleste 8 83 51 32 19.5 12 7.5 97. Basson (Grand-Orgue) 16′ —Cor de nuit 8 112x82 86 57 38 25 17 98. Bombarde (Récit) 16′ —Voix éolienne 8 64 43 29 19 12 99. Trompette (70% tin) 8′ 32 Fugara 4 71 43 27 17 10 7 100. Baryton (Grand-Orgue) 8′ —Flûte octaviante 4 70 53 40 28 18 12 ′ 2 101. Clairon (70% tin) 4 32 Nasard 2 ⁄3 56 34 22 16 11 7 Octavin 2 52 38 28 18 12 8 Cornet harm. Analysis Positif Grave au Grand-Orgue 8 45 30 20 14 4 38 23 17 12 Stops Ranks Pipes Positif au Grand-Orgue 2 Grand-Orgue 12 25 1343 Solo Grave au Grand-Orgue 2⁄3 50 32 21 15 11 2 55 38 24 17 12 8 Grand-Chœur 7 11 623 Solo au Grand-Orgue 3 Positif 19 23 1324 Solo Octave au Grand-Orgue 1⁄5 46 30 20 15 9.5 7 Récit 19 27 1498 Pédale au Grand-Orgue Plein Jeu 2 47 29 18.5 12 8 5.5 Solo 15 16 964 Bombarde 16 150 120 97 76 59 46 Pédale 16 16 536 Grand-Orgue au Positif Trompette harm. 8 125 99 79/harm. 79 62 54 TOTAL 88 118 6288 Grand-Chœur au Positif Basson-Hautbois 8 68 51 45 34 26 Récit Grave au Positif Voix humaine 8 41 37 33 30 27 25 Récit au Positif Clarinette 8 45 43 41 39 37 35 Couplers Récit Octave au Positif Clairon harm. 4 94 74/harm. 74 59/rep. 8 59 (Multiplex) Solo au Positif Grand-Orgue à la Pédale Grand-Chœur à la Pédale Solo au Récit Solo C1 C2 C3 C4 C5 C6 Récit à la Pédale Solo Octave au Récit Flûte majeure 8 135x105 90x75 60 44 30 20 Récit Octave à la Pédale Flûtes célestes II existing Positif à la Pédale Grand-Chœur au Solo Violoncelle 8 124 70 42 24 14 9 Positif Octave à la Pédale Céleste 8 114 65 38 22 13 8 Solo à la Pédale * Grand-Orgue – Grand-Chœur / Positif Re- Viole d’amour 4 64 40 25 16 10 6.5 Solo Octave à la Pédale verse (including divisional combinations) Flûte de concert 4 76 57 42 28 18 11 2 * This control is not affected by the combina- Nasard harm. 2 ⁄3 54 41 29 19 13 9 Récit Grave au Grand-Orgue tion action, crescendo or full organ. Octavin 2 52 38 28 18 12 8 3 Récit au Grand-Orgue Union des Expressions Tierce harm. 1 ⁄5 44 33 23 15 10/rep. Récit Octave au Grand-Orgue Coupure de Pédalier Piccolo harm. 1 38 28 18 12 8/rep. 1 Clochette harm. ⁄3 22 22 22 14 9 9 Cor de Basset 16 42 39 36 34 32 30 Scale charts Tuba mirabilis 8 135 115 95/harm. 95 80 67 Cor français 8 existing Cor anglais 8 existing N.B. Scalings are given in millimeters. For wooden pipes, scalings are interior dimensions.

Grand-Orgue C1 C2 C3 C4 C5 C6 Pédale C1 C2 C3 C4 Montre 16 260 155 91 54 34 21 Soubasse 32–16 460x380 240x190 135x105 85x65 Bourdon 16 197x155 125x97 78 51 34 23 Flûte 16 350x300 205x175 120x100 Montre 8 152 92 59 38 24 15 Contrebasse 16 250 148 88 2 Salicional 8 116 70 42 26 15 9.5 Gde Quinte 10 ⁄3 215x175 135x100 80x65 Bourdon 8 110x85 70 47 31 21 14 Flûte 8 195x155 115x90 70x50 Prestant 4 90 55 34 21 13 8 Violoncelle 8 130 78 48 2 Quinte 2 ⁄3 61 39 25 16 10 6.5 Bourdon 8 145x110 85 56 2 Doublette 2 51 33 21 13 8.5 5.5 Gde Tierce 6 ⁄5 120 72 48 2 1 Gde Fourniture 2 ⁄3 54 34 22 14.5 9.5 6 Quinte 5 ⁄3 110 66 40 1 4 Fourniture 1 ⁄3 34 22 14.5 9.5 6 6 Gde Septième 4 ⁄7 92 60 38 Cymbale 1 26 16.5 10.5 7 5 Octave 4 85 55 35 Basson 16–8 126 95 74 58 45 35 Flûte 4 105x80 60x50 40x30 Cor de nuit 2 57 38 25 Bombarde 32–16 (1–18 wooden) 300x300 200x200 164 124 Grand-Chœur C1 C2 C3 C4 C5 C6 Trompette 8 150 115 86 Clairon 4 115 86 66 Violonbasse 16 184x146B 117x93 Flûte harm. 8 142 85 64 47 33 22 Violon 8 131 80 48 28 17 10 Flûte octaviante 4 73 55 42 28 18 11 Wind pressures Cornet 8 70 47 34 21 14 Grand-Orgue: 90mm; Grand-Choeur: 95 mm 4 65 43 29 19 12 2 Positif: 80mm 2⁄3 52 36 24 16 10 Récit: Flues 90mm and 105mm; Reeds 110mm 2 43 29 19 12 9 3 Solo: 125mm; Tuba mirabilis 135mm 1⁄5 36 24 16 10/rep. Pédale: 90mm; Soubasse 32′ and 16′ 105mm; Flûte 16′ 120mm; Reeds 125mm Bombarde 16 160 125 97 76 59 46 Trompette 8 135 105 83 66 53/harm. 53 Clairon 4 97 76 59 46/rep. 8 46 Mixture Compositions Positif C1 C2 C3 C4 C5 C6 Grand-Orgue 2 1 Quintaton 16 170x140 100x80 65 41 25 16 Gde Fourniture III–VII C1 2 ⁄3 2 1 ⁄3 2 1 Principal 8 134 80 48 28 17 10 C2 4 2 ⁄3 2 1 ⁄3 1 2 1 Dulciane 8 102 64 40 25 16 10 C3 5 ⁄3 4 2 ⁄3 2 1 ⁄3 1 2 1 Unda maris 8 G: 84 69 44 27 17.5 11 F3 8 5 ⁄3 4 2 ⁄3 2 1 ⁄3 2 1 2 1 Flûte harm. 8 120 70 53 40 28 18 C4 10 ⁄3 8 5 ⁄3 4 2 ⁄3 2 1 ⁄3 2 1 2 Bourdon 8 125x97 78 52 35 23 15 F4 16 10 ⁄3 8 5 ⁄3 4 2 ⁄3 2 Prestant 4 80 49 30 19 11 7 1 Flûte douce 4 70 46 31 20 15 10 Fourniture II–V C1 1 ⁄3 1 2 1 Nasard 2 ⁄3 55 37 25 18 11.5 7.5 A1 2 1 ⁄3 1 2 1 Flageolet 2 46 31 20 15 10 6.5 A2 2 ⁄3 2 1 ⁄3 1 3 2 1 Tierce 1 ⁄5 41 27 19 13 8.5 5.5 A3 4 2 ⁄3 2 1 ⁄3 1 1 2 Larigot 1 ⁄3 37 25 18 11.5 7.5/rep. A4 5 ⁄3 4 2 ⁄3 2 1 1 2 Septième 1 ⁄7 33 22 16 10 6.5/rep. E5 8 5 ⁄3 4 2 ⁄3 2 Piccolo 1 31 20 15 10 6.5/rep. 1 2 1 Plein Jeu 1 ⁄3 32 20.5 13 8.5 5.5 Cymbale III–IV C1 1 ⁄3 ⁄2 1 2 1 Clarinette basse 16 60 50 47 45 43 41 C2 1 ⁄3 1 ⁄3 ⁄2 1 2 Trompette 8 117 91 71 55 43/harm. 43 F2 2 1 ⁄3 1 ⁄3 2 1 Cromorne 8 42 39 37 34 32 30 F3 2 ⁄3 2 1 ⁄3 1 2 1 Clarinette soprano 4 40 38 36 34 31/rep. C4 4 2 ⁄3 2 1 ⁄3 2 C5 8 4 2 ⁄3 2 Positif 1 Plein-Jeu II–V C1 1 ⁄3 1 1 C2 2 1 ⁄3 1 2 1 C3 2 ⁄3 2 1 ⁄3 1 2 1 C4 4 2 ⁄3 2 1 ⁄3 1 2 1 C5 8 4 2 ⁄3 2 1 ⁄3 1 2 F5 8 5 ⁄3 4 2 ⁄3 2 Récit 1 Plein-Jeu harm. II–V C1 2 1 ⁄3 2 1 F2 2 ⁄3 2 1 ⁄3 2 1 F3 4 2 ⁄3 2 1 ⁄3 1 2 1 F4 5 ⁄3 4 2 ⁄3 2 1 ⁄3 1 2 C5 8 5 ⁄3 4 2 ⁄3 2 Solo 1 Clochette harm. C1 ⁄3 2 The reeds of the Grand-Chœur division The Solo’s Cor anglais (a free reed stop C2 ⁄3 1 made by Zimmermann in Paris in the late C3 1 ⁄3 2 19th century) C5 2 ⁄3

32 THE DIAPASON

Dec 07 pp. 30-32.indd 32 11/8/07 8:54:32 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH

19 DECEMBER Pickle Piano & Church Organs NEW YORK This calendar runs from the 15th of the Community carol sing; Grace Church, New Bloomingdale, IL month of issue through the following month. York, NY 12:15 pm The deadline is the fi rst of the preceding Choral carol concert; Madison Avenue Presby- month (Jan. 1 for Feb. issue). All events are terian, New York, NY 7 pm assumed to be organ recitals unless other- Scott Carpenter; Old Salem, Winston-Salem, Christopher Babcock wise indicated and are grouped within each NC 12 noon WILLIAM AYLESWORTH date north-south and east-west. •=AGO chap- ter event, • •=RCCO centre event, +=new or- 20 DECEMBER D. M. St. Andrew’s by the Sea, gan dedication, ++= OHS event. John Scott; St. Thomas Church Fifth Avenue, Hyannis Port Information cannot be accepted unless it New York, NY 6:15 pm specifi es artist name, date, location, and Anthony Newman, harpsichord, with fl ute; St. EVANSTON, ILLINOIS St. David’s, South Yarmouth hour in writing. Multiple listings should be in Bartholomew’s, New York, NY 7:30 pm chronological order; please do not send du- Dwight Thomas; Christ Church, Bradenton, plicate listings. THE DIAPASON regrets that FL 12:15 pm it cannot assume responsibility for the accu- racy of calendar entries. 22 DECEMBER Music of the Baroque; Divine Word Chapel, Techny, IL 3 pm, 8 pm UNITED STATES East of the Mississippi 23 DECEMBER Lessons & Carols; South Church, New Britain, CT 4 pm 15 DECEMBER Lessons & Carols, with Bach, Magnificat; Holy The American Boychoir; Princeton University Trinity Lutheran, New York, NY 5 pm Chapel, Princeton, NJ 8 pm Thomas Spacht; Christ Church, New Bruns- Atlanta Boy Choir; Peachtree Road United wick, NJ 6:30 pm, following 6 pm Vespers Methodist, Atlanta, GA 7 pm Lessons & Carols; St. John’s Episcopal, Hag- Dean W. Billmeyer erstown, MD 10:15 am 16 DECEMBER Lessons & Carols; Cathedral of St. Philip, At- University of Minnesota Choirs of All Saints Church, Worcester; lanta, GA 4 pm Worcester Art Museum, Worcester, MA 3 pm Music of the Baroque; Divine Word Chapel, Minneapolis 55455 • [email protected] Christmas Choral Evensong; First Baptist, Techny, IL 3 pm Worcester, MA 5 pm Lessons & Carols; The Presbyterian Church, 24 DECEMBER Irvington-on-Hudson, NY 4 pm Lessons & Carols; Grace Church, New York, Lessons & Carols; St. Vincent Ferrer, New NY 8 pm York, NY 3 pm Lessons & Carols; Camp Hill Presbyterian, THOMAS BROWN David Chalmers Handel, Messiah; Trinity Wall Street, New Camp Hill, PA 5 pm, 7 pm, 9 pm UNIVERSITY Concert Organist York, NY 3 pm Lessons & Carols; Old Presbyterian Meeting PRESBYTERIAN CHURCH LORIÆ EI ANTORES Menotti, Amahl and the Night Visitors; St. Ig- House, Alexandria, VA 7 pm G D C natius Loyola, New York, NY 4 pm Lessons & Carols; Rockefeller Memorial Cha- CHAPEL HILL, NORTH CAROLINA Orleans, MA Festival of Nine Lessons & Carols; The Church pel, Chicago, IL 4 pm of the Holy Trinity (Episcopal), New York, NY 4 Lessons & Carols; Cathedral of St. Paul, St. pm Paul, MN 10:45 pm Britten, A Ceremony of Carols; Grace Church, New York, NY 4 pm 26 DECEMBER STEVEN EGLER Bach Vespers; Holy Trinity Lutheran, New Jane Cain; Old Salem, Winston-Salem, NC DELBERT DISSELHORST Central Michigan University York, NY 5 pm 12 noon First Presbyterian Church David Herman; St. Thomas Church Fifth Av- A. MUS. D. Mt. Pleasant, Michigan 48858 enue, New York, NY 5:15 pm 30 DECEMBER UNIVERSITY OF IOWA The American Boychoir; Richardson Audito- David Lamb; St. Mary the Virgin, New York, SOLO Shelly-Egler rium, Princeton, NJ 4 pm NY 4:40 pm RECITALS Flute and Organ Duo Lessons & Carols; Christ Church, New Bruns- Bach, Cantata 152; Holy Trinity Lutheran, New wick, NJ 6:30 pm York, NY 5 pm Lee Milhous; St. Paul’s Church, Doylestown, PA 3:30 pm, Lessons & Carols at 4 pm 31 DECEMBER JOHN FENSTERMAKER ELLEN KURTZ Handel, Messiah, Part I; Shadyside Presbyte- Lessons & Carols; Church of the Advent, Bos- rian, Pittsburgh, PA 4 pm ton, MA 5 pm Christmas concert; Bryn Mawr Presbyterian, TRINITY-BY-THE-COVE FUNK Choral concert; Church of St. Joseph, Bronx- M.Mus., A.A.G.O. Bryn Mawr, PA 4 pm ville, NY 8 pm Singing Boys of Pennsylvania; First United William Trafka; St. Bartholomew’s, New York, NAPLES, FLORIDA Concord, California Methodist, Wilkes-Barre, PA 4 pm NY 11 pm Lessons & Carols; Cathedral of Mary Our Tom Trenney; Central Reformed Church, Queen, Baltimore, MD 5:30 pm Grand Rapids, MI 9 pm Lessons & Carols; Franklin Baptist, Franklin, Organist / Pianist VA 11 am 5 JANUARY CHRISTOPHER Donald Sutherland; First Presbyterian, Solemn Evensong; St. Paul’s Church, Michael Gailit Lynchburg, VA 4 pm Doylestown, PA 5 pm [email protected] Advent Lessons & Carols; University Presby- GARVEN Evensong; Emmanuel Church, Chestertown, http://www.gailit.at terian, Chapel Hill, NC 8:30 am, 11 am MD 6 pm Organist & Music Director Hector Olivera; Grace United Methodist, At- St. Augustine’s Church Church of the Good Samaritan lanta, GA 3 pm 6 JANUARY Conservatory / University (Vienna) Paoli, Pennsylvania Brandon Beachamp; Cathedral of St. Philip, Festival of Nine Lessons & Carols; All Saints, Atlanta, GA 3:15 pm Worcester, MA 5 pm Choral Evensong; Cathedral of St. Philip, At- Epiphany Lessons & Carols; Church of St. Jo- lanta, GA 4 pm seph, Bronxville, NY 3 pm John M. Gearhart III Christmas concert; Ward Presbyterian, North- Robert Glasgow Menotti, Amahl and the Night Visitors; Grace B.A., M.Mus. ville, MI 7 pm Church, New York, NY 4 pm Professor Emeritus Candlelight concert; Park Congregational, Bach, Cantata 65; Holy Trinity Lutheran, New St. John the Divine (Episcopal) Grand Rapids, MI 4 pm York, NY 5 pm 2450 River Oaks Blvd. The University of Michigan Nine Lessons & Carols; Christ Church Cathe- Messiaen, La Nativité du Seigneur; St. Peter’s Houston, TX 77019 dral, Lexington, KY 7 pm by-the-Sea, Bay Shore, NY 6 pm Ann Arbor Advent Lessons & Carols; First United Meth- Donetto Cuzzoto; Christ Church, New Bruns- odist, Columbus, IN 9 am wick, NJ 6:30 pm Christmas concert; First Presbyterian, Arling- Epiphany Festival of Choirs; Church of St. ton Heights, IL 4 pm John the Evangelist, Severna Park, MD 7 pm JAMES HAMMANN Lessons & Carols; Maria Angelorum Chapel, Epiphany Procession; Cathedral of St. Philip, Antone Godding St. Rose Convent, La Crosse, WI 3 pm Atlanta, GA 4 pm DMA-AAGO Advent Hymn-Sing; Christ Episcopal, La Nichols Hills Crosse, WI 7 pm 8 JANUARY United Methodist Church University of New Orleans Lessons & Carols; Cathedral of St. Paul, St. Ken Cowan; Coral Ridge Presbyterian, Fort Oklahoma City Chapel of the Holy Comforter Paul, MN 3 pm Lauderdale, FL 7:30 pm Thomas Murray; Morningside Presbyterian, 17 DECEMBER Atlanta, GA 8 pm Todd Wilson, with the Burning River Brass; Sharon Kleckner; The Church of St. Louis, LORRAINE BRUGH, Ph.D. Severance Hall, Cleveland, OH 7:30 pm King of France, St. Paul, MN 12:35 pm A two-inch 18 DECEMBER 11 JANUARY Associate Professor Ray Cornils, with brass; Portland City Hall, Steinbach & Helvey; Covenant Presbyterian, Professional Card Portland, ME 7:30 pm Fort Myers, FL 7:30 pm University Organist Christmas concert; St. Bartholomew’s, New David Higgs; St. James Episcopal, Fairhope, in The Diapason York, NY 7:30 pm AL 7:30 pm Valparaiso University Handel, Messiah; Trinity Wall Street, New Bach, Christmas Oratorio; First Presbyterian, Valparaiso, IN For information on rates and Birmingham, MI 7:30 pm York, NY 7:30 pm www.valpo.edu specifi cations, contact: Lee Milhous, with soprano; St. Paul’s Church, Doylestown, PA 12:30 pm 13 JANUARY Jerome Butera Todd Wilson, with the Burning River Brass; Jonathan Dimmock; St. Thomas Church Fifth 219-464-5084 Severance Hall, Cleveland, OH 7:30 pm Avenue, New York, NY 5:15 pm [email protected] Robert Vickery; Church of St. Louis, King of Pat Maimone; Christ Church, New Brunswick, [email protected] 847/391-1045 France, St. Paul, MN 12:35 pm NJ 6:30 pm

DECEMBER, 2007 33

Dec 07 pp. 33-37.indd 33 11/8/07 8:56:15 AM La Ménéstrandise; Old Presbyterian Meeting Emanuele Cardi; Cathedral of St. Philip, At- House, Alexandria, VA 4 pm lanta, GA 3:15 pm WILL HEADLEE Harry H. Huber Craig Campbell, with fl ute; Cathedral of St. Choral Evensong; Cathedral of St. Philip, At- D. Mus. Philip, Atlanta, GA 3:15 pm lanta, GA 4 pm 1650 James Street Choral Evensong; Cathedral of St. Philip, At- Michael Stuart; Peachtree Road United Meth- Kansas Wesleyan University, Emeritus lanta, GA 4 pm odist, Atlanta, GA 5 pm Syracuse, NY 13203-2816 University Methodist Church Randy Elkins; Peachtree Road United Meth- •Southern Indiana AGO Choral Festival; St. odist, Atlanta, GA 5 pm Mark’s United Church of Christ, New Albany, IN (315) 471-8451 SALINA, KANSAS Ken Cowan; Dauphin Way United Methodist, Mobile, AL 2 pm 3 pm Bach, Cantatas 110 and 41; Evangelical Lu- theran Church of St. Luke, Chicago, IL 4 pm 28 JANUARY MICHELE JOHNS The American Boychoir; Palms Presbyterian, Brian Jones 17 JANUARY Jacksonville Beach, FL 7:30 pm A.Mus.D David Shuler; The Church of St. Luke in the Director of Music Emeritus Fields, New York, NY 8 pm 29 JANUARY Organ — Harpsichord Choral Evensong; Cathedral of St. Philip, At- Monteverdi, Vespers of 1610; Trinity Wall The University of Michigan TRINITY CHURCH lanta, GA 5:45 pm Street, New York, NY 7:30 pm School of Music BOSTON Daniel Roth; Church of the Holy Trinity (Epis- 18 JANUARY copal), New York, NY 8 pm John Scott; St. Paul’s Episcopal, Indianapo- The American Boychoir; First Presbyterian, lis, IN 7:30 pm Ocala, FL 7 pm Paul Jacobs; Wisconsin Lutheran College, Melanie Ohnstad; The Church of St. Louis, KIM R. KASLING JAMES KIBBIE Milwaukee, WI 8 pm King of France, St. Paul, MN 12:35 pm D.M.A. The University of Michigan 19 JANUARY 31 JANUARY St. John’s Univeristy Ann Arbor, MI 48109-2085 Yale Schola Cantorum; St. Mary’s Church, The American Boychoir; First Presbyterian, 734-764-1591 FAX: 734-763-5097 New Haven, CT 8 pm Lakeland, FL 7 pm Collegeville, MN 56321 Alan Morrison; St. Norbert Abbey, DePere, email: [email protected] WI 2 pm Christopher Young; Grace Episcopal, She- UNITED STATES boygan, WI 7:30 pm West of the Mississippi

David K. Lamb, D.Mus. 20 JANUARY 15 DECEMBER Director of Music/Organist Richard Litterst Justin Bischof; Cathedral of St. Patrick, New Abendmusik Chorus; First-Plymouth Congre- York, NY 4:45 pm gational UCC, Lincoln, NE 7 pm First United Methodist Church First Church of Christ, Scientist John Scott; St. Thomas Church Fifth Avenue, Judith & Gerre Hancock; Bates Recital Hall, Columbus, Indiana New York, NY 5:15 pm University of Texas, Austin, TX 7 pm 812/372-2851 Rockford, Illinois Mark Trautman; Christ Church, New Bruns- Christmas choral concert; Grace Cathedral, wick, NJ 6:30 pm San Francisco, CA 3 pm David Higgs; Washington National Cathedral, David Higgs; Davies Symphony Hall, San Washington, DC 5 pm Francisco, CA 8 pm •Ken Cowan; Christ Church, Bradenton, FL Advent Lessons & Carols; St. Paul’s Episco- BETTY LOUISE LUMBY 4 pm pal, Burlingame, CA 5 pm David Lowry Gail Archer; Cathedral of St. Philip, Atlanta, THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO GA 3:15 pm 16 DECEMBER 1512 BLANDING STREET, COLUMBIA, SC 29201 Choral Evensong; Cathedral of St. Philip, At- Abendmusik Chorus; First-Plymouth Congre- DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO lanta, GA 4 pm gational UCC, Lincoln, NE 4 pm David Hurd; Christ Church Cathedral, Nash- Lessons & Carols; St. Mark’s Episcopal, ROCK HILL, SC 29733 MONTEVALLO, AL 35115 ville, TN 4 pm Berkeley, CA 4:30 pm Leon Nelson, with brass and soprano; First Christmas choral concert; Grace Cathedral, Presbyterian, Arlington Heights, IL 4 pm San Francisco, CA 3 pm Music of the Baroque; First United Methodist, Evanston, IL 7:30 pm Matthew Walsh, with soprano; Cathedral of Anthony & Beard; Weidner Center for the St. Mary of the Assumption, San Francisco, CA Performing Arts, Green Bay, WI 2 pm 3:30 pm James R. Metzler Emma Lou Diemer; Trinity Episcopal, Santa Barbara, CA 3:30 pm PARK CONGREGATIONAL CHURCH 21 JANUARY Music of the Baroque; Harris Theater, Chica- Lessons & Carols; St. Alban’s, Westwood, CA GRAND RAPIDS, MICHIGAN go, IL 7:30 pm 4 pm Advent Evensong; All Saints, Pasadena, CA 22 JANUARY 5 pm Joe Henry; The Church of St. Louis, King of 17 DECEMBER France, St. Paul, MN 12:35 pm Christmas carol service; Cathedral of the Mad- William H. Murray eleine, Salt Lake City, UT 8 pm 23 JANUARY A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. Orff, Carmina Burana; Woolsey Hall, Yale Uni- 18 DECEMBER versity, New Haven, CT 8 pm Christmas carol service; Cathedral of the Mad- 345 SADDLE LAKE DRIVE Fort Smith, Arkansas eleine, Salt Lake City, UT 8 pm ROSWELL-ATLANTA, GEORGIA 30076 24 JANUARY (770) 594-0949 Choral concert with orchestra; St. Dominic’s Stephen Hamilton, workshop; St. Paul’s Epis- Catholic Church, San Francisco, CA 7:30 pm copal, Greenville, NC 2 pm MARILYN MASON Stephen Hamilton, Dupré, Le Chemin de 19 DECEMBER la Croix; St. Paul’s Episcopal, Greenville, NC Polyphony; St. Francis Auditorium, Museum of CHAIRMAN, DEPARTMENT OF ORGAN 7:30 pm Fine Arts, Santa Fe, NM 7 pm UNIVERSITY OF MICHIGAN Dong-ill Shin; First (Scots) Presbyterian, Larry Lathom; Pinnacle Presbyterian, Scotts- ANN ARBOR Charleston, SC 7:30 pm dale, AR 11:30 am “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it with awesome technique and a thrilling command of its daring writing.” 25 JANUARY 21 DECEMBER The American Organist, 1980 David Higgs; Music Center, St. Petersburg Polyphony; Cathedral Church of St. John, Al- College, St. Petersburg, FL 7:30 pm buquerque, NM 7:30 pm Cathedral Choir; Cathedral Church of the Ad- Britten, A Ceremony of Carols; Cathedral of vent, Birmingham, AL 7:30 pm the Madeleine, Salt Lake City, UT 12:15 pm Bruce Barber, with violin; St. Chrysostom’s, Mark Andersen, with handbells; Trinity Lu- Mary Mozelle LARRY PALMER Chicago, IL 7:30 pm theran, Lynnwood, WA 7:30 pm Associate Organist Christmas choral concert; Grace Cathedral, 26 JANUARY Professor of San Francisco, CA 7 pm Alan Morrison; St. Peter’s Evangelical Lu- The National theran, Lancaster, PA 7:30 pm Harpsichord and Organ 22 DECEMBER Presbyterian Church The American Boychoir; Clemmons United Christmas choral concert; Grace Cathedral, Washington, DC Methodist, Clemmons, NC 7 pm San Francisco, CA 3 pm Meadows School of the Arts Daniel Roth, recital and masterclasses; FNB 703.898.9609 Concert Hall, University of Alabama, Tuscaloo- 23 DECEMBER SOUTHERN METHODIST UNIVERSITY www.PipeOrganPro.com sa, AL 4:30 pm Lessons & Carols; Cathedral Church of St. Cathedral Choir; Cathedral Church of the Ad- John, Albuquerque, NM 4 pm “The Sights and Sounds Dallas, Texas 75275 vent, Birmingham, AL 7:30 pm Christmas choral concert; Grace Cathedral, of the Pipe Organ” San Francisco, CA 3 pm Musical Heritage Society recordings 27 JANUARY David Gell; Trinity Episcopal, Santa Barbara, Rob Richards; Portland City Hall, Portland, CA 3:30 pm ME 2:30 pm Choral Evensong; All Saints, Worcester, MA 24 DECEMBER 5 pm Christmas carol service; Cathedral of the Mad- Super Bell XV; First Church of Christ, Wethers- eleine, Salt Lake City, UT 4 pm A four-inch fi eld, CT 4 pm Bach, motets; Holy Trinity Lutheran, New 27 DECEMBER Professional Card York, NY 5 pm Brenda Portman; Redeemer Lutheran, Aus- Svetlana Berezhnaya; St. Thomas Church tin, TX 7 pm in The Diapason Fifth Avenue, New York, NY 5:15 pm Choral concert; Christ Church, New Bruns- 30 DECEMBER wick, NJ 6:30 pm Norma Aamodt-Nelson; Trinity Lutheran, No additional charge for photos Jonathan Dimmock; Duke University, Dur- Lynnwood, WA 7 pm ham, NC 5 pm David Hatt; Cathedral of St. Mary of the As- The American Boychoir; St. John the Beloved sumption, San Francisco, CA 3:30 pm For information on rates and specifi cations, contact Roman Catholic Church, Summerville, SC 7 pm Peter Richard Conte; Covenant Presbyterian, 31 DECEMBER Jerome Butera, 847/391-1045 Fort Myers, FL 4 pm Dorothy Papadakos, silent fi lm accompani- [email protected] The Chenaults; Hyde Park Community United ment; Grace Cathedral, San Francisco, CA 7 Methodist, Cincinnati, OH 4 pm pm, 10 pm

34 THE DIAPASON

Dec 07 pp. 33-37.indd 34 11/8/07 8:56:48 AM James Welch; St. Mark’s Episcopal, Palo 27 JANUARY Alto, CA 8 pm Herndon Spillman; Strauss Performing Arts Center, University of Nebraska, Omaha, NE 3 pm LEON NELSON DOUGLAS REED 6 JANUARY Ken Cowan; First United Methodist, Beau- Robert Bennett; St. John the Divine Episco- mont, TX 3 pm FIRST PRESBYTERIAN CHURCH pal, Houston, TX 3 pm Robert Bennett; West University United Meth- ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Riyehee Hong; Christ Church Cathedral, odist, Houston, TX 4 pm Houston, TX 4:15 pm NORTH PARK UNIVERSITY EVANSVILLE, INDIANA Brent Hylton; Pinnacle Presbyterian, Scotts- CHICAGO, IL 60625 Choral Evensong; Christ Church Cathedral, dale, AR 4 pm Houston, TX 5 pm Sheila Bristow, with baritone; St. Mark’s Ca- Bach, Cantata 152; Christ the King Lutheran, thedral, Seattle, WA 2 pm Houston, TX 5 pm Sandra Soderlund; Grace Cathedral, San Stephen G. Schaeffer Choral Evensong; Cathedral Church of St. Francisco, CA 4 pm ROBERT L. John, Albuquerque, NM 4 pm Choral concert; All Saints Episcopal, Pasa- D.M.A. Choral Evensong; All Saints’ Episcopal, Las dena, CA 5 pm Vegas, NV 5:30 pm The Cathedral Church SIMPSON Epiphany Procession with Carols; Grace Ca- 30 JANUARY Christ Church Cathedral of the Advent 1117 Texas Avenue thedral, San Francisco, CA 3 pm Gillian Weir; Memorial Church, Stanford, CA Birmingham, Alabama 35203 Houston, Texas 77002 Epiphany Lessons & Carols; Cathedral of St. Mary 8 pm of the Assumption, San Francisco, CA 3:30 pm Anthony Newman; Walt Disney Concert Hall, Los Angeles, CA 7:30 pm INTERNATIONAL Stephen Tappe 11 JANUARY Organist and Director of Music Paul Bisaccia, piano; Pinnacle Presbyterian, 15 DECEMBER Joe Utterback Scottsdale, AZ 7:30 pm Robert Crowley; St. George’s Cathedral, Saint John's Cathedral COMMISSIONS & CONCERTS David Briggs; Seattle First Baptist, Seattle, Southwark, London, UK 1:05 pm Denver, Colorado WA 7:30 pm 732 . 747 . 5227 16 DECEMBER www.sjcathedral.org 12 JANUARY Bach, Christmas Oratorio; Kirche “Zur frohen Martin Jean, masterclass; First Presbyterian, Botschaft,” Berlin Karlshorst, Germany 5 pm Lincoln, NE 10:30 am Daniel Roth & Sophie-Véronique Choplin- Cauchefer; Saint-Sulpice, Paris, France 4 pm David Wagner 13 JANUARY Matthew Martin; Westminster Cathedral, Lon- Marcia Van Oyen DMA Martin Jean; First Presbyterian, Lincoln, NE don, UK 4:45 pm 3 pm James O’Donnell; Westminster Abbey, Lon- First United Methodist Church, Madonna University Paul Jacobs; American Evangelical Lutheran, don, UK 5:45 pm Plymouth, Michigan Livonia, Michigan Prescott, AZ 2:30 pm Anthony Newman; Grace Cathedral, San 23 DECEMBER mvanoyen.com [email protected] Francisco, CA 4 pm David Soar; Westminster Cathedral, London, Ray Cornils; St. Mark’s Episcopal, Berkeley, UK 4:45 pm CA 6:10 pm, following 5:30 pm Evensong Rupert Jeffcoat; St. John’s Cathedral, Bris- SALLY SLADE WARNER, AAGO, ChM •Bill Entwistle & Philip Riddick; Geneva bane, Australia 3 pm Presbyterian, Laguna Hills, CA 3 pm Kevin Walters Carillonneur Mary Preston; California State University 24 DECEMBER (Concert Hall), Fresno, CA 3 pm Beate Kruppke, with soprano; Kirche “Zur S. Wayne Foster; St. James’ Episcopal, Los M.A., F.A.G.O. St. Stephen’s Church, Cohasset, MA frohen Botschaft,” Berlin Karlshorst, Germany Angeles, CA 6 pm Phillips Academy, Andover, MA 10 pm Rye, New York Recitals 19 JANUARY Sacred music workshop; University of Texas, 31 DECEMBER Austin, TX Katrin Bibiella, with percussion; St. Katharin- en, Oppenheim, Germany 10:30 pm 20 JANUARY Laura Ellis; First Presbyterian, Midland, TX 3 JANUARY Karl Watson Cherie Wescott 3 pm Martin Ford; St. Martin’s, London, UK 1 pm Concerts • Masterclasses • Coaching Kristian Oleson; Christ the King Lutheran, ST. RAYMOND’S CHURCH 405/942-3958 Houston, TX 5 pm 4 JANUARY PARKCHESTER Jonathan Dimmock; Cathedral of St. Mary of Rufus Frowde; SS. Peter and Paul, Godalm- e-mail: [email protected] the Assumption, San Francisco, CA 3:30 pm ing, UK 1 pm Karen Christianson; Grace Cathedral, San Francisco, CA 4 pm 10 JANUARY Joseph Fort; St. Martin’s, Dorking, UK 1 pm 22 JANUARY Rosemary Field; St. Matthew’s Westminster, Davis Wortman Brass Spectacular; St. Louis Cathedral, St. London, UK 1:05 pm RONALD WYATT Louis, MO 8 pm Stephanie Burgoyne & William Vandertuin; St. James’ Church Trinity Anglican, Cambridge, ON, Canada 12:15 Trinity Church 23 JANUARY pm Paul Jacobs, masterclass; Holsclaw Hall, Uni- New York Galveston versity of Arizona, Tucson, AZ 1 pm Paul Jacobs; Grace-St. Paul’s Episcopal, 16 JANUARY Tucson, AZ 8 pm Roger Sayer; Reading Town Hall, Reading, UK 1 pm Charles Dodsley Walker, FAGO 25 JANUARY Paul Jacobs; St. Mark’s United Methodist, 17 JANUARY Artist-in-Residence Founder/Conductor Sacramento, CA 7:30 pm Gillian Lloyd; St. Martin’s, Dorking, UK 1 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

Cathedral Church of St. John A radio program for the king of instruments SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0749 - Wesley “C”, Wesleys Do…with inspired hymns, concertos, D ORGAN DUO anthems and organ solos, we reÀect on the work of England’s remarkable E Wesley dynasty…Charles, Samuel and Samuel Sebastian. 3355 Queen Mary Road, Apt 424 C Montreal, H3V 1A5, P. Quebec E #0750 – Come, All Ye Faithful…in anticipation of the Christmas festival, Canada M this collection of music has an international Àavor. (514) 739-8696 Fax: (514) 739-4752 Iain Quinn Maxine Thevenot B #0751 - An American Organist’s Christmas…from Ann Arbor to Atlanta, Director of Associate Organist- E whether on campus or at home, in church or theater, organ music for the [email protected] Cathedral Music Choir Director R season resounds with glad tidings! #0752 - A Flashy French Festival…a three-century collective of DAVID SPICER 2 composers provides a colorful package for our holiday pleasure. First Church of Christ 0 Wethersfi eld, Connecticut Carol Williams #0753 – An Organist’s Yearbook…our annual reÀection on the past 0 twelve months and projections for the future, including some of the original 7 PIPEDREAMS elements from our ¿rst broadcasts 25 years ago. San Diego Civic Organist

From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford

DECEMBER, 2007 35

Dec 07 pp. 33-37.indd 35 11/8/07 8:57:08 AM 18 JANUARY St. Luke’s Episcopal, Evanston, IL 4:30 pm 4: Organ Concerto Movement in G, Dupuis; Joseph Sentance; St. Stephen Walbrook, Christ Church, Episcopal, Tacoma, WA 5 pm Romanze (Eine kleine Nachtmusik), Mozart; Walbrook, UK 12:30 pm Organ Recitals Benedictus, Rowley; O Salutaris Hostia, 10 December Saint-Saëns; In dir ist Freude, BWV 615, Bist 19 JANUARY Morrison United Methodist, Leesburg, FL 7:30 du bei Mir, BWV 508, Ich ruf zu dir, Herr Henry Fairs; St. Peter’s, St. Albans, UK pm LUC BEAUSÉJOUR, Knox Presbyterian Jesu, BWV 639, O Jesuslein süss, Jesus bleibet 5:30 pm Church, Stratford, ON, Canada, August 2: meine Freude, BWV 147, Prelude and Fugue 15 December Prelude and Fugue in D, BWV 874, Die Kunst in a, BWV 543, Bach. 20 JANUARY St. Paul’s Episcopal, Burlingame, CA 5 pm der Füge, BWV 1080, Bach. Iain Quinn; Westminster Abbey, London, UK MARY KAY EASTY, First United Method- 5:45 pm 16 December DAVID BOHN, Holy Cross Catholic ist Church, Appleton, WI, July 11: Now Thank The Presbyterian Church, Irvington-on-Hud- Church, Kaukauna, WI, July 31: Adagio and We All Our God, Karg-Elert; Magnifi cat V, 26 JANUARY son, NY 4 pm Fugue, Chaudoir; Prelude on Jesus Loves Me, Dupré; Ronde Française, Boëllmann; Bist du Iain Quinn; King’s College, Cambridge, UK St. Vincent Ferrer, New York, NY 3 pm Lepke; Chorale Prelude based on Lanier, bei mir, Bach; Upon My Loving God, Buxte- 6:30 pm The Church of the Holy Trinity (Episcopal), Crane; Prelude on Come Holy Ghost, Pre- hude; Hornpipe Humoresque, Rawsthorne; lude on Pange Lingua (Little Organ Book), New York, NY 4 pm Toccata (Suite Gothique), Boëllmann; Varia- Cunningham; A Whimsical Intermezzo, Baity; tions on the Star-Spangled Banner, Paine. Christ Church, New Brunswick, NJ 6:30 pm Partita on Wondrous Love, Frye. St. Paul’s Church, Doylestown, PA 4 pm PETER FENNEMA, Westwood United Lessons & Carols Cathedral of Mary Our Queen, Baltimore, MD VINCENT BOUCHER, St. James United Methodist Church, Los Angeles, CA, August 5:30 pm Church, Montreal, QC, Canada, August 28: 19: Concerto in G, Ernst; Six Variations on Franklin Baptist, Franklin, VA 11 am Suite du premier ton, Boyvin; Vater unser a Huguenot Psalm, Isoir; Pange Lingua, de 2 December University Presbyterian, Chapel Hill, NC 8:30 im Himmelreich, BuxWV 219, Praeludium Grigny; Deuxième Fantaisie, Postlude pour All Saints, Worcester, MA 5 pm am, 11 am en sol mineur, BuxWV 149, Buxtehude; Of- l’Offi ce de Complies, Alain; Suite, Durufl é. Grace Church, New York, NY 4 pm Christ Church Cathedral, Lexington, KY 7 pm fertoire (L’Offi ce de Pâques, L’Orgue Mys- Cathedral of Mary Our Queen, Baltimore, MD First United Methodist, Columbus, IN 9 am tique), Toccata (Suite de Morceaux, op. 19), MARILLYN FREEMAN, with Ralph 5:30 pm Maria Angelorum Chapel, St. Rose Convent, Tournemire. Freeman, piano, St. Paul Lutheran Church, Church of St. John the Evangelist, Severna La Crosse, WI 3 pm Neenah, WI, August 20: Processional, Math- Park, MD 7 pm Cathedral of St. Paul, St. Paul, MN 3 pm ELLEN BOWLIN, Sinsinawa Mound, Sin- ias; Now Dance and Sing, Ye Christian Old Donation Episcopal, Virginia Beach, VA 5 St. Mark’s Episcopal, Berkeley, CA 4:30 pm sinawa, WI, August 1: Bergamasca, Fresco- Throng, O Man, Bewail Thy Grievous Fall, pm St. Alban’s, Westwood, CA 4 pm baldi; Prelude and Fugue in f-sharp, Buxte- Savior of the Nations, Come, Bach; Dialog, St. Peter in Chains Cathedral, Cincinnati, OH hude; Schmücke dich, o liebe Seele, Herr Jesu Sowerby; Sweet Hour of Prayer (Three Gos- 3 pm 23 December Christ, dich zu uns wend, Prelude and Fugue pel Preludes), Bolcom; Toccata: Nu La Oss Christ Church Cathedral, Lexington, KY 10:30 South Church, New Britain, CT 4 pm in D, BWV 532, Bach; So Fades the Lovely Takke Gud, Hovland. am Holy Trinity Lutheran, New York, NY 5 pm Blooming Flower, I Know That My Redeemer First Presbyterian, Knoxville, TN 5 pm St. John’s Episcopal, Hagerstown, MD 10:15 Lives, Shearing; Benedictus, op. 59, no. 9, Re- DENIS GAGNÉ, St. James United Park Congregational, Grand Rapids, MI 4 pm am ger; Final (Symphony I), Vierne. Church, Montreal, QC, Canada, August 21: Cathedral Church of the Advent, Birmingham, Cathedral of St. Philip, Atlanta, GA 4 pm Fantaisie (Pièce d’orgue), BWV 572, Bach; AL 9 am, 11 am Cathedral Church of St. John, Albuquerque, JULIA BROWN, Episcopal Church of the Ach Gott, vom Himmel sieh darein, Krebs; Lutheran School of Theology, Chicago, IL 7 pm NM 4 pm Resurrection, Eugene, OR, July 13: Praeludi- Fantaisie en La, Franck; Fantaisie, Bédard. Christ Church Cathedral, Houston, TX 5 pm um in g, BuxWV 163, Nimm von uns, Herr, du Cathedral Church of St. John, Albuquerque, 24 December treuer Gott, BuxWV 207, Praeludium in G, MICHAEL GAILIT, Cathedral, Oulu, Fin- NM 4 pm Grace Church, New York, NY 8 pm BuxWV 162, Canzonetta in C, BuxWV 167, land, August 2: Magnifi cat primi toni, BuxWV All Saints’ Episcopal, Las Vegas, NV 10:30 Camp Hill Presbyterian, Camp Hill, PA 5 pm, Ach Herr, mich armen Sünder, BuxWV 178, 203, Erhalt uns Herr, bei deinem Wort, Bux- am 7 pm, 9 pm Praeludium in a, BuxWV 153, Ein feste Burg WV 185, Prelude in D, BuxWV 139, Buxte- Old Presbyterian Meeting House, Alexandria, ist unser Gott, BuxWV 184, Ciacona in c, hude; Sonata No. 2 in d, op. 15, van Eyken; 7 December VA 7 pm BuxWV 159, Wie schön leuchtet der Morgen- Symphony No. 4 in g, op. 32, Vierne. Holy Trinity Lutheran, Akron, OH 7:30 pm Rockefeller Memorial Chapel, Chicago, IL 4 stern, BuxWV 223, Praeludium in D, BuxWV All Saints’ Episcopal, Beverly Hills, CA 7:30 pm 139, Buxtehude. DAVID A. GELL, Trinity Episcopal pm Cathedral of St. Paul, St. Paul, MN 10:45 pm Church, Santa Barbara, CA, August 26: PHIL S. BROWN, Whitehaven United Prelude and Fugue in C, BuxWV 136, Pas- 9 December Methodist Church, Memphis, TN, August sacaglia in d, BuxWV 161, Ein’ feste Burg 6 January 26: Processional, Mathias; Fireside Fancies, ist unser Gott, BuxWV 184, Nun bitten wir Congregational Church, Woodstock, CT 4 pm All Saints, Worcester, MA 5 pm St. Peter’s by-the-Sea, Bay Shore, NY 5 pm op. 29, Clokey; Nettleton, Callahan; Choral den heilgen Geist, BuxWV 208 & 209, Pre- Church of St. Joseph, Bronxville, NY 3 pm Meditation on Morecambe, Elmore; Ein feste lude and Fugue in F, BuxWV 145, Vater un- Camp Hill Presbyterian, Camp Hill, PA 8:30 Cathedral of St. Mary of the Assumption, San am, 11 am Burg ist unser Gott, BWV 720, An Wasserfl üs- ser im Himmelreich, BuxWV 207, Von Gott Francisco, CA 3:30 pm sen Babylon, BWV 653b, Wir glauben all an will ich nicht lassen, BuxWV 220 & 221, Nun einen Gott, BWV 680; Bach; Hornpipe Hu- lob mein Seel’ den Herren, BuxWV 212, Dan- moresque, Rawsthorne; Grand Chorus Dia- ket dem Herren, denn er ist sehr freundlich, martin ott pipe logue, Gigout. BuxWV 181, Prelude and Fugue in g, BuxWV 149, Buxtehude. organ STEPHANIE BURGOYNE & WILLIAM company VANDERTUIN, Presbyterian Church of PAUL JACOBS, Trinity Church Wall M. L. BIGELOW & Co. inc. St. David, Halifax, NS, Canada, August 23: Street, New York, NY, August 9: Sonata, ORGAN BUILDERS Festive Fanfare, Jacob; Concierto V, Soler; Reubke; Trio Sonata in G, BWV 530, Bach; 1353 Baur Boulevard (801) 756-5777 St. Louis, Missouri 63132 Concerto in g, Graun; Largo ma non troppo Fantasy and Fugue on BACH, op. 46, Reger. 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 (Concerto in d, BWV 1043), Bach; Toccata in g, Becker; Pastorale (Symphonie No. 2), JEANNINE JORDAN, with David Jor- Widor; Duet Suite, Bédard; Andante (Sonata dan, visual artist, Lorraine Avenue Mennonite No. 7), Rheinberger; Suite Brève, Langlais; Church, Wichita, Kansas, July 18: Voluntary Trilogie, Bédard. in A, Selby; Festive Voluntary, Cutler & John- Parkey son’s Church Organ Voluntaries; Trumpet OrganBuilders DAVID CARLE, St. James United Church, Air, Bremner; Voluntary, Linley; The Battle Montreal, QC, Canada, August 7: Sonata No. of Trenton, Hewitt; Soft Organ Voluntary, Distinguished Pipe Organs 3, op. 65, Mendelssohn; Variations 1, 5, 6, and Emilio; Loud Organ Voluntary, Allatt; Toc- 3870 Peachtree Ind. Blvd. Voice 770-368-3216 10 (Sei gegrüsset, BWV 768), Bach; Herzlich cata in B-fl at, Barnes; Trio, Whitney; The Star Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com tut mich verlangen, op. 122, no. 9, Schmücke Spangled Banner Concert Variations, Buck. dich, O liebe Seele, op. 122, no. 5, Es ist’ ein Ros’ entsprungen, op. 122, no. 8, O Gott, du C. RALPH MILLS, First United Method- NEW INSTRUMENTS sound INSPIRATION frommer Gott, op. 122, no. 7, Brahms; Cho- ist Church, Charlottesville, VA, August 19: MAINTENANCE rale Fantasia on O God Our Help, Parry. Prelude and Fugue in a (Voluntary No. 5), C. RESTORATIONS Acoustical Design & Testing • Organ Consultation & Wesley; Three Short Pieces, S. Wesley; Choral PHILIP CROZIER, Basilika, Ottobeuren, Song and Fugue in C, S. S. Wesley; The Good 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training Germany, July 7: Voluntary in D, Boyce; Pe- Shepherd, Sandresky; Jubilo, Locklair. ABR 847-395-1919 tite pièce, JA 33, Alain; Ach bleib bei uns, Herr F INCY PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 Jesu Christ, Walcha; Praeludium in E, BuxWV THOMAS MURRAY, Music Institute of email: [email protected] www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 141, Buxtehude; Remembrance (Hommage Chicago, Evanston, IL, September 28: Sin- à Jean-Philippe Rameau), Pasticcio (Organ fonia (Cantata No. 29), Bach; Prelude and Book), Langlais; Six Interludes, Bédard; So- Fugue in e, Mendelssohn-Bartholdy, transcr. Hupalo & Repasky nata Eroïca, op. 94, Jongen. Murray; Adagio in E, Bridge; Clair de Lune _ (Pièces de Fantaisie), Vierne; Prelude and Pipe Organs CHRISTOPHER DAWES, with Choris- Fugue on B-A-C-H, Liszt; Mouvement, Ber- ters of St. Michael’s Choir School, Toronto, veiller; Roulade, Bingham; Reverie, Still; 1785 Timothy Dr. Unit 4 Stephen Hegedus, conductor, Knox Presbyte- Homage to Perotin, Roberts; Sonata I in d, San Leandro, Calif. 94577-2313 rian Church, Stratford, ON, Canada, August Guilmant. 510 483 6905 www.hupalorepasky.com A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 1717 Belle Street St. Joseph, MO 64503 802/457-3914 (816) 232-2008 Fax (816) 364-6499

Advertise in WOLFF & ASSOCIÉS The Diapason Facteurs d’orgues Organbuilders For rates and digital specifi cations, [email protected] www.orgelwolff.com contact Jerome Butera 450-661-2073 847/391-1045

[email protected] 1260, rue Tellier, Laval QC Canada H7C 2H2

36 THE DIAPASON

Dec 07 pp. 33-37.indd 36 11/8/07 8:57:26 AM MASSIMO NOSETTI, Cathédrale Saint- un thème original pour orgue quatre mains, (Symphony V in f), Widor; Carillon de West- no. 2, Mendelssohn; Prelude and Fugue in C, Pierre, Geneva, Switzerland, July 7: Trumpet Bédard; Ach Gott, wie manches Herzeleid, minster, Vierne. op. 13, Demessieux; Nimrod (Enigma Varia- Tune, Swann; Nun freut euch, lieben Christen op. 19, no. 3, Höpner; Double Fantaisie (Mo- tions, op. 36), Elgar, transcr. Tharp; Toccata and g’mein, BuxWV 210, Buxtehude; Legende, op. saïque, Vol. 1), Sonate en ré mineur, Merkel; JOHN SKIDMORE, Memorial Presbyteri- Fuga Sinfonica on BACH, Newman; Larghetto 132, no. 1, Bossi; Intermezzo, Cantabile (Sym- Toccata Française, Bölting. an Church, Appleton, WI, August 8: Toccata, (Symphonie No. 5 in a, op. 47), Vierne; The phonie VI, op. 42), Widor; Fête, Méditation Muffat; Jesu, Joy of Man’s Desiring, Prelude Fair (Petrouchka), Stravinsky, transcr. Tharp. (Suite Médiévale), Langlais; Academische Fes- CHRISTA RAKICH, St. Giles Episcopal and Fugue in G, Bach; My soul hath a desire touvertüre, op. 80, Brahms, transcr. Ludwig. Church, Northbrook, IL, September 16: Te and longing to enter the courts of the Lord MAXINE THEVENOT, St. John’s Cathe- Deum Laudamus, BuxWV 218, In dulci jub- (Three Liturgical Improvisations), Oldroyd; dral, Albuquerque, NM, July 23: Sellingers HEATHER & MARK PAISAR, First Pres- ilo, BuxWV 197, Puer natus in Bethlehem, Ave Verum, Titcomb; Sonorous, Passacaglia Rownde, Byrd; Sonata No. 2, Hindemith; byterian Church, Neenah, WI, August 15: BuxWV 217, Gelobet seist du, Jesu Christ, in d, Veni Creator, Falcone. Herzlich tut mich verlangen (nos. 9, 10), O Toccata in d, op. 59, Fugue in D, op. 59, Re- BuxWV 189, Ach Herr, mich armen Sünder, Welt, ich muss dich lassen (no. 3) (Eleven ger; Cantabile, Franck; Toccata in b, Gigout; BuxWV 178, Praeludium in f-sharp, BuxWV STEPHEN A. STEELY, Sinsinawa Mound, Chorale Preludes, op. 122), Brahms; Fan- Prelude and Fugue in C, BWV 547, Bach; Ru- 146, Buxtehude; Praeludium in E, BWV 566, Sinsinawa, WI, August 22: Fanfare, Mathias; tasia in d, Sweelinck; Zwei fragmente der brics, Locklair. Sonata No. 5 in C, BWV 529, Herzlich tut Two Fugues on the Magnifi cat, Pachelbel; Sonate für Orgel, Schönberg; Sonate für Or- mich verlangen, BWV 727, Bach; Ach Herr, Ave Maria, op. 80, Reger; Toccata, Adagio gel, op. 92, no. 1, Krenek; Sonata in f, op. 65, LARRY PALMER, organ and harpsichord, mich armen Sünder, Prelude and Fugue in and Fugue, BWV 564, Bach; Chant héroïque, no. 1, Mendelssohn. Southern Methodist University, Dallas, TX, C, Krebs. Chant de paix (Neuf Pièces, op. 40), Langlais; September 10: Paean (Six Pieces for Organ), Choral in a, Franck; improvisation. MARIJIM THOENE, with Laura Pem- St. Louis Comes to Clifton, Howells; Pas- NAOMI ROWLEY & GORDON ROW- berton, fl ute, St. Francis of Assisi Catholic torale, op. 19, Franck; Rhythmic Trumpet LEY, First United Methodist Church, Apple- NEIL STIPP, Cathedral of Our Lady of the Church, Ann Arbor, MI, August 13: Fantasy (Baroques), Bingham; Elevation (Tierce en ton, WI, July 11: Allegro (Voluntary No. 5 in Angels, Los Angeles, CA, August 22: Trio So- in G, BWV 572, Concerto in a, BWV 593, taille), Offertoire sur les Grands Jeux (Mass D), Stanley; Chorale and Fugue on You Ser- nata No. 1, BWV 525, Bach; Pièce Héroïque, Bach; Powwow Suite for Organ and Flute, for the Convents), Couperin; Praeludium in vants of God, Your Master Proclaim, Stirling; Franck; The Peace of the Celestial City, Bro- Vander; Toccata in F, BWV 540, Bach. g, BuxWV 163, Buxtehude; Sonata in f, K 69, El Flautista Alegre, Noble; Nocturne, op. 50, dy; Fantasy on an Irish Ballad, Clarke. Scarlatti; Sonata for Harpsichord, C. Wesley, no. 6, Foote; Petite Suite, Bédard. KENT TRITLE, with Christopher DeVage, Jr; Toccata in D, BWV 912, Bach. KIRSTIN SYNNESTVEDT, Sinsinawa baritone, Church of St. Ignatius Loyola, New CARL SCHWARTZ, First Congregation- Mound, Sinsinawa, WI, August 29: Passaca- York, NY, September 23: Prelude and Fugue KAREL PAUKERT, Fara Poznaĸska, al Church, Orwell, VT, August 5: Prelude, glia (Suite VII in g), Handel; Was Gott tut, das in d, op. 37, Mendelssohn; Zwei Geistliche Poznan, Poland, July 26: Sonata in A, Soler; Fugue (Green Mountain Organ Book), Cal- ist wohlgetan, Pachelbel; Prelude and Fugue Lieder, op. 105, Reger; Prelude and Fugue on Prelude and Fugue in D, BWV 532, Bach; lahan; Prelude in the Classic Style, Young; in e, BWV 548, Bach; Solemn Melody, Da- the theme BACH, Liszt; Grande Pièce Sym- Praeludium und Fuge über den Namen Prelude on O Come, O Come, Emmanuel, vies, transcr. Perry; Pastorale, op. 19, Franck; phonique, op. 17, Franck. B-A-C-H, Liszt; Fantasietta, Treml; Albion II, Schwartz; Sketch in D-fl at, op. 58, no. 4, Hymn Prelude on Amazing Grace, White; D’Alessio; Prélude, Fugue, et Variation, op. Schumann; Marche Romaine–Praise Ye The Toccata on Amazing Grace, Pardini. ANITA EGGERT WERLING, Sinsinawa 18, Franck; Adagio, Postludium (Glagolitic Father, Gounod; Intrada (Miniature Suite Mound, Sinsinawa, WI, August 8: Praeludium Mass), JanáĀek. for Organ), Ireland; Prelude and Fugue in PETER SZEIBEL, Sinsinawa Mound, in g, BuxWV 149, Buxtehude; Toccata for the C, BWV 531, Bach; Pastoral (Sonata III in G, Sinsinawa, WI, August 15: Praeludium in Elevation (Fiori Musicali), Frescobaldi; Vol- DAVID C. PICKERING, Southminster op. 88), Rheinberger; Ballade in Mode Phry- C (Prelude, Fugue and Chaconne), BuxWV untary in G, op. 1, no. 5, Walond; Partita on Presbyterian Church, Prairie Village, KS, Sep- gien, Alain; Offertoire (Suite for All Saints 137, Passacaglia in d, BuxWV 161, Praeludi- Nettleton, Eggert; Toccata, Adagio and Fugue tember 9: Praeludium in C, Nun bitten wir Day, op. 57, no. 48), Tournemire; Pastel on um in g, BuxWV 149, Chaconne in e, BuxWV in C, BWV 564, Bach; Ich ruf zu dir, Herr den heiligen Geist, Buxtehude; Passacaglia in “Eventide,” Callahan; Marche Religieuse, op. 160, Praeludium in E, BuxWV 141, Prae- Jesu Christ, Sei Lob und Ehr dem höchsten c, Bach; Cantabile, Pièce héroïque, Franck; O 15, Guilmant. ludium in f-sharp, BuxWV 146, Praeludium Gut, Was Gott tut, das ist wohlgetan, Walcha; Jerusalem, Gawthrop. in D, BuxWV 139, Praeludium in d, BuxWV Hommage à Frescobaldi, Langlais. NANCY SIEBECKER , First United 140, Buxtehude. SYLVIE POIRIER & PHILIP CRO- Methodist Church, Appleton, WI, August DANY WISEMAN, St. James United ZIER, Eglise de Sainte-Marie, Sainte-Marie 1: As If the Whole Creation Cried (Triptych STEPHEN THARP, Kimmel Center, Phila- Church, Montreal, QC, Canada, August 14: QC, Canada, June 17: Prélude et Fugue en for Solo Organ), Paulus; Allein Gott in der delphia, PA, July 11: Tu es Petrus (Esquisses Toccata ottava (Primo libro di toccate), Fresco- ut majeur, Albrechtsberger; Variations sur Hoh’ sei Ehr’, BWV 663, Bach; Allegro Vivace Byzantines), Mulet; Sonata No. 2 in c, op. 65, baldi; Symphonie-Passion, op. 23, Dupré.

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POSITIONS POSITIONS PUBLICATIONS/ PUBLICATIONS/ WANTED AVAILABLE RECORDINGS RECORDINGS

All-around, experienced organ builder desires Music Director—Cambridge, MA. Cambridge Refl ections: 1947-1997, The Organ Depart- Alec Wyton’s Lotus is back in print. Restored position with well-established fi rm for the fi nal Community Chorus seeks energetic and experi- ment, School of Music, The University of Michi- one year before his death, our exclusive edition 10–12 years of his career. Exceptional breadth of enced Music Director. Full job description and in- gan, edited by Marilyn Mason & Margarete includes photos and the full story behind Billy experience encompasses projects ranging from structions at http://www.CambridgeChorus.org. Thomsen; dedicated to the memory of Albert Strayhorn’s haunting melody played at Duke El- the restoration of organs from the 17th through Stanley, Earl V. Moore, and Palmer Christian. lington’s funeral. www.michaelsmusicservice.com. 20th centuries as well as rebuilds and the design Includes an informal history-memoir of the organ 704/567-1066. and construction of new organs. Experience with The Schantz Organ Company is expanding department with papers by 12 current and former all major action types from push pallet chamber its service and tuning department to include faculty and students; 11 scholarly articles; remi- organs through Wurlitzer. Tonal position pre- additional two-person teams. We have an niscences and testimonials by graduates of the PIPE ORGANS ferred. Skilled voicer of both fl ues and reeds. opening for a person with tuning and me- department; 12 appendices, and a CD record- Reply Box OC-1071, THE DIAPASON. chanical repair experience. We will consider ing, “Marilyn Mason in Recital,” recorded at the FOR SALE persons we can train. Wages based on experi- National Shrine of the Immaculate Conception ence. Benefits include paid health insurance, in Washington, DC. $50 from The University of Koehnken and Grimm (1870) 40-rank organ, POSITIONS 401K pension plan, and profit sharing. Send Michigan, Prof. Marilyn Mason, School of Music, rebuilt in 1970, in excellent condition; available inquiries to Schantz Organ Company, PO Box Ann Arbor, MI 48109-2085. for $21,000. Call 313/861-7500 for specifi cations AVAILABLE 156, Orrville, OH 44667. and details. The OHS Catalog Berghaus Pipe Organ Builders is online at www.ohscatalog. of Bellwood, org. More than 4,000 organ and theatre organ IL seeks experienced individuals for our design Goulding & Wood, Inc., of Indianapolis, is 1969 Reuter, Opus 1679, 33 ranks, 3 manu- CDs, books, sheet music, DVDs and VHS vid- als and pedal, currently installed in original and service departments. Please see full page seeking a service technician for immediate em- eos are listed for browsing and easy ordering. ad on page 7 for specifi cs. ployment. A minimum of three years prior ex- location, good service and recital instrument, Use a link for adding your address to the OHS could be rebuilt or used as basis of new instru- perience is required. Starting salary well above Catalog mailing list. Organ Historical Society, industry standards. The successful applicant ment. Buyer to remove. New price—$40,000. Box 26811, Richmond, VA 23261; E-mail: cata- For information call Homer at 480/205-1857, The House of Hope Presbyterian Church, St. will have general knowledge of various action [email protected]. Paul, Minnesota, seeks full-time Organist/Music designs, extensive tuning background, and e-mail [email protected] or visit Director. Applications accepted through January strong interpersonal skills. Voicing skills a plus. www.centralumc.com/yourti6530.html. 15, 2008. Expect to fi ll the position mid-2008. Please submit résumés or requests for more Historic Organ Surveys on CD: recorded For detailed information, see church website: information to: 823 Massachusetts Avenue, during national conventions of the Organ His- 1960s Walcker (German) 14-rank tracker www.hohchurch.org. Indianapolis, IN 46204. Fax: 317/637-5236, torical Society. Each set includes photographs, ″ e-mail: [email protected], web: organ. Open toe voicing on 2 wind pressure. stoplists, and histories. As many organists as Reverse console built into case. Footprint is www.gouldingandwood.com. organs and repertoire from the usual to the ′ ′ ″ Director of Music—Large downtown Montreal 6 wide by 11 6 deep (including console and unknown, Arne to Zundel, often in exceptional pedal stops), 9′10″ tall. All encased with 4′ church, with strong musical tradition, requires a performances on beautiful organs. Each set ′ ′ Director of Music with a minimum of ten years Principal façade. Manual I—8 Gedackt, 4 Goulding & Wood, Inc., of Indianapolis, is seek- includes many hymns sung by 200–400 musi- Octave, II Sesquialtera, II-III Mixture. Manual experience. The ideal candidate should have ing area representatives in various regions, par- cians. Historic Organs of Louisville (western ′ ′ ′ a post-graduate degree in music and familiar- II—8 Gemshorn, 4 Rohrflote, 2 Principal, ticularly the Southeast and Mid-Atlantic states. Kentucky/eastern Indiana) 32 organs on 4 CDs, 1-1/3′ Quinte. Pedal—16′ Bourdon, 8′ Flute, ity with the Reformed and English choral tra- Responsibilities and payment, including fi nder’s $29.95. Historic Organs of Maine 39 organs on ′ ditions. Choral and orchestral conducting as 4 Choralbass. Playing and in use regularly. fees and commissions, are negotiable based 4 CDs, $29.95. Historic Organs of Baltimore Asking $28,000. For recordings and pictures well as organ skills are required. Salary to be on prior experience. Please inquire in writing, 30 organs on 4 CDs, $29.95. Historic Organs contact [email protected]. commensurate with experience. Send your cur- including a résumé, either via e-mail to jason@ of Milwaukee 25 organs in Wisconsin on 2 riculum vitae, indicating the names of two ref- gouldingandwood.com or to 823 Massachusetts CDs, $19.98. Historic Organs of New Orleans erences, to Armand de Mestral, Chair, Search Avenue, Indianapolis, IN 46204. 17 organs in the Bayous to Natchez on 2 CDs, A college in Nashville closed its music pro- Committee, The Church of St. Andrew and $19.98. Historic Organs of San Francisco 20 gram in 1988 and is offering two practice or- St. Paul, 3415 Redpath Street, Montreal QC, organs on 2 CDs, $19.98. Add $2.50 shipping gans for sale (a 2-manual and pedal Schlicker Canada H3G 2G2. For more information kindly The Diapason 2008 Resource Directory in U S. per entire order from OHS, Box 26811, and a 2-manual and pedal Zimmer and Sons). consult www.standrewstpaul.com. Applications is coming! Additional copies available for $5 Richmond, VA 23261, by telephone with Visa or Contact Milnar Organ Co. 615/274-6440 or should be received by January 15, 2008. postpaid. MasterCard 804/353-9226; FAX 804/353-9266. www.milnarorgan.com for details. glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com

Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice

Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: [email protected] e-mail For Pipe Organ Parts: Advertise in Muller arndtorgansupply.com The Diapason Or send for our CD-ROM catalog For rates and digital specifi cations, Pipe Organ Company Arndt Organ Supply Company contact Jerome Butera P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 847/391-1045 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 [email protected] www.MullerPipeOrgan.com

Visit THE DIAPASON THE ORGAN COMPANY 1220 Timberedge Road website at Lawrence, Kansas 66049 (785) 843-2622 TheDiapason.com www.reuterorgan.com

3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

38 THE DIAPASON

Dec 07 pp. 38-39.indd 38 11/8/07 8:58:30 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.

PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES

1976 Schantz—19 ranks, 2 manuals and pedal. Wood pipes. Missing pipes made to match. Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- Pristine condition; playable. Asking $185,000 + Damaged pipes in any condition repaired. Over livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic cost of removal. For details contact Pastor Judy 25 years experience. Filip Cerny, 814/342-0975. organs.com. action. Removal and installation service avail- Anderson at [email protected]. able. Full warranty. Skinner, Casavant and Kimball specialty. Spencer Organ Company, Vintage consoles, pipes, relays, magnets The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation Van Daalen 19-rank tracker organ. $50,000 and numerous miscellaneous parts. Let us know organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, or best offer. Contact for stoplist. Gary Thorn, what you are looking for. E-mail orgnbldr@com- and tonal work. Finest materials, expert work- www.spencerorgan.com. 507/288-6430, [email protected]. cat.com (not comcast), phone 215/353-0286 or manship. K.E.M. Pipe Organ Builders, Austin, 215/788-3423. TX. 800/792-8180. 1927 Moller pipe organ—electropneumatic RELEATHERING: also Pipe Organ Re- action, four manuals, drawknob console, 28 building, Repair and Maintenance Service ranks. Available for removal Immediately. Buyer Laptops, Pocket PCs and Tuning Software— Highest quality organ control systems since in New England area. Years of experience, to remove. Make offer. Currently in use. Contact tune harpsichords and pianos. Herb Huestis, 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, Salem United Church of Christ, 435 South 9th 1502–1574 Gulf Road, Point Roberts, WA 98281. action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- St, Quincy, IL 62301, 217/222-0601, offi ce@ Phone 604/946-3952, e-mail: [email protected]. are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail salemquincy.org. Computer tuning software is sensitive to 1/10 pricing, custom software to meet all of your [email protected]. cent, much greater than dial tuners. Over 100 requirements. For more information call Westa- programmable temperaments. Check it out on cott Organ Systems, 215/353-0286, or e-mail Atlantic City Pipe Organ Co.—2-manual, 8- www.tunelab-world.com. Pocket PC Ipaq 3650 [email protected]. Austin actions recovered. Over 30 years stop, 10-rank 1976 Joseph Chaplin tracker in with shareware tuning software, $150, includes experience. Units thoroughly tested and fully good playable condition. $8000. Check website stand, power supply and shipping. 8x10x2 small guaranteed. Please call or e-mail for quotes. for pictures, specs. http://mywebpages.comcast. Toshiba laptop used for shop tuning: $200 in- Columbia Organ Leathers sells the fi nest Technical assistance available. Foley-Baker, net/acorgan. 609/641-9422. cluding shipping. Requires external microphone leathers available for organ use. We sell pre- Inc., 42 N. River Road, Tolland, CT 06084. which is included. Spreadsheets of historical punched pouches and pre-assembled pouches, Phone 1-800/621-2624. FAX 860/870-7571. tunings showing both aural and electronic tun- and we specialize in custom releathering ser- [email protected]. 1999 Morel & Associates organ. Two man- ing data, $18 including shipping. Improve your vices. Call today for a catalogue. 800/423-7003 ual and pedal, 17 stops, 20 ranks. Originally tuning skills! or e-mail: [email protected]. built for a chamber installation, organ has a handsome colonial-style case front. Excel- Flue pipes in metal and wood–Mixtures lent condition. Brochure and demonstration and upperwork are available from stock Request a free sample issue of THE DIAPASON Need help with your re-leathering or specify custom orders to meet your CD available. Call 303/355-3852, or e-mail for a student, friend, or colleague. Write to the [email protected]. project? All pneumatics including exact requirements. Tuning Sleeves with Editor, THE DIAPASON, 3030 Salt Creek Lane, Austin. Over 45 years experience fl are–Order complete sets ready to install Suite 201, Arlington Heights, IL 60005; or e- or bulk quantities in each diameter. These mail: [email protected]. (on the job assistance available). Bedient “Lincoln” practice organ, Opus 62, 615/274-6400. sleeves are guaranteed to fi t and will not 1999. Manual I: Rohrfl ute 8, Manual II: Gedackt tarnish or corrode. For excellent quality, 8, Pedal: pull-down from II. Mechanical action. Fits great pricing and timely delivery contact: under 8′ ceiling. White oak case. Located near New A gift subscription to THE DIAPASON makes International Organ Supply, P.O. Box 401, Haven, CT. $35,000 (purchaser to pay relocation a most welcome holiday gift for an organist ALL REPLIES Riverside, IL 60546. 800/660-6360. FAX costs). [email protected]; 203/481-8139. friend, a student, or a clergyperson. Use the 708/447-0702. coupon on page 20. TO BOX NUMBERS REED ORGANS that appear Classifi ed Ads must be prepaid and may be without an address Postal regulations require that mail FOR SALE ordered for 1, 2, 3, 4, 5, or 6 months. should be sent to: to THE DIAPASON include a suite num- Mason & Hamlin reed organ, 1898, one manual ber to assure delivery. Please send THE DIAPASON and 13 stops. Walnut case in exceptionally good New classifi ed advertising rates go into all correspondence to: THE DIAPASON, condition, internal parts repaired or restored and effect with the January 2008 issue of THE 3030 W. Salt Creek Lane, Suite 201 all working very well. Original, matching stool. 3030 W. Salt Creek Lane, Suite 201, DIAPASON. See page 37 for information. Has had loving home and seeks same. Photos Arlington Heights, IL 60005 Arlington Heights, IL 60005. available. $1,000. 301/929-9246.

Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America

J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS

GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC Charles W. McManis NEW INSTRUMENTS REBUILDS - ADDITIONS “Three Generations at Organ Building” In Memoriam TUNING & SERVICE 1070 N.E. 48th Court CHARLOTTE, NORTH CAROLINA 28218 FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852

Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005

300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of fi rst issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073

DECEMBER, 2007 39

Dec 07 pp. 38-39.indd 39 11/8/07 8:58:57 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com

George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008

Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*

CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007

The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director April 21-27, 2008

The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009

*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*

Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*

WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com

John Weaver Gillian Weir* Todd Wilson Christopher Young