THE DIAPASON JUNE, 2011
The Church of the Resurrection New York, New York Cover feature on pages 26–27
June 2011 Cover.indd 1 5/13/11 8:34:57 AM June 2011 pp. 2-18.indd 2 5/13/11 8:36:24 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 6, Whole No. 1219 JUNE, 2011 In the wind . . . typical tractor tire with a pressure of Established in 1909 ISSN 0012-2378 Please accept my admiration for the 40 psi would be the equivalent of 1,080 An International Monthly Devoted to the Organ, John Bishop’s wonderful column in the inches of wind. That would indeed be the Harpsichord, Carillon, and Church Music April issue. His paean to the Cathedral the “Last Trumpet!” of St. John the Divine struck a mighty David Wigton chord of nostalgia, combined with ad- Dryden, Michigan miration of Bishop’s evocative writing, in CONTENTS Editor & Publisher JEROME BUTERA [email protected] which he expressed thoughts about the John Bishop replies 847/391-1045 building and its organ—which I have al- My thanks to my friend David Wig- FEATURES ways felt deeply. ton for his nice comments, and for Harpsichord Playing in America Associate Editor JOYCE ROBINSON Over a period of six years (four as a catching my error about wind pres- “after” Landowska [email protected] by Larry Palmer 19 choirboy and, overlapping that, four sure. He’s correct, of course, within 847/391-1044 as an organ student of Norman Coke- seven tenths of an inch. I checked Two organs in Cairo—a history of renovation Contributing Editors LARRY PALMER Jephcott) I was in the cathedral almost with friend and colleague Harley Pilt- by the Ktesibios Foundation daily. In order to gain admittance to the ingsrud to get the accurate “skinny” by Bill Halsey 22 Harpsichord circular staircase leading to the organ on the subject. Many readers will re- The Pipe Organ in African-American Worship: JAMES MCCRAY of St. James’ Chapel, I found myself call that Harley is responsible for the Symposium at the University of Michigan Choral Music in possession of a huge key ring, which useful influential publication of the by Sylvia Wall 24 admitted me to every nook and cranny Organ Historical Society, “The Aging BRIAN SWAGER Carillon of the place. Being a naughty teenager, of Organ Leather,” which he co-wrote NEWS & DEPARTMENTS I made use of this privilege, visiting all with Jean Tancous of the University Editor’s Notebook 3 JOHN BISHOP the places John Bishop describes so viv- of Cincinnati. He is retired from the Letters to the Editor 3 In the wind . . . idly. (One day I got out on the roof of St. National Institute for Occupational Here & There 3, 4, 6, 8, 9, 10 James’ Chapel and found that I could Safety and Health (NIOSH), where he GAVIN BLACK make the entire circuit of the roofs of worked on high-tech ventilation proj- Appointments 8 On Teaching Nunc Dimittis 9 the eight apsidal chapels by climbing ects. He’s a great asset to the pipe or- Carillon News by Brian Swager 10 up and down the rain gutters [more like gan community, sharing his expertise Reviewers John L. Speller canals—empty, of course], which con- on air handling, air flow, and issues of In the wind . . . by John Bishop 10 John M. Bullard nected each chapel’s roof to the walls of pressure, moisture, and ventilation to On Teaching by Gavin Black 13 James M. Reed Charles Huddleston Heaton the apse.) the benefit of churches that own large Jay Zoller It was a great pleasure to meet John and complicated organs. I asked him REVIEWS Bishop a few weeks ago at the Church of to refresh my numbers for conversion Music for Voices and Organ 14 David Herman Charlie Steele the Resurrection; and I just had to write of wind-pressure measurement from Book Reviews 15 how very much it meant to me to read water-column-inches to pounds-per- New Recordings 15 his expressions of admiration for that square-inch. Here’s his response: THE DIAPASON (ISSN 0012-2378) is published monthly New Organ Music 16 by Scranton Gillette Communications, Inc., 3030 W. Salt wonderful place and that wonderful or- “The density of water is 62.4 lb/cu- Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. gan, which I share completely. bic foot, or 0.036 lb/cubic inch. A water NEW ORGANS 25 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 MSG RLY. E-mail:
3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability Arlington Heights, IL 60005. for the validity of information supplied by contributors, vendors, advertisers or advertising agencies.
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission 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 other courses or for the same course offered subsequently.
Editor’s Notebook
In this issue example, the calendar on our website Among the offerings in this issue of contains nearly 300 listings, ranging from The Diapason is Larry Palmer’s refl ec- the present date through several months tion on the legacy and infl uence of Wan- ahead. To access the web calendar, visit da Landowska on harpsichord playing in our website
JUNE, 2011 3
June 2011 pp. 2-18.indd 3 5/13/11 8:44:38 AM Emmanuel Church, Chestertown, series: June 19, music for voice and in- Duella, Sergio Paolini, Leonardo Ciam- Maryland, concludes its 2010–11 music struments; August 6, La Música Antigua pa, Jacques Boucher, Colin Walsh, and series: June 2, Evensong; 6/4, Ken Cow- de España. For information: 805/687- others. For information: an. For information: 0189;
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June 2011 pp. 2-18.indd 4 5/13/11 8:45:02 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
June 2011 pp. 2-18.indd 5 5/13/11 8:45:23 AM 5SPNQFUUFFO$IBNBEF "FPMJBO +VEJUI)BODPDL 4UFQIFO)BNJMUPO BOE 4LJOOFSPSHBO PQVT 'JSTU1SFTCZ %BSMFOF8JMFZ UFSJBO$IVSDI ,JMHPSF 5FYBT 5IPNBT#SPXO $BSMB&EXBSET lene Wiley, chair of the voice depart- kins performing music by Alain, Bach, ment at the university, recited the Paul D’Aquin, Davies (arr. Perry), Langlais, Thomas Brown played a recital Dr. Larry Smith, with sincere gratitude Claudel poetry that inspired Dupré to Purvis, Sowerby, Vierne, and Vivaldi- on piano and organ, March 15, at The from Carla Edwards.” Larry Smith, a write Le Chemin de la Croix. Shown in Bach on the Aeolian-Skinner organs Brick Church, New York City. The pro- teacher of Carla Edwards, retired in 2008 the photograph are (left to right) Drs. of Symphony Hall, Boston; Cathedral gram featured the church’s 1898 Stein- as chairman of the organ department at Judith Hancock, Stephen Hamilton, Church of St. Paul, Boston; Christ way C concert grand piano, op. 88211, Indiana University, Bloomington. The and Darlene Wiley. Church, Bronxville, New York; and First and Casavant organ, op. 3837, from program includes Eben, Hommage à Presbyterian Church, Kilgore, Texas, 2005, and included works by Granados, Dietrich Buxtehude; Sokola, Passacaglia with over two hours of recorded sound, Ravel, Balakirev, Rachmaninoff, Cho- quasi Toccata na tema B-A-C-H; Adler, including previously unreleased material pin, Gigout, Franck, Widor, and Duru- Festive Proclamation; Martinson, Litany; recorded for Aeolian-Skinner by Thomas flé. For information: Planyavsky, Toccata alla Rumba; Duruflé, Dunn and Roy Perry, and an interview
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6 THE DIAPASON
Revised page 6 June.indd 1 5/17/11 10:03:30 AM Allen’s 40th year as the world leader of digital music preceding other organ builders by more than 15 years.
A Celebration! A revolution in the music industry occurred in 1971 when the Allen Organ Company introduced the world’s first digital musical instrument! Innovation Craftsmanship
To celebrate Allen’s 40th year as the world leader of digital music, Allen designed Special 40th Anniversary Models with today’s most advanced organ technology at very special celebration prices! Reliability Customer Dedication
Watch the Special 40th Anniversary Video at www.allenorgan.com/anniversary
Allen Organ Company, 150 Locust Street, Macungie, PA 18062 (610) 966-2202 www.allenorgan.com found most helpful in her own career. The video begins with Jensen’s pre- Appointments senting three lessons, which explain the physical gestures important for develop- ing special organ techniques and touch- es. Seven individual lessons follow with former students and organists who have coached with Jensen: Mary Catherine Race, Samuel Hutchison, Caroline Rob- inson, Andrew Peters, Gayle Sullivan, Susan DeKam, and Parker Ramsay. The video ends in “A Conversation with Janette Fishell and Wilma Jensen,” in which they discuss their diverse musi- cal backgrounds as teachers, church mu- sicians, and performers, and how these experiences have infl uenced their gen- eral approach to teaching. Available at Lois Fyfe Music, 800/851- 9023 or 615/386-3542;
8 THE DIAPASON
June 2011 pp. 2-18.indd 8 5/13/11 8:46:16 AM Annville, Pennsylvania, where he stud- Christmas Tree, for SATB chorus a cap- the release of the fi rst four CDs in His program combines works by Span- ied with Pierce Getz; and degrees in or- pella and with orchestra. the series Historic Organs of Oaxaca. ish (Correa de Arauxo and Cabanilles) gan performance and church music from Hoiby had just completed work on an The recordings were made during live and North German (Sweelinck and Westminster Choir College, Princeton, operatic setting of Romeo and Juliet, with concerts of IOHIO’s international or- Scheidt) composers. New Jersey, where he studied with Wil- a libretto by Mark Shulgasser adapted gan and early music festivals, and fea- For Vol. IV, Luigi Ferdinando liam Hays. He previously served as senior from Shakespeare. Lee Hoiby is survived ture the meantone-tuned organs in Tagliavini performs works by 16th– organist at St. Michael Catholic Church by his partner and longtime collaborator San Jerónimo Tlacochahuaya and the 18th century Italian (Storace, Fresco- in Houston, Texas, and in other churches Mark Shulgasser. Oaxaca Cathedral, restored during baldi, Pasquini, Scarlatti, Cimarosa) in Texas, Arkansas, and New Jersey as an the 1990s by organbuilder Susan Tat- and Spanish (Bruna) composers on the organist and choir director. Also active Sophie Toppin, age 90, died Janu- tershall. Each CD includes a 20-page organ of San Jerónimo Tlacochahuaya. as an organ and piano accompanist, he ary 3, 2011 in Smithtown, New York. booklet in English and Spanish, with For further information: has accompanied choral concerts at the A native of Floral Park, New York, she essays by Barbara Owen about the
During World War II he served in DOBSON CASAVANT FRERES the Navy as an instructor in aircraft hy- draulics; he married Catherine Keppel during this tour of duty. Fischer served as a sales representative for the Tellers Organ Company and then for Herman Schlicker, and later turned to building new organs of his own design. He built 17 new instruments and was involved in many relocations and rebuilds; he was BOODY TAYLOR also an early advocate of the American Institute of Organbuilders. Robert M. Fischer is survived by his sons Robert and Eric, and daughter Catherine. Henryk Mikolaj Górecki died No- vember 12 in Katowice, Poland at the age of 76. Górecki’s early interest in
music led him to study clarinet, piano, DYER R. violin, and theory. His compositions in- cluded works in a dissonant, modernist idiom, and later in a simpler style. His best-known works are his Second and Third Symphonies, whose scoring in- cludes solo voices. Górecki’s keyboard works include a Harpsichord Concerto GARLAND FISK (opus 40, 1980), and Kantata for organ (opus 26, 1968). Henryk Mikolaj Górecki is survived by his wife Jadwiga, daughter Anna Górecka-Stanczyk, a pianist, and son Mikolaj Górecki, a composer. FRITTS Composer Lee Hoiby died March 28 of metastatic melanoma. He was 85 and lived in Long Eddy, New York. Born in Madison, Wisconsin, he studied piano with Danish pianist Gunnar Johansen, pursued a master’s degree at Mills Col- lege in Oakland, California, and subse- Your Church Needs a New Pipe Organ. quently studied composition with Gian GOULDING & WOOD Carlo Menotti at the Curtis Institute of Music in Philadelphia. Menotti arranged What’s the First Step? for the successful premiere of Hoiby’s fi rst opera, the one-act The Scarf, at the inaugural Spoleto Festival in 1958. Call or e-mail us! From information for your architect through fund-raising, APOBA Known for his traditional, lyrical style, has helpful publications concerning every aspect of an organbuilding project. Hoiby composed in the solo piano, cham- ber ensemble and orchestra genres, but was most acclaimed for his vocal works. Hoiby composed over 100 songs, adapt- And, they’re FREE for the asking! ed the Tennessee Williams play Summer and Smoke (1971, to a libretto by Lan- QUIMBY REDMAN SCHANTZ SCHOENSTEIN & ford Wilson), and composed several one- HENDRICKSON act operas, including Something New for To receive information about pipe organs the Zoo (1979), The Tempest (1986), and and recognized pipe organ builders This Is the Rill Speaking (1992). His choral music includes the Christ- AP write or call toll free 1-800-473-5270 mas cantata A Hymn of the Nativity, the or on the web @ www.apoba.com oratorio Galileo Galilei, works for chorus PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America and orchestra on texts of Walt Whit- BO man, Jacob’s Ladder, for mixed chorus, A P.O. Box 155 • Chicago Ridge, Illinois 60415 organ, and brass quintet, composed for
the rededication of the Cathedral of St. OTT PARSONS John the Divine in 2008; And The Wa- ters Flow, for mixed chorus, children’s NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP chorus, bass, harp and organ; and The
JUNE, 2011 9
June 2011 pp. 2-18.indd 9 5/13/11 8:46:39 AM Paccard, 48 bells) in Grand Rapids will provide open towers. Carillon News For further details, see
In the wind . . . Michael Fazio lecture in São Paulo by John Bishop
Michael Fazio, president of Austin Matthew’s Lutheran Church in Hanover, Organs, presented “A Construção de Pennsylvania, and the rebuilding of órgãnos nos Estados Unidos e a tradição two Austin organs at Buncombe Street Austin” (Construction of organs in the United Methodist Church in Greenville, USA in the Austin tradition) in São Paulo, South Carolina Brazil, on March 31. The presentation While in São Paulo, Fazio also helped was hosted by the University of São Paulo work on the 100-year-old Austin organ and was attended by faculty members and in the Catedral Evangelica de São Paulo organ students of Dr. Dorotéa Kerr. (Presbyterian), which was originally in- Fazio’s lecture and multimedia pre- stalled in the First Presbyterian Church sentation was delivered in Portuguese, in Greenville, South Carolina. São Paulo following a three-week crash course on- organ technician Warwick Kerr removed line and subsequent translation with the the organ from the South Carolina aid of Google Translate. The presenta- church and installed it in the São Paulo Kirk in the Hills tion included a virtual tour of projects Cathedral in 1986. currently underway in the Austin fac- In response to requests from people International Carillon Congress in tory, including a new 5-manual/107-rank who were not able to attend the univer- Michigan organ for First Baptist Church, Wash- sity lecture, a second presentation was Seven churches and three universities ington, D.C., the complete rebuilding offered on April 3 at the Catedral Evan- in Michigan will host a joint congress of of the 4-manual/247-rank Austin at St. gelica de São Paulo. the World Carillon Federation and the Guild of Carillonneurs in North America from June 26 through July 2. The gather- Aeolus ing will celebrate the 75th anniversary of Ruler of the winds. That’s who he the GCNA, the 75th anniversary of the was. According to Greek mythology, he University of Michigan Baird Carillon, was son of King Hippotes and custodian and the start of the next 500 years of the of the four winds, keeping them in the carillon, which originated in the area of heart of the Lipara Islands near Sicily. At Europe that now comprises Belgium, the request of other gods, Aeolus would the Netherlands, and northern France. release gentle breezes or fi erce gales, de- Activities will include recitals on nine pending on the circumstances. He was carillons as well as other instrumental something of a vendor to the gods. The and ensemble performances, presenta- Greek hero Odysseus visited Aeolus, tions and workshops, business meetings, who gave him a parting gift of the four and social events. winds in a bag to ensure his safe return Congress headquarters will be lo- to Ithaca. During the voyage, Odysseus’s cated at Kirk in the Hills, Bloomfi eld crew was curious about the contents of Hills. The Kirk (77-bell Petit & Fritsen the bag. When they were fi nally close carillon) will host all events on Sunday enough to actually see Ithaca, Odysseus and Monday, while St. Hugo of the Hills fell asleep. Members of his crew opened Catholic Church (48-bell Eijsbouts the bag, releasing the winds, and the ship carillon) and Christ Church Cranbrook was blown disastrously off course.1 (50-bell Taylor carillon), also in Bloom- It’s not for nothing that there was an Allen Elite Opus VII, St. Andrew’s Catholic Church, Roanoke, Virginia fi eld Hills, will be Wednesday and Fri- organbuilding company named Aeolian, day’s venues. Participants will journey later merged with the Skinner Organ Allen Organ Company announces This new organ was built to replace to the University of Michigan, Ann Company to form the august fi rm of Ae- the installation of Elite Opus VII at a 12-rank Zimmer pipe organ that had Arbor, on Tuesday, where activities olian-Skinner, builder of many of Amer- St. Andrew’s Catholic Church in Roa- served the congregation since the early will include a silent fi lm with carillon ica’s greatest pipe organs. The Aeolian noke, Virginia. Elite™ Opus VII is a 1970s. Due to a sizable donation in mem- accompaniment at the Baird Carillon myth is the heart of the pipe organ. four-manual, 95-stop instrument de- ory of Jennie Laurie, the church was able (Taylor, 55 bells) on the central cam- § signed not only to support the liturgy, to consider several options. Rudy Lucen- pus, a 75th-anniversary extravaganza but also to serve as a major concert te, assistant organist at the Grand Court recital on the north campus Lurie Car- I love wind. We live near the ocean instrument. The dedication concert Organ (Macy’s–Philadelphia), Kelly J. illon (Eijsbouts, 60 bells), a visit to the where the wind can have the special series on this instrument features Wheelbarger, director of music and or- nearby Kerrytown Chime, and a Pipe quality of having moved unobstructed such artists as Peter Latona (Basilica ganist for St. Andrew’s Church, and the Organ Encounter. for hundreds, if not thousands, of miles. of the National Shrine of the Immac- donor ultimately decided that a custom Thursday will feature a visit to Detroit Sometimes it’s gentle and refreshing, ulate Conception), Sophie-Veronique Elite instrument would best serve the to see and hear carillons at St. Mary’s of sometimes it’s bracing and challenging, Cauchefer-Choplin (St. Sulpice), needs of the church. For information: Redford (Paccard, 51 bells), Jefferson and sometimes it’s downright scary—but Aram Basmadjian, and Diane Bish,
CLAYTON ACOUSTICS GROUP 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
10 THE DIAPASON
June 2011 pp. 2-18.indd 10 5/13/11 8:47:00 AM 10090113_Johannus_adv_246x360_DIA_FC.indd 2 4/20/11 3:21 PM creation Pigpen, friend and confi dant of and could apparently carry 200 tons of Charlie Brown. freight. The Persians developed wind- I love harnessing the wind to make a mills for grinding grain around 500 BC. small sailboat go. With tiller in one hand And the earliest form of the pipe organ and main-sheet in the other, the feel- dated from around 250 BC. ing of owning the wind—of inviting it to Just as wind draws a sailboat rather draw me where I want to go—is a thrill. than pushes it, the wind itself is usually I can see the approach of a puff—an drawn instead being “blown.” Meteorol- extra burst of wind—making tracks on ogists tell us of high- and low-pressure the water coming towards me so I can areas. A low-pressure area represents a loosen the pull of the sail at just the right lighter density of air, and high-pressure moment to retain control of the boat. I air fl ows toward it. A “sea-breeze” is know the marks on the water are a little formed by convection. If a coastal area behind the leading edge of the puff so warms up in the sun around midday, the the puff actually hits my sails before the air above the land rises and cooler air rougher water hits the hull. If I’m sailing from above the water fl ows in to take across or into the wind, I’m aware of its its place. So most winds are “fl owing to- power moving past me. If I’m sailing with ward” rather than “blowing away.” the wind at my stern and everything’s go- The motion of air that we know as ing right, my boat moves at close to the wind is one of the greatest forces on same speed as the wind, so it seems rela- earth. If a gentle wind blowing over the tively calm. table on your porch can send a plate of When I was kid, I learned about the crackers fl ying, think of how much ag- principles of lift by holding my fl at hand gregate force there is across ten or twen- out the car window as my parents drove. ty miles of porches. You could move a lot If I cupped my hand a little so my knuck- of crackers. This might not be the place les were higher than the tips of my fi n- for political or social opinions—but I’d gers, my hand would be pulled upwards. rather see windmills than strip mines. I now know that I was simulating the Both are bad for birds and both inter- curved upper surface of an airplane’s rupt the landscape, but one doesn’t lead wings, causing the air above my hand to to smog or acid rain. And let’s not even move faster than the air under it. The mention spent nuclear fuel rods. Spent faster moving air created a lower pres- wind is fully recyclable! sure above my hand, causing it to lift. Harnessing the wind is the work of the My curved hand gave the same effect organbuilder. We create machinery that as the curve of my boat’s sails. The sails moves air, stores it under pressure, dis- are mounted upright—so the air mov- tributes it through our instruments, and ing faster across the convex curves of the lets it blow into our carefully made whis- front of the sail draws the boat forward. tles. The energy of the moving air is trans- The only time the wind actually pushes formed into sonic energy. As one mentor the boat is if the wind is from behind. said to me years ago, air is the fuel we use Otherwise, the boat is being pulled for- to create organ tone. Ever wonder why ward by that pressure differential. a wider pipe mouth, open toe, or open As a student at Oberlin, I was privi- windway creates louder tone? Simple— Choir, St. Thomas Church Fifth Avenue, New York City (photo credit: Matthew Brown) leged to practice, study, and perform on more fuel is getting to the burner. the school’s wonderful Flentrop organ. When I sit in a church listening to welcoming leadership of congregational The reredos created by sculptor Lee It was brand-new for my freshman year, a great organ, I imagine thousands of singing, touching rapport with the boys Lawrie is 80 feet tall, 43 feet wide and right in the heart of our twentieth-cen- little valves fl itting open and closed, of the choir, concise and unobtrusive contains more than 80 fi gures. (If we tury Renaissance, the revival of classic and reservoirs and wind regulators ab- conducting, and by the way, marvel- say it’s a 159-rank organ, do we say it’s styles of pipe organ building. While solutely tingling to release the treasure ous organ playing made our two hours an 80-saint reredos?) The stained-glass many of us were used to the solid wind of their stored fuel into the heavens as in that beautiful church as meaningful windows are spectacular, including a of early twentieth-century organs, that glorious sound. They may be machines, and memorable a musical experience as rose window of unusually deep colors instrument had a fl exible wind sup- but when they’re doing their thing dur- I can recall. The new Mass setting was that is 25 feet in diameter. ply, terrifi c for supporting the motion ing worship, they take on what seems gorgeous, moving from recognizable folk Most churches that own fancy stained- of Baroque music, but a certain trap like human urgency. tunes to riffs reminiscent of Olivier Mes- glass windows have to face expensive for the inattentive organist. Approach § siaen in the Sanctus. (Is it OK to say Mes- restoration projects at some point. The a big chord wrong, and the sagging of siaenic when describing Easter music?) effects of air pollution corrode a win- the wind would remind you of the feel- Wendy and I have been enjoying the I love noticing the way the sound of an dow’s metal components, and simple ing you get in your stomach going over use of an apartment in New York City’s organ can change with different players. weathering compromises a window’s the top of a roller-coaster hill. If you Greenwich Village that belongs to friends Dr. Scott was conducting for most of the structure and its ability to keep out the played with a fi rm hand on the main- of my parents. Yesterday we went up to Mass, and we were treated to the won- elements. I was maintaining the organs sheet, watching the wind like a hawk, Midtown to attend an Easter festival ser- derful playing of associate organist Fred- at Trinity Church, Copley Square in you’d return safely to the dock boosted vice at St. Thomas Church on Fifth Av- erick Teardo and assistant organist Kevin Boston when the magnifi cent windows by your friend the wind. enue. We chose the early Mass at 8:00 Kwan. Dr. Scott slid onto the bench for by John LaFarge were removed for res- I don’t do the thing with my hand out because the church’s website assured us the postlude, Gigout’s Grand Choeur toration. There were more than 2,000 the car window any more because I’m that the music would be the same as at Dialogué, and off we went. Oopah! It pieces of glass in some of those win- almost always the one driving. Judging the later version but the crowds would was my impression that Scott’s years at dows, and it was just as complicated to from my neighbors on many highways, I likely be less. Preludes with organ and London’s cavernous St. Paul’s Cathedral restore them as to restore a large pipe should keep my hands free for texting, brass started at 7:30, including music of prepared him to treat the magnifi cent organ. And while I think there’s less that fl ossing my teeth, or putting on makeup. Pelz, Howells, Gabrieli, Dupré’s Poème sanctuary of St. Thomas Church as an can go wrong with a reredos than with But I don’t text or brush my teeth while I Héroïque, and Richard Strauss’s Feierli- intimate space. Such rhythm, such drive, a window or a pipe organ, I’m sure that drive, and I never wear makeup. cher Enzug—a mighty amount of music such energy, such clarity. Wonderful. at least that great heap of saints has to § for that hour of the day. The Mass setting And speaking of wind . . . be cleaned one in a while—a job that was the premiere of John Scott’s Missa There were six extraordinary brass would involve the careful choice and use Harnessing the wind has been a hu- Dies Resurrectionis. players (plus percussion), about 30 boys of cleaning solvents and solutions, a big man endeavor for millennia. There are John Scott must be the greatest ad- and 20 men in the choir (I didn’t count, assortment of brushes, a hundred feet of images of sailing vessels under weigh on dition to American church music since so I’m probably not accurate), ten clergy scaffolding, and a fancy insurance policy. coins dating from about 3000 BC, and electric organ blowers. His superb mu- and attendants, and maybe a thousand Imagine the fi scal implications of drop- by 500 BC sailing ships had two masts sicianship, immaculate sense of timing, congregants. Quite a hoopla for eight ping a bucket of water from 80 feet up in in the morning. The Great Organ in the a place like that. chancel has 159 ranks, and there’s a gor- But seldom, if ever, do we hear of a geous Taylor & Boody organ in the gal- place like St. Thomas Church replacing lery with 32 ranks. Add us all up and we their windows or reredos. The original MANDER ORGANS were burning a lot of fuel. It’s beautiful designs are integral with the building, to me to stand in the midst of all that and it would hardly cross our minds sound, thinking of it in terms of wind. to say that styles have changed and we New Mechanical The word inspiration has two distinct need to overhaul the visual content of meanings: the process of being mentally our liturgical art every generation or so Action Organs stimulated to do or feel something, espe- to keep up with the times. Just imagine cially something creative; and the draw- the stunned silence in the vestry meet- ing in of breath. These two meanings ing when the rector proposes the re- come together dramatically during festi- placement of the reredos. “It’s just too val Masses in our great churches. old fashioned . . . ” Exquisite When we worship in great churches We hardly bat an eye before pro- Continuo Organs like St. Thomas in New York, we are posing the replacement of a pipe or- St. Peter’s Square surrounded by opulent works of art. gan. Across the country, thousands of churches originally equipped with per- London E 2 7AF • England fectly good pipe organs have discarded [t] 011 44 20 7739 4747 and replaced them with instruments [f] 011 44 20 7729 4718 more in tune with current trends, more [email protected] in sync with the style and preferences of current musicians, and ostensibly more www.mander-organs.com economically maintained. Imaginative Reconstructions Why is this? Simple. Windows and statues are static. They stay still. The
12 THE DIAPASON
June 2011 pp. 2-18.indd 12 5/13/11 8:47:43 AM sun shines through them and on them, During this time he avidly studied pia- and exciting performance, and his deci- air (and all that comes with it) moves no, and was interested in the widest pos- sion to return to the concert stage at this around them, but physically they stay On Teaching sible variety of music, acquiring scores juncture in his life struck me at the time still. A pipe organ is in motion. When by Gavin Black of then very new works by, for example, (and still does today) as an act of great you turn on the blower, reservoirs fi ll, Debussy and Ravel. Kirkpatrick arrived courage and dedication. This concert wind conductors are stressed by pres- at Harvard University as a freshman in ushered in a fi nal fl owering of his work sure, leather moves, the fabric of the 1927 completely absorbed by music. It as a performer that lasted about four instrument creaks and groans as it as- was there that, by utter chance, he dis- years and culminated in a recital at the sumes its readiness to play. When you covered the harpsichord: a Dolmetsch/ fi rst Boston Early Music Festival. play a note, valves open, springs are ten- Chickering instrument that had recently sioned, air fl ows, fl ecks of debris move been donated to the university. The fi rst Recordings around. When you play a piece of mu- harpsichord sounds that Ralph Kirkpat- Kirkpatrick’s recording career also be- sic, all those motions are multiplied by rick ever heard were those of jazz played gan early in his life. In 1937 he recorded thousands. The Doxology (Old Hun- by a music faculty member who hap- music of Bach—the Italian Concerto, dredth) comprises 32 four-part chords. pened to have sat down at that instru- the Ricercar a 3 voci from the Musical That’s 128 notes. Play it on a single stop ment when Kirkpatrick was in the room. Offering, and the G-major Partita—for and you’ve moved 128 note valves, plus He was intrigued enough to seek out the the now long-defunct Musicraft label all the attendant primaries, magnet ar- opportunity to play the instrument, and (for which, by the way, the organist Carl matures, stop and relay switches. Play that set the course of his career. Weinrich also recorded Bach, although it the same 32 chords on a big organ us- was primarily a jazz label). In the 1950s ing 90 stops (nothing out of the ordi- Concert performer and 1960s he was one of the most prolifi c nary)—11,520 valves. And that’s just the Ralph Kirkpatrick’s career comprised recording artists, most famously record- Doxology. I’ll let you do the math for a concert performance, recording, scholar- ing Scarlatti for Columbia and Bach for big piece by Bach or Widor that has lots ship, and teaching. The latter two came Deutsche Grammophon Gesellschaft and of hemi-demi-semi-quavers. I suppose together in his writings. As a concert DGG’s Archiv Production. The culmina- Wendy and I heard the St. Thomas or- performer Kirkpatrick was a pioneer: tion of this latter series of recordings was gan play millions of notes yesterday in not the fi rst ever to play on the harpsi- a double trip through both books of the that 8:00 Mass. There would be another Memory chord, but one of the fi rst, and easily the Well-tempered Clavier—fi rst on harpsi- identical Mass at 11:00, an organ recital This month I will write about memo- most widely noticed after Landowska. chord, then on clavichord. Many critics at 2:30, and Solemn Evensong at 3:00. A rization. More precisely, I will introduce He gave his fi rst harpsichord recital at a and listeners consider the clavichord half wicked workday for the musicians, and a a discussion of memorization with two meeting of the Harvard Music Club in of this tour de force to be Kirkpatrick’s fi fty-million-note day for the organ. Just other related performance issues: sight- May 1930. Already by the late 1930s, in fi nest recording. He also recorded Mo- think of all those busy little valves—mil- reading and looking (or not looking) at his twenties, he was giving well-heralded zart solo piano music on a restored 18th- lions of tiny movements to create a ma- the keys. These three matters, consid- concerts in what was then called Carne- century piano, Mozart concerti with sev- jestic body of sound. ered together, provide an interesting gie Chamber Music Hall (now Weill Re- eral different ensembles, Haydn songs And the organ wears out. Over the de- and important take on what it means to cital Hall). He was a strong presence on with mezzo-soprano Jennie Tourel, sona- cades of service that is the life of a great have learned a piece of music and then the concert stage through the 1960s, per- tas of Handel and Mozart with violinist organ, technicians move around through to perform that piece. Most of this dis- forming in specialized “early music” ven- Alexander Schneider, a certain amount the instrument tuning, adjusting, and cussion will take place next month, how- ues such as Williamsburg, mainstream of twentieth-century music, and various repairing. Musicians practice, tourists ever, since I want to borrow much of this venues (he was the fi rst harpsichordist other things. Unfortunately, very few receive demonstrations, liturgies come month’s column for another purpose. to play at Alice Tully Hall, for example), of Ralph Kirkpatrick’s recordings are in and go. That organ blower gets turned This month marks the 100th anniversary and on festival stages and concert stages print as of this writing. Of course, this is on and off dozens of times each week. of the birth of one of the great keyboard throughout the world. always subject to change. The daylight streams through the win- performers, scholars, and teachers of Although most of Kirkpatrick’s con- dows, but the daylights get beaten out of the twentieth century—harpsichordist cert performance was as a harpsichord Scholarship the organ. Ralph Kirkpatrick. I want to begin with a soloist, he also performed as a soloist The most renowned aspect of Kirk- I’ve been in and out of St. Thomas tribute to him in honor of that occasion. on both clavichord and fortepiano, and, patrick’s scholarship was his work on Church many times. I’ve heard plenty especially in his early years, as a cham- Domenico Scarlatti. When he published of brilliant organists play there, and I’ve Ralph Kirkpatrick ber musician. He also was a frequent his biography of Scarlatti in 1953, it was never been disappointed by what I heard. Ralph Kirkpatrick was born on June performer of the Bach harpsichord received as a work of great importance. But I’ve known for years that the chan- 10, 1911, in North Leominster, Mas- concerti. In about 1974, health prob- The book concerns itself not only with cel organ is in trouble. It has played bil- sachusetts, an area where, in the years lems forced Kirkpatrick to withdraw for Scarlatti’s life but also with his music, lions of notes. It’s been rebuilt a number when he was growing up, it was pos- a while from the concert stage. By the with the culture in which his music was of times. And it’s simply worn out. It’s a sible to hear a lot of good music in con- time his general health had stabilized created, and indeed with aspects of the rare church musician who would inten- cert—after all, this was still an era when to the point where he was able to con- overall history of that time and place. It tionally offer less than the best possible people heard most music live rather sider resuming concert activity, he had served as a model for serious, accurate to the congregation—or to God—during than through recordings. In his mem- completely lost his sight. At this point scholarship about matters bearing on worship. And musicians of the caliber one oir Early Years—about which I will say he decided that, rather than give up per- music and musical performance. Indeed, hears at St. Thomas are masters at getting more below—Kirkpatrick mentions forming, he would take a new approach Kirkpatrick, in the preface to the book, water from stone. As an organbuilder with having heard, among others, the singer to playing: one that relied on his very suggests that part of his own interest in a trained and experienced ear, I’m aware Amelita Galli-Curci, pianists Sergei strong memory and large, well-learned taking on what became a long and dif- of the organ’s shortcomings. But as a wor- Rachmaninoff and Harold Bauer, violin- repertoire, but that also required him to fi cult project was that he “had become shipper, I’m transported. ist Jacques Thibauld, and the Flonzaley play utterly unassisted by even any pe- painfully aware of the inadequacy of the § Quartet. He also notes that the quality ripheral glimpses of the keyboards. available texts and the absence of infor- and variety of music played by less-re- I was fortunate enough to be in the mation fundamentally necessary to me as I single out St. Thomas Church be- nowned performers and by local per- audience at his return concert on Sep- a performer of his works.” cause we worshipped there yesterday. I forming ensembles, especially choral tember 25, 1977 at Sprague Hall on the Nowadays we take it for granted that know those responsible for the organ, so I societies, was extraordinary. campus of Yale University. It was a vivid a performer needs information. This was know something about its real condition. And prominent on the church’s web- site is an appeal for gifts to support the commissioning of a very expensive new 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ organ. There were even letters from the rector and organist inserted in the Eas- DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX ter service booklet repeating that appeal. 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV An elderly woman, impeccably dressed and obviously of means (she was wearing ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG the value of a fancy car on her fi ngers), OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV arrived a little after us and joined us in our pew. When the processional hymn &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK started, she let loose a singing voice of unusual power and beauty. I whispered 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ to Wendy, “She’ll give the new organ.” WKHLQVWDOODWLRQ We chuckled, but a piece of me says I could have been right. I hope so. Our church buildings are designed 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX with expensive architectural elements. Including steeples, towers, stained-glass PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW windows, to say nothing of Gothic arches 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations and carvings in wood and stone, they all add mightily to the cost of building a FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions church. But once it’s all there, we think of it as a whole. It would be hard to look Solutions for Old Pipe Organs back on the history of St. Thomas Church and say the tower was actually unneces- sary. Of course they built a tower. The organ is right up there on the list of expensive indulgences. How can we say we actually need such a thing? But how can we imagine Easter without it? There’s still plenty of wind available. At least there’s no fuel bill. Q www.rodgersinstruments.com Note 1. www.pantheon.org
JUNE, 2011 13
June 2011 pp. 2-18.indd 13 5/13/11 8:48:03 AM not an idea that Kirkpatrick invented Howard Schott, Blandine Verlet, Sey- music is sophisticated, with some mild from scratch, by any means, but the thor- mour Hayden, and Richard Rephann, Music for voices dissonances that occur through moving oughness and common sense with which among many others, Duke University lines in the organ part. This is a very ef- he carried out the Scarlatti project helped organist Robert Parkins, and musicians and organ fective setting. to advance the notion that artistic inter- whose careers have been in fi elds other by James McCray pretive work can be enhanced greatly by than keyboard playing, such as oboist Al- I Choose You, Deborah Govenor. historical knowledge. It did not hurt that lan Vogel and guitarist Eliot Fisk. Two-part mixed, keyboard, and oboe the book was very well written: engaging Ralph Kirkpatrick was an exciting and Easy settings for summer choirs (or C instrument), Beckenhorst and clear, a pleasure to read. path-breaking performer and one of the Press, BP 1918, $1.95 (M). Other writings of Kirkpatrick’s include seminal infl uences on the early music Sleep after toil, port after stormy seas. The oboe part is on the back cover; the well-known preface to his edition of movement and on the history of key- —Edmund Spenser, 1590 it is lyric and plays throughout the set- Sixty Sonatas by Scarlatti—written in a board playing in the twentieth century. ting, with some solo passages. The text, question and answer format and giving a He died on April 13, 1984. It is an honor For most church choirs, summer is by Governor, is one of comfort (“Lean lot of food for thought about interpreta- to remember him on the 100th anniver- a break from the weekly duties of pro- on Me”). The choral texture mixes ho- tion and performance—and articles and sary of his birth. viding music for the various services mophonic and polyphonic lines above a reviews touching upon subjects such as of the year. While some choirs do not keyboard part with left-hand arpeggios. clavichord playing, Bach’s dynamics, Memorization and sight-reading completely stop their weekly activities, Very attractive yet simple music. Couperin’s L’Art de toucher le claveçin, Memorization, sight-reading, and most groups tend to have an abbrevi- and many others. Two books of his—the looking or not looking at the hands and ated schedule. Taking time off is highly SAB choir memoir Early Years and Interpreting feet are three aspects of playing that are recommended, for both singers and di- Bach’s Well-tempered clavier: A perform- inextricably intertwined with one anoth- rector! Rehearsing and performing each Child of God, Luke Mayernik. SAB, er’s discourse of method—were published er. Some facets of these relationships are week builds pressures, and as a tea kettle keyboard with optional fl ute or shortly after his death. The fi rst of these as follows: on a stove, to avoid boiling over, it is best oboe, GIA Publications, G-6864, is my favorite of his writings. It covers 1) If a piece is really, fully memo- to turn down the heat. $1.60 (M). some of his family history, his childhood rized, then the performer—rather obvi- Typically, church-choir seasons tend The editor suggests that this work is and early musical education, his time at ously—does not need to read any music to be from September through the end most appropriate for “baptisms and other Harvard, and his year in Europe imme- in performance. of May or to Pentecost. Added to those times of initiation.” The fl ute part is avail- diately following his graduation from col- 2) If a player is a perfect sight-reader weekly commitments are special times able for sale (G-6864INST), although it lege. Written with great craftsmanship, it who can play pieces at fi rst sight with the such as Advent, Christmas Eve, Lent, could be played from the choral score. is also heartfelt, informal, and engaging. kind of accuracy and security that I and Holy Week, and Easter; each adds par- There is one passage that has high notes, Much of it deals directly with music, but other mere mortals have to practice hard ticular requirements of both time and so fl ute may be preferred over oboe. not all of it—Kirkpatrick talks about his to achieve, then that player—at least effort for musicians. Therefore, a relax- There are four verses, with the fi rst in relationships with his parents, and other for purely practical purposes—does not ation of duties during the summer clear- unison. The choral parts are diatonic and family, for example, with candor and in- need to remember even the next note, ly is a good idea for the choir. This could very easy, with limited counterpoint. sight. Almost every line provides some- let alone the whole piece. come as a complete or partial break from thing to think about. The second half 3) Memorization and sight-reading, the weekly activities. Come Away to the Skies, Christopher of the book consists of the journal that even though they are in a sense oppo- Those zealous groups who sing Wicks. SAB and keyboard, Augsburg Kirkpatrick kept of his trip to Europe in sites, are both often considered essen- throughout the summer usually fi nd Fortress, 978-0-8066-9722-2, $1.60 1931–32, during which he studied with tial hallmarks of good musicianship; for ways of reducing their workload. For (M-). Wanda Landowska, among others. some people they even defi ne good mu- example, by repeating some of the gen- This Charles Wesley text is set in a sicianship. They both often play a part in eral anthems sung during the past year, dancing 6/8 meter. The busy keyboard Teaching auditions for academic programs. rehearsal time is shortened, and it is pos- accompaniment, on two staves, often Ralph Kirkpatrick fi rst taught as an 4) Good sight-reading can be a practi- sible to cut back on mid-week rehears- plays all the parts in the right hand while undergraduate, when he gave some pia- cal necessity, especially in circumstances als. In many situations, just having the the left hand has contrasting material. At no lessons to other students to help sup- involving accompaniment; memorization choir there during the summer to lead the end of sections, the music moves to port himself. Later he taught briefl y at is rarely of practical import. the hymn singing probably is more im- 3/4 for rhythmic contrast. Bennington College, and then, in 1940, 5) Neither memorization nor sight- portant than presenting an anthem. joined the faculty of Yale University, reading necessarily has anything to do Nevertheless, it is still recommended Jerusalem, My Happy Home, Russell from which he retired in 1976. Among with musical understanding or artisti- that the choir have extended time away Schulz-Widmar. SAB and 3 hand- his students at Yale were harpsichordists cally convincing performance. That is from their weekly schedule and from bells, Hope Publishing Co., C 5681, Albert Fuller, Fernando Valenti, Freder- not to say that either of them cannot be a each other. This makes their return in $1.95 (M). ick Hammond, William Christie, Martin part of artistically great performance, or autumn have greater signifi cance. The three handbells play as chords and Pearlman, Mark Kroll, Louis Bagger, part of the process of preparing for such Some wag once pointed out, “Re- as a single line; their music is included a performance. sponsibility simply means the ability to separately at the end. They play in every 6) If a piece is really well memo- respond.” For most of us, that implies a measure of the music but their parts are rized, then the eyes are, by defi nition, freshness of both energy and attitude, so not diffi cult. This traditional jaunty tune not needed to look at music, and can being rested is a vital link to being fresh. has four verses, with only the last one in perhaps afford to look at the hands and Those choirs who sing throughout the SAB. This happy, easy setting should be feet. If a player, however, has real com- summer face the danger of no recovery. very enjoyable for everyone. mand of the instrument and does not Another problem is attendance of sing- need to look in order to fi nd notes, then ers (and congregation) during the sum- SATB choir this looking serves more to give the eyes mer. When the quality sags then interest something to do and to keep them from in the choir suffers, and many might drift Just As I Am, arr. Emily Lund. SATB inviting distraction than to assist directly off and not return in the fall. Good mu- and piano, Hope Publishing Co., C in the playing. sicians love learning new repertoire, so, 5682, $1.90 (M-). 7) If a piece is being sight-read, then it perhaps, one stimulation is singing new Above the static, repeated harmonies 50% off is very important that the player not look music. By singing new (yet easier) music in the accompaniment, the choir sings at the keyboards or the hands and feet. A there is still a feeling of accomplishment, the melody in a simple style. A later player who needs to look at the hands or so to that end the reviews this month fea- verse/coda moves to a four-part setting membership! the feet probably cannot become even a ture some suggestions. with a faster tempo. This easy arrange- moderately good sight-reader. The message that is most important ment will be popular with the congrega- 8) Everyone has some point on the this month is that limiting the amount tion and the choir. Now only $20 for one year spectrum of easiness and diffi culty be- of singing during the summer is good for for new members. low which he or she can sight-read, the choir’s physical and mental health. In Christ No East or West, SATB and and above which he or she cannot. The Psychologists suggest that a balance of organ, arr. Austin Lovelace. ECS placement of this point determines some work and rest is required for happiness. Publishing, 7317, $1.40 (E). things about the practical side of music As Channing Pollock said, “Happiness is There are only two verses in this three- Join now! learning for each player, but does not de- a way station between too little and too page setting; both are very simple. The Visit www.ATOS.org/Diapason termine anything about technical, musi- much.” Enjoy your happiness through a organ part is on two staves and primar- cal, or artistic outcome. well-deserved change-of-pace this sum- ily doubles the voices. The text is about For more info, call 317-255-8056. 9) One traditional description of the mer, and do the same for your choir. worldwide Christianity. Very useful for process of learning a piece of music various times of the year and as a generic Discount good on new memberships only might be that it starts with sight-read- Two-part mixed choir summer anthem. through July 31, 2011. ing and ends with memorization. (One way of framing a consideration of sight- Eternal Life, Craig Courtney. SA/TB I Come with Joy, Karen Marrolli. reading and memorization would be to and keyboard, Beckenhorst Press, SATB and keyboard, MorningStar discuss how each of them relates to the BP 1916, $1.80 (E). Music Publishers, MSM-50-8315, parts of the learning process that fall Using John 3:16–17 as the text, the $1.70 (M-). in between these two end points. That music slowly evolves, with the fi rst sec- Based on the familiar American folk would naturally move into a discussion of tion in unison, the second in counter- melody, Land of Rest, this setting has whether either or both of the end points point, and the third modulating, with three verses and a coda. Only the last were really necessary or useful.) brief divisi chords and an extended coda. verse is in four parts; voices are on two Next month I will explore some of The keyboard part has quiet arpeggios in staves, with the fi rst two verses set to the the nuances and implications of these the left hand, which eventually extend to same music. The keyboard music is sim- points—which are presented here in a the right hand. This gentle setting is also ple, usually with chords in the right hand somewhat oversimplifi ed way as a starting available for SAB or SATB choir. and single notes in the left hand. place for discussion—and various others. I will also discuss my own relationship Treasures in Heaven, K. Lee Scott. O Love Divine, arr. John Hudson. with memorization and with sight-read- SA/TB and organ, Augsburg For- SATB and keyboard, Beckenhorst ing, both as a player and as a teacher. Q tress, 978-0-8006-6428-2, $1.60 (M). Press, BP 1900, $1.80 (M). The organ part, on two staves, is of- Fanny Crosby’s words are set to an Gavin Black is Director of the Prince- ten solidly independent. The text is tak- Irish folk tune in this Hudson arrange- ton Early keyboard Center in Princeton, en from Matthew 6 and 7. Most of the ment. The keyboard music begins with New Jersey. He can be reached by e-mail at vocal writing is syllabic, with the same simple phrases but later becomes more
14 THE DIAPASON
June 2011 pp. 2-18.indd 14 5/13/11 8:48:22 AM and a closing section, all with the choral Its contents are divided into fi ve parts: vid Craighead, Russell Saunders, David including a glamorous portrait-frontis- parts on two staves. This delightful mu- Part A. “Iowa (1921–1967),” treating Higgs, William Porter, Kerala Snyder, piece (which somehow appears unac- sic is very attractive for the singer and early life through college, Coast Guard and now Hans Davidsson. Elsewhere countably reversed?). the listener. stint, teaching at Drake, and meeting were Arthur Poister at Syracuse, Mildred —John M. Bullard, Ph.D. with David Craighead. Part B. “Roch- Andrews at Oklahoma, Donald Suther- Spartanburg, South Carolina ester (1967–1992),” covering his move land at Peabody in Baltimore, and oth- to Eastman at Craighead’s invitation; his ers who became famous for the training Book Reviews pedagogy and legendary “handouts”; his they gave organ students who went on to chairing the department and hiring Da- distinction. That is the measure of these New Recordings vid Higgs; his relation to Christ Episco- giants. Silver-haired Russell Saunders’s Artifacts in Use: The Paradox of Res- pal Church and scheme to have school name stands prominently in the list. toration and the Conservation of Or- and church combine in commissioning An indefatigable worker, Saunders Organ Lollipops 2: More Musical gans, by John R. Watson. Richmond, a monumental pipe organ to be situated sometimes neglected his physical health. Delights Played on the Klais organ Virginia: OHS Press in association in the church, fi nanced by the school He seemed sleep-deprived and was an of Bath Abbey by Peter King. Re- with Colonial Williamsburg, 2010. (aided by a legacy from his mother and inveterate smoker. A heart attack in 1973 gent Records (REGCD312),
JUNE, 2011 15
June 2011 pp. 2-18.indd 15 5/13/11 8:48:40 AM wards the end of the last century, within early English work rather spoils the thee (Wer nur den lieben Gott); leads directly into the second move- the fi ne Jackson case. fl ow of what is an otherwise highly com- Now thank we all our God (Nun dan- ment, A Prayer for the Protection of Our The Karg-Elert Marche triomphale mendable collation, which will likely ket); Good Christian friends, rejoice Armed Forces, which is a short prayer in (from his series of chorale improvisa- not gather much dust on the shelves of (In dulci jubilo); O God, our help a reverential mood. It includes the songs tions) gets the recording off to a won- those who acquire it. in ages past (St. Anne); O thou who Herperus, God of Our Fathers, Mont- derful start, and King is clearly not —James M. Reed camest from above (Hereford); When ezuma, and Melita. afraid to unleash the full power of the Bergen, Norway Jesus went to Jordan’s stream (Christ, The third movement, War Is the organ from the very beginning (and, unser Herr zum Jordan kam); O Blemish on Any Nation’s Character, it must be said, what an impressive sacred head, sore wounded (Herz- becomes more rousing as it builds in plenum the instrument provides, de- Cathedral Encores. Cathedral of the lich tut mich verlangen); Christ is volume through the hymns Materna, spite this reviewer’s hankering for the Holy Cross, Boston. E. & G.G. Hook made the sure foundation (Westmin- America (My Country ‘tis of Thee), smoother reeds on the instrument it & Hastings organ, Opus 801, 1875. ster Abbey); Our Father, by whose Star-Spangled Banner, and Battle replaced). After a solid and sensitive For information: 617/542-5682; Name (Rhosymedre); O day of peace, Hymn of the Republic. This movement performance of BWV 645, King turns
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16 THE DIAPASON
June 2011 pp. 2-18.indd 16 5/13/11 8:48:57 AM I understand. But, I still had to play it whole was intended as recital music and, set does not make the case that arrange- Three Floral Preludes for Organ, through many times trying to make sense as such, succeeds very well. The total du- ments are better than originals. Daniel E. Gawthrop. Dunstan House of it. I wanted more structure, a frame- ration is 22 minutes. DH0912, $10.95. work I was familiar with. The Memorial Album: Thirty Selec- Who, upon seeing this title, can There is apparently no melody. It is Inventions for Organ, invented by tions for Organ, Piano or Keyboard, resist sniffing further? These clever all rhythm: in 4/4 time we have dotted Marius Monnikendam, edited by compiled and edited by Charles Cal- and attractive works make a signifi- quarter, dotted quarter, quarter. And Richard Proulx. World Library Pub- lahan. MorningStar Music Publish- cant contribution to a small but grow- this rhythm forms the basis of the entire lications, Organ Library 003082, ers MSM-10-598, $26.00. ing group of organ works: pieces that piece. Once you have this syncopation $14.00;
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From: ______
JUNE, 2011 17
June 2011 pp. 2-18.indd 17 5/13/11 8:49:18 AM titles of the three “hymn tunes” make 6/8 + 9/8; the setting of Truro is toc- ing. Each prelude fi ts on two pages (no the volume, Lovelace set twenty hymn for entertaining reading: cata-like and rhythmically complex; and, page turning necessary) and is followed tunes that might be frequently used dur- 1. Leucanthemum Vulgare (A Bicycle somewhat unusually, we’re given here a by one or more alternate harmonizations ing the Ordinary time of the church year. Built for Two)—a very French, very clev- dancing Hyfrydol. for hymn singing. Six of the tunes are early American tunes er setting of “Daisy, Daisy,” with jazzy Gerald Near draws upon a variety of (Nettleton, Dove of Peace, Beach rhythmic versions of the melody. Savior of the Nations, Come, Paul textures, harmonic color, and counter- Spring, Foundation, and Charles- 2. Zehenspitzen durch die Tulpen Manz, arr. Scott M. Hyslop. Morn- point in these thoughtful settings that town) and one is a multi-cultural tune (“Tiptoe” through the you-know- ingStar Music Publishers MSM-20- combine so well with the spirit of each found in some hymnals (Argentina). what)—an ornamented chorale prelude, 918, $14.00. tune. Have a look, for example, at Eas- The majority of the other tunes are stan- à la Dupré. A suite arranged for two fl utes, oboe, ter Hymn and Freu dich sehr. The dard in many denominational and inde- 3. La Rose Jaune—a Franco-Texan and keyboard by a former student of fi rst looks (and sounds) just as it should: pendent hymnals (Cwm Rhondda, St. tour de force through “The Yellow Rose Manz and author of his biography. Recy- a grand, rather dramatic setting in the George’s Windsor, Lasst uns Er- of Texas” with occasional bumps over cling music: what a good idea! And why English manner. Freu dich sehr, freuen, St. Thomas, etc.). Twelve of “The Eyes of Texas … !” Fun and re- not? The Baroque composers borrowed thinner and more contrapuntal, is given the tunes include the term “variations” in warding for listener and player. from themselves and others all the time. a delightful, dance-like setting, befi t- their title, with the number of variations This is music from Manz’s 1978 chorale ting a tune from the 16th century. The being between one and three. Works for organ with instruments concertato of the same title and it works prelude on Rhosymedre (the tune The strength of this volume lies in its very well as a stand-alone piece. Many is sometimes called Lovely) is, well, fl exibility, and in the ease with which Five Hymn Preludes for Cello and will recognize the “Trio” movement from lovely, and recalls memories of Vaughan the pieces may be prepared. Several of Keyboard, Wilbur Held. Morning- its other life as a solo organ piece. Williams. And then there is Wachet the settings could be used as introduc- Star Music Publishers MSM-20-980, auf, a terrifi c piece that looks (no bar tions to congregational singing, as alter- $14.00. Organ settings of hymn tunes lines) and sounds (quartal harmony, en- nate harmonizations, or as organ solos A fi ne collection of music for a beauti- ergetic rhythms) like Distler or Bender. for an appropriate hymn stanza. The ful performance duo, under-represented Carillon: Organ Hymn Preludes, Volume II, please? majority of the pieces are for manuals in the literature. Its usefulness is en- Harold Stover. Augsburg Fortress alone; only four involve the use of the hanced by the versatility of keyboard op- 978-0-8066-9814-4, $15.00. O Praise Ye the Lord (Variations on pedal in a limited way. This collection tions: the music (written on two staves), Here is an interesting group of hymn Laudate Dominum for Organ), Ken- would be of great use to the beginning while eminently well suited to the organ, tunes—some are great, some new, most neth Lowenberg. Hope Publishing or less advanced student, as the pieces can also be played on a piano or digital are less-often set by composers. The Company 8458, $9.95. are not diffi cult. At the same time, it keyboard. The cello parts are relatively pieces are rather short, somewhat chro- Eight variants on the great tune demonstrates basic techniques on im- easy (often carrying the hymn tune), matic, and solid in construction. They by C.H.H. Parry, starting with a fan- provising and varying hymn tunes— making them attractive to a variety of are organized in the manner of an histor- fare-like introduction. The hymn tune techniques and ideas that can be ap- players—including young people. The ical “suite”—including a Tierce en taille, seems not quite happy with a few of the plied to other tunes. If one enjoys the instrumental parts can be played on Pavane, Musette, and a very interesting variations (especially II and V), but the practical and useful style of Lovelace’s the bassoon or (with a few small adjust- Organum on Carl Schalk’s fi ne Fortu- concluding fugue and toccata are fl ashy music or needs some additional hymn ments) trombone. The composer has natus New. and effective. introductions or arrangements of com- been very attentive to musical details in mon hymn tunes, this is a volume to the score, such as phrasing, articulation, Contemplations on Four English Toccata on A Mighty Fortress, Aus- have on hand. and dynamics. Highly recommended. Hymn Tunes, James Biery. Morning- tin C. Lovelace. MorningStar Music Star Music Publishers MSM-10-621, Publishers MSM-10-795, $8.00. Rest in the Lord: Sixteen Organ Solos Improvisations for Organ and Instru- $10.00. A reissue of a work originally published for Funeral and Memorial Services, ment, Aaron David Miller. Augsburg I fi nd James Biery’s music to be imagi- in 1993 by the venerable composer who arranged by Janet Linker. Becken- Fortress ISBN: 978-0-8006-2159-9, native and colorful, while also being died last year, aged 91. The work, with horst Press, Inc. OC27, $17.95. $25.00. quite manageable by a player with mod- its catchy rhythmic divisions of 3+3+2 Janet Linker, a graduate of Capital (Note: So as not to conclude with est skills. Such is the case here with set- and clever canons between left hand and University, Columbus, Ohio, also studied this single negative comment, directed tings of four splendid English tunes. A pedal, still sounds quite fresh. organ with Marilyn Mason at the Univer- to publishers, allow me to mention it contemplation on Repton leads directly —David Herman sity of Michigan. She presently resides in fi rst: As volumes of keyboard music get to a very French toccata on Laudate The University of Delaware Columbus, having taught for thirty years thicker—here, 80 pages—the method of Dominum. (Its recollection of Vierne’s at the Capital University Conservatory binding using two staples becomes less Carillon de Westminster is cemented by of Music. Ms. Linker has published a durable. My copy began to come loose the similarity in tunes: compare notes 2– The Church Year, Volume 3 (Ordi- number of organ collections, and, in col- during the review process.) 5 of the hymn tune with the four pitch- nary Time through Christ the King), laboration with Jane McFadden, has ar- These are rather complex settings, es of the Westminster Quarters!) The by Austin C. Lovelace. Wayne Le- ranged a number of pieces for handbells both for the organist and instrumental- remaining pieces are a slow march on upold Editions WL600119, $20.50. and organ. ist. (A diffi culty level of “Medium” is Kingsfold and a slow waltz on King’s Austin Lovelace is a name well known Rest in the Lord, as Ms. Linker states indicated on the cover.) In return, the Lynn. Purchase these fi ne pieces and, to many church musicians, particularly in the preface to the collection, consists musicians are provided very interesting as a bonus, you will learn how this vol- those whose careers encompassed the of hymn arrangements “which, accord- and well-developed settings, with musi- ume is going to the dogs—literally; their second half of the twentieth century. ing to the many organists with whom cal textures that combine colorful har- names are Gus and Buddy. Lovelace, in addition to his work as a I have spoken, are the most requested mony and satisfying linear motion. One composer of choral and organ music, was for funerals and memorial services.” piece (a longish “Voluntary”) calls for Laudes Domini: 10 Hymn Introduc- also highly respected as a hymnologist. Thirteen of the sixteen arrangements two trumpets; otherwise, a single treble tions & Harmonizations for Organ, Much of his music for the church was of are of hymn tunes, with the remaining instrument is required. Parts for both Volume 1, Gerald Near. Morning- a “practical” nature—effective, well writ- three being organ settings of three vocal B-fl at and C instruments are provided, Star Music Publishers MSM-10-347, ten, and playable by the average church works. The hymn tunes used are widely enhancing the volume’s versatility. The $20.00. choir or organist. included in many denominational hym- styles of the settings are well married The introductions (hymn preludes) This volume of chorale preludes, one nals: Amazing Grace, How Great Thou with the spirits of the tunes: “Children are all well crafted; they are also uncom- of three that cover the liturgical year, Art, In the Garden, Fairest Lord Jesus, of the Heavenly Father” skips along in plicated while being colorful and engag- falls within this typical Lovelace style. In Great Is Thy Faithfulness, For All the Saints, It Is Well, More Love to Thee, A Mighty Fortress, My Hope Is Built, Now Thank We All Our God, and the more recent tune “On Eagle’s Wings”. Log On and take the tour! The three vocal pieces arranged for or- gan are But the Lord Is Mindful of His Own (Mendelssohn, St. Paul), O Rest in the Lord (Mendelssohn, Elijah), and I ANNUAL AND ONE-TIME COPYRIGHT Know That My Redeemer Liveth (Han- del, Messiah). PERMISSIONS WITH THE Ms. Linker’s settings are written in a straightforward style, with the melody CLICK OF A MOUSE being predominant. Several follow the pattern that consists of the hymn pre- sented in a slightly ornamented hymnal version, a change of key, and a fi nal full- er-sounding statement of the hymn tune. General registrations are suggested for the pieces, all of which may be easily performed on a two-manual instrument. In addition to its usefulness as a resource for memorial services, the collection of- fers another advantage. Excerpts from many of the settings lend themselves for use as hymn introductions for congrega- tion singing, or as alternate harmoniza- tions for certain stanzas. • EASY—online permission and reporting The collection’s arrangements are • ECONOMICAL—based on average weekend attendance quite useful for services, both memorial • THOROUGH—your favorite songs and regular, when a slightly more elabo- rate hymn setting is needed. The settings • CONVENIENT—includes a growing list of publishers in this collection can be prepared with a minimum of practice, which is a practical thing, as often the preparation time for memorial services is limited. LOG ON TODAY! WWW.ONELICENSE.NET —Charlie Steele Brevard, North Carolina
18 THE DIAPASON
June 2011 pp. 2-18.indd 18 5/13/11 8:49:42 AM Harpsichord Playing in America “after” Landowska Larry Palmer
The Power of the Press: “A Living Legend” Nicholas Slonimsky (1894–1995), writ- ing about harpsichordist Wanda Land- owska for the French journal Disques in 1932, introduced his subject with a three-stanza poem. It begins:
Her fi ngers on the cembalo Type out the polyphonic lore Of Bach’s Inventions—and restore The true original edition Unobfuscated by tradition.1 Twelve years later, on the opposite side of the Atlantic, habitually cranky New York music critic Virgil Thomson (1896–1989), reviewed the Polish harp- sichordist’s Town Hall concert of 20 No- vember 1944 under the adulatory head- line “Defi nitive Renderings”:
Wanda Landowska’s harpsichord recital Landowska on tour in Palm Beach, Florida, 1927 (collection of Larry Palmer, Momo Aldrich of last evening . . . was as stimulating as a bequest) needle shower. . . . She played everything better than anybody else ever does. One might almost say, were not such a com- doctoral program in early music at Stan- parison foolish, that she plays the harpsi- ford University. Sylvia Marlowe in South America (photo chord better than anybody else ever plays In concert halls, Madame’s fi nal bril- credit: Conciertos Iriberri, Buenos Aires; collec- anything . . . liant students, Rafael Puyana (born tion of Larry Palmer) . . . [Her] playing of the harpsichord . . . re- 1931), a South American of blazing virtu- minded one all over again that there is noth- osity, and Texas-born Paul Wolfe (born when I experienced Kirkpatrick’s deeply- ing else in the world like it. There does not 1929), both built solo careers in the de- moving playing of Bach’s Goldberg Vari- exist in the world today, nor has there existed in my lifetime, another soloist of this or any cade following their teacher’s death. ations at the Rothko Chapel in Houston other instrument whose work is so depend- In 1961 Puyana played a concert at (Texas), I reported in The Diapason able, so authoritative, and so thoroughly satis- the Eastman School of Music in Roch- that “Kirkpatrick played magnifi cently factory. From all the points of view—histori- ester, New York, during my fi rst year with a prodigious technical command of cal knowledge, style, taste, understanding, there as a doctoral student. Rafael, the the work as well as with spacious feeling and spontaneous musicality—her renderings scion of a wealthy family, toured the for the overall architecture . . .”7 of harpsichord repertory are, for our epoch, country with a Pleyel harpsichord (the At the very end of a more than fi ve- defi nitive. Criticism is unavailing against 2 instrument of choice for Landowska’s decade career, and now totally blind, them, has been so, indeed, for thirty years. students) and a personal driver. His the aged master could allow his innate It seems that the divine Wanda had Eastman recital was a dashing and color- musical sensitivity to triumph. Despite accomplished her objective, half a cen- ful evocation of a Landowska program, his end-of-career tongue-in-cheek com- tury in the making, of restoring the including kaleidoscopic changes of reg- ments about preferring the piano, the harpsichord to a recognized place in the istration; a repertoire fi rmly grounded Yale professor was the most highly re- cultural consciousness of music lovers, in the major Bach works; but with at garded and recorded native harpsichord- both in Europe and in the western hemi- least one non-Landowska addition: his ist in the United States during the period sphere. Her personal style, based on an own harpsichord transcription of a Can- Ralph Kirkpatrick at his Dolmetsch- of Landowska’s American residency. innate rhythmic certainty, a turn-of-the- ción for piano by the Catalan composer Chickering harpsichord, 1939 (Ralph Kirk- Other noted American players of century impressionistic use of tonal color, Frederico Mompou. patrick Archives, Music Library, Yale University) Kirkpatrick’s generation included Yella and, not incidentally, her careful perusal Paul Wolfe, not from a moneyed fam- Pessl (1906–1991) and Sylvia Mar- of historical source materials had made ily, set out to make his name through A Different Aesthetic: lowe (1908–1981). Marlowe’s fi rst in- her name virtually synonymous with the recordings. I came to know him when Ralph Kirkpatrick strument was a true Landowska Pleyel, word harpsichord, at least in the collec- Nick Fritsch of Lyrichord Records de- Ralph Kirkpatrick (1911–1984), fund- by this time painted white, the better to tive consciousness of the public. cided to reissue a number of their 1950s ed by a post-graduate John Knowles be seen on the revolving stage of New vinyl issues on compact discs and asked Paine Traveling Fellowship from Harvard York City’s Rainbow Room, where Syl- True Believers: me to write an introductory article ex- University, set off for Europe in the fall via played jazz arrangements of classical Expatriated European and Native plaining harpsichord pedals. Wolfe’s of 1931 to hone his harpsichord playing favorites under the catchy rubric Lav- American Disciples instruments—a 1907 Pleyel of wooden skills. As described in his memoirs,5 the ender and New Lace. Deeply infl uenced Landowska’s acolytes dominated those construct and a large concert instru- pre-eminent American harpsichordist of by Landowska’s playing, encountered American venues where harpsichords ment completed in 1958 by the young his generation had a diffi cult relationship while the New Yorker was studying with were played: Alice Ehlers (1887–1981), northeastern builders Frank Rutkowski with the priestess of St-Leu, eventually Nadia Boulanger in Paris, Marlowe’s Professor Landowska’s fi rst student in and Richard Robinette—as well as pro- running off to Berlin for coaching and 1959 solo Bach recording for Decca 1913 Berlin, immigrated to the United grams that featured 17th-century works consolation with another Landowska stu- demonstrates how much Madame’s long States and taught for 26 years at the by Frescobaldi and the English virginal- dent, the more congenial Eta Harich- musical shadow dominated the Ameri- University of Southern California in Los ists, Spanish music, and all eight of the Schneider (1897–1986). Kirkpatrick’s can harpsichord scene. Angeles. Among Ehlers’s fascinating oral 1720 Handel Suites—presented both public playing, beginning with concerts Eventually Ms. Marlowe chose to play history recorded vignettes she noted facile young fi ngers and an expanding and recordings during the 1930s, sound- harpsichords built by the American mak- that Landowska did not talk much in repertory of early keyboard music to the ed distinctly unlike Landowska’s in its er John Challis, moving subsequently those early lessons, but she relied heav- American harpsichord scene. conscious avoidance of excessive regis- to those of Challis’s apprentice William ily on playing for her students. Later, in tration changes and its near-metronomic Dowd (with lid-paintings by her own Ehlers’s own teaching, at least one an- A Contrarian’s View of Landowska regularity. Teri Noel Towe’s description husband, the artist Leonid [Berman]). ecdote retold by her student Malcolm During the autumnal years of Land- of Kirkpatrick’s style, printed as a “dis- Non-night-club recital repertoire includ- Hamilton (1932–2003) showed that owska’s career, critics of her playing style claimer” in the compact disc reissue of ed 18th-century classics, soon augment- Ehlers was less than impressed at his de- were not legion. But one composer-crit- these early solo recordings for Musicraft ed extensively by commissions to promi- rivative details copied from Landowska’s ic who did not idolize the High Priestess Records, puts it this way: nent living composers. Thus, important style. When Hamilton added an unwrit- of the Harpsichord was neo-classicist works by Ned Rorem and Elliott Carter, ten trill to the subject of a Bach fugue composer Robert Evett (1922–1975). Some listeners confuse Ralph Kirkpat- to cite only two, came into being through Ehlers stopped him to ask why. “I heard In a 1952 piece for The New Republic, rick’s tenacious and unswerving commit- Marlowe’s sponsorship. Together with ment to the composer’s intentions with a recording by Wanda Landowska,” he Evett wrote: dullness and mistake his exquisite attention the impressive catalog of similar com- began. Madame Ehlers interrupted to detail and technical accuracy for dryness. missions from the Swiss harpsichord- brusquely, “Wanda Landowska was a Mme. Landowska has seduced the These detractors would do well to listen ist Antoinette Vischer (1909–1973), genius. You and I, Malcolm, we are not brighter part of the American public into again. There is a special beauty and unique Marlowe’s initiatives helped to provide 3 believing that she offers it an authentic geniuses—‘spaacially you!” reading of Bach and his predecessors. warmth to Kirkpatrick’s sometimes austere the harpsichord with an extensive, new Two more Landowska students hold- What this lady actually uses is a modern but always direct, ‘no nonsense’ perfor- twentieth-century musical voice. ing American academic posts were Ma- mances; his interpretations are always su- Infl uenced by Kirkpatrick during stu- Pleyel harpsichord, an instrument that she perbly conceived, often transcendent, and rie Zorn (b. 1907?), who promoted the employs as a sort of dispose-all. . . . 6 dent days at Yale, Fernando Valenti Landowskian style in her harpsichord After fi fteen years of incredulous listen- occasionally hypnotic. . . . (1926–1990) switched from piano to teaching at Indiana University from 1958 ing, I am fi nally convinced that this woman For a balanced evaluation of Kirk- harpsichord, and also played important until 1976, and Putnam Aldrich (1904– kicks all the pedals in sight when she senses patrick the harpsichordist, one needs new works by Vincent Persichetti (that 1975), who married Wanda’s own person- danger ahead. When she sits down to play to sample some later examples from his composer’s First Harpsichord Sonata a Bach fugue, I go through all the torments al secretary Madeleine Momot in 1931 that a passenger experiences when he is extensive discography. A 1959 Deutsche composed in 1952) and Mel Powell (Rec- (with a somewhat-reconciled Landowska being driven over a treacherous mountain Grammophon Archiv recording of Bach itative and Toccata Percossa). However, as witness for the bride). Eventually “Put” road by an erratic driver, and when she fi - played on a Neupert instrument presents Valenti made his name primarily as the settled his young family in northern Cali- nally fi nishes the thing it is almost a plea- quite another aural document of a de- most exciting player of Domenico Scar- fornia, where he established a prestigious sure to relax into nausea.4 cidedly non-austere artist. And by 1973 latti’s sonatas and specifi cally as the fi rst
JUNE, 2011 19
June 2011 pp. 19-21.indd 19 5/13/11 8:50:51 AM harpsichordist to record such a large number of them—359 individual works performed on his Challis harpsichord in a series of albums for Westminster Records. In 1951 he was appointed the fi rst harpsichord professor at New York’s Juilliard School. Several didactic books, published late in Valenti’s career, are as colorful and insightful as his playing. Who could resist a chuckle at words such as these?
Many years ago I promised myself that I would never put in print anything that even vaguely resembled a ‘method’ for harpsi- chord playing and this is it.8 One of the best-known harpsichord- ists to study privately with Valenti was Berlin-born Igor Kipnis (1930–2002), son of the prominent bass opera singer Alexander Kipnis. The family moved to the United States in 1938, where both Kipnises became familiar names in the Isolde Ahlgrimm, 1959 (collection of Larry classical music arena. Igor was particu- Palmer) larly noted for his comprehensive and in- novative repertory, recorded extensively. His playing was thoroughly representa- tive of a more objective style of harpsi- Andrew Appel and his teacher Albert Fuller (Fire Island vacation) (courtesy of chord performance. Andrew Appel)
Winds (or Strings and Quills) of Change? One of the great services rendered by Kirkpatrick was his fervent advocacy for the historically inclined instruments of Frank Hubbard and William Dowd. As the years went by, these musical machines emulated ever more closely those from earlier centuries, albeit with some decid- edly 20th-century materials, such as the Andrew Appel (photo by Lloyd Schloen, cour- plastics used for jacks and plectra. But tesy of Andrew Appel) with keyboards built to various baroque dimensions; sensitive, light actions; and registers deployed in a way that an 18th- century composer might have expected; together with the absence, for the most part, of the sixteen-foot register and pedals, these light and agile instruments gave the new generation of players sensi- tive tools for performing the music of the past. Emulating Hubbard and Dowd, a number of builders, in Boston and other American venues, and throughout the world, joined the “surge to the past,” and thereby changed both the dynamic and the expected sounds of harpsichord re- vival instruments. Among Kirkpatrick’s allies in pro- moting these new “old” instruments Commencement day at Southern Methodist University, 1984; from left: Larry were two Fullers—his student Albert Palmer, Eleanor Tufts (professor of art history), Dr. Leonhardt, Alessandra Comini (1926–2007) and the not-related David (professor of art history) (born 1927), and harpsichordist/conduc- tors Miles Morgan and William Chris- tions in his master classes at the annual sichordist’s advocacy of “performance on tie. As the 1960s gave way to the 1970s, Haarlem Summer Organ Academies). period instruments,” as well as his “com- nearly every emerging teacher and player mitment to both stylistic authority and in the country seemed to be joining the Infl uential European artistic sensitivity in recreating music of pedal-less crowd. In 1966 I met Dr. Jo- Artist-Teachers the past.” seph Stephens and played the Hubbard Both of these superb artists made To this day, more than 25 years after and Dowd harpsichord in his Baltimore signifi cant contributions to harpsichord the conferral of that honorary degree, Landowska at her St-Leu home, late (Maryland) home. Shortly thereafter I playing in the United States: Ahlgrimm Leonhardt still refers to me in commu- 1920s (photo by Momo Aldrich; collection of ordered my own fi rst Dowd double. It (1914–1995) through her teaching in nications as his “Doktor-Vater.” Whereas Larry Palmer) was delivered at the beginning of January Salzburg, Vienna, and during semes- Ahlgrimm referred to herself as a bio- 1969. As has happened for so many play- ter-long guest professorships at Oberlin logical phenomenon since she “got more ers in our small musical world, that sen- and Southern Methodist University, as children the older she became,” Leon- sitive instrument taught me as much as well as several American concert tours hardt’s humorous salutation presents me had the memorable hours spent studying organized by managers, but aided and with a similar phenomenon: the “son” as with two of the fi nest teachers imagin- attended by her grateful students. Until father to the “father.” At any rate, I am able: Isolde Ahlgrimm (at the Salzburg recently, Ahlgrimm’s place in the story of pleased to have Dr. Leonhardt as my Mozarteum), and Gustav Leonhardt the 20th-century harpsichord revival has most distinguished graduate! (during two memorable July participa- been little celebrated. With the publi- Ah yes, students—the new generators cation of Peter Watchorn’s major study of harpsichord playing in America. Too Isolde Ahlgrimm, Vienna and the Early many to list, but perhaps one graced with Music Revival,9 that defi ciency in our multiple “A’s” may serve as representa- history has been rectifi ed! tive—Andrew Appel, American, who Leonhardt (born 1928), surely the completed his doctoral studies with Juil- most recorded of post-Landowska harp- liard harpsichord professor Albert Fuller sichordists, has infl uenced virtually every in 1983, and now carries on that line harpsichordist from the second half of from his teacher, who had been a pupil the 20th-century forward. His students of Ralph Kirkpatrick, who was . . . and seem to be everywhere. Even the most here we could circle back to the begin- cursory of enumerations would include ning of this essay. May Andrew Appel many of the leading teachers in the U.S: represent the achievements of so many Oberlin’s fi rst full-time professor of harp- of our fi ne young players: the late Scott sichord Lisa Crawford; Michigan’s Ed- Ross, the with-it Skip Sempé, the sensi- ward Parmentier; Boston’s John Gib- tive Michael Sponseller, the delightful bons; University of New York at Stony teaching colleague Barbara Baird— Brook’s Arthur Haas; Florida State’s Americans, all! Karyl Louwenaar; Illinois’ Charlotte Ultimately all of us are indebted to Mattax; and, particularly during the those European “explorers” who have 1970s and ’80s, my own large group of provided our inspiration and training: harpsichord major students at Southern French/English Arnold Dolmetsch, Aus- Methodist University. In the spirit of the trian Isolde Ahlgrimm, Dutch Gustav Landowska in her Lakeville, Con- early music excitement of those decades, Leonhardt: all contributors to the variety necticut home, 1949 (photo by Else SMU conferred his fi rst doctorate on Le- and richness of the harpsichord’s pres- Schunicke; collection of Larry Palmer, Momo onhardt in 1984, citing the Dutch harp- ence in our contemporary musical life. Aldrich bequest)
20 THE DIAPASON
June 2011 pp. 19-21.indd 20 5/13/11 8:51:12 AM The fi nal two: Palmer and Peter Adamson after a late afternoon of presenting!
Bridge Records [BCD 9005), conclud- 6. Teri Noel Towe, Notes for Pearl GEMM ing the musical examples in just under CD 9245: Great Virtuosi of the Harpsichord, II, 1996. four minutes! Fortunately for the word- 7. Palmer, Harpsichord in America, p. 147. weary, the next, and fi nal, presentation 8. Fernando Valenti, The Harpsichord: A of the two-day seminar was given by Dialogue for Beginners (Hackensack, New British record collector extraordinaire Jersey: Jerona Music, 1982), Introduction. Peter Adamson, comprising a fasci- 9. Peter Watchorn, Isolde Ahlgrimm, Vi- nating sound and image survey of early enna and the Early Music Revival (Aldershot, harpsichord recordings. Q Ashgate, 2007). For an account of an earlier Ahlgrimm student’s introduction to the harp- sichord, see Larry Palmer, Letters from Salz- Notes burg: A Music Student in Europe 1958–1959 1. Nicholas Slonimsky, Writings on Music (Eau Claire Wisconsin: Skyline Press, 2006). (New York: Routledge, 2005): v. 4 “Slonim- skyana,” p. 161. THE DIAPASON’s Harpsichord Editor since 2. Virgil Thomson, The Art of Judging Mu- 1969, Larry Palmer is author of the pioneer- sic (New York: Knopf, 1948), p. 61. Quoted ing book, Harpsichord in America: A Twen- in Larry Palmer, Harpsichord in America: A tieth-Century Revival, published by Indiana Twentieth-Century Revival (Bloomington: In- University Press in 1989 (paperback second diana University Press, 1989), p. 123. edition, 1993). Of six international advisors for 3. Palmer, Harpsichord in America, p. 78. the Berlin commemoration, two were Ameri- 4. Robert Evett, “The Romantic Bach,” cans: Teri Noel Towe (New York) and Palmer The New Republic, 28 July 1952, pp. 22–23; (Dallas). Poster and postcard images for the Landowska Symposium poster with anonymous caricature of the great harpsi- quoted in Palmer, op. cit., p. 125. exhibition featured an anonymous caricature chordist (collection of Larry Palmer) 5. Ralph Kirkpatrick, Early Years (New belonging to Palmer, the gift of Momo Aldrich, York: Peter Lang, 1985). fi rst secretary to the iconic Landowska. last return of that wonderfully energetic opening theme. Taken from her 1936 re- cording for EMI [reissued in Great Re- cordings of the Century, CDH 7610082], it served as an aural measuring rod with which to compare the following record- ings, made “after” Landowska. Example Two presented the young Ralph Kirkpatrick playing his early 20th- century Dolmetsch-Chickering harp- sichord, captured in a 1939 recording for Musicraft, digitized on Pearl [Great Virtuosi of the Harpsichord, volume II, GEMM CD 9245]. Example Three: Kirkpatrick again, 20 years later, record- ed in a thrillingly theatrical performance played on a powerhouse Neupert instru- Landowska in her Lakeville, Con- ment for Archiv [198 032] (LP). necticut home, 1949 (photo by Else Example Four: Sylvia Marlowe, like Schunicke; collection of Larry Palmer, Momo Landowska, played on an instrument by Aldrich bequest) Pleyel, recorded in 1959 for Decca [DL 710012] (LP). And our Polish mother, Wanda Land- Example Five: Leading Bach authority owska: that vibrant musician who has Isolde Ahlgrimm, recorded 1975, play- brought us together for this celebration ing her 1972 David Rubio harpsichord, of her musical legacy. recorded by Philips [6580 142] (LP). Example Six: Gustav Leonhardt uti- Some Information about Added lized the sound of an actual 18th-century Aural Examples historic instrument for his 1976 record- This paper was presented at the Ber- ing on a 1728 Hamburg harpsichord lin Musical Instrument Museum on No- by Christian Zell. Seon [Pro Arte PAL- vember 14, 2009, during a symposium 1025] (LP). in conjunction with the exhibition Die Example Seven: Andrew Appel Dame mit dem Cembalo [The Lady with played a 1966 harpsichord by Rutkowski the Harpsichord], in commemoration of and Robinette in his 1987 recording for the 50th anniversary of Wanda Landows- ka’s death. The topic was suggested by the museum’s curator Martin Elste, who organized the event. To remain within THE WANAMAKER ORGAN an imposed time limit, I chose to include only seven short recorded examples, Listen to it worldwide each one a performance of the same fi - nal 25 measures from the third (Presto) over the Internet! movement of J. S. Bach’s Italian Concer- to (BWV 971)—with an individual dura- Hourlong streamcasts tion of between 30 and 40 seconds. are featured at 5pm ET The fi rst example demonstrated one of the most unforgettable of all my musi- the first Sunday of cal experiences: Landowska’s unexpect- ed slight agogic hesitation between top each month at wrti.org and bottom notes of the climactic down- ward octave leap in measure 199, the
JUNE, 2011 21
June 2011 pp. 19-21.indd 21 5/13/11 8:51:30 AM Two organs in Cairo—a history of renovation by the Ktesibios Foundation Bill Halsey
fter living in Italy, I had the A opportunity to go to Egypt to study Arabic. I had always been fascinated by Arabic literature and music, as well as the prayer chants that are so much a part of life in the Moslem world. They are similar to Gregorian chant and syna- gogue chanting, and remind me of the days when I was 17 and singing in a Gregorian chant choir. You can tell time by the call to prayer, and what’s espe- cially nice is the antiphonal effect from different mosques “going off” at slightly different moments. All Saints’ Cathedral, Cairo I found a job playing organ for the English Mass at the Anglican All Saints’ Cathedral of Egypt and the Horn of Af- rica, working primarily with the English chaplain, Father Mike. The cathedral is a modern concrete monolith, the in- terior all open and designed to have the Heliopolis Basilica organ pipes upturned folds of a Bedouin tent. The organ is placed high in a rear gallery, and benefi ts from good acoustics. All Saints’ dates from 1988 and was a replacement Gerard Pels, assisted by Filip Willems, starting work on the Swell division for the old cathedral in Tahrir Square, built in 1938 but torn down in the 1980s to make way for one of the ubiquitous Cairo freeways. I was immediately struck by the qual- ity of the organ, which I was told came from the old cathedral but seemed even older than 70 years, more like at least 100 years old. It was a small two-man- ual tracker action, everything—console, pipes, bellows, windchest—contained in a rather plain-looking wooden frame- work. It had a nameplate, Bevington and Sons, but no date or opus number, and was in remarkably good condition for its age. It reminded me of small Italian organs, but lacked the most minimal solo stop like Vox Humana that even the smallest Italian organ has. However, the quality of the Open Diapason and the Heliopolis Basilica organ interior principal chorus on the Great make it quite serviceable for a wide variety of or- gan music. The Swell division, as often happens even in much bigger organs, is too weak to compete with the Great. Gerard Pels and Filip Willems clean out dust from pipes In summer I took a trip to Italy. I had plans to do a concert with a violinist thinking Cairo cut off from the world several pipes were missing, which led friend in Ostuni. The violinist specializes of organbuilders and masterclasses. He to a call to their fi rm in Belgium to see in Hispanic music and we were going to said the work was fi nanced by a founda- if the factory could supply the required perform, among other pieces, a violin and tion, which I found out later was called small pipes. piano partita I had written on songs by Ktesibios, after the Alexandrian inventor During the work, I learned a number Luz Celenia Tirado, one of Puerto Rico’s of the hydraulus organ; they worked on of very interesting things about an organ most famous composers. However, the Egyptian organs in exchange for accom- I thought I knew well. Gerard Pels, who concert, through a series of unfortunate modations and the cost of their airfare. besides being president of the Ktesi- events, was endlessly delayed and then The reason for their visit also included bios Foundation is also the head of Pels didn’t come about, and I fi nally returned presenting the renovation they had been Orgelbouw, an organbuilding company to Cairo at the end of September. doing on the organ at the Basilica of He- his family has operated for generations, Father Mike gave me my job back, liopolis, with a concert and masterclass had also come to the conclusion that this which rather surprised me, since I had by the same organist from Belgium. organ was more than 70 years old. Re- been absent so long, and he also excit- I had never seen an organ dismantled, search was done, leading to the discov- edly informed me that two Belgian or- cleaned, and tuned, and the two organ- ery that the organ came from another All ganbuilders had visited the organ while builders, Gerard Pels and Filip Willems, Saints Church that predated the old ca- I was gone. They were going to come had asked for a helper, so I volunteered thedral, and that the organ was probably back, do a complete cleaning and tun- for the job. The two couldn’t have been built around 1900. But alterations had ing, and there would also be two recitals nicer or more informative about the been made, whose date is not altogether and a masterclass with an organist from progress of the work. We took out all the clear; for example, a stop was added, a Filip Willems handing down a pipe dur- Belgium. I was pretty surprised by this, pipes except the heaviest façade pipes; Mixture on the Great, on electric action. ing dismantling Moreover, the whole pedal register, 16′, 8′, and 4′, is a unit rank on electric action. octave, to mimic at least a 4′ diapason. The history of this pedal stop is unclear, This also gives the effect of having a 16′ whether it existed in the original organ, on the Swell, which is very useful. or was simply added at some point, per- The work was limited by the time haps in 1938 to give more gravitas to the frame, only two days, and the pipes were organ. The Mixture, in Pels’s opinion, cleaned and put back, and a few problems was added for the new cathedral to give were fi xed—most importantly, replacing the organ a more Baroque sound. a broken pipe on the Great Octave, and One of the most interesting things I repairing a broken tracker on the Swell. learned concerned the Swell, which in- The missing pipes were replaced by cludes 8′ 4′ 2′ fl utes and a Larigot, and is pipes from Pels Orgelbouw, some from quite weak because there is no diapason. the 18th century, brought to Cairo by But, during the dismantling, Gerard Pels Gerard Pels’s 84-year-old mother. was quite surprised to discover that the The organist from Belgium, Pieter 2′ fl ute had the scale not of a fl ute but Van de Welde, titular of the organ at the of a diapason, causing it to overbalance Antwerp cathedral, chose to do all Ba- the 8′ and 4′ stops. Since the weakness of roque works for both his noon and eve- the Swell came from the fact it lacked a ning concerts. At noon he played Bach’s diapason chorus, this led me to consider “St. Anne” Prelude in E-fl at and a fugue playing melodies on the Swell down an by C. P. E. Bach; he went on to skillfully
22 THE DIAPASON
June 2011 pp. 22-23.indd 22 5/13/11 8:53:34 AM even stranger than the masterclass at All that would take more time to explore Saints’. Again, I was the only one to play and recognize. Q real organ music. There were a few kids doing piano pieces, but Pieter Van de Bill Halsey was born in Seattle, where he Welde understandably seemed in a hurry studied piano and composition from an early to start preparing for the next day’s con- age, and began organ lessons in his teens. While a student at the Sorbonne, he had ac- cert. The concert at the basilica, a pre- cess to the two-manual unmodifi ed tracker-ac- sentation of the restored organ, was go- tion Cavaillé-Coll organ at Saint Bernard de ing to be a very prestigious affair. Susan la Chapelle, in a northern arrondissement of Mubarak, the wife of the Egyptian presi- Paris. This fueled his interest in historic or- dent, was coming. The Belgian ambas- gans, and after spending fi fteen years serving sador and a big group from the embassy in organist positions at St. John Cantius, St. would be there. The Ktesibios Founda- Peter Claver, Church of the Assumption, and tion had even sold tours from Belgium, the Basilica of Our Lady of Perpetual Help, all in Brooklyn, New York, he took a permanent including the pyramids with the concert, leave of absence to explore historic organs, for 890 Euros a head! fi rst in France, and later in Italy. On Friday, security was tight, and the concert started over an hour late because Bevington organ at All Saints’ Anglican Mrs. Mubarak was late. The church, Cathedral, Zamalek, Cairo which seats about 500, was fi lled to GREAT bursting. Mr. Van de Welde performed 8′ Open Diapason a mostly lightweight program starting 8′ Hohl Flute with Bach’s Toccata and Fugue in D mi- 4′ Principal nor, ending with Widor’s Toccata; in the 2′ Octave middle were Verdi’s Triumphal March Mixture II from Aida and other softer pieces, such Pipes neatly stacked, ready to be cleaned SWELL as Flor Peeters “Oh God, thou faithful ′ God,” and Aalaiki’ssalaam by Naji Ha- 8 Lieblich Gedeckt 4′ Flute kim. It’s fair to say the soft pieces worked 2′ Flageolet best. The diapason chorus on this organ 1 1⁄3′ Larigot seems quite weak. To get any power, Van de Welde had to use a really annoying 16′ PEDAL Trombone on the Pedal that drowned 16′ Bourdon out the manuals. 1914 was a strange era 8′ Bass Flute in organbuilding; many builders, includ- 4′ Octave Flute ing very prestigious fi rms, were trying Couplers innovations that didn’t really work. The Swell to Great emphasis was on symphonic stops with Great to Pedal fancy names and this led to neglect of Swell to Pedal the basic diapason chorus or the 8′ and 16′ foundations that are so important for the Romantic repertoire. Heliopolis Basilica In December I was hired to play the GRAND ORGUE basilica carol service and formed a more 16′ Bourdon nuanced view of this organ. Obviously, 8′ Montre any true evaluation of it must wait for 8′ Flute Harmonique a complete restoration that includes the 8′ Viola di Gamba reed organ on the third manual, which 8′ Bourdon 8′ Quintatön may make up for the lack of solo reed ′ stops—clarinet or oboe—on the organ. 4 Prestant 4′ Flute Harmonique The Positif to Grand Orgue coupler is 2′ Doublette not at present usable because when it Mixture II is engaged there is a cipher. The most Cornet V, starts at middle C usable solo stop is the Grand Orgue 8′ Trompettetuba Bill Halsey, Gerard Pels, and Filip Willems during a tea break Viola di Gamba. The trumpets on the Grand Orgue and Positif are not really POSITIF 8′ Diapason and mosques for the new neighbor- solo stops; they are the reeds that in the ′ hood, including the Catholic basilica French system make up the Grand Jeu. 8 Flute Harmonique 8′ Salicional for the large foreign Catholic commu- The organ in many ways seems like a 8′ Voix céleste nity. There is something of a mystery collection of spare parts—but over the 6′ Quinte about the organ itself. It was installed in course of a day and half of rehearsal and 4′ Violine 1914 by Theofi el Boeckx, an apprentice the carol concert, where I accompanied 4′ Eoline of Gerard Pels’s great grandfather, but not only singers but also a fl autist and 4′ Flute echo there is debate about the actual builder. violinist, I began to realize that this or- 2′ Flageolet The nameplate reads Theophile Boech, gan has a lot of good elements; it’s just 8′ Trompette Harmonique Facteur, 10 mars 1914, but Gerard Pels necessary to fi nd out where they are and PEDAL found evidence inside the organ that how to use them. 16′ Contrebasson some of the parts or pipes were made in But the cathedral organ is undeni- 8′ Octavebasse Georges Cloetens’s factory. ably a better instrument. The moral of 16′ Trombone Theofi el Boeckx’s name on the or- this story is that bigger isn’t necessar- gan was, however, the inspiration for ily better. The cathedral organ has no Couplers and expression pedals: the Ktesibios Foundation. Raymond reeds or solo stops, but the strength of Octave aiguë sur Grand Orgue Batroussi, the basilica organist until re- its foundation stops means it is suitable, Tirasse au Positif cently, when he left Egypt for Canada, with creativity, for a wide variety of solo Tirasse au Grand Oruge Positif au Grand Orgue had asked Gerard Pels to take him on as music, while perhaps really being op- Crescendo Gerard Pels and Filip Willems blowing an apprentice organbuilder and restorer timal, and certainly designed primarily, Tremolo dust out of pipes in Belgium, but he couldn’t get a visa for for accompanying Anglican choral mu- Vibrato Belgium. He did, however, arrange for sic and chanting. That said, the basilica Playing aids, fi xed combinations: Piano, Mez- demonstrate the whole gamut of differ- Pels to visit the Heliopolis Basilica and organ has many interesting capabilities zoforte, Tutti, General Cancel. ent stops with various chorale preludes see the organ, to give him advice about and trio sonatas by Bach. In the evening restoring it. When Pels saw the organ he played, among other works, pieces by and the nameplate, he was intrigued by Buxtehude and Bach’s Passacaglia in C the family connection. He realized the Minor. I had really never heard the organ restoration would be a delicate affair, so from downstairs played by a professional, decided to found the Ktesibios Founda- and was impressed not only by the mas- tion to fund his own involvement in the sive power it had in the big tutti but also project. Pels’s blog,
JUNE, 2011 23
June 2011 pp. 22-23.indd 23 5/13/11 8:53:57 AM The Pipe Organ in African-American Worship: Symposium at the University of Michigan Sylvia Wall
Willis Patterson and Herman Taylor, “Gospel Music in the Black Church” Symposium presenters (l to r): Mickey Thomas Terry, James Kibbie, Wayne Barr, Sylvia Wall, Naki Sung Kripfgans, Nathaniel Gumbs, Calvert Johnson, Anthony Wil- liams, Herman Taylor
ome of the nation’s best-known S organists and scholars braved yet another winter storm on February 21, 2011 to attend the symposium “The Pipe Organ in African-American Worship,” directed by Dr. James Kibbie at the University of Michigan School of Music, Theatre and Dance in Ann Arbor. The dean of African-American or- ganists, Herman D. Taylor, Professor Emeritus, Eastern Illinois University, began the morning by demonstrating on the Frieze Memorial Organ in Hill Au- ditorium how well gospel music can be articulated on a pipe organ. Dr. Taylor Calvert Johnson, “Fela Sowande: Ni- Nathaniel Gumbs, “King of Kings: Or- shared his wisdom and stories regard- gerian Fellow of the Royal College of gan Music by Black Composers, Past ing church work and organ performance Organists” and Present” with a captivated audience. He was joined by singers Vivian Hicks Taylor Wayne Barr, “The Pipe Organ in Afri- edited by James Abbington. Nathaniel and Willis Patterson. can-American Worship: An Endangered Gumbs is a young organist whose career Representing two Historically Black Species” is destined to soar in the organ world. Colleges and Universities (HBCUs) Displaying solid technical skill and grace, were Anthony Williams and Wayne Terry performed pieces by Adolphus Gumbs performed Fela Sowande’s Go Barr. Dr. Williams, a University of Hailstork, Ruth Norman, Mark Fax, Down Moses at the closing recital. Michigan alumnus, is now associate pro- George Walker, and Ulysses Kay. Sylvia Wall, a University of Michigan fessor of music and university organist at The composer and Fellow of the Royal graduate student, raised a number of Fisk University in Nashville, Tennessee. College of Organists considered to be the provocative questions regarding the pipe He was the youngest person in history to “Father of the Nigerian organ school,” organ in African-American worship. She serve as director of the Fisk Jubilee Sing- Fela Sowande, was well represented on pointed out the need to broaden the def- ers. Continuing the rich musical heritage the program. Calvert Johnson, who inition of African-American worship and of Fisk University, Dr. Williams gave an serves as chair of the music department the “Black Church” to include the many inspiring performance of Negro spiri- at Agnes Scott College, a women’s col- varieties of religious music traditions tuals arranged for organ by composers lege in Decatur, Georgia, presented among African-Americans. Ms. Wall used Ralph Simpson, Calvin Taylor, and Flor- a lecture-recital in which he analyzed the colonial African-American Moravi- ence Price. Williams’ artistic registration several Sowande themes based on tradi- ans and their egalitarian participation in demonstrated that he was defi nitely back tional Yoruba melodies. Dr. Johnson em- the music of the North Carolina Old Sa- Sylvia Wall, “A Study of the Organ Mu- at home on the 121-rank E. M. Skin- ployed the Bass Drum stop as he played lem community as an example of groups sic at St. Joseph’s A.M.E. Church, Dur- ner/Aeolian-Skinner organ in Hill Au- the Konkonkolo rhythm, which is found generally omitted from the discussion. ham, North Carolina” ditorium. His pedal execution of Calvin all over West Africa. In 1762, a one-rank Tannenberg organ Taylor’s Hold On was fl awless. In the evening, Johnson was joined was set up in the Moravian community mend Dr. Kibbie for his promotion of Wayne Barr is director of choral ac- by trumpeter David Kuehn of Atlanta, in which Afro-Moravians also worshiped. inclusion in the organ community. tivities at Tuskegee University. His doc- Georgia, in the performance of Vocalise Wall also discussed the pipe organs at St. It is unfortunate that two presenters toral dissertation at the University of for Trumpet and Organ by Sharon J. Joseph’s A.M.E. Church and White Rock were not able to attend because of in- Michigan focused on “The History of Willis. The fi rst movement is entitled Baptist Church in Durham, North Caro- clement weather. James Abbington, as- the Pipe Organ in Black Churches in Bachanelle, a play on words of the name lina. She said that the fi nancial success sociate professor of church music and the United States.” Dr. Barr said that Bach. However, it is interesting to note of African-Americans in Hayti, Durham, worship at Candler School of Theology immediately after Emancipation, many that Bacchanalia were mystic Greek also known as the “Black Wall Street,” al- at Emory University in Atlanta, Georgia, Black churches had pipe organs, a trend festivals held in secret and initially at- lowed the congregations to embrace the was scheduled to present two new vol- that declined during and after the De- tended by women only. Kudos to Dr. music of the pipe organ as a matter of umes of organ works that he has edited: pression. African-American churches Johnson for choosing a piece that cel- pride, education, and uplift. King of Kings: Organ Music by Black wanted pipe organs because the pipe ebrates women in leadership roles and James Kibbie performed Prayer (Oba Composers, Past and Present. Brandon organ represented the best in church in the pipe organ community. a ba ke), a work by Fela Sowande based Spence, director of music at the Cathe- music. Dr. Barr raised a concern that Naki Sung Kripfgans is a University on a traditional Yoruba melody. As al- dral Basilica in Denver, Colorado, was to the pipe organ is an endangered spe- of Michigan alumna and organist at the ways, Dr. Kibbie’s graceful performance present “The Unique Gift of Blackness: A cies in African-American worship and First United Methodist Church of Ann was impeccable. A brilliant organist and Refl ection on the Organ Music by Black voiced an urgent need to catalog all pipe Arbor. Dr. Kripfgans dazzled the au- teacher, Kibbie has done an exceptional Composers and the Rites of the Roman organs in those churches. Barr said that dience with her performance of Suite job recognizing multicultural reciprocity Catholic Church.” Norah Duncan IV, as- many churches house instruments that for Organ, No. 1, by Florence Beatrice and diversity in organ performance. So- sociate chair and associate professor of are not used or maintained due to a lack Price. The Toccata allowed Dr. Kripf- wande believed in the philosophy of cul- music at Wayne State University, served of funds and a lack of trained musicians. gans to show off her virtuosity and mu- tural reciprocity and argued against what on the symposium program committee He encouraged attendees to fi nd these sicality as well as Price’s command of he called “apartheid in art.” Sowande but was also unable to perform due to a instruments and to play them. At the organ composition. said, “We are not prepared to submit to last-minute accident. closing recital, Barr performed Fantasy Nathaniel Gumbs is a graduate stu- the doctrine of apartheid in art by which The symposium on the “Pipe Organ by Eugene Hancock. dent at the Yale Institute of Sacred Mu- a musician is expected to work only with- in African-American Worship” was pre- Mickey Thomas Terry is editor of sic. In James Abbington’s absence, Mr. in the limits of his traditional forms of sented with generous support from Dr. the critically acclaimed African-Ameri- Gumbs played excerpts from King of music . . . in which case nationals of any Barbara Furin Sloat and from the Rob- can Organ Music Anthology, published Kings I & II: Organ Music of Black Com- one country may forget that they are all ert Glasgow Keyboard Faculty Support by MorningStar Music Publishers. Dr. posers, Past and Present, compiled and members of one human family.” I com- ³ page 25
24 THE DIAPASON
June 2011 pp. 24-25.indd 24 5/13/11 8:54:44 AM New Organs
J. Zamberlan & Co., that had originally been planned within Wintersville, Ohio the front case, would be the best course Mt. Lebanon United Lutheran of action. In addition, a new chest would Church, Pittsburgh, Pennsylvania be built for the future Choir pipework, When the church dedicated a new plus 17 treble pipes would be provided three-manual organ by Fratelli Ruffatti in to allow duplexing the Pedal Trumpet up November 2002, the instrument includ- to the Great as a chorus reed—the origi- ed a number of prepared-for stops. Our nal plan had included the Chamade as involvement began in the fall of 2004, the only Great reed. when Russell Weismann, then organist The new casework is of Honduras ma- at the church, asked us to take over regu- hogany, fi nished to harmonize with the lar maintenance, plus make a proposal main case in the chancel, and while this for completing the organ. When Russell case has more classical proportions than left to pursue graduate studies at Yale, the front organ, it echoes certain design the pastor, Bruce J. Pedersen, asked him elements in order to give a respectful to act as consultant on the project. While nod to its big sister. What had originally fundraising continued, Russell, Larry Al- been my tongue-in-cheek suggestion to len (the new director of music and organ- suspend the Antiphonal from the ceil- ist) and I weighed various alternatives; ing (like the Klais in Cologne Cathe- we eventually agreed that an Antiphonal dral) turned out to be the best solution division in the rear of the church, incor- from the structural engineer’s viewpoint, porating the Trompette en Chamade and eliminated the need for a clumsy support framework beneath the case. The walkboard between the case rear and the back wall of the church serves dual purposes—a necessary workplace ³ page 24 when tuning, but also a visual “anchor” so the Antiphonal doesn’t appear to be Fund, endowed by Susan and Eugene dangling in space. A small high-speed Goodson, with additional support from blower is housed in a heavy box to keep the Offi ce of Vice-President for Re- noise to a minimum; the blower box, as search, the University of Michigan. Q well as a large single-rise ribbed reser- voir, are located adjacent to the case atop Please contact Dr. Wayne Barr (wayne_ an elevator room, and wind is fed to the [email protected]) with any information concern- Antiphonal through a large PVC pipe in ing any pipe organ in an African-American the rear wall of the church. An additional church or building. reservoir was also provided in the Choir Sylvia Wall is a graduate student in church for the new chest. music at the University of Michigan, where Pipes of the Antiphonal Diapason 8′ she studies organ with James Kibbie. A na- comprise the façade for that division, ′ tive of Smithfi eld, North Carolina, Ms. Wall and are constructed of polished 70% tin, of channels, from which the pipes are 8 Erzähler Celeste (electronic) 8′ Singend Gedackt began her organ studies with Grant Moss at while the Octave and Fifteenth are made tubed off directly from the bottom of ′ Smith College, Northampton, Massachusetts. 4 Principalino of 52% spotted metal. The Trompette en the grid without a slider; this permits 4′ Koppelfl öte She continued organ instruction with Hern- Chamade features satin copper resona- the Trompette to be duplexed to various ′ don Spillman at Louisiana State University 2 Zauberfl öte 1 ′ and William Entriken of the First Presbyte- tors, which become harmonic length at divisions as the original design intended, 1⁄3 Larigot (prep.) 1 ′ rian Church in the City of New York. Wall, f#43. This stop has suffi cient harmonic increasing its versatility. The organ in its 1⁄3 Ripieno III (prep.) development to solo out melodies and entirety presently comprises 62 stops, 31 8′ Cromorne (electronic) an Episcopalian, served as organist and choir- ′ master at Trinity-St. John’s Episcopal Church descants but can also serve as a large pipe registers, 39 ranks, and 2,195 pipes. 8 Trompette en Chamade (from ANT) in Hewlett, New York from 2007–2010. She chorus reed against the full force of the The additions were dedicated on March Tremulant MIDI A, B holds a Bachelor of Liberal Arts degree with a Ruffatti. Both new chests are slider with 11, 2009 by Russell Weismann, Univer- ′ ′ concentration in writing from the New School Choir 16 , 4 , Unison Off electric pulldowns; all pallets were care- sity Organist and Adjunct Professor of Zimbelstern University in New York. She has published fully sized, and pallet travel was kept at Sacred Music at Georgetown University. in Red Lines Blues and given a public read- ing of her work, “Southern Fried Chicken,” a 4mm in order to keep the action respon- —Joseph G. Zamberlan ANTIPHONAL (61 notes) sive. The Antiphonal chest is a bit unusu- 8′ Diapason commentary on the 1971 fi re in the Hamlet, ′ NC Imperial Foods processing plant, which al in that there are two complete sets of CHOIR (61 notes) 4 Octave 8′ English Diapason (prep.) 2′ Fifteenth resulted in the injury of 54 and death of 24 channels; one set, for the fl ue stops, has ′ minority workers. sliders for the stop action and functions 8′ Erzähler (prep., currently 8 Trompette en Chamade (satin in the usual manner. The Trompette electronic) copper resonators) Photos by John Beresford en Chamade, however, has its own set
JUNE, 2011 25
June 2011 pp. 24-25.indd 25 5/13/11 8:55:03 AM Cover feature
The Organ Clearing House, tone color, one from each family of reed Charlestown, Massachusetts stops: Oboe, Clarinet, Vox Humana, and The Church of the Resurrection, French Horn. New York, New York Each manual division includes 16′ tone and an 8′ Principal. There are eight “Downstairs, Upstairs” independent 16′ voices—a strong ratio During 1916, Casavant Frères com- for a 40-rank organ. The Positif Viole pleted 61 new organs, including Opus d’Orchestre and Viole Celeste provide 665, built for the “Lower Sanctuary” zing, in striking contrast to the singing of the Basilica of SS. Peter and Paul in strings of the Récit and the especially Lewiston, Maine, incorporating many colorful Salicional of the Grand Orgue— ranks of pipes from the church’s previ- the combined antiphonal chorus of ous organ built by Hook & Hastings. At strings creates a rich orchestral color. that time Lewiston was a bustling center The Solo Flûte Harmonique fi lls two of textile and sawmills powered by the roles—as an antiphonal soloist with the current of the Androscoggin River. As luscious Grand Orgue Flûte Double, in many towns and villages in northern and as an expressive accompaniment to New England, Lewiston’s population was its downstairs neighbor, the Positif. dominated by people of French-Canadi- The organ’s console is a blend of old an descent, so in a town of some 15,000 and new. The console cabinet, keyboards, people there were 17 Roman Catholic and pedalboard are original. New stop parishes—a natural American market for jambs and coupler rail were built to ac- a Canadian organbuilder. commodate the new voices and controls, The Church of SS. Peter and Paul was supported by a state-of-the-art solid- the largest of Lewiston’s Catholic church- state control system. es, and while its lower church’s organ The completion of any signifi cant pipe received heavy use in a busy schedule of organ project requires the participation Masses, this workaday organ was not in- of many people, combining skills and tended as a concert instrument—that role experience to create an artistic whole. was relegated to the larger Casavant organ The Organ Clearing House’s crew dis- in the much larger “upstairs” sanctuary. Basilica of SS. Peter and Paul, Lewiston, ME (with two OCH trucks) (photo credit: mantled, packed, and stored the organ Our project for the Church of the John Bishop) for the period between acquisition and Resurrection has been to promote that renovation. John Bishop and David En- relatively simple organ from semi-rural low developed the concept of the organ. northern New England to busy and up- Jay Zoller of Newcastle, Maine (formerly scale New York, and more signifi cantly, of the Andover Organ Company) provid- from a downstairs to an upstairs organ. ed mechanical drawings. Organ Clearing My fi rst contact with the Church of House president Amory Atkins adapted the Resurrection was organist David and expanded the rear gallery for the Enlow’s 2002 inquiry regarding the pos- new organ, constructed the chancel or- sible sale of the church’s McManis or- gan chambers, and directed the instal- gan, which had been mortally damaged lation of the organ. OCH vice-president by well-meaning but unenlightened car- Joshua Wood supervised the extensive penters, who boldly divided the never- transportation program necessary to to-be-right-again organ in order to reveal bring the organ from the workshop in the south-facing “west” window. An elec- Deerfi eld, New Hampshire to Manhat- tronic instrument was in use, and the sale tan, assisted by OCH logistics expert of the pipe organ was the fi rst germ of in- Dean Conry. John Bishop rebuilt the spiration toward the church’s acquisition console and wired the organ. And while of a functional pipe organ. Growing up in all members of the OCH team partici- Toronto, Mr. Enlow had been reared on pated in the general installation of the early twentieth-century Casavant organs, instrument, Terence Atkin was on hand and it was his intention that the Church for nearly every day of installation while of the Resurrection should have such an others came and went. instrument. When the notice of Casavant The revised tonal content was de- #665’s availability appeared on my desk, signed and executed by Scot Huntington we felt we had the right instrument for of S. L. Huntington & Co. of Stonington, Church of the Resurrection. Connecticut. Christopher and David Mr. Enlow and Fr. Barry Swain, rector Broome of Broome & Co. in East Gran- of the Church of the Resurrection, trav- Basilica of SS. Peter and Paul, lower church with Casavant organ (photo credit: by, Connecticut restored the original eled to Maine, where we met to inspect John Bishop) Casavant reed pipes, and provided the the organ. Though it had been unplay- pipes and voicing for the two new reed able and neglected for many years, it voices. Eastern Organ Pipes of Hager- was clearly consistent with Enlow’s vi- stown, Maryland provided the new fl ue sion, and ideal for use as the core of a pipes. Richard Nickerson of Nickerson more sophisticated organ. The sale was Pipe Organ Service in Melrose, Mas- negotiated, the organ was dismantled sachusetts releathered wind regulators and stored, and we began the process of and tremolos. New windchests were imagination and debate over the scope provided by Organ Supply Industries and character of the new organ, choosing in Erie, Pennsylvania; console controls, which voices might be retained from the organ relays, and expression motors by McManis organ and determining which Peterson Electro-Musical Products of new voices should be introduced to ef- Alsip, Illinois; and manual keyboards fect the transformation. were recovered with cow bone by John The addition of a third expressive Nelson Woodworking of Little Comp- chamber, colorful and powerful sym- ton, Rhode Island. phonic voices such as French Horn and In 1916, the workshops of the great Tuba, several added 16-foot ranks, and a organ companies employed hundreds complex antiphonal layout have allowed of workers, among whom could be this transformation. While the original found every skill and ability necessary instrument was simple and straightfor- to design and build instruments of the ward, the present instrument is complex highest quality. Today it is unusual for and varied. a pipe organ company to employ more The Récit, Grand Orgue, and “major” than ten workers, and most have fewer pedal divisions are located in the rear than fi ve. Combining the highest skills gallery. The Positif is located in a cham- from specialized companies ensures ber above and behind the organ console that each facet of a complicated project in the chancel. Enclosed with the Posi- can be completed expertly, and we are tif is an independent pedal Bourdon Old façade (photo credit: John Bishop) grateful to all those who added their 16′, retained from the Church of the skills to this project. Resurrection’s two previous organs acoustic “slapping,” and the extra hard more exciting voices on high pressure. The dedication recital was played by (E. M. Skinner and Charles McManis), and dense walls provide for both maxi- The evolved stoplist includes several un- Peter Richard Conte on February 22, and a Gemshorn 16′ from the McManis mum expression and projection of tone. usual features that allow for especially 2011. Subsequent recitals have been organ, included as an extension of the The new Solo division was inspired by colorful and expressive playing. played by Andrew Henderson and original Casavant Dulciane 8′. The Solo the fact that the original Grand Orgue Although the Tuba is a trumpet-style James Kennerly. On April 15, David division is located in a tightly enclosed had a separate high-pressure windchest, voice, its powerful tone separates it from Enlow played a program of organ con- chamber above the Positif, which speaks which originally supported a Montre 8′ the organ’s other reeds. As such, there is certos, with an orchestra directed by through a grille in the arched ceiling of and a Trumpet 8′ that was missing by the only one Trumpet on the manuals, the Stephen Simon. the chancel. The fl oor plan of the Solo time we found the organ. That Montre is dark-sounding Récit Cor 8′. Otherwise, Recently, David Enlow received a chamber is trapezoidal to avoid internal now the Solo Principal, joined by three the organ’s reeds comprise a buffet of message from Paul Doyon of North
26 THE DIAPASON
June 2011 pp. 26-27 4C.indd 26 5/13/11 8:56:11 AM Loading the console (photo credit: John Bishop) Console
Carolina, who had seen recital public- 8′ Violon (Gd. Orgue)** ity and recognized the organ his mother 8′ Dulciane (Pos.) 4′ Violon (Gd. Orgue)** had played for many years in Lewiston. ′ Mr. Doyon wrote: “My mother, Emilia 32 Basson Cornet (composed) 16′ Bombarde Bilodeau-Doyon, played on that organ 16′ Basson (Réc.)* from 1920 until 1964 . . . She died in 1992 and in 2003 I returned to Lewiston to the *New pipes now Basilica of Saints Peter and Paul and **From prior Resurrection organs played a short program after the Mass †E. M. Skinner French Horn celebrating her 100th anniversary.” Mr. Doyon’s recollections emphasize Coupler rail the special meanings hidden in the relo- Gd. Orgue a Ped. Recit a Ped. cation of vintage pipe organs. Any organ Positif a Ped. is part of the fabric and life of the par- Solo a Ped. ish that owns it. When a church closes or Recit Aigu a Ped. a room is “re-purposed,” its heritage is Solo Aigu a Ped. honored and continued when the organ fi nds new life in a new home. I imagine Recit grave au Gd. Orgue this organ was mighty surprised to wake Recit au Gd. Orgue up fi nding itself in the big city—as mil- Recit aigu au Gd. Orgue Positif grave au Gd. Orgue lions of stiff-necked tourists quip, “look Positif au Gd. Orgue at all them tall buildings!” Positif aigu au Gd. Orgue —John Bishop Gd. Orgue Aigu Photos by Ray Stubblebine unless in- Recit grave dicated otherwise Recit unisson muet Church of the Resurrection, New York (photo credit: John Bishop) Recit aigu
GRAND ORGUE (II, gallery) Recit grave au Pos. 16′ Violon** Recit au Pos. 8′ Principal Recit aigu au Pos. 8′ Flûte Double Pos. grave 8′ Salicional Pos. unisson muet 4′ Octave Pos. aigu 2′ Doublette Mixture III Solo grave Solo unisson muet RÉCIT (III, gallery) Solo aigu 16′ Bourdon 8′ Principal Exp. Solo sur Cresc. 8′ Bourdon Gd. Orgue/ 1ier Clav. Échange 8′ Viole de Gambe 8′ Voix Céleste Unusual controls 4′ Principal Récit Mixture II + II toggle switch 2′ Octavin This allows the player to choose which mixture Mixture II + II (mixture + cornet) ranks play when the stop is drawn. The fi rst 16′ Basson (ext)* pair is a two-rank quint mixture, and the sec- 8′ Cor ond a sesquialtera designed to play on its own 8′ Hautbois or to combine with the fi rst pair to form a tierce 8′ Voix Humaine mixture. The setting can be saved to general 4′ Hautbois (ext)* and Récit local pistons, and is shown by indica- Tremolo tor lights on either side of the drawknob. POSITIF (I, chancel) Solo sur Gd. Orgue 16′ Dulciane (ext)** This causes the stops of the Solo to play on the 8′ Principal second manual rather than the fi rst. This way, 8′ Melodie the Positif stops can play on the fi rst manual 8′ Dulciane and the solo on the second. It does not silence 8′ Viole d’Orchestre the Great stops. 8′ Viole Céleste* 4′ Flûte Douce Exp. Solo sur Cresc. 2′ Flageolet This cancels the action of the register cre- 8′ Clarinette scendo pedal and moves the solo expression Tremolo control from the Positif shoe to the Crescen- do shoe. SOLO (I, chancel ceiling) 8′ Montre Gd. Orgue/ 1ier Clav. Échange 8′ Flûte Harmonique* This switch exchanges the fi rst and second 8′ Cor d’Orchestre† manuals, including the local pistons and cou- 8′ Tuba Mirabilis* pler reversibles. Note the fi rst manual is both Cloches Solo and Positif. Tremolo Solo sur GdOr. 50 stops, 40 ranks, 2,363 pipes PÉDALE (gallery) (Pos. stops in chancel) 32′ Basse Acoustique 16′ Flûte Ouverte The Organ Clearing House 16′ Violon (Gd. Orgue)** P.O. Box 290786 16′ Bourdon Charlestown, MA 02129 16′ Bourdon (Réc.) 16′ Bourdon Pos.** 16′ Dulciane (Pos.)** 617/688-9290 2 10 ⁄3′ Quinte** 8′ Flûte (ext) www.organclearinghouse.com 8′ Bourdon (ext) Façade of gilded Violon pipes with 18th-century gilt wood cherubs
JUNE, 2011 27
June 2011 pp. 26-27 4C.indd 27 5/13/11 8:56:31 AM 2011 Summer Carillon Concert Calendar by Brian Swager
Albany, New York June 16, BMPC Carillonneurs Denver, Colorado Grand Rapids, Michigan Albany City Hall, Sundays at 1 pm June 23, Hylke Banning University of Denver, Williams Carillon Grand Valley State University June 5, Charles Semowich June 30, Robin Austin Wednesdays at 7 pm Wednesdays at noon June 12, Amy Heebner June 22, Geert D’hollander July 6, Gordon Slater July 3, Frits Reynaert Centralia, Illinois July 6, Koen van Assche July 13, James Fackenthal July 24, Elena Sadina Centralia Carillon July 20, Anne Kroeze July 20, Timothy Sleep July 31, George Matthew, Jr. Carillon Weekend, June 18–19, 2–3:30 pm August 3, Carlo van Ulft July 27, Julianne Vanden Wyngaard Tom van Peer, Trevor Workman, Sue August 17, Janet Tebbel Alfred, New York Bergren Grosse Pointe Farms, Michigan Alfred University, Davis Memorial Carillon Carillon Weekend, September 3–4, 2–3:30 pm Detroit, Michigan Christ Church Grosse Pointe Tuesdays at 7 pm Linda Dzuris, Jeff Daehn, Laura Ellis Jefferson Avenue Presbyterian Church June 26, 11:30 am, Trevor Workman July 5, Monika Kazmierczak June 26, 11:45 am, Monika Kazmierczak July 12, Toru Takao Grosse Pointe Memorial Church Chicago, Illinois July 19, Karel Keldermans St. Mary’s of Redford Catholic Church Tuesdays at 7:15 pm University of Chicago, Rockefeller Chapel July 26, Gordon Slater Saturdays at 5:15 pm June 21, Auke de Boer August 2, Sharon Hettinger Sundays at 6 pm July 2, Koen Van Assche June 26, 9:15 am, Trevor Workman June 19, Trevor Workman July 9, Eddy Mariën & Tom Lee July 5, Phyllis Webb & church volunteers Allendale, Michigan June 26, James M. Brown July 16, Toru Takao Grand Valley State University, Cook Caril- July 3, Eddy Mariën & Tom Lee July 23, Anna Kasprzycha Hartford, Connecticut lon, Sundays at 8 pm July 10, Monika Kazmierczak Trinity College Chapel, Wednesdays at 7 pm June 19, Ulla Laage July 17, Brian Tang East Lansing, Michigan June 22, Claire Halpert June 26, Jon Lehrer July 24, Wylie Crawford Michigan State University, Beaumont Tow- June 29, Daniel Kerry Kehoe July 3, Gijsbert Kok (ChimeMaster Mo- July 31, Stefano Colletti er Carillon, Wednesdays at 6 pm July 6, Ellen Dickinson bile Carillon) August 7, Melissa Weidner June 29, Trevor Workman July 13, Frans Haagen July 10, James Fackenthal August 14, Janet Tebbel July 6, Ulla Laage July 20, Toru Takao & Kasia Piastowska July 17, Timothy Sleep August 21, Andrew Wetzel July 13, Eddy Mariën & Tom Lee July 27, Melissa Weidner July 24, Helen Hawley July 20, Ray McLellan August 3, Wesley Arai July 31, GVSU Carillon Collaborative Cohasset, Massachusetts July 27, Stefano Colletti August 10, George Matthew August 7, Open Tower St. Stephen’s Episcopal Church August 3, Sally Harwood August 17, Jon Lehrer August 14, Patrick Macoska Sundays at 6 pm August 21, Julianne Vanden Wyngaard July 3, Adrian Gebruers Erie, Pennsylvania Jackson, Tennessee July 10, Gijsbert Kok Penn State University, Smith Chapel First Presbyterian Church Belmont, North Carolina July 17, Monika Kazmierczak Thursdays at 7 pm August 28, Jackson Symphony Orches- First Presbyterian Church July 24, Mary Kennedy July 14, Toru Takao tra and carillon, 6:45 pm June 26, 6:30 pm, Mary McFarland July 31, Gordon Slater July 21, Karel Keldermans Aug 7, Lee Cobb July 28, Gordon Slater Kennett Square, Pennsylvania Bloomfi eld Hills, Michigan Aug 14, Jonathan Lehrer August 4, Sharon Hettinger Longwood Gardens, Sundays at 3 pm Christ Church Cranbrook, Sundays at 5 pm June 5, Steven Ball June 26, Ulla Laage (9:45 & 11 am) Fort Washington, Pennsylvania June 12, Andrew Wetzel Culver, Indiana June 26, Thomas Lee & Eddy Mariën June 26, Koen Van Assche, Anna Maria Culver Academies, Memorial Chapel Caril- St. Thomas Church, Whitemarsh Reverte, Florian Van Assche Tuesdays at 7 pm July 17, Stefano Colletti lon, Saturdays at 4 pm July 24, Toru Takao July 3, Monika Kazmierczak July 5, Geert D’hollander June 4 (7:30 pm), June 25, July 2 & 9, August 12, 7:30 & 8:30 pm: Cast In Bronze July 10, Eddy Mariën & Tom Lee July 12, Amy Johansen John Gouwens (mobile carillon) July 17, Toru Takao July 19, Stefano Colletti July 16, Carol Anne Taylor August 14, Carol Jickling Lens July 24, Stefano Colletti July 23 & 30, Sept 3, John Gouwens July 26, Toru Takao August 2, Lisa Lonie LaPorte, Indiana Kirk in the Hills Presbyterian Church The Presbyterian Church of LaPorte Sundays at 10 am and noon Danbury, Connecticut Glencoe, Illinois Sundays at 4 pm June 12, Dennis Curry St. James Episcopal Church Chicago Botanic Garden, Mondays at 7 pm June 26, Gijsbert Kok June 19, Geert D’hollander Wednesdays at 12:30 pm June 6, Tim Sleep July 17, Carol Anne Taylor June 26, Jo Haazen & Russian students July 6, Gerald Martindale June 13, Sue Bergren August 28, John Gouwens June 26–July 1, GCNA 75th Anniversary June 20, Trevor Workman Dayton, Ohio & World Carillon Congress June 27, James M. Brown Luray, Virginia Deeds Carillon July 3, Koen & Florian Van Assche July 4, Eddy Mariën & Tom Lee Luray Singing Tower July 10, Eddy Mariën & Thomas Lee June 5, July 24, August 7, 21, 3 pm July 11, Monika Kazmierczak Tuesdays, Thursdays, Saturdays and Sun- July 17, Toru Takao & Kasia Piastowska June 12, 4 pm July 18, Brian Tang days in June, July, and August at 8 pm, July 24, Stefano Colletti June 19, September 18, 1 pm July 25, Wylie Crawford (Christmas in July) David Breneman, carillonneur September 4, Dennis Curry June 26, 4 pm August 1, Stefano Colletti June 23, Auke de Boer July 4, 11 am August 8, Melissa Weidner July 7, Geert D’hollander Bryn Mawr, Pennsylvania August 27, 2 pm August 15, Janet Tebbel July 21, Stefano Colletti Bryn Mawr Presbyterian Church September 5, noon August 22, Andrew Wetzel Thursdays at 7 pm September 11, 3 pm August 29, Christine Power Madison, Wisconsin June 2, Steven Ball Larry Weinstein, carillonneur September 5, Mark Lee University of Wisconsin, Thursdays at 7:30 pm July 7, Lyle Anderson July 14, Lyle Anderson July 21, Sue Bergren /44/ (%533 /2'!. 0!243 July 28, Dave Johnson Mariemont, Ohio Mary M. Emery Memorial Carillon 4RADITION AND 0ROGRESS Sundays at 7 pm May 29, July 31, August 28, Richard D. Gegner & Richard M. Watson &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN May 30, 2 pm, June 12, June 26, July 4, CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 2 pm, July 17, August 14, September ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS 4, Richard M. Watson June 5, June 19, July 10, July 24, Au- gust 7, August 21, September 5, 2 pm, /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY Richard D. Gegner MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR July 3, Gordon Slater EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP Middlebury, Vermont MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES Middlebury College, Fridays at 7 pm July 1, Frits Reynaert 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING July 8, Gordon Slater 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS July 15, Stefano Colletti July 22, Elena Sadina & Sergei Gratchev July 29, Hans Uwe Hielscher %VERYWHERE AND AROUND THE WORLD August 5, George Matthew Jr. /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING August 12, George Matthew Jr.
Minneapolis, Minnesota Central Lutheran Church, Sundays 11:15 am July 3, Trevor Workman July 10, Anna Kasprzycka /44/ (%533 'MB( n 'ERMANY July 17, Margo Halsted 0HONE n s &AX n July 24, Jim Fackenthal E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE Montreal, Quebec St. Joseph’s Oratory, Sundays at 2:30 pm July 3, Frans Haagen
28 THE DIAPASON
June 2011 pp. 28-33.indd 28 5/13/11 9:00:49 AM July 10, Stefano Colletti July 25, Gordon Slater July 17, Eddy Mariën August 1, Sharon Hettinger Bert Adams, FAGO August 7, Jonathan Hebert & Andrée- ATRICK LLEN Anne Doane St. Louis, Missouri Park Ridge Presbyterian Church P A Concordia Seminary, Tuesdays at 7 pm Park Ridge, IL GRACE CHURCH Morristown, New Jersey June 7, Peter Langberg Pickle Piano & Church Organs NEW YORK St. Peter’s Episcopal Church June 14, Karel Keldermans Bloomingdale, IL August 20, 7 pm, Gerald Martindale June 21, Karel Keldermans June 28, Frits Reynaert Naperville, Illinois Naperville Millennium Carillon St. Paul, Minnesota Christopher Babcock Tuesdays at 7 pm House of Hope Presbyterian Church June 7, Tim Sleep Sundays at 4 pm St. Andrew’s by the Sea, June 14, Sue & Maggie Bergren July 4, Trevor Workman Hyannis Port June 21, Trevor Workman July 10, Anna Kasprzycka June 28, James M. Brown July 17, Margo Halsted St. David’s, South Yarmouth July 5, Eddy Mariën & Tom Lee July 24, James Fackenthal July 12, Monika Kazmierczak July 31, Dave Johnson July 19, Brian Tang July 26, Wylie Crawford Sewanee, Tennessee August 2, Stefano Colletti University of the South August 9, Melissa Weidner Sundays at 4:45 pm August 16, Janet Tebbel June 26, Anton Fleissner August 23, Andrew Wetzel July 3, J. Samuel Hammond July 4, 1 pm, John Bordley New Haven, Connecticut July 10, John Bordley Yale University, Yale Memorial Carillon July 13, 5 pm, Anna Kasprzycka Fridays at 7 pm July 17, Richard Shadinger July 8, Frans Haagen July 24, Mary McFarland July 15, Toru Takao & Kasia Piastowska Dean W. Billmeyer GAVIN BLACK July 22, Wesley Arai Springfi eld, Illinois Princeton Early Keyboard Center July 29, Melissa Weidner Thomas Rees Memorial Carillon University of Minnesota August 5, Ellen Dickinson June 5, 7 pm, Peter Langberg 732/599-0392 August 12, Yale summer carillonneurs June 5, 7:45 pm, Wim Brioen & Karel Minneapolis 55455 • [email protected] www.pekc.org Keldermans, carillon & guitar Northfi eld, Vermont June 6, 7 pm, Charles Dairay Norwich University, Saturdays at 1 pm June 6, 7:45 pm, Vegar Sandholt July 2, Frits Reynaert June 7, 7 pm, Trevor Workman Byron L. Blackmore THOMAS BROWN July 9, Gordon Slater June 7, 7:45 pm, Sue Bergren & Maggie UNIVERSITY July 16, Stefano Colletti Bergren, carillon & percussion Crown of Life Lutheran Church July 23, Elena Sadina & Sergei Gratchev June 9, 7 pm, Charles Dairay PRESBYTERIAN CHURCH July 30, Hans Uwe Hielscher June 9, 7:45 pm, Peter Langberg Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA August 6, George Matthew Jr. June 10, 6:30 pm, Caleb Melamed 623/214-4903 ThomasBrownMusic.com June 10, 7 pm, Vegar Sandholt Norwood, Massachusetts June 10, 7:45 pm, Sue Bergren Norwood Memorial Municipal Building June 11, 6:30 pm, Jim Rogers Mondays at 7 pm June 11, 7 pm, Trevor Workman June 27, Lee B. Leach June 11, 7:45 pm, Andreas Schmid David Chalmers DELBERT DISSELHORST July 4, 3 pm, Adrian Gebruers June 12, 7 pm, Andreas Schmid Concert Organist July 11, Gijsbert Kok June 12, 7:45 pm, Wim Brioen & Karel GLORIÆ DEI CANTORES Professor Emeritus July 18, Monika Kazmierczak Keldermans, carillon & guitar Orleans, MA University of Iowa–Iowa City July 25, Brian Tang August 1, Gordon Slater Springfi eld, Massachusetts August 8, Lee Cobb Trinity United Methodist Church August 15, Jonathan Lehrer July 7, 7 pm, Gerald Martindale JAMES DORROH, AAGO, PhD STEVEN EGLER Ottawa, Ontario Springfi eld, Missouri Saint Luke’s Episcopal Church Central Michigan University Peace Tower Carillon, weekdays at 11 am Missouri State University, Jane A. Meyer Samford University First Presbyterian Church Mt. Pleasant, Michigan 48858 July 1, 9 am, Andrea McCrady Carillon, Sundays at 7 pm Birmingham, Alabama July 5, Frans Haagen June 12, Jonathan Casady SOLO Shelly-Egler July 12, Stefano Colletti July 10, Helen Hawley Organ Consultant Organ Recitals RECITALS Flute and Organ Duo July 19, Eddy Mariën August 14, Laura Ellis July 26, student recital September 11, Janet Tebbel Organist / Pianist Owings Mills, Maryland Storrs, Connecticut JOHN FENSTERMAKER McDonogh School, Fridays at 7 pm Storrs Congregational Church Michael Gailit July 1, Buck Lyon-Vaiden Mondays at 7 pm TRINITY-BY-THE-COVE www.gailit.at July 8, Geert D’hollander June 13, Jonathan Lehrer offi [email protected] July 15, Karel Keldermans July 18, George Matthew, Jr. NAPLES, FLORIDA Konservatorium Wien University July 22, Stefano Colletti University of Music, Vienna July 29, Toru Takao Toronto, Ontario University of Toronto, Soldiers’ Tower Philadelphia, Pennsylvania Wednesdays at 6 pm First United Methodist Church of German- July 6, Frans Haagen JAMES HAMMANN town, Mondays at 7:30 pm July 13, Stefano Colletti DMA-AAGO June 13, Janet Tebbel, with Bruce Mc- July 20, Eddy Mariën Neel, guitar University of New Orleans June 20, Hylke Banning Chapel of the Holy Comforter July 11, Amy Johansen Valley Forge, Pennsylvania July 18, Stefano Colletti Washington Memorial Chapel Wednesdays at 7:30 pm Plainfi eld, New Jersey July 6, Geert D’hollander ANDREW HENDERSON, DMA Grace Episcopal Church July 13, Amy Johansen WILL HEADLEE August 21, 12:30 pm, Gerald Martindale July 20, Stefano Colletti July 27, Toru Takao 1650 James Street Madison Avenue Presbyterian Church New York, NY Princeton, New Jersey August 3, Doug Gefvert Syracuse, NY 13203-2816 August 10, Carol Jickling Lens Princeton University, Grover Cleveland (315) 471-8451 www.andrewhenderson.net Tower, Sundays at 1 pm August 17, Lee Cobb June 26, Robin Austin August 24, Doug Gefvert & Irish Thun- July 3, Geert D’hollander der Pipes & Drums July 10, Amy Johansen August 31, James Fackenthal LORRAINE BRUGH, Ph.D. July 17, Karel Keldermans Victoria, British Columbia July 31, Toru Takao Associate Professor August 7, Carol Jickling Lens Netherlands Centennial Carillon August 14, Lee Cobb Sundays at 3 pm, June–August University Organist August 21, Ed Nassor Rosemary Laing, Carillonneur August 28, James Fackenthal Valparaiso University September 4, Doug Gefvert Williamsville, New York Valparaiso, IN Calvary Episcopal Church www.valpo.edu Rochester, Minnesota Wednesdays at 7 pm University of Rochester, Hopeman Memo- July 6, Gloria Werblow & Joan Sulecki rial Carillon, Mondays at 7 pm July 20, Karel Keldermans 219-464-5084 July 11, Toru Takao July 27, Gordon Slater [email protected] July 18, Karel Keldermans August 3, Sharon Hettinger
JUNE, 2011 29
June 2011 pp. 28-33.indd 29 5/13/11 9:01:14 AM CALIFORNIA LUTHERAN UNIVERSITY MICHELE JOHNS A.Mus.D Dr. Kyle Johnson Calendar Organ — Harpsichord University Organist The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV Gillian Weir; First Presbyterian, Greensboro, This calendar runs from the 15th of the month of NC 8 pm School of Music issue through the following month. The deadline is www.callutheran.edu Colin Lynch; Elliott Chapel, Presbyterian the fi rst of the preceding month (Jan. 1 for Feb. Homes, Evanston, IL 1:30 pm issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped within 28 JUNE each date north-south and east-west. •=AGO chap- Diane Meredith Belcher; Market Square Brian Jones KIM R. KASLING ter event, • •=RCCO centre event, +=new organ Presbyterian, Harrisburg, PA 7:30 pm D.M.A. dedication, ++= OHS event. Ken Cowan; Capitol Hill United Methodist, Director of Music Emeritus Information cannot be accepted unless it speci- Washington, DC 8 pm St. John’s University fi es artist name, date, location, and hour in writ- TRINITY CHURCH James David Christie; Kernersville Moravian ing. Multiple listings should be in chronological order; Church, Kernersville, NC 2 pm BOSTON Collegeville, MN 56321 please do not send duplicate listings. THE DIAPA- SON regrets that it cannot assume responsibility for 29 JUNE the accuracy of calendar entries. Marko Petricic; Methuen Memorial Music Hall, Methuen, MA 8 pm •Craig Cramer; First Lutheran, Carlisle, PA JAMES KIBBIE 10:15 am & 11:25 am UNITED STATES The University of Michigan Gillian Weir, masterclass; First Presbyterian, East of the Mississippi Ann Arbor, MI 48109-2085 Greensboro, NC 2:30 pm ORGAN CONSULTANT Maxine Thévenot; Cathedral of St. Philip, At- 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com lanta, GA 7:30 pm email: [email protected] 15 JUNE David Jonies; Sinsinawa Mound, Sinsinawa, Brenda Lynne Leach; Methuen Memorial Mu- WI 7 pm sic Hall, Methuen, MA 8 pm Choral Concert, Choir of the Cathedral Church 30 JUNE David K. Lamb, D.Mus. of the Advent, Birmingham; St. Mary’s Episcopal, Lee Dettra; All Saints Episcopal, Rehoboth RTHUR A IRANDE Arlington, VA 7:30 pm Beach, DE 12:15 pm Director of Music/Organist A L M Br. Benjamin Basile, C.PP.S.; First Congre- First United Methodist Church [email protected] gational, Michigan City, IN 12:15 pm 1 JULY Columbus, Indiana Bradley Hunter Welch; Briarwood Presbyte- Thomas Murray; St. Dominic’s Catholic www.youtube.com/watch?v=WTkDk-cX1X4 rian, Birmingham, AL 7:30 pm Church, Washington, DC 7:30 pm 812/372-2851 Jay Peterson; Sinsinawa Mound, Sinsinawa, Gillian Weir; Boone United Methodist, Boone, WI 7 pm NC 8 pm
16 JUNE 2 JULY James David Christie; Houghton Chapel, Gordon Turk; Ocean Grove Auditorium, David Lowry Wellesley College, Wellesley, MA 9:30 am Ocean Grove, NJ 12 noon THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Luca Guglielmi; Houghton Chapel, Wellesley John Gouwens, carillon; Memorial Chapel, 1512 BLANDING STREET, COLUMBIA, SC 29201 College, Wellesley, MA 10:45 am Culver Academies, Culver, IN 4 pm William Porter; First Lutheran, Boston, MA 2 DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY pm 3 JULY ROCK HILL, SC 29733 Christoph Bossert; Church of the Ascension, Roland Stangier; Basilica of the National New York, NY 8 pm Shrine of the Immaculate Conception, Washing- Choral Evensong, Choir of the Cathedral ton, DC 6 pm Church of the Advent, Birmingham; Washington Eddy Mariën & Tom Lee, carillon; University James R. Metzler National Cathedral, Washington, DC 5:30 pm of Chicago, Chicago, IL 6 pm 17 JUNE 4 JULY Park Congregational Church A.S.C.A.P. FELLOW, AMERICAN GUILD OF ORGANISTS Peter Sykes & Luca Guglielmi, harpsichord; Marilyn Keiser; Morristown United Methodist, Grand Rapids, Michigan First Lutheran, Boston, MA 9 am Morristown, NJ 8 pm www.youtube.com 345 SADDLE LAKE DRIVE Thomas Gouwens; Fourth Presbyterian, Chi- ROSWELL-ATLANTA, GEORGIA 30076 cago, IL 12:10 pm 5 JULY TheCathedralOrganist (770) 594-0949 Thomas Murray; Cathedral Basilica of the Sa- 18 JUNE cred Heart, Newark, NJ 5 pm Christopher Young; Princeton University Chapel, Princeton, NJ 8 pm 6 JULY DOUGLAS O’NEILL Leo Abbott; Methuen Memorial Music Hall, LEON NELSON 19 JUNE Methuen, MA 8 pm University Organist Cathedral of the Madeleine Choral Evensong, Choir of the Cathedral Church Ken Cowan; St. Peter’s Episcopal, Morris- Salt Lake City, Utah of the Advent, Birmingham; Cathedral Church of town, NJ 11:30 am North Park University St. John the Divine, New York, NY 4 pm Carol Williams; Ocean Grove Auditorium, Chicago, Illinois [email protected] Iris Lan; Basilica of the National Shrine of the Ocean Grove, NJ 7:30 pm 801/671-8657 Immaculate Conception, Washington, DC 6 pm Ray Ebert; Old Salem Visitor Center, Winston- James David Christie; Madonna della Strada Salem, NC 12 noon Chapel, Loyola University, Chicago, IL 3 pm Stephen Schnurr; First Congregational, Mich- MARILYN MASON Trevor Workman, carillon; University of Chi- igan City, IN 12:15 pm CHAIRMAN, DEPARTMENT OF ORGAN cago, Chicago, IL 6 pm Joan DeVee Dixon; Sinsinawa Mound, Sin- Rudolf Zuiderveld; First Presbyterian, Spring- sinawa, WI 7 pm UNIVERSITY OF MICHIGAN fi eld, IL 4 pm ANN ARBOR Lynn Bauman; Shrine of Our Lady of Guada- 9 JULY “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it lupe, La Crosse, WI 3 pm Gordon Turk; Ocean Grove Auditorium, with awesome technique and a thrilling command of its daring writing.” Ocean Grove, NJ 12 noon The American Organist, 1980 20 JUNE John Gouwens, carillon; Memorial Chapel, Janette Fishell; First United Methodist, Culver Academies, Culver, IN 4 pm Waynesville, NC 8 pm 10 JULY SYLVIE POIRIER 22 JUNE Adam Singleton; Cathedral of St. Patrick, LARRY PALMER John Weaver & Marianne Weaver, organ & New York, NY 4:45 pm fl ute; Methuen Memorial Music Hall, Methuen, William Atwood; Basilica of the National Professor of PHILIP CROZIER MA 8 pm Shrine of the Immaculate Conception, Washing- ORGAN DUO Derek Nickels; First Congregational, Michigan ton, DC 6 pm Harpsichord and Organ City, IN 12:15 pm Monika Kazmierczak, carillon; University of 3355 Queen Mary Road, Apt 424 David Jonies & Jay Peterson; Sinsinawa Chicago, Chicago, IL 6 pm Meadows School of the Arts Mound, Sinsinawa, WI 7 pm Delbert Disselhorst; Shrine of Our Lady of Montreal, H3V 1A5, P. Quebec Guadalupe, La Crosse, WI 3 pm SOUTHERN METHODIST UNIVERSITY Canada 23 JUNE Jeremy Filsell; All Saints Catholic Church, 12 JULY (514) 739-8696 Manassas, VA 7 pm Felix Hell; Merrill Auditorium, Portland, ME Dallas, Texas 75275 7:30 pm Fax: (514) 739-4752 24 JUNE Jack Mitchener; Christ Episcopal, Roanoke, Musical Heritage Society recordings [email protected] Colin Lynch; Fourth Presbyterian, Chicago, VA 7:30 pm IL 12:10 pm Todd Wilson; All Saints Chapel, Sewanee, TN 7:30 pm 25 JUNE John Gouwens, carillon; Memorial Chapel, 13 JULY Culver Academies, Culver, IN 4 pm Andrew Scanlon; Methuen Memorial Music Hall, Methuen, MA 8 pm A four-inch Professional Card 26 JUNE Gordon Turk; Ocean Grove Auditorium, Mark Thallander & Brett Judson; Cathedral Ocean Grove, NJ 7:30 pm in THE DIAPASON of St. Patrick, New York, NY 4:45 pm Robert Parris; Old Salem Visitor Center, Win- Peter Latona; Basilica of the National Shrine ston-Salem, NC 12 noon For rates and specifi cations of the Immaculate Conception, Washington, DC Tom Trenney; Peachtree Road United Meth- 6 pm odist, Atlanta, GA 7:30 pm contact Jerome Butera James Brown, carillon; University of Chicago, Mark Sudeith; First Congregational, Michigan Chicago, IL 6 pm City, IN 12:15 pm 847/391-1045 Sister Mary Arnold Staudt, OSF; Sinsinawa 27 JUNE Mound, Sinsinawa, WI 7 pm [email protected] Nathan Laube; Washington National Cathe- dral, Washington, DC 7:30 pm 16 JULY Janette Fishell; First United Methodist, Gordon Turk; Ocean Grove Auditorium, Waynesville, NC 8 pm Ocean Grove, NJ 12 noon
30 THE DIAPASON
June 2011 pp. 28-33.indd 30 5/13/11 9:01:53 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Carol Anne Taylor, carillon; Memorial Cha- 31 JULY pel, Culver Academies, Culver, IN 4 pm Stephen Distad; Cathedral of St. Patrick, New Stephen G. Schaeffer York, NY 4:45 pm BEDE JAMES PARRY 17 JULY Donald Fellows; Basilica of the National Recitals – Consultations Nathan Laube; The Mother Church, Boston, Shrine of the Immaculate Conception, Washing- LL AINTS HURCH MA 7 pm ton, DC 6 pm A S ’ C Cathedral Church of the Advent Russell Weismann; Basilica of the National Jack Mitchener; Interlochen Center for the Birmingham, Alabama Shrine of the Immaculate Conception, Washing- Arts, Interlochen, MI 5 pm LAS VEGAS, NEVADA www.AdventBirmingham.org ton, DC 6 pm Stefano Colletti, carillon; University of Chi- Lynne Davis; Madonna della Strada Chapel, cago, Chicago, IL 6 pm Loyola University, Chicago, IL 3 pm Brian Tang, carillon; University of Chicago, ROBERT L. Stephen Tappe Chicago, IL 6 pm UNITED STATES West of the Mississippi Organist and Director of Music 19 JULY SIMPSON Saint John's Cathedral Stephen Tharp; Merrill Auditorium, Portland, Christ Church Cathedral Denver, Colorado ME 7:30 pm 15 JUNE 1117 Texas Avenue Charles Tompkins; Christ Episcopal, Roa- Christopher Houlihan; Westminster Presby- Houston, Texas 77002 www.sjcathedral.org noke, VA 7:30 pm terian, Oklahoma City, OK 5:30 pm
20 JULY 17 JUNE Faythe Freese, James Higdon, Jack Mitch- Rocky Mountain Children’s Choir; St. John’s ORGAN MUSIC OF THE SPANISH BAROQUE ener, Alan Morrison, Peter Sykes, & Todd Wil- Cathedral, Denver, CO 7:30 pm son; Methuen Memorial Music Hall, Methuen, Sharon Porter Shull; Christ Episcopal, Ta- David Troiano Joe Utterback MA 8 pm coma, WA 12 noon DMA MAPM Joshua Stafford; Ocean Grove Auditorium, COMMISSIONS & CONCERTS 586.778.8035 Ocean Grove, NJ 7:30 pm 18 JUNE 732 . 747 . 5227 Lou Carol Fix; Old Salem Visitor Center, Win- Polyphony: Voices of New Mexico; Cathedral [email protected] ston-Salem, NC 12 noon of St. John, Albuquerque, NM 7 pm Kirsten Synnestvedt; Sinsinawa Mound, Sin- sinawa, WI 7 pm 19 JUNE James Callahan & David Jenkins; Church of 22 JULY David Wagner St. Edward, Bloomington, MN 2 pm DMA From Age to Age; Cathedral of St. Paul, St. Kevin Walters Chelsea Chen; Trinity Episcopal Cathedral, Paul, MN 7:30 pm Madonna University Omaha, NE 3 pm M.A., F.A.G.O. David Hatt; St. Mary’s Cathedral, San Fran- Livonia, Michigan 23 JULY cisco, CA 3:30 pm Gordon Turk; Ocean Grove Auditorium, [email protected] Rye, New York David Gell & Willi Rose; Trinity Episcopal, Ocean Grove, NJ 12 noon Santa Barbara, CA 3:30 pm John Gouwens, carillon; Memorial Chapel, Culver Academies, Culver, IN 4 pm Carol Williams; Spreckels Organ Pavilion, Nathan Laube; First Congregational, Osh- Balboa Park, San Diego, CA 2 pm kosh, WI 12 noon 20 JUNE KARL WATSON Cherie Wescott Concerts • Masterclasses • Coaching 24 JULY •Aaron David Miller, hymn festival; Plymouth Congregational, Des Moines, IA 7:30 pm SAINT LUKE’S Richard Fitzgerald; Basilica of the National 405/942-3958 Shrine of the Immaculate Conception, Washing- Mary Preston; Meyerson Symphony Center, ton, DC 6 pm Dallas, TX 12:30 pm METUCHEN e-mail: [email protected] Ken Cowan; Shepherd of the Bay Lutheran, Carol Williams, with pipe band, trumpets, Ellison Bay, WI 7 pm and choir of St. Paul’s Cathedral; Spreckels Wylie Crawford, carillon; University of Chi- Organ Pavilion, Balboa Park, San Diego, CA cago, Chicago, IL 6 pm 7:30 pm Davis Wortman Christopher Stroh; Shrine of Our Lady of RONALD WYATT Guadalupe, La Crosse, WI 3 pm 21 JUNE •Aaron David Miller, workshop; Plymouth St. James’ Church 26 JULY Congregational, Des Moines, IA 9:15 am Trinity Church Thomas Baugh; Christ Episcopal, Roanoke, New York Galveston VA 7:30 pm 22 JUNE Christopher Houlihan; Central Presbyterian, 27 JULY Des Moines, IA 7 pm Michael Kleinschmidt; Methuen Memorial Music Hall, Methuen, MA 8 pm 24 JUNE Charles Dodsley Walker, FAGO Gordon Turk; Ocean Grove Auditorium, Ron Lenz; Spanaway Lutheran, Spanaway, Artist-in-Residence Founder/Conductor Ocean Grove, NJ 7:30 pm WA 12 noon Saint Luke’s Parish Canterbury Choral Society Mary Lou Peeples; Old Salem Visitor Center, 1864 Post Road 2 East 90th Street Winston-Salem, NC 12 noon 26 JUNE Darien, CT 06820 New York, NY 10128 Gerhard Weinberger; Sinsinawa Mound, Sin- Robert Gurney; St. Mary’s Cathedral, San (917) 628-7650 (212) 222-9458 sinawa, WI 7 pm Francisco, CA 3:30 pm Carol Williams; Spreckels Organ Pavilion, 30 JULY Balboa Park, San Diego, CA 2 pm Gordon Turk; Ocean Grove Auditorium, William Webber, C.A.G.O. Ocean Grove, NJ 12 noon 27 JUNE John Gouwens, carillon; Memorial Chapel, Jonathan Ortloff; Spreckels Organ Pavilion, Organist/Director, First Christian Church, Danville, KY Culver Academies, Culver, IN 4 pm Balboa Park, San Diego, CA 7:30 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
JUNE, 2011 31
June 2011 pp. 28-33.indd 31 5/13/11 9:02:14 AM 2 JULY 19 JUNE 29 JUNE Nina De Sole; St. James United Church, Mon- Kimberly Marshall, with choir, works of Felix Hell; Central Presbyterian, Busan, Korea Felix Hell; Ulsan Presbyterian, Busan, Korea treal, QC, Canada 12:30 pm Sweelinck; St. Andrew’s Episcopal, Antelope, 2:30 pm 7 pm CA 7 pm Pierre Méa; Cathédrale, Toulouse, France 4 20 JULY pm 2 JULY Gillian Weir; Holmens Kirke, Copenhagen, 4 JULY Joseph Ripka; St. Paul’s Cathedral, London, Craig Cramer; St. Jacobi Kirche, Lüdingworth, Denmark 12 noon •Alison Luedecke, with Millennia Consort; UK 4:45 pm Germany 6 pm Gillian Weir; Sorø Kirke, Sorø, Denmark 8 pm Memorial Church, Stanford University, Palo Alto, Robert Quinney; Westminster Abbey, Lon- Tom Loney; St. James’ Anglican Church, Oril- CA 4:15 pm don, UK 5:45 pm 3 JULY lia, ON, Canada 12:15 pm Walter Strony; Spreckels Organ Pavilion, Bal- Felix Hell; Podowon Presbyterian, Busan, Ko- Konstantin Volostnov; Christ’s Church Ca- boa Park, San Diego, CA 7:30 pm 20 JUNE rea 7 pm thedral, Hamilton, ON, Canada 7:30 pm Felix Hell; Kosin University, Busan, Korea 7 Arjen Leistra; Maria von Jessekerk, Delft, 6 JULY pm Netherlands 3 pm 21 JULY Janette Fishell; St. Michael’s Episcopal Ca- Andrew McCrea; St. Michael’s Cornhill, Lon- Thomas Ospital; Cathédrale, Toulouse, Ken Cowan, with orchestra; Centenary United thedral, Boise, ID 9:15 am don, UK 1 pm France 4 pm Church, Hamilton, ON, Canada 7:30 pm John Belcher; St Michael’s Abbey, Farnbor- Jeremy Filsell; Cathedral of St. John the ough, UK 3 pm, Choral Vespers 4:45 pm Evangelist, Boise, ID 2 pm 21 JUNE 22 JULY Edward Tambling; Westminster Abbey, Lon- Alessandro Bianchi; Chiesa di S. Eurosia, Tom Trenney, silent fi lm accompaniment; Felix Hell, masterclass; Kosin University, don, UK 5:45 pm Pralungo/S. Eurosia, Italy 9 pm Egyptian Theatre, Boise, ID 7:30 pm Busan, Korea 3 pm Marie-Claude Duchesne; St. James United Philip Crozier; Marktkirche, Halle, Germany 8 pm Church, Montreal, QC, Canada 12:30 pm 5 JULY 8 JULY Scott Bradford; St. James United Church, Thomas Joyce; St. Mark’s Cathedral, Seattle, Montreal, QC, Canada 12:30 pm 23 JULY 22 JUNE WA 7:30 pm Martyn Noble; Liverpool Cathedral, Liverpool, Felix Hell; Seongahn Presbyterian, Jeju-do, 6 JULY UK 4 pm Korea 7 pm 11 JULY Craig Cramer; Ludgeri Kirche, Norden, Ger- Philip Crozier; Marktkirche, Hannover, Ger- Graham Barber; Westminster Cathedral, Lon- Scott Dettra; Spreckels Organ Pavilion, Bal- many 8 pm many 6 pm boa Park, San Diego, CA 7:30 pm don, UK 7:30 pm Brian Turnbull; St. James’ Anglican Church, Orillia, ON, Canada 12:15 pm 24 JULY 13 JULY 23 JUNE Livio Vanoni; Cappella di S. Marta e Chiesa di Nathan Laube; Trinity Episcopal Cathedral, Ann Elise Smoot; St. Matthew’s Westminster, 8 JULY S. Giacomo, Campertogno, Italy 9 pm Portland, OR 7:30 pm London, UK 1:05 pm Craig Cramer; Börstil Kyrka, Sweden 8 pm Philip Crozier; Dom, Magdeburg, Germany Olivier Latry; Southwark Cathedral, London, 4 pm 15 JULY UK 7:30 pm 10 JULY Simon Bell; Westminster Abbey, London, UK Naomi Shiga; Christ Episcopal, Tacoma, WA Craig Cramer; Leufsta Bruk, Sweden 4 pm 5:45 pm 12 noon 25 JUNE James McVinnie; Westminster Abbey, Lon- Mark Brafi eld; Bloomsbury Central Baptist, don, UK 5:45 pm 26 JULY 18 JULY London, UK 4 pm Robert Quinney; Westminster Abbey, Lon- Sal Soria; Spreckels Organ Pavilion, Balboa Clive Driskill-Smith; St. John the Evangelist, 12 JULY don, UK 7 pm Jean-Willy Kunz; St. James United Church, Park, San Diego, CA 7:30 pm London, UK 7:30 pm Margaret Phillips; Westminster Abbey, Lon- don, UK 7 pm Montreal, QC, Canada 12:30 pm 26 JUNE 25 JULY Gillian Weir, with City of Birmingham Sym- Felix Hell; Bujeon Presbyterian, Busan, Korea 27 JULY Helmuth Luksch; Spreckels Organ Pavilion, phony Orchestra; St. Paul’s Cathedral, London, 4 pm UK 8 pm Maxine Thévenot; St. Michael and All Angels, Balboa Park, San Diego, CA 7:30 pm Pascale Vigneron, with mezzo-soprano, vio- Croydon, Surrey, UK 12:30 pm lin, fl ute, & oboe; Collégiale Saint-Gengoult, Tou- 13 JULY Gillian Weir; Aalborg Domkirke, Aalborg, louse, France 4 pm Angus Sinclair; St. James’ Anglican Church, Denmark 7:30 pm INTERNATIONAL Iain Quinn; St. Paul’s Cathedral, London, UK Orillia, ON, Canada 12:15 pm Blair Bailey; St. James’ Anglican Church, Oril- 4:45 pm lia, ON, Canada 12:15 pm James McVinnie; Westminster Abbey, Lon- 14 JULY 17 JUNE don, UK 5:45 pm Craig Cramer; Roskilde Cathedral, Roskilde, 28 JULY Roger Fisher & Ben Saunders; Parr Hall, Denmark 8 pm Ennio Cominetti; Chiesa di S. Lorenzo, Sos- tegno, Italy 9 pm Warrington, UK 7:30 pm 28 JUNE Christophe Mantoux; Chapelle du château Marie-Claude Duchesne; St. James United de Fontainebleau, France 4 pm 29 JULY 18 JUNE Church, Montreal, QC, Canada 12:30 pm Grazia Salvatori & Francesca De Santis; Gillian Weir; Cirencester Parish Church, Ci- Jonathan Addleman, with violin; St. James 16 JULY Chiesa di Santa Maria Vergine Assunta, Vive- rencester, UK 7:30 pm United Church, Montreal, QC, Canada 12:30 pm Claudia Termini; Basilica Antica, Oropa, Italy rone, Italy 9 pm 9 pm Philip Crozier; Leonhardskirche, Basel, Swit- zerland 6:15 pm 17 JULY martin ott pipe organ Craig Cramer; Fredricksborg Castle, Hillerød, 30 JULY company Denmark 4 pm Mario Duella; Chiesa di Sant’Anna al Montri- inc. Christophe Mantoux; Chartres Cathedral, gone, Borgosesia, Italy 5 pm 7408 Somerset Ave. Chartres, France 4:30 pm Sergio Paolini; Chiesa di S. Antonio, Borgo- St. Louis, MO 63105 Mario Duella, with fl ute; Santuario della Ma- 314-504-0366 Phone sesia, Italy 9 pm 314-569-3879 Fax donna delle Grazie, Portula/Novareia, Italy 5 pm Anthony Norcliffe; Liverpool Cathedral, Liv- 801-756-5777 Martin Ott [email protected] James Metzler; Ely Cathedral, Ely, UK 5:15 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com erpool, UK 4 pm Philip Crozier; Le Musée Suisse de l’Orgue, 18 JULY Roche, Switzerland 5 pm • •Maxine Thévenot; Central Presbyterian, John Scott; Church of St. John the Evange- Parkey Hamilton, ON, Canada 7:30 pm list, Elora, ON, Canada 2 pm 19 JULY 31 JULY OrganBuilders James O’Donnell; Westminster Abbey, Lon- Edward Tambling; Westminster Abbey, Lon- Distinguished Pipe Organs don, UK 7 pm don, UK 5:45 pm 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com
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32 THE DIAPASON
June 2011 pp. 28-33.indd 32 5/13/11 9:02:41 AM LEE DETTRA, Washington National Ca- Es ist ein Ros’ entsprungen (Chorale Preludes, Greenville, NC, February 5: Fantasy and thedral, Washington, DC, January 23: Plein op. 122), Brahms; Fugue (Partita on Wachet Fugue in g, BWV 542, Bach; Suite du Deux- Organ Recitals Jeu, Récit de Nazard, Caprice sur les Grands auf, ruft uns die Stimme, op. 8, no. 2), Distler; ième Ton, Clérambault; Arabesque sur les Jeux (Suite du Deuxième Ton), Clérambault; Nativité (Symphonie-Passion, op. 23), Dupré; fl ûtes (Suite Français), Dialogue sur les mix- Flötenuhr, Haydn; Praeludium et Fuga in h, Grand Fantasia on Joy to the World, Cheban. tures (Suite Brève), Langlais; Dies sind die ROBERT BATES, Co-Cathedral of the BWV 544, Bach; Pièce solennelle, Ibert; Sweet heiligen zehn Gebot, BWV 679, 678, Bach; Sacred Heart, Houston, TX, December 7: Sixteenths (A Concert Rag for Organ), Al- DAVID A. GELL, with Patricia Westley, Double Fantaisie for two organists, Langlais; Praeludium in C, BuxWV 137, Buxtehude; bright; Cantabile, Franck; Prelude on ‘Brother soprano, Trinity Episcopal Church, Santa Sonata Eroïca, Jongen; Improvisation on Sub- Gloria, Elevation (Messe du 8e ton), G. Cor- James’s Air’, Wright; Alleluyas, Preston. Barbara, CA, December 19: Magnifi cat noni mitted Themes, Labounsky. rette; Last Judgment, Bates; Prelude and toni, Buxtehude; Noël Suisse, Daquin; Offer- Fugue in a, BWV 543, Bach; Trois danses, MATTHEW DICKERSON, St. John the toire sur Deux Noëls, Guilmant; Gesù Bambi- IRIS LAN, St. Thomas Church Fifth Ave- Alain; Scherzo symphonique, Cochereau, Evangelist Catholic Church, Indianapolis, IN, no, Yon; Improvisation on Psalm 42, Gell; Ihr nue, New York, NY, January 23: Organ Sonata transcr. Filsell. December 1: Fanfare, Purvis; An Advent Duo, Kinderlein, kommet, Sanders; Variations on No. 3, Organ Sonata No. 2, Organ Sonata No. Nichols; Wachet auf, ruft uns die Stimme, the Huron Carol, Bryant; Partita on On this 1, Hindemith. DEAN BILLMEYER, University of Min- Bach; Festival Trumpet Tune, Dickerson; Pa- day earth shall ring, Sadowski; The Birthday nesota, Minneapolis, MN, December 21: vane, Ravel, transcr. Dickerson; Carillon de of a King, Neidlinger; Trumpet Tune on Hark! JOHN SCOTT, St. Thomas Church Fifth Dieu parmi nous (La Nativité du Seigneur), Westminster, op. 54, Vierne. The Herald Angels Sing, Festive Variations Avenue, New York, NY, January 30: Toccata Messiaen; Pastorale, BWV 590, Bach; Weih- and Toccata on the Carol: I saw three ships Septima (Apparatus musico-organisticus), nachten, op. 145, no. 3, Reger; O Heiland, BRYAN DUNNEWALD, Trinity United come sailing in on Christmas Day, Lasky. Muffat; Partita sopra Nun freut euch, Rogg; reiß die Himmel auf, Nun komm, der Heiden Methodist Church, Denver, CO, December Nachspiel, Noble; Allegro vivace (Symphonie Heiland, Vom Himmel hoch da komm’ ich 7: Toccata Festival, Sixten; Ave Maria, Near; KYLE JOHNSON, California Lutheran No. 5 in f, op. 42, no. 1), Widor. her, Mit Ernst, o Menschenkinder, Wie schön Noel, Grand Jeu et Duo, Daquin; Meditation University, Thousand Oaks, CA, February 6: leuchtet der Morgenstern, Walcha; Adeste (24 Pieces in Free Style), Vierne; Herr Christ, Prelude and Fugue in D, BWV 532, Bach; Ein NORMAN SUTPHIN, Trinity United Fideles —In an Organ Prelude, Ives; Offer- der ein’ge Gottessohn, BWV 601, Bach; Ada- feste Burg ist unser Gott, BuxWV 184, Ach Methodist Church, Denver, CO, December toire sur les Noëls: ‘Grand Dieu!’ et ‘Allons gio for Strings, Barber; Carillon on a Ukra- Herr, mich armen Sünder, BuxWV 178, In 21: Canonic Variations on Divinum Mysteri- Pasteurs, que l’on s’éveille’, Noël Écossais, Of- dulci jubilo, BuxWV 197, Buxtehude; Prae- nian Bell Carol, Near. ludium in e, Bruhns; For the Beauty of the um, McCreary; Flos de Radice Jesse (Sonata fertoire sur le Noël: ‘Nuit sombre, ton ombre Mater Salvatoris, op. 82), Erb; Variations on vaut les plus beaux jours’, Guilmant. Earth, Burkhardt; Sonata in F, op. 65, no. 1, KATHY EGGLESTON, Trinity United Mendelssohn. Adeste Fidelis, Dethier. Methodist Church, Denver, CO, November JULIA BRUECK, Presbyterian Homes, 30: Personent Hodie, Hoggard; From Heaven BOYD JONES, Bower Chapel, Moorings HARRY VAN WIJK, Presbyterian Homes, Evanston, IL, January 24: Introduction and Above to Earth I Come, Held; Wake, Awake, Park, Naples, FL, February 1: Praeludium in Evanston, IL, February 28: Toccata and Passacaglia in d, Reger; Prelude and Fugue in for Night Is Flying, Nicolai; Of the Father’s g, Tunder; Praeambulum in d, WV 35, WV 33, Fugue in d, BWV 538, Wachet auf, ruft uns f, op. 7, no. 2, Dupré; Fantasia super Komm, Love Begotten, Held; Still, Still, Still, Once Scheidemann; Ciacona in e, BuxWV 160, Bux- die Stimme, BWV 645, Bach; Sonata V in D, heiliger Geist, BWV 651, Bach; No. 3 Prelude He Came in Blessing, Manz; Joyeux Noël, tehude; Allein Gott in der Höh sei Ehr, BWV op. 65, Mendelssohn; Cantabile, Franck; So- on Dix, No. 4 Prelude on Heinlein (Hymn Van Hulse; Noël Suisse, Daquin; Joy to the 662, Prelude and Fugue in a, BWV 543, Bach; nata IV in B-fl at, op. 65, Mendelssohn. Tune Transcriptions for Organ), Lutkin; Con- World, Bock. Sonata III, Hindemith; Andante in D, Sonata cert Variations on Old Hundred, Paine. in B-fl at, op. 65, no. 4, Mendelssohn. CAROL WILLIAMS, Walt Disney Con- JEREMY FILSELL and NIGEL POTTS, cert Hall, Los Angeles, CA, January 23: Grand CRAIG CRAMER, St. Aloysius Catho- organ and piano, Christ & St. Stephen’s KEVIN KWAN, St. Thomas Church Fifth dialogue (Troisième Livre), Marchand; Fanta- lic Church, Baton Rouge, LA, February 26: Church, New York, NY, February 12: Fanta- Avenue, New York, NY, January 16: Prelude sia in G, BWV 572, Bach; Fuga on “C-P-E-B- Grand Choeur Dialogué, Minuetto, Scherzo, sia in g, op. 136, Bowen; Vocalise, op. 34, no. and Fugue in c, BWV 546, Bach; Prélude sur A-C-H” in F, H 285, C.P.E. Bach; Dankpsalm, Gigout; Lumina, DeCerf; Aria in a with 15 14, Rachmaninov ; Piano Sonata No. 5 in f, op. l’Introït de l’Epiphanie, op. 13, Durufl é; Toc- op. 145, no. 2, Reger; Introduction et Toccata Variations, J. C. Bach; Passacaglia et thema 72, Bowen; Piano Concerto No. 2 in c, op. 18, cata, Sanders; Prière (Four Pieces, op. 37), (Trois Esquisses), Bédard; Egmont Overture, fugatum in c, BWV 582, Bach; Introduction, Rachmaninov. Jongen; Soliloquy, Conte; A Festive Voluntary: Beethoven, arr. Stewart; Toccata cum jubilo, Scherzo and Fuge on B-E-A-T-E, Zahnbre- Variations on Good King Wenceslas, Eben. Willscher; Mad Rush, Glass; Toccata, op. 104, cher; Salutation, Petition, and Acclamation on JOSEPH GALEMA, Trinity United Meth- Jongen; Procession, Vesper, Toccata II (Ca- Salve Regina, Trapp; Impromptu: Carillon de odist Church, Denver, CO, December 14: ANN LABOUNSKY and ANDREW thedral Music), Idenstam; The Madness of Westminster, Vierne. Bring a Torch, Jeannette, Isabella, Chapman; SCANLON, St. Paul’s Episcopal Church, Morion!, Jenkins.
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POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
Organist needed—The Orchard Evangelical Like the harpsichord? Harpsichord Tech- The Organ Historical Society has released Michael’s Music Service announces new re- Free Church, based in Arlington Heights, IL, nique: A Guide to Expressivity, second Historic Organs of Indiana, 4 CDs recorded at cordings by Kapitány Dénes. Baroque Organ seeks a skilled organist for new campus (and edition, by Nancy Metzger is a hands-on the OHS National Convention in Central Indiana Music in Zirc Abbey was recorded on the Ba- new Rodgers organ!) in Barrington. 10–15 hours guide for touch and historically informed in July, 2007. Nearly 5 hours of music features roque organ at the Cistercian Abbey of Zirc, per week; Sunday services 9 am and 10:45 am. performance. www.rcip.com/musicadulce. 31 pipe organs built between 1851–2004, by Hungary, a II/17 Aquincum (2004) built into the For more information, contact Dan Wells at Aeolian-Skinner, Skinner, Henry Erben, Felge- existing 18th-century casework. The Organs of 224/764-4016, or [email protected]. maker, Hook & Hastings, Kilgen, Kimball, and the Abbey in Zirc contains music played on this many more builders. Performers include Ken Baroque organ, and also a Romantic organ, a Historic Organ Surveys on CD: recorded during Cowan, Thomas Murray, Bruce Stevens, Carol III/44 Rieger (1901, rebuilt 1998). The CD con- PUBLICATIONS/ national conventions of the Organ Historical So- Williams, Christopher Young, and others. A 40- tains two pieces by Dezsö D’Antalffy, the Hun- RECORDINGS ciety. Each set includes photographs, stoplists, page booklet with photos and stoplists is includ- garian organist who worked mostly in the U.S. and histories. As many organists as organs and ed. OHS-07 4-CD set is priced at $34.95 (OHS Hear samples at michaelsmusicservice.com. repertoire from the usual to the unknown, Arne members, $31.95) plus shipping. Visit the OHS Kick your duets up a notch! Piano and organ to Zundel, often in exceptional performances on Online Catalog for this and over 5,000 other or- duets need not be pedestrian and trite. Opus beautiful organs. Each set includes many hymns gan-related books, recordings, and sheet music: Request a free sample issue of The Diapason 18 (1902) by Henry Morton Dunham is prob- sung by 200–400 musicians. Historic Organs of www.ohscatalog.org. for a student, friend, or colleague. Write to the ably the fi rst original duet written for piano and Indiana, 31 organs on 4 CDs, $34.95. Historic Editor, The Diapason, 3030 W. Salt Creek Lane, organ, and is satisfying music for both players. Organs of Louisville (western Kentucky/eastern Suite 201, Arlington Heights, IL 60005; or e-mail: michaelsmusicservice.com; 704/567-1066. Indiana), 32 organs on 4 CDs, $29.95. Historic CD Recording, “In memoriam Mark Buxton [email protected]. Organs of Maine, 39 organs on 4 CDs, $29.95. (1961–1996).” Recorded at Église Notre-Dame Historic Organs of Baltimore, 30 organs on 4 de France in Leicester Square, London, between The OHS Catalog is online at www.ohscata- CDs, $29.95. Historic Organs of Milwaukee, 1987 and 1996. Works of Callahan, Widor, PIPE ORGANS log.org. More than 5,000 organ and theatre 25 organs in Wisconsin on 2 CDs, $19.98. His- Grunewald, Salome, Ropartz, and Boëllmann, organ CDs, books, sheet music, DVDs and along with Buxton’s improvisations. $15 post- FOR SALE toric Organs of New Orleans, 17 organs in the paid: Sandy Buxton, 10 Beachview Crescent, To- VHS videos are listed for browsing and easy Bayous to Natchez on 2 CDs, $19.98. Historic ordering. Use a link for adding your address to ronto ON M4E 2L3 Canada. 416/699-5387, FAX Organs of San Francisco, 20 organs on 2 CDs, 416/964-2492; e-mail [email protected]. Available Summer, 2011. Moller Opus 11546 the OHS Catalog mailing list. Organ Historical $19.98. Add $4.50 shipping in U.S. per entire or- (1981), 3-manual, 34+ ranks. Polished zinc Society, Box 26811, Richmond, VA 23261. E- der from OHS, Box 26811, Richmond, VA 23261, exposed pipes symmetrically set in wood mail: [email protected]. by telephone with Visa or MasterCard 804/353- Historic Organs of Seattle: A Young Yet Vi- finish casework. Chicago area. Come try it! 9226; FAX 804/353-9266. brant History, the latest release from OHS, is a Contact Adrienne: 847/816-1468; a.tindall@ four-disc set recorded at the 2008 OHS national comcast.net. Refl ections: 1947–1997, The Organ Depart- convention, held in the Seattle, Washington ment, School of Music, The University of Michi- Wayne Leupold Editions announces new area. Nearly fi ve hours of music feature historic gan, edited by Marilyn Mason & Margarete publications, including the Clavier-Übung III organs by Aeolian-Skinner, Casavant, Hook & Martin Pasi pipe organ—Two manuals, 24 Thomsen; dedicated to the memory of Albert of the complete Bach organ works, and the Hastings, and Hutchings-Votey, Kilgen, Tallman, stops, suspended-tracker action. $350,000. Web: Stanley, Earl V. Moore, and Palmer Christian. Anthology of Eighteenth-Century Spanish Woodberry, Hinners, Cole & Woodberry, plus in- http://martin-pasi-pipe-organ-sale.com; phone: Includes an informal history-memoir of the Keyboard Music. New works include compo- struments by Flentrop, C. B. Fisk, and Rosales, 425/471-0826. organ department with papers by 12 current sitions by Samuel Adler, Chelsea Chen, Car- and Pacifi c Northwest organbuilders Paul Fritts, and former faculty and students; 11 scholarly son Cooman, Pamela Decker, Robin Dinda, Martin Pasi, John Brombaugh, Richard Bond, articles; reminiscences and testimonials by João Wilson Faustini, Calvin Hampton, Dennis and many more! Renowned organists Douglas 1869 E. & G.G. Hook organ for sale. The graduates of the department; 12 appendices, Janzer, Bálint Karosi, Rachel Laurin, Austin Cleveland, Julia Brown, J. Melvin Butler, Carole organ measures 14 ft. wide, 10 ft. deep (with and a CD recording, “Marilyn Mason in Re- Lovelace, Margaret Sandresky, Larry Visser, Terry, Bruce Stevens, and others are featured pedal) and is 20 ft. tall. It has mechanical action, cital,” recorded at the National Shrine of the and many others. Numerous volumes of tran- in live performances on 24 pipe organs built be- Great, Swell, Pedal divisions, two combination Immaculate Conception in Washington, DC. scriptions are available, including works by tween 1871 and 2000. Includes a 36-page book- pedals, 15 ranks; removal date January, 2012. $50 from The University of Michigan, Prof. Scott Joplin, Maurice Ravel, and Gioachino let with photographs and stoplists. $34.95, OHS $95,000, negotiable. Please contact Stephen Marilyn Mason, School of Music, Ann Arbor, Rossini. For information: 800/765-3196; members: $31.95. For more info or to order: Tappe at Saint John’s Cathedral in Denver for MI 48109-2085. www.wayneleupold.com. http://OHSCatalog.com/hiorofse.html. more information: [email protected].
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.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
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34 THE DIAPASON
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PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1929 Estey “Minuette” with 3 unifi ed Late-1800s 2-manual Pilcher tracker pipe Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions ranks, a very rare 2-manual instrument in organ is available, for just the cost to relo- parts. Let us know what you are looking for. and mechanisms. Highest quality materials and a grand piano style case. Completely re- cate and refurbish. Specification and photo E-mail [email protected] (not comcast), workmanship. Reasonable rates. Columbia built including case refi nishing and a new at www.pipe-organ.com. Arthur Schlueter, III, phone 215/353-0286 or 215/788-3423. Organ Leathers 800/423-7003. www.columbia blower. $20,000. Contact Box JU-6101, 800/836-2726. organ.com/col. THE DIAPASON. SERVICES/ MISCELLANEOUS Highest quality organ control systems since SUPPLIES 1989. Whether just a pipe relay, combination FOR SALE action or complete control system, all parts 1960s Walcker (German) 14-rank tracker Aeolian/Robert Morton-style maroon leather are compatible. Intelligent design, competitive organ. Open toe voicing on 2″ wind pressure. pricing, custom software to meet all of your re- ′ Atlantic City Pipe Organ Company—Trivo: is now available from Columbia Organ Reverse console built into case. Footprint is 6 1980s 8′ English Horn, 4′ Rohr Schalmei; Moller Leathers! Highest quality. 800/423-7003, quirements. For more information call Westa- wide by 11′6″ deep (including console and pedal ′ ″ cott Organ Systems, 215/353-0286, or e-mail ′ ″ ′ 16 half-length Fagotto with chest 3 WP; C.S. www.columbiaorgan.com. stops), 9 10 tall. All encased with 4 Principal Haskell 16′ principals, strings, reeds; Estey [email protected] façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- ′ ′ 16 32-note Viol with Haskell basses. 609/641- quialtera, II–III Mixture. Manual II—8 Gemshorn, 9422; [email protected]; mywebpages. Austin actions recovered. Over 40 years 4′ Rohrfl ote, ′2 Principal, 1-1/3′ Quinte. Pedal— ′ ′ ′ comcast.net/acorgan. experience. Units thoroughly tested and fully ANNOUNCEMENTS 16 Bourdon, 8 Flute, 4 Choralbass. Playing and guaranteed. Please call or e-mail for quotes. in use regularly. Asking $12,000. For recordings Technical assistance available. Foley-Baker, Are you receiving THE DIAPASON E-News? and pictures contact [email protected]. Wood pipes. Missing pipes made to match. Inc., 42 N. River Road, Tolland, CT 06084. Our newsletter is e-mailed monthly to our reg- Damaged pipes in any condition repaired. Phone 1-800/621-2624. FAX 860/870-7571. istered subscribers; a separate issue each Over 25 years experience. Filip Cerny, 1971 Bosch Organ — [email protected]. month sends you our web classifi ed ads. Don’t Two manuals, 36 ranks, 814/342-0975. free standing, encased with detached console. miss out! To register, visit www.TheDiapason. Mechanical key action, electric stop action. Sell- com, click on Newsletter, and enter your con- ing price $30,000, re-location and installation tact information. Need help with your re-leathering available. For information package contact Fowl- ATTENTION CHOIR DIRECTORS! Do you project? All pneumatics including er Organ Company, Lansing, MI. bmforgans@ run short of anthem copies at rehearsal, Austin. Over 45 years experience aol.com; 517/485-3748. and suspect some of your singers of (on the job assistance available). Postal regulations require that mail hoarding copies of anthems at home? 615/274-6400. to THE DIAPASON include a suite num- Fret no more! Our exclusive ANTHEM Two small pipe organs for sale. Great prices. RETRIEVAL SERVICE will solve your ber to assure delivery. Please send For more information, please go to our website, all correspondence to: THE DIAPASON, www.milnarorgan.com. problem! We can supply experienced operatives who will provide surprise 3030 W. Salt Creek Lane, Suite 201, home inspections—day or night—to ALL REPLIES Arlington Heights, IL 60005. 1969 Möller Double-Artiste. 2 manuals, 9 track down missing copies, assisted ranks (including Mixture and 16′ Trompette), 28 by trained anthem-sniffi ng dogs, who TO BOX NUMBERS stops. Newly releathered and reno- can detect copies in any location: hid- THE DIAPASON’s classified ads are vated. $44,500 plus installation. john@ den under couch cushions, in piano that appear now available on THE DIAPASON organclearinghouse.com; 617/688-9290. benches, family photo albums, freezers, without an address website—including photographs and etc. We employ only very experienced convenient e-mail links directly to the former repo men, who know how to deal should be sent to: sellers! Visit www.TheDiapason.com 1981 Lauck Residence Organ—2-manual, 3 with surly deadbeats. Order before mid- THE DIAPASON and in the left-hand column, look for ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe SPOTLIGHTS, then click on Classified night and receive free GPS adhesive 3030 W. Salt Creek Lane, Suite 201 TC 49. Unifi ed to 19 stops. Expression, tremu- tape to apply to each anthem, and track Advertisements. Follow the links to the lant, combination action. Natural ash casework: Arlington Heights, IL 60005 classifieds that interest you, and click 94″ high, 72″ wide, 24″ deep. Movable. Presently them yourself!! Box Anthem-Con, THE DIAPASON; [email protected]. the e-mail button to contact the sellers. being restored. $18,000. Lauck Pipe Organ Co. What could be easier? 269/694-4500; e-mail: [email protected].
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 Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
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June 2011 pp. 34-35.indd 35 5/13/11 9:05:31 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011 SOLD OUT
*=European artists available 2010-2011 and 2011-2012
Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young