THE DIAPASON MARCH, 2007
First Church in Oberlin, United Church of Christ Oberlin, Ohio Cover feature on pages 30–31
recording artist) as well as performances series: March 18, Bach birthday con- of Buxtehude’s organ and choral works cert; April 22, Eastertide concert; May THE DIAPASON by David Rothe and Scarlatti sonatas 20, members of the Santa Barbara AGO A Scranton Gillette Publication played on harpsichord, fortepiano, mod- chapter. For information: Ninety-eighth Year: No. 3, Whole No. 1168 MARCH, 2007 ern piano and organ by Robert Bowman.
Here & There
The Church of St. Louis, King of Shadyside Presbyterian Church, France, St. Paul, Minnesota, continues Pittsburgh, Pennsylvania, continues its its recital series on Tuesdays at 12:35 concert series: March 11, True North pm: March 6, Anne Phillips; 3/13, Paul Brass Ensemble; April 15, David Higgs; Weber; 3/20, Sarah Koehler; 3/27, Mary May 20, Brahms, German Requiem. For Newton; April 10, Robert Vickery; 4/17, information: 412/682-4300; Jean Krinke; 4/24, Tom Ferry; May 1,
MARCH, 2007 3 I Holy Trinity Lutheran Church, New York City, continues its Bach can- he sense tata series: April 1, Cantata 131, Aus der Tiefen rufe ich, Herr, zu dir; 4/6, St. T John Passion; 4/8, Cantata 4, Christ lag of the in Todesbanden. For information: beautiful is
4 THE DIAPASON services coordinator and assists with working in sales and communications as development and communications activ- well as assisting in design and project ities at AGO national headquarters. oversight. He will also continue in per- formance as artist in residence along Ronald Krebs has been appointed with Bill Klimas, artistic director of vice president of sales for the Reuter Reuter Organ Company. Organ Company, Lawrence, Kansas. He leaves Central Reformed Church in American University has appointed Grand Rapids, Michigan, where he has Haig Mardirosian as the new dean of served as minister of music for the past academic affairs, effective January 1, ten years. He was previously director of 2007. He has served as acting dean of music at Second Congregational United academic affairs since November 2005, Church of Christ, also in Grand Rapids. while continuing in his role as director A member of the American Guild of of the General Education Program. He Organists, he was coordinator of the previously served as associate dean of AGO Region V convention held in academic affairs since 2001. Grand Rapids in 2005 and currently Mardirosian has been a faculty mem- serves on the AGO National Committee Ronald Krebs ber at American University for more on Regional Conventions. than 30 years, first as an adjunct lecturer He received both Bachelor and Mas- He has been a guest soloist with the in music in 1973, a year after receiving Haig Mardirosian ter of Music degrees from the Universi- Grand Rapids Symphony, has presented his Doctor of Musical Arts from Catholic ty of Michigan as a student of Robert concerts in the United States, Canada, University of America. In 1976 he was ship roles at the university have included Glasgow. For several years following Great Britain, France, and the Nether- appointed to the university’s full time work in implementing the University graduation, he held an administrative lands, and been featured in a live per- faculty. As a concert organist, he has College, key support for the review of position at the School of Music and con- formance on the National Public Radio been a recitalist for 40 years; as soloist, the General Education Program, and tinued to work as a choral conductor Program Pipedreams. conductor, and composer, he has record- service as music program director in the and organist in metropolitan Detroit. At Reuter, Ronald Krebs will be ed more than 15 discs. His many leader- College of Arts and Sciences. ConcertArtistCooperative
Yoon-Mi Lim Mary Mozelle David F. Oliver Larry Palmer Gregory Peterson Organist Organist/Recording Artist Organist/Lecturer/ Harpsichordist/Organist Organist 2004 NYACOP Winner Associate Organist Recording Artist Professor of Harpsichord and Organ College Organist and Director of Music The National Presbyterian College Organist Meadows School of the Arts Assistant Professor of Music Fairlawn Presbyterian Church Church Assistant Professor Southern Methodist University Luther College Columbus, Indiana Washington DC Department of Music Dallas, Texas Decorah, Iowa “The Sights & Sounds Morehouse College of the Pipe Organ” Atlanta, Georgia
Stephen Roberts Clair Rozier Lisa Scrivani-Tidd Michael Stefanek Jeremy David Tarrant Organist/Harpsichordist/Lecturer Organist/Lecturer Organist/Lecturer Organist Organist Instructor of Organ Director of Music Assistant Professor of Music Director of Music Organist and Choirmaster Western CT State University St. David's Episcopal Church SUNY at Jefferson Aldersgate United Methodist Church The Cathedral Church of St. Paul Director of Music Wayne, Pennsylvania Watertown, New York Redford, Michigan Detroit, Michigan St. Peter Church University Organist Danbury, Connecticut St. Lawrence University Canton, New York
Heinrich Walther Jane Watts Beth Zucchino Brador Brass Quintet Duo Majoya Organist/Clavichordist/Virginalist/ Organist Organist/Harpsichordist/Pianist International Touring Ensemble Organ and Piano Recording Artist Exclusive Recording Artist Music Ministry Team Christopher Marsden Recording Artists Faculty, University of Music Priory Records Creative Arts Series Artistic Director Marnie Giesbrecht and Joachim Segger Freiburg, Germany First RCO Performer of the Year Knox Presbyterian Church Resident Ensemble Professors of Music Faculties, Church Music Schools Organist of the Bach Choir Santa Rosa, Calfornia San Diego State University University of Alberta Heidelberg and Rottenburg London, England San Diego, California The King’s University College Germany Edmonton, Alberta, Canada ConcertArtistCooperative Beth Zucchino, Director, [email protected] David K. Lamb, Associate Director, [email protected] 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 www.ConcertArtistCooperative.com
MARCH, 2007 5 form on the III/52 Oberlinger at Sant Here & There Kazimieras Church, Vilnius, Lithuania, FELIX HELL on March 18; on the IV/100 Rieger- CONCERT ORGANIST Kloss at the Philharmonie, Minsk, Robert Brittenham is featured on a Belarus, March 20; and on the II/29 by new CD, Organ Improvisations, a re- Schuke at the Glinka Musical Instru- release of an LP issued in 1973. The ment Museum in Moscow, Russia, improvisations were recorded during March 25. Ebrecht will perform works worship services at Our Savior Lutheran by Albright, Bach, Bernal-Jimenez, Church in Fishkill, New York, and Duruflé, Franck, Jenkins, McTee, and served as preludes, offertories, and VanEyken. The lecture in Moscow at the postludes. Six of the improvisations are Russian Gnessins Academy of Music based on original musical themes that and the recital are part of the Second were sketched out by the organist just International Organ Symposium. before the worship service. The other four improvisations are based on hymns The forthcoming book Maurice Duru- sung by the congregation during the flé: The Man and His Music, a definitive service. The organ was built by the biography of the French organist and Church Organ Company and consists of Catharine Crozier composer by James E. Frazier, to be six unified ranks. The CD is available for published by the University of $10 postpaid from W. Robert Britten- Fleur de Lis Recordings has Rochester Press as part of the Eastman ham, 84 Hillis Terrace, Poughkeepsie, announced the re-release of a recording Studies in Music, will be available by NY 12603-5814; 845/462-3209; by the late Catharine Crozier, November 1, 2007. The price of $65 is c ERFORMS THE
6 THE DIAPASON We are pleased to announce our association with the following projects: accompanist for 25 years at Hillsbor- four-manual, 94-rank Stahlhuth organ ing an Emeritus Professor. His published and Mathias. Easter on Fifth Avenue ough Community College, Ybor Cam- in St. Martin’s Church in Dudelange, compositions include works for organ, (CD 7209), also featuring the St. pus in Tampa. Luxembourg. handbells, and choir anthems. Thomas Choir directed by John Scott, Former state chairman and member Dr. Williams’ future concerts In his extensive career as a concert includes works by Rutter, Byrd, Harris, of the National Executive Board of the include Birmingham Symphony Con- organist and carillonneur he played Hancock, Taverner, Hadley, Scott, Presbyterian Association of Musicians, cert Hall, UK; the Esplanade Concert hundreds of recitals throughout the Strauss, Bertalot, Bassano, Gibbons, she is a Certified Associate Church Hall, Singapore; and Notre-Dame U.S., and was the official carillonneur Bairstow, Stanford, and Gigout. Hear Musician in PAM and a member of the Cathedral in Paris. For information: for the 1960 Winter Olympics in Squaw my Words, ye people (CD 7208) fea- Organ Historical Society and Fellow-
New Organs: Atlanta First United Methodist Church: 5-manual, 120 stops New Orleans Baptist Theological Seminary, Leavell Chapel: 4-manual, 78 ranks Midway Presbyterian Church, Powder Springs, GA: 3-manual, 55 ranks First United Methodist Church, Carrollton, GA: 3-manual, 42 ranks New Orleans Baptist Theological Seminary, Recital Hall: 3-manual, 33 ranks (new & existing pipes) Newberry A.R.P., Newberry, SC: 2-manual, 13 ranks (new & existing pipes) Rebuilds: St. John’s Church, Savannah, GA: 4-manual, 76 rank Wicks - additions, tonal revisions & revoicing First Baptist Church, Orangeburg, SC: 3-manual, 31 rank M.P. Moller - complete rebuild with additions Selwyn Avenue Presbyterian Church, Charlotte, NC: 3-manual, 22 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Jackson, GA: 2-manaul, 20 rank Austin - complete rebuild with major additions Cumberland United Methodist Church, Florence, SC: 2-manual, 10 rank M.P. Moller - complete rebuild with additions First United Methodist Church, Tennille, GA: 2-manual, 8 rank Tellers, complete restoration 800-836-2726 y www.pipe-organ.com
8 THE DIAPASON PEDAL SHIPPENSBURG UNIVERSITY 32 Contre Violone 16 Subbass SHIPPENSBURG, PENNSYLVANIA 16 Lieblichgedackt (Sw) 16 Violone (Gt) 16 Erzähler (Ch) 8 Oktav 8 Gedackt (Sw) 8 Offenflöte 4 Choralbass 4 Offenflöte Mixture IV 32 Contre Fagott 16 Posaune 8 Trompette 4 Rohrschalmei MIDI On Pedal SWELL 16 Lieblichgedackt 8 Gamba 8 Gambe Celeste 8 Hohlflöte 4 Principal 4 Nachthorn 2 Fifteenth Plein Jeu IV 16 Fagott 8 Trompette en chamade (Gt) 8 Trompette 8 Hautbois 4 Clairon Tremulant Unison Off 16 Swell 4 Swell MIDI On Swell GREAT 16 Violone 8 Prinzipal 8 Violone 8 Rohrflöte 4 Oktav 4 Waldflöte 2 Doublette Fourniture IV Sesquialtera II 8 Trompette en chamade 8 Trumpet Tremulant Chimes MIDI CHOIR 8 Prinzipal 8 Erzähler 8 Erzähler Celeste 8 Holzgedackt 4 Prestant 4 Koppelflöte 2 2/3 Nazard 2 Blockflöte 1 3/5 Tierce 1 1/3 Larigot Zimbel III 8 Krummhorn Tremulant Unison Off 16 Choir 4 Choir MIDI On Choir COUPLERS 8 Great To Pedal 4 Great To Pedal 8 Swell To Pedal The combination three-manual pipe and digital instrument recently installed in 4 Swell To Pedal Shippensburg University’s Cora I. Grove Spiritual Center and Interfaith Chapel controls 8 Choir To Pedal 58 digital stops and 6 new pipe ranks, including a brass Trompette en chamade. 4 Choir To Pedal 16 Swell To Great The console features rosewood drawknob stems, manual sharps, and pedal sharps. 8 Swell To Great The organ’s entire complement of pipes and speakers is integrated seamlessly in one 4 Swell To Great central location. Three different console plug-in locations provide additional versatility. 16 Choir To Great 8 Choir To Great 4 Choir To Great 150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 USA 16 Swell To Choir Phone: 610-966-2202 Fax: 610-965-3098 8 Swell To Choir E-mail: [email protected] 4 Swell To Choir www.allenorgan.com Gt-Ch Manual Transfer Harpsichord News by Larry Palmer
Guilty Pleasures: Reading, Listening, and Viewing Recreational reading and several reis- sued recordings from the middle of the 20th century are recommended for pleasure, guilty or innocent:
Paul Wolfe playing at the Frick Collection, New York City, 1974
Kleofas Oginski, Jacob le Polonais, Diomedes Cato, Landowska herself, and the iconic national composer Fry- Wolfe’s story is set in Italy, primarily at deryk Chopin (Mazurka in C, opus 56, the international music festival of number 2). If there were ever any “Lospello,” where devoted manager doubt about the harpsichordist’s Polish Ricardo Ricci keeps things on an even roots, her magisterial rhythmic control keel. Keeping a relationship with his in these essential ethnic offerings longtime companion and love Katherine would squelch any possible argument presents the other major challenge of to the contrary. Ricardo’s life. Adding George, a young Not the least part of the enjoyment and comely narcissist, to the festival’s provided by this compilation comes management staff stirs the erotic mix to from new and original comments in an boiling, and beyond. Sly commentaries essay by British harpsichordist Jane on the music festival scene vie with var- Clark. She presents a fresh perspective ious steamy couplings to keep readers on two selections by Rameau (Air grave The Soprano Wore Falsettos by turning the pages. A harpsichordist, the pour les deux Polonois) and François Mark Schweizer (Hopkinsville, KY: fresh toy for the festival’s maestro Gian- Couperin (Air dans le goût Polonois), St. James Music Press, 2006; ISBN franco Connery, makes a timely appear- noting that the 18th-century French did 0-9721211-6-1) ance [page 368]. Recommended for not think highly of their neighbor Wanda Landowska, Lakeville, 1949
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10 THE DIAPASON WHY
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Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue • Hillsboro, Oregon 97124 503.648.4181 • fax: 503.681.0444 Email: [email protected] • www.rodgersinstruments.com America’s Most Respected Organ Builder Times music critic Anthony Tom- $500,000–$999,999. Elsewhere in the ambassadors from the small towns in masini’s article, “An Opera at the Met same book is the list of supporters of the which they live. It’s a wonderful organi- In the wind . . . That’s Real and ‘Loud’,” reports that Higginson Society, which “embodies zation with a strong audience, and it’s by John Bishop “the overture and several ensembles the deep commitment to supporting impossible to measure the advantages of and arias were cut. Other arias were musical excellence continuing the lega- having such an institution in a small abridged through some very deft trims.” cy of the orchestra’s founder and first town. But there’s an inherent struggle. A Night at the Opera Poet J. D. McClatchy, a lecturer in Eng- benefactor, Henry Lee Higginson.” How do we balance the artistic ideals When you think of a night at the lish at Yale University, created a new This list is a little closer to earth with the and aspirations of the quartet with the opera, what images flash through your free English translation of the libretto. highest gifts at around $100,000; there pressures of meeting the budget? The mind? Stunning sets and costumes? And as perhaps the most important vote are 107 sponsors ($5000–$9999) and fact is the choice is never that clear. Of Brilliant singing? Melodramatic stories of support, James Levine conducted. 281 members ($2500–$4999). These course the audience wants to hear the transformed into staged magic? The The matinee performance on Saturday, lists fill eight full pages. classic string quartet repertory. Of thrill of a lifetime to witness such ambi- December 30, was sold out, and Tom- While I’d like to imagine that many of course the quartet wants to explore new tious performances? Or do you imagine masini reported, “Actually the matinee these $2500 to $2,000,000 supporters music, new concepts, and new chal- fur coats and diamonds, limousines, clocked in at close to two hours, but few would approve of such innovative pro- lenges. Of course, everyone wants to $200 orchestra seats, standing room of the children seemed to mind. The gramming as I describe from the Met, I play and attend concerts of music that is lines, no late seating? audience was remarkably attentive and bet that many would prefer to attend a beautiful, uplifting, and stimulating. And I have friends in the Boston area who well behaved. Of course one strict Met “real” performance of Die Zauberflöte. of course all of us would like to see more make special trips to attend perfor- protocol—if you leave the auditorium So of course the Met continues to offer children attending the concerts. It’s a mances at the Met. This means travel- you are not allowed re-entry until inter- their familiar fare. Go to
www.mander-organs.com Imaginative Reconstructions
12 THE DIAPASON notable, or to use Strong’s Exhaustive with chords employing intervals of ing Company, C 5445, $1.70 (E). Concordance of the Bible, which is a fourths and fifths. The choral writing is The text by Tom Long is a paraphrase Book Reviews topic resource compilation. very simple with some unison. The choir of Psalm 23—simple music with about King David (c. 1085–1015 B.C.), it often sings syllabically above repeated one third in unison. The accompani- should be remembered, was not only a patterns in the organ. The work closes ment is a modified arpeggio background ‘To Fill, Forbear, or Adorne’, The major figure of the Old Testament, he with an Alleluia. except for one brief chordal section. Organ Accompaniment of Restora- was an ancestor of Christ. His life was Vocal ranges are limited with the open- tion Sacred Music by Rebecca filled with important, yet diverse, events Psalm 150, Lloyd Larson. SATB, ing possible for a soloist instead of uni- Herissone. RMA [Royal Musical including the defeat of Goliath, the keyboard with optional congrega- son women. Association] Monographs #14, xiv, return of the Ark of the Covenant, and tion, brass quintet and percussion, 140 pages; Ashgate Publishing, of course his spicy involvement with Beckenhorst Press, Inc., #1609, Pseaume 43, Jan Pieterszoon Swee- $79.95,
14 THE DIAPASON of the vocal lines. This differs notably Récit is Manual IV. There is no Récit to iments were never repeated on other pletely forgotten 19th-century compos- from material presented in the major Grand orgue coupler, so that the Récit instruments, but notwithstanding this er, Charles de Balorre. The piece is not London organ books, and the author can only be coupled through the Positif. and in spite of its many curiosities, the particularly march-like, though in its notes that it is unclear whether this is This means that although the instru- Perpignan Cathedral organ, helped no serene character it is undoubtedly simply an exceptional example, “notated ment is an excellent example of Cavail- doubt by very favorable acoustics, is religieuse. It builds up to an enormous precisely because . . . Locke wanted [an lé-Coll’s terraced dynamics, the build- tremendously successful. Jean Renaud climax on full organ. accompaniment] unlike the continuo up has to be achieved by unorthodox restored the instrument in 1993. By Next follow two very different tran- part . . . produce[d] under normal cir- means. In a sense the instrument is built contrast the 1879 Orgue de chœur is a scriptions that Guilmant originally cumstances,” or evidence of what other like two independent two-manual thoroughly conventional little two-man- issued together in 1883. The first of organists of the time might realize from organs, since the Bombarde and Grand ual organ of 14 stops, though none the these, entitled Air celèbre de la Pen- the more typically encountered short- orgue are on one level, and the Positif worse for its more humdrum design. tecôte, is a transcription of the aria “Also score outlines. and Récit on another, each level with its The Orgue de chœur is somewhat in hat Gott die Welt geliebt” from J. S. Herissone correctly states in her con- own Barker machine. None of the four need of restoration. Bach’s Cantata No. 68. The relative lack clusion that this study has “profound manuals has the normal four Fonds, and The compact disc begins with four of restraint with which Gigout treats implications for modern approaches to the disposition of the families of stops transcriptions for organ by Gigout of Bach’s original in this transcription sug- the accompaniment of [17th-century] over the four manuals is also most works by other composers. The first of gests that the sort of treatment accord- English sacred music,” and that we unusual. The only 8v Flûtes harmonique these, Fantaisie dialoguée, is a tran- ed to Bach’s works in Mémentos de need to consider individually the styles are on the Bombarde and Récit, while scription for solo organ of a piece that Bach (1925) was by no means unique to of accompaniment used for music of the 4v Flûte Octaviante and 2v Octavin Gigout’s son-in-law, Léon Boëllmann, Widor but part of a wider French tradi- other countries as well. Her work cer- that would normally be found on the originally wrote for organ and orchestra. tion of free-form transcription. The tainly provides a caveat for modern per- Récit are both found on the Bombarde. Reminiscent in some ways of Gigout’s freedom with which French composers formers, who should thereby at least On the Récit instead of them is a 4v own Grand chœur dialogué from the felt able to treat original works in the give renewed consideration to the key- Viola and a 2v Octave. In place of the Dix pièces, it is a good-humored work of process of transcription—or, to put it board realizations provided by perform- more usual 8v Bourdon on the Récit considerable melodic interest and ought another way, the liberties they felt able ing editions. there is a Quintaton, one of three at 32v, to be much better known. Boëllmann’s to take with them—is even more appar- —G. Nicholas Bullat 16v and 8v pitches to be found on the musical output was sadly truncated by ent in the second of the transcriptions. River Forest, Illinois organ. The strings on the Récit are a his tragically short life, and his father-in- Here Gigout transforms Tollite Hostias, very broad Violoncelle and matching law performed a most welcome act by the final chorus from Camille Saint- Céleste in place of the usual Viole de making such a fine work available for Saëns’ Oratorio de Noël, into a free- Gambe and Céleste. There are treble solo organ. (In these days when there is form fantasia in which the theme is New Recordings five-rank Cornet stops on both the so much interest in works for organ and elaborated in canon. These two tran- Bombarde and Récit divisions, but not orchestra, Boëllmann’s original version scriptions very much whet the appetite, on the Grand orgue, and there are no might also be due for revival.) The Fan- and one is left wondering how many Eugène Gigout: The Complete mutations at all anywhere. Then there is taisie dialoguée is followed by a tran- other interesting free-form transcrip- Organ Works – V. Gerard Brooks, a 4v Dulciane in place of the usual Posi- scription of Marche religieuse, a charm- tions there are of this kind produced by the organs of Perpignan Cathedral. tif 4v flute, etc., etc. Most of these exper- ing little piece by a now almost com- French composers of the late 19th and Priory Records PRCD 765,
MARCH, 2007 15 early 20th centuries waiting to be redis- Coll instrument of great brilliance and This is followed by Francesco Caval- covered—a suitable topic, perhaps, for clarity, makes for an outstanding perfor- li’s Cantate Domino, sung by the sopra- someone’s Ph.D. dissertation. mance. It is a fitting conclusion to the no Loredana Bigi accompanied addi- After these transcriptions Gerard five-CD set and a recording that I have tionally by Marco Serino on violin. CHANGE IS INEVITABLE. Brooks moves on to the Orgue de no hesitation in recommending. Francesco Cera’s playing of Andrea chœur for eleven miniatures that Gigout —John L. Speller Gabrieli’s Intonazione on the First Tone originally wrote for the harmonium. St. Louis, Missouri shows that these pieces can be no less GROWTH IS OPTIONAL. The first of these, Cortège, is a stand- effective with a quieter registration. alone piece subtitled Entrée solennelle Monteverdi’s setting of Salve Regina for ou sortie, and is a surprisingly grand Ghirlanda Sacra—Il Motetto a voce baritone, sung here by Filippo Bettoschi { piece for the harmonium. The record- sola a Venezia, Ensemble Arte Musi- and accompanied by the organ alone, is ing demonstrates that even the smaller ca, directed by Francesco Cera. slow and dramatic, full of affetti for the Cavaillé-Coll Orgue de chœur has quite Recorded 2006, TT 55:49, Tactus voice, including trills, with many disso- ARTISTRY IS CRITICAL. an impressive plenum. The succeeding Records TC620001, nances (especially at the passage miniatures are ten of the 100 short
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16 THE DIAPASON ting by Monteverdi of Jubilet in the form mood is effervescent. Hill’s interpretation of Karg-Elert’s sense of purpose. The second move- of a dialogue between Maria and an The Second Sonata is very effective in Trois Impressions is pervaded with ment, Scherzo, easily the most memo- Angel, sung here by the soprano Rosita the transcribed organ version. Indeed, it emotional intensity and unfulfilled erot- rable of the three, is a swashbuckling Frisani. Frescobaldi’s Kyrie della is arguably much more successful as an ic longing, while at the same time there virtuoso canvas, full of bubbling 16th- Madonna is a contemplative setting and organ work than the famous Elgar are moments of Debussian Impression- note figurations and leaping, jagged introduces Monteverdi’s Ego flos campi; Organ Sonata in G of 1895, which is ism. Hill’s polished orchestral style of trumpet interjections. The third move- the text from the Song of Songs allows quite orchestral in idiom. The original playing is particularly appropriate in the ment, a fugue marked Maestoso, suffers Gabriella Martellacci to display her virtu- brass band writing translates well into second movement, Clair de lune, which from a dull fugue subject and a stilted, oso technique. Grandi’s setting of the organ music, as Hill’s performance calls for waves of mostly soft evocative dry academic style. However, there are hymn Lauda Sion Salvatorem has proves. Thus, for example, where a suc- sound that waft from various parts of the several inspired passages, and there is delightful passages in thirds for the vio- cession of short phrases would have organ, à la Wagner and Scriabin. In the an ethereal coda reminiscent of late lins, and softer episodes give way to an been played in the original band score outer movements, Harmonies du soir Beethoven. evocation of robust imagery of the wars by various groups of instruments, Hill and La Nuit, mighty rich-toned full- An informative booklet is provided against the enemy that the sacrament can plays the phrases on contrasting regis- organ climaxes briefly erupt from the with the CD that contains program assist in winning. Giovanni Gabrieli’s trations on different manuals of the sweet nostalgic ambiance. notes, a history of the Winchester brief Intonazione on the First Tone is fol- organ in the manner of a band. He The playing of the two Wagner tran- Cathedral organ and its specification, lowed by the final track, Grandi’s Can- gauges beautifully the registration of the scriptions is magisterial. In the Overture and a biography of David Hill. tate Domino in which the declamatory solo melodic lines, including those in to “The Mastersingers,” the partnership sections contrast well with the triple- inner parts in dense textures, so that of the Winchester Cathedral organ’s Malcolm Archer Plays English Organ time melody, interspersed with vibrant they ring out. Hill’s imitation of the enormous versatility and wonderful Music from Wells Cathedral. Regent Alleluias. The piece concludes with band score’s long crescendos and dimin- tone with the performer’s virtuosity and Records REGCD202 (2004); available scalar runs on theorbo and organ. uendos are smooth and exciting on the warmth of feeling produces a supreme- from
David Hill Plays Organ Music from Winchester Cathedral. The English Cathedral Series, Volume IV, Regent Records REGCD163 (2002); available from
MARCH, 2007 17 longer at Wells: he had been appointed assurance in Archer’s performance of disc. All three scores are available for also hopes that individual movements organist of St. Paul’s Cathedral, London, the energetic toccata sections that alter- purchase from Kevin Mayhew Limited. might be useful teaching material for in September 2004. nate with softer passages, and there is Fifteen minutes in duration, Varia- students. Archer’s performance is high- The CD amply demonstrates the much use of the powerful yet mellow tions on King’s Lynn (2002) is one of ly musical, but as a composer he is not affinity of this very fine player for the Wells Tuba stop at the climaxes. the composer’s longest organ works. It in top form. It is regrettable that such a Wells organ, the core of which is the After such fine opening works, is also one of his technically most composition should end such an other- instrument built in 1857 by Henry Willis Elegy (1993), written by one of demanding pieces for the instrument, wise excellent CD. for the cathedral. Harrison & Harrison Archer’s composition teachers, Sum- and is principally intended for recitals. An eight-page booklet provides suc- provided some symphonic/orchestral sion, is disappointing, despite the sym- After the statement of the theme, there cinct program notes written by Archer, a ranks in 1910, and the same builder pathetic performance. are eight sectional variations, in which biographical sketch, and full page photo- added a number of mutation and mix- Fletcher’s Festival Toccata (1915) is there are the traditional changes in graph of the organist in his characteristi- ture stops during a substantial rebuild in written in the light, popular style for mood, texture, and tone color, and a cally relaxed, genial mood. In addition, 1974. The organ that Archer plays con- which the composer, and his better- Fugue and Toccata provide an exciting there is a very brief history of the Wells sists of 67 stops, divided into five divi- known contemporary, Eric Coates, are virtuosic finale. The varied material in Cathedral organ, and its specification. sions spread over four manuals. famous. The famous concert organist the Variations is mainly the newly com- —Peter Hardwick Archer utilizes the full resources of Edwin Lemare, to whom the piece was posed parts, while the hymn tune, Minesing, Ontario, Canada the Wells instrument in the perfor- dedicated, would have enjoyed the “King’s Lynn,” remains intact and is mances of the two Howells composi- work’s many opportunities for virtuosi- always audible. The composer’s style is tions. The frequently played Rhapsody ty and showmanship in the outer sec- highly lyrical and tonal, with linear Douglas Cleveland, Celestial Fire. No. 3 is a passionate, troubled work that tions, particularly the recurring idea movement of parts frequently creating Goulding & Wood organ, three man- was written during a German Zeppelin for rapid chords for alternating hands, transient pungent dissonances. uals, 70 ranks, St. Meinrad Arch- air raid on York in March 1915, while wide-ranging manual arpeggios over Although Archer has said that he abbey. Gothic Records G 49113, Howells was staying with Bairstow, the sustained pedal tones, and periodic composed Elegy (1991) “on a Sunday
18 THE DIAPASON includes the Toccatas. As I wrote in my sweeping scale passages passed from board compositions were written more then I wish it ‘bon voyage,’ hoping it will review of the volume covering the varia- hand to hand give way to chords against or less only during the last 15 years of his ‘sound right’ to other people too.” He is tions on songs and dances (THE DIAPA- runs, and the piece finishes with a long- life), source evaluation and notation is an outstanding organist, who writes flu- SON, April 2006), it is now over 30 years held chord in the LH supporting a 16th- followed by notes on the toccata genre as ently for the instrument. A two-manual since the publication of editions by Gus- note flourish that descends two and a developed by Sweelinck, and on the and pedal organ is envisaged. tav Leonhardt and Frits Noske, and half octaves before the final chord. The individual sources. Dirksen and Vogel Postlude on a Melody by Melchior there are a few changes in the contents Toccata in G opens with an imitative fig- have set a very high standard in the re- Vulpius is a three-and-a-half minute reflecting the most recent researches ure in half notes followed by quarters presentation of pieces well known from chorale prelude. The absence of time and findings by Dirksen and Vogel, before the figuration commences with previous editions, and this volume is signatures and the constantly changing acknowledged as experts in the North plenty of scale runs, then the 16ths are very highly recommended to organists, bar lengths result in rhythmic unpre- German repertoire. One important dif- set against changing chords in quarters. harpsichordists and clavichordists. The dictability that propels the music for- ference from the older editions is the A further six bars of predominantly two- other volumes in the series will include ward. In his note in the score, Holman return to the original barlengths and part eighth-note writing over a whole- the Fantasias (Volume 2) and Variations says that he has always been intrigued by note groupings, as well as the layout for note bass leads to a final two-octave scale on Chorales on Psalms (Volume 3)— Bach’s ability to make virtually every each hand based on the premise that the in 16ths, the piece closing with LH they are eagerly awaited. chorale melody work in canon, and he staff notation indicates which hand plays chords beneath passagework. This new edition could well be the has tried his hand at this technique here. which note. The new layout presenting Careful comparison between the two impetus to a re-evaluation of our In the introduction of leaping 16th-note the bar length in the cut C time of eight versions of the Toccata on the Ninth approach as performers to the commu- toccata-like manual arabesques, he quarter notes gives rise to many varia- Tone will reveal many differences of nication of the subtleties and intricacies establishes the brilliant, virtuosic nature tions of 16th- and eighth-note beaming, note groupings and ornament signs, of Sweelinck’s art. Most of the toccatas of the piece, and then the “Vulpius” which at first sight can appear quite which should provoke further considera- are demanding and difficult to bring off melody appears majestically in the pedal daunting. However, once this initial bar- tion by the player about the approach to well—there is a lot more to them than an with reed in the manner of a sustained rier has been overcome, the new group- performance. The other toccatas should opportunity to display how quickly one cantus firmus, while a second statement ings may well give rise to a more subtle be well known to most players from the can play scales—but careful study will of the hymn tune follows, canon-like, at application of articulation. The new edi- Leonhardt edition; suffice it to say that more than repay the effort involved. the octave in the manuals. In the second tion is also based not on a collation of there is much variety in them, with —John Collins half of the piece, as the preexistent various manuscripts, but essentially on a introductions ranging from imitative to Sussex, England hymn tune unfolds, the feet take up the single source for each work, only slight- relatively free, and some with fugal sec- newly composed toccata passagework ly supplemented by readings from sec- tions in the manner of the Venetians that had pervaded the first half in the ondary sources. The critical commen- Gabrieli and Merulo. Lively passage- Derek Holman, Postlude on a manuals, the rapid 16th-note pedal solos tary (in German only) does, however, work and figurations abound in an ever- Melody by Melchior Vulpius and being heard against sustained manual give variants. changing kaleidoscope, extending and Carol Prelude on “Away in a chords. The result is a resplendent In this volume there are 18 toccatas, expanding the compositional techniques Manger.” Jaymar Music Limited, postlude that many advanced organists including the 39-bar fragment of the of the time. London, Ontario, Canada, catalogue will enjoy playing in the Easter season. Toccata on the Second Tone and an alter- This volume contains a most impor- No. 02.295, represented in the USA The two-and-a-half minute Carol native version of the Toccata on the tant and thorough discussion in English by Oxford University Press, $8.50. Prelude on “Away in a Manger” is based Ninth Tone. Five are preserved solely in and German on playing techniques, The two works in this slender volume on the William Kirkpatrick tune usually tablature, and of these two (in D minor including fingering and ornamentation, show the British born and educated associated with “Away in a manger” in and G minor) are ascribed to Hans Leo that is worth the purchase price alone; Derek Holman (born 1931) to have the United Kingdom, not on James Hassler in the Turin manuscript source, ideally this should be read before start- retained the traditional compositional Murray’s tune that is usually favored in but have now been proved to be by ing to play the pieces! An appendix style with which he immigrated to Cana- the U.S. for this text. Marked Andante Sweelinck. Also included here are two gives five pieces with fingering from the da in 1965. His voice leading and tonali- piacevole, Kirkpatrick’s simple, placid works whose ascription to Sweelinck is original and further reconstructions by ty are traditional (though key signatures melody is soloed twice, first in the tenor considered dubious and are not in the the editors, including an abbreviated are not used), and he is fond of pungent register in the left hand, and then high Leonhardt edition; one of 62 bars on the working of a Toccata in C, a Praeludium transient dissonances and linear coun- in the soprano in the right hand. The first tone that was attributed to Scheidt in A minor from the Helmstedter Tab- terpoint. The lyrical idiom is convention- consistent use in the accompanying in Daniel Schmidt’s Orgelbuch of 1676, lature of 1641, and two extracts from al. Holman is empirical in his approach manual parts of nonharmonic tones that and one of 80 bars in G that is anony- pieces by Scheidemann. to composition. In his note in the score, are sounded with harmonic tones and mous in the source from Liège. The printing is very clear, each piece he modestly observes that: “I would be which resolve down by step, injects That on the first tone starts with being preceded by the first bar in the hard-pressed to describe my musical piquancy to the music, but otherwise chords, then an imitative figure makes a original notation. An excellent concise style . . . I can only say that I wrestle with the music lacks a spark of inspiration. brief appearance yielding to further RH general introduction to Sweelinck’s life the notes until the piece sounds right to —Peter Hardwick chords over LH eighth-note figuration; and compositions (amazingly, his key- me, in its details and as a whole, and Minesing, Canada
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MARCH, 2007 19 Daniel Pinkham (1923–2006): A Memoir James McCray
n the last decades of the 20th century, the west coast by duplicating the written IDaniel Pinkham was one of the exercise. Probably the most exasperat- brightest jewels in America’s choral dia- ing aspect was that Pinkham believed dem of composers. His creative energy the conductor did not have a copy of his spilled into churches, schools, and con- actual electronic tape and ultimately certs of all types. I knew him for over 40 used something of his own creation for years, first as a professional colleague the performance. and later as a friend. His death on His first published electronic work was December 18, 2006, was a loss to many In the Beginning of Creation, commis- people in the musical world; however, it sioned by Westminster Choir College may be the choral area where it will be and written in 1970. It became an instant most broadly felt. This is not to mini- hit with choral conductors due to its mize his robust contributions of instru- brevity, relative simplicity, and use of ver- mental works, but throughout America bal and nonverbal sounds created by the some of his works had become stan- choir at specific timed moments above dards in choral literature and were per- the tape recording of unusual reverberat- formed annually by vast numbers of ing utterances. I conducted it with sever- singers at every level of vocal ability. al different all-state choirs from Florida I first encountered Pinkham while to Utah, and it was always something that teaching at a Florida university in the gave the audience a new perspective on late 1960s. He had been commissioned the poignant Genesis text. Singers loved by the Florida Vocal Association to it, and its use rapidly spread. write a work for their Junior High All- When I moved to positions as a chair- State Choir, which was to be performed man of music departments in Virginia at the state convention. He was brought and Colorado, I always found a way to there for the premiere as a guest of the commission Pinkham to write a new convention. The work he supplied had a work for the school, which also brought high degree of indeterminacy in it, him to campus to interact with the facul- which at that time was somewhat of a ty and students. His charm, wit, and pro- consternation to the junior high teach- fessional manner made him a guaranteed ers who had to prepare their singers success in these environments. He had before the convention. As with most of an elegant way of presenting material; I Pinkham’s writing, the music was cre- always found him to be a remarkable ative, clever, and performable, although teacher and conductor who quickly made there were many on the floor of the con- a positive difference in a rehearsal, even vention who disagreed. Nevertheless, when his new musical score had a serrat- the work came off well and, as was the ed edge of sharp dissonance. case with so many of his choral settings, Pinkham’s talent and interests were the longer people listened to the Daniel Pinkham at desk broad. As a harpsichordist, he regularly rehearsal of it, the more they appreciat- played with the Boston Symphony ed the innate depth of the music. Orchestra. As organist, he was frequent- Over the years, I wrote three articles ly heard as a guest on the E. Power Biggs on his choral music—the first, an inter- program on CBS and as resident organist view entitled “On Composing” (The of historic King’s Chapel in Boston. As a Choral Journal, March 1976). In that student of legendary composers such as dialogue with him, he revealed numer- Piston, Copland, Honegger, Barber as ous insights into his process of compos- well as the eminent music teacher of the ing. For example, he said, “I have dis- 20th century, Nadia Boulanger, he covered that morning is best for me. I absorbed ideas and techniques that find the notes, which still is the most dif- served him well throughout his life. ficult, in the hours roughly 9:00 am to A review of his compositions reveals noon, and when I am not so clear mind- an astounding number of published ed, I then do those mechanical things works. His long association with E. C. like orchestration and score prepara- Schirmer clearly has been good for both tion.” He pointed out that he did all parties. Knowing how much new music manuscript preparation himself and that he had created, I was quite surprised he thought it a vital part of the com- when he told me how difficult it was for poser’s craft. In fact, he said he particu- him to begin a new work, and that for larly enjoyed doing that kind of work. extended periods of time he would One of my favorite pictures of Pinkham involve himself in diverse projects to is of him sitting at a table in a dark room avoid beginning to compose. Yet, with a desk light shining down on the because Pinkham was so prolific, I sus- manuscript he was preparing for the pect that we will continue to see more publisher; his writing implements (pens, publications in the future as the pub- ruler, etc.) are spread around him on lisher catches up with his numerous and the table (see photo). frequent submissions. Happily, I own several of his manu- James McCray and Daniel Pinkham (foreground), after the premiere of his com- So, farewell to you, Daniel Pinkham. scripts prepared in his own hand; each is missioned choral work at St. Mary’s College, Notre Dame, Indiana, spring 1973 You were always the apotheosis of dig- a work of art that is quite beautiful and nity and intelligence; you and your shows the personal care taken in his interviews how one should commission Pinkham later told me that the article musical inventiveness will be missed. graphic preparation. Many composers a composer, and that his standard reply probably was the greatest influence on Your lifelong interest in creating music have assistants to make the final score; was for those interested to merely pick this relatively unknown music being fre- that heightened the illumination of the many use manuscript programs on a up the phone, call him directly, and to quently performed. His gratitude was text has been a gift to us and future gen- computer. mention the amount of money for the later shown when he dedicated a choral erations of musicians. That the night My first personal encounter with him commission. He was always a pragmatic work to me, and I remain thrilled by this before your death you attended a choral was as the choral director and depart- man. Furthermore, even his music is kind gesture. concert of the premiere of your newly ment chairman at St. Mary’s College in pragmatic, since most scores were struc- Pinkham told me an interesting story commissioned work, seems to be a Notre Dame, Indiana in 1973. Our voice tured so that they could be performed regarding the time when he first reflection of your numerous contribu- faculty teacher had been a paid singer in with various instrumental and vocal became interested in creating choral tions to the field. Pinkham’s church choir at King’s Chapel combinations. He wanted his music to music using electronic tape. He had Pinkham’s writing of practical yet orig- in Boston, where Pinkham served as be performed and was not interested in attended a workshop on electronic inal music is a petard that all choral con- music director for over 40 years. So creating scores that were intellectual music. As part of the requirements, ductors hoist. We will continue to per- through her initial contact, we commis- cul-de-sacs that were rarely performed. each participant had to compose some- form his choral music for many decades sioned him to write a work for our col- That 1973 commission, for choir and thing as the final project, which was to come, and it will remain fresh to listen- lege choir and to come to campus to do electronic tape, aroused my interest, then given an informal reading by those ers of future generations. George F. Han- some teaching and conduct the perfor- which eventually led to my researching in the workshop. His work explored the del, Great Britain’s adopted musical son, mance of his music. (See photo of us and writing an extended article on all of problems of choral singing with a tape once said: “I should be sorry, my lord, if I immediately following the premiere of his music using electronic tape. This recording that is continuous and offers have only succeeded in entertaining that new work in the spring of 1973.) compendium of his decade of no flexibility for performers. After the them; I wished to make them better.” It should be noted that Pinkham was choral/electronic tape music was pub- workshop he had forgotten all about Somehow, I feel the same may be said for possibly the most frequently commis- lished in the March 1979 issue of The that little exercise, but was astonished America’s indefatigable composer, Daniel sioned choral composer of the past few Choral Journal, which brought this (and rightly irritated) to learn that one Pinkham. I decades. That, in itself, is a tribute to his musical style quickly to the attention of of the class members had pilfered a musical and personal accessibility. He the more than 11,000 members of the copy of it, which he then publicly per- James McCray has been choral editor of said that he was always being asked in American Choral Directors Association. formed with his choir in a concert on The Diapason since November 1976.
20 THE DIAPASON The University of Michigan 46th Conference on Organ Music Marcia Van Oyen
he 46th University of Michigan with those about his lover Herodias. He forting, surging waves of lovely har- it is easy to grasp and enjoyable on first TConference on Organ Music took is simultaneously upset and intrigued by monies. The poetry preceding the hearing. Its accessible, attractive music place October 1–4, 2006. The event John, comforted and attracted to Hero- movement offers these paradoxical would no doubt be enhanced by a focused on music of Germany, France dias. Unaccompanied flute plays long thoughts: “Listening to the Rabbi church setting to give it a sacred con- and the USA, featuring performances passages in the low register contrasted preach, shedding the shroud of poverty, text. The work will be published in the by Marie-Claire Alain, Michigan faculty with passages in the instrument’s upper- words flew into the ears of his poverty’s near future, perhaps with some of the members Marilyn Mason, James Kib- most register. corpse. Had not his curse always been movements simplified to promote bie, and Michele Johns, and a slate of 5. Mary Dancing—the story of Jesus his salvation?” The initial tension more performance, especially in a lectures on a variety of topics. The changing water into wine at the wedding returns to close the movement. liturgical setting. majority of events took place at Hill in Cana and the dancing at the wedding. 9. Desert Grief—Jesus appearing to Auditorium, home of the 4-manual, For solo flute, nearly moto perpetuo. Mary, resurrected. An oboe solo on James Kibbie: Leipzig Chorales 124-rank Frieze Memorial Organ. 6. Judas—for organ solo, beginning organ alternates with the flute melody, James Kibbie played all of Bach’s with a crashing chord and descending perhaps indicating an undulating, leap- Leipzig Chorales in two sessions, the Children’s choir festival pedal solos, then a decrescendo to a sigh- ing soul—“the burned sins of the world first on the Fisk organ at Blanche The conference opened with a chil- ing Bach-like fugue section. The move- fell in gray ashes.” Anderson Moore Hall at the School of dren’s choir festival organized by the ment ends with more clashing disso- 10. Pentecost—recaps the overture, Music, and the second on the Wilhelm Ann Arbor Chapter of the American nance alternating with a funereal fugue. framing the work. Several strong poetic organ at First Congregational Church Guild of Organists. Thomas Strode, “Mankind’s future is mankind’s sin.” phrases wrap up the ideas in earlier of Ann Arbor. Kibbie takes a natural AGO board member and director of the 7. Mary Magdalene/Doubting poems: “delusions were ashes,” “truth approach to these chorales—his play- Ann Arbor Boy Choir, gathered over 85 Thomas—the extended poem is fol- cut through the oppression of their ing is unfussy and elegant. He works children from six area churches and lowed by long flowing melodies portray- past,” “died and could not die again.” with the organ’s natural articulation, schools to sing together. Approximately ing gentle happiness. Mason and Fishel proved them- adding his own subtle touches, all in half the program featured music sung 8. Poverty Shared—illustrates the selves well-synchronized partners per- keeping with the musical flow and not by the combined choir directed by experience of a poor man listening to forming Breath of the Spirit, deftly distracting from the overall effect. His Strode; several groups sang individually Jesus preach. It begins seething with navigating the work’s changing rhyth- pacing of the chorales is cohesive and as well, including the Messias Temple tension, then eases and flows into com- mic landscape. For an extended work, appropriate, each tempo and transition Youth Choir, whose inspired perfor- mance brought the audience to its feet. Charles Kennedy skillfully accompa- ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
nied the choir, and played three Sketch- HENDRICKSON WOOD & GOULDING GARLAND FISK DYER R. DOBSON FRERES CASAVANT es and a Canon by Schumann. The audience of several hundred comprised largely families with young children, and I was glad to see them exposed to the sounds of both well-trained chil- dren’s voices and the pipe organ. Given the disposition of the audience, the stage was perfectly set to engage the multi-generational crowd with organ repertoire or a demonstration designed for such a purpose. Tom Strode did give some impromptu remarks about the organ, which seemed to pique the interest of the adults seated near me, but the program would have had greater impact had it included one of the many light-hearted, educational organ demonstration pieces of recent vintage. Based on the interest of more choirs in participating, the Ann Arbor AGO plans to continue this event in the future. I encourage them to make the most of the opportunity to educate young people about the pipe organ. Michigan faculty performances Sunday evening, Marilyn Mason and flautist Donald Fishel gave the Ann Arbor premiere of Breath of the Spirit—Pentecost for flute, organ, and narrators, composed by Michigan grad- uate Gregory Hamilton, based on poet- ry by Kenneth Gaertner. The pattern of the work was inspired by Dupré’s La Chemin de la Croix, with the ten sec- tions of the work musically interpreting and commenting upon the poetry. In her opening remarks, Marilyn Mason A Week in These Can Change a Lifetime noted that this concert was one of the first events to take place following the official renaming of the music school. In In just a short week, young people attending a Pipe Organ Encounter were inspired collegial spirit, she appropriately includ- ed two members of the theatre depart- to become the next generation of organists and church musicians. ment as narrators in this performance presented by the School of Music, The- atre and Dance. Join APOBA in welcoming these talented young musicians, as they dedicate their Here is a brief synopsis of the work, lives to expressing themselves through the Pipe Organ! with a few noteworthy quotes from the poetry: 1. Overture—organ alone, featuring big solo trumpet melody. 2. Annunciation—the organ and flute To receive information about pipe organs trade motifs, suggesting a dialogue between Mary and the Angel Gabriel, A and recognized pipe organ builders the rounded sounds of the Hill organ P write or call toll free 1-800-473-5270 blending beautifully with the flute. 3. Children in Praise—children O or on the web @ www.apoba.com caught up in the excitement and wonder BA Associated Pipe Organ Builders of America of the quiet Rabbi Jesus healing a crip- pled man and a man with a withered P.O. Box 155 • Chicago Ridge, Illinois 60415 hand. The flute introduces a sprightly TT PARSONS QUIMBY REDMAN SCHANTZ SCHOENSTEIN TAYLOR & BOODY theme, which is echoed by the organ, O spiced with mild dissonance. 4. Herod—the poem speculates on NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP Herod’s thoughts about John contrasted
MARCH, 2007 21 Marilyn Mason and Marie-Claire Alain (photo credit: Keary Campbell) Marilyn Mason, Marie-Claire Alain, and Susanne Diederich (photo credit: Keary Campbell) carefully considered, and the registra- Student performances tions are apt, tastefully chosen for color Students of Marilyn Mason and James and not solely dramatic effect. Kibbie performed in several concerts The audience sang each chorale tune during the conference. Monday morn- before Kibbie played Bach’s settings, ing, doctoral candidate Seth Nelson having been provided with a booklet gave an excellent lecture-recital on including the chorales. The booklet also Mozart’s flute clock pieces. The tem- contained comprehensive notes written perament of the Fisk organ brought out by Larry Visser in 1992 when he per- the character and color of these pieces, formed the Leipzig Chorales as part of particularly the F-minor Fantasy. Doc- his doctoral studies at Michigan. toral students Marcia Heirman, James Kibbie is on sabbatical leave Andrew Meagher, Alan Knight, during winter term to begin a three- Christine Chun, Susan De Kam, and year project to record the complete master’s student Thomas Kean per- organ works of J. S. Bach on historic formed works ranging from Messiaen to organs in Germany. During 2007, he Brahms to Vierne on Monday afternoon. will record approximately one third of Undergraduate Joseph Balistreri, mas- the Bach organ works, including the ter’s student Paul Haebig, doctoral stu- Leipzig Chorales on the Silbermann dent Michael Stefanek, and returning organ of Dresden Cathedral and the DMA graduates Shin-Ae Chun and Kirnberger Chorales on the Silbermann Seth Nelson played works by Le Bègue, organs in Rötha. Langlais, Franck, Sowerby, Bolcom, and Dupré on Wednesday afternoon. Fol- Michele Johns and Kristen Johns lowing the organ program, Christine Michele Johns and her daughter Kris- Chun performed her first dissertation ten performed a delightful concert of recital as pianist of the Michigan Trio, music for horn and organ on Monday performing chamber works with cellist James Kibbie (photo credit: Marcia Van Oyen) afternoon. Kristen Johns has recently Amar Basu and violinist Jane Yu. David earned a DMA in horn performance, Saunders gave his second doctoral unadorned borrowing for effect; and with a very legato touch. He captured the and has compiled a list of over 100 recital on Wednesday evening, playing material retrieved from memory, the excitement of the piece effectively, pieces originally composed for horn and music of DeGrigny, Guilain, Franck and most common method of borrowing. adding an arpeggiated fanfare before the organ as part of her research. The pro- Grandjany. Carillonneur Steven Ball He discussed examples from the Great closing chords. His transcription of a gram included a selection of works com- gave a short carillon concert prior to the Mass in C minor and the Requiem. In suite of character pieces by Fauré pro- posed in the last third of the 20th-centu- evening event. connection with remarks on the high vided enjoyable listening, enlivened by ry, opening with the fanfare-filled Cele- quality of Mozart’s unfinished works, he colorful registrations. He followed with bration for Horn and Organ by Randall Mozart lecture played a selection from a recent record- the Suite Medievale by Langlais, and Faust. Next, Craig Phillips’ tuneful Ser- Music theory professor Ellwood ing of a gorgeous unfinished aria from closed the program with his transcription enade for Horn and Organ was filled Derr gave an outstanding lecture on Davide Penitente. Following the confer- of a scherzo improvised by Pierre with the composer’s signature har- Mozart on Tuesday morning. He began ence, Derr was slated to give this lec- Cochereau in 1974. monies, while Dutch composer Jan by offering a Native American saying, “It ture and two additional lectures as part Koetsier’s Choral-Fantasie on Gib dich is good for the living to perform cere- of a series of events celebrating Mozart, Clerc: The art of transcription zufrieden un sei stille reminds one of monies for the dead,” and invited his his era and his influence. On Tuesday afternoon, Maurice Mendelssohn or Rheinberger. Daniel audience to actively participate in the Clerc gave a lecture on preparing tran- Pinkham’s The Salutation of Gabriel was lecture. Comparing Mozart to Classical French music scriptions. He cited transcription prac- commissioned by Joan Lippincott in Michelangelo and Shakespeare, Derr Monday afternoon, Susanne tices in the 18th century—Bach’s honor of Karen McFarlane’s retirement. asserted that Mozart is a magician, a Diederich and Jean Randall offered a Schübler Chorales, Rameau’s arrange- It is a programmatic work in three con- freak due to his unusually high level of session on the Classical French organ ments of his own operas, and Balbastre’s tinuous sections—Gabriel delivers the skill and his ability to innately and direct- and its music. Using the Frieze organ in transcriptions of his own works. After message, Mary replies, Gabriel departs. ly communicate with his audience, Hill Auditorium, Randall demonstrated being abandoned for a time, transcrip- Pinkham effectively portrays both the whether or not they are educated. His at the console and Diederich spoke. The tion again became popular in the latter excitement and weightiness of the mes- corpus of works, which Derr believes to main points of the lecture were the half of the 19th-century. Liszt arranged sage, going so far as to instruct the per- be technically perfect, is so vast it is importance of stylistic specialties in giv- favorite orchestral and choral works for former to walk off-stage before playing nearly impossible to listen to it all. ing character to French classic music, organ, and is known to have played the the closing notes of the piece to signify Derr has done research that identifies and that this period represents a rare Kyrie from Mozart’s Requiem and tran- Gabriel departing. Arnatt’s Variations more than 80 Mozart works that borrow confluence of instrument, music, style, scriptions of classics for Widor. Karg- on Divinum Mysterium is a beautifully material from J. C. Bach, whom Mozart and performance practice all working Elert made arrangements of Wagner’s composed work, keeping the familiar greatly admired. He recognizes three together. This era is unique in history; works, using every possible technique chant tune prominent most of the time. ways in which existing material can be organ builders and organists worked available on the organ. Organ perfor- Works by Paul Basler and Gunther incorporated into new works: reuse of closely together, and the organ was par- mance was very popular at the time, giv- Marks rounded out this enjoyable moth- thematic material, a technique so wide- ticipating in the general development of ing people the opportunity to hear great er/daughter collaboration. ly used as to be in common domain; music. Following this lecture, orchestral works performed on the Stephanie Nofar gave a lecture-recital, instrument, since they would have had “The Other France: Tribute to little or no opportunity to hear the likes Organmaster Shoes Unknown Masters.” of Wagner otherwise. Many composers fine leather shoes for organists did not write for the organ at all, Maurice Clerc recital deterred by having secular works per- Maurice Clerc played a recital featur- formed in a sacred space, since most ing several transcriptions at Hill Audito- organs are located in churches. rium on Monday evening. Having played Transcriptions allow us to play works at several previous conferences, Clerc by composers who didn’t write for the seemed at home at the console and uti- organ. The body of organ repertoire can Fast Delivery - Whole & Half Sizes - Widths: N, M, W Women"s Shoes in 6 Colors: Size 4 - 11, $44. lized the organ’s resources to great be increased, and allow us to study a Men"s Shoes In Black: Size 6-12, $50. effect, preferring full registrations such composer’s techniques. In addition, Size 12-13, $55. as he can create at his home church, Clerc believes organists make transcrip- {Add Only $5 for U.S. Priority Mail} Size 14-16, $95. Ph: 413-773-0066 or Fax: 413-773-0166 Notre-Dame in Paris. He began the pro- tions for their own enjoyment, giving the 44 Montague City Rd., Greenfield, MA 01301 gram with his own bombastic transcrip- examples of David Briggs and Daniel Safe & Easy Ordering: www.organmastershoes.com tion from Verdi’s Don Carlos, and moved Roth, as well as Jean Guillou, who made on to Franck’s Pièce Héroïque, playing it transcriptions when it wasn’t considered
22 THE DIAPASON hands. This work too often suffers from musical resources? How do we make plodding and heavy rendition, but Marie the music relevant? He cleverly illus- Claire moved it along under perfect con- trated with the movie “Guess Who’s trol, clearly feeling very comfortable Coming to Dinner?” asserting that with the piece and the instrument. there is a parallel between preparing a The second half included Dupré’s meal according to the needs of diverse Virgo Mater, op. 40, which is dedicated guests and preparing music for worship. in memory of Jehan Alain, followed by For Spence, the main issues are inclu- three pieces by her father, Albert Alain. siveness, enculturation, and fidelity to Though written in the 20th century, tradition. Worship should be inclusive, these pieces hark back to earlier styles, inviting, and engaging. Worship works and are particularly akin to the works of best when people can feel that they Ellwood Derr and Seth Nelson (photo Vierne and Widor. The contrast between belong and feel invited. With the assis- credit: Marcia Van Oyen) Albert’s music and Jehan’s is interesting, tance of a cantor from St. Andrew’s, he the former steeped in French tradition, demonstrated using settings of Psalm and the latter unbound by tradition. The 34 in different styles ranging from the younger Alain’s Deux Danses and Suite Basilican Psalter to jazz and gospel in bring this point home. Marie-Claire had order to reach the various sectors of his played well all evening, but her perfor- diverse congregation. mance really caught fire performing her brother’s works. Following a long stand- Conclusion ing ovation and her 85-minute program, The varied events of the 46th annual she tossed off a riveting performance of organ conference once again combined to “Litanies” as an encore as if it was the provide current students and attendees first piece of the evening. with an excellent opportunity to delve into the riches of pipe organ repertoire and Brandon Spence: multi-cultural performance. Many thanks to Marilyn Marie-Claire Alain (photo credit: Keary worship Mason and her colleagues who organize Campbell) Brandon Spence, a Michigan gradu- this valuable conference each year. I Michele Johns and Kristen Johns (photo ate, is director of music at St. Andrew’s credit: Marcia Van Oyen) the colors of the instrument, followed by Cathedral in Grand Rapids, Michigan. Marcia Van Oyen is Director of Music Min- two settings of Schmücke dich by Bach. This parish is home to people who istry at First United Methodist Church, Ply- mouth, Michigan, and continues to serve as a legitimate art. Clerc discussed two She took the familiar BWV 654 at a live- speak English, Spanish, and Polish, as Director for the National AGO Committee for types of transcriptions: adaptations of ly pace, and deftly negotiated handfuls well as some who neither speak English Membership Development and Chapter Sup- existing works to the language of the of notes in BWV 759. Closing a set of nor are able to read. Spence approach- port. She received her master’s and doctoral organ, and notations of improvisations. three Bach works, the C-major prelude es his task by asking two questions: who degrees at the University of Michigan, where Both Dupré’s and Tournemire’s improvi- and fugue, BWV 547, sparkled in her is present in worship? What are your she studied organ with Robert Glasgow. sations have been notated, allowing us to observe their improvisation styles. Clerc has transcribed works of Pierre Coche- reau, whom he describes as “having sparkling musicality, and endowed with Coulter Organbuilder staggering speed and an innate ability to use the whole organ from soft to loud.” Transcribing these improvisations cap- tures a moment in time and preserves Atlanta, Georgia the uniqueness of the improviser’s art. Michael Barone Michael Barone opened his session Current Projects with this statement: “We think we know everything, but if we don’t know history, we’re destined to repeat it.” His goal was to give a survey of how performers have Rebuilding w/additions: Restoration: approached French music over the years. Tinkering patiently with recalcitrant hi-fi Morningside Presbyterian First Church of Christ, equipment, he began with the first recording of early French music, a disc Church Scientist recorded by André Marchal on a Gonza- les/Beckerath at Attignon in 1936, won- Wicks / Coulter organ: IV - 48 M. P. Moller organ: II - 14 dering “Can we play this music any bet- ter today?” Barone created a pastiche of Atlanta, Georgia Macon, Georgia Franck’s Pièce Héroïque, alternating pas- sages played in 1929 by Marcel Dupré and in 1962 by E. Power Biggs, and offered a composite of several recordings Rebuilding w/additions: Restoration w/additions: of Gigout playing his own B-minor Toc- cata. He offered 15 examples of the Sam Jones United Methodist Peachtree Presbyterian opening section of Franck’s B-minor Church Church Choral, noting the balance shift between the manuals and the pedal among the Coulter organ: III - 30 Schlicker organ: V - 88 various recordings. Barone’s open-minded approach Cartersville, Georgia Atlanta, Georgia allows his audiences to be exposed to many performers and performances that might be ruled out in narrower defini- tions of what is worthwhile. He chooses recordings of instruments or perfor- mances that he deems so beguiling or “From what we get we can make a living, from what we give interesting that they deserve a hearing, and to his credit is not bound by fashion- we can make a life.” able definitions of authenticity or cor- rectness. He encouraged the audience to - Arthur Ashe spend time listening to how our prede- cessors performed, noting that any organist worth his or her salt “speaks French.” Known for closing his sessions Coulter - Organbuilder with a memorable aural example, Barone did not disappoint. He closed with a 404-931-3103 recording of Messiaen’s La Nativité by a Russian accordion player. Marie-Claire Alain http://coulterorgans.com When Marie-Claire Alain stepped onto the platform to perform her con- cert Tuesday evening, she was greeted Proudly providing the finest quality service to Atlanta and the by an extended ovation from the capaci- ty audience of conference attendees, Southeast since 2003. church members, and locals. She had given a masterclass on the music of Jehan Alain that afternoon, and the evening’s event only seemed to bring esse quam videri forth more energy in her. She began with a set of guitar pieces by Campion transcribed for organ, which showed off
MARCH, 2007 23 Pipes with Digital— Not Digital with Pipes! Joseph E. Robinson
raduate school was a joy, offering these modules have 32v stops, there are Gfull-time study of music and the use four powered subwoofers that are rated of three fine instruments (two 4-manual flat (+ or – 3 db) down to 20 Hz. These Aeolian-Skinners, one 3-manual Schlick- 32v stops require this kind of support if er). But that happy situation was not to they are not going to just fizzle out as last, the real world providing a career in you approach low C. information technology with employers adamantly against a church job. With Level balance payroll usually due Friday morning, any Each of the modules includes a big complications that occurred on Thursday reed of some sort (i.e., Festival Trum- had to be solved. “Sorry, I have to go to pet, Trompette en Chamade, Spanish choir practice” was unacceptable. Trumpet, and Royal Trumpet). These Missing the superb organs of graduate and other stops can be set to appropri- school, I thought that my need for an ate high volume levels. That approach instrument might be fulfilled by a fine results in your organ becoming a “digital residence instrument. With great opti- organ with pipes.” mism, in 1980, I bought a large 4-manu- My dominant manual pipe reed is a al Casavant console. It would take, I fig- Trompette Musette. So I set the volume ured, about 27 ranks to do what I “need- level of all the digital big reeds to be ed” done. But even at that, I would only slightly less than that. Next in power in use a small portion of the console, unless the pipes is a Dulzian. All digital trumpets I resorted to horrendous unification. Per- are set to be slightly less than it is. Third haps the resources could be expanded in the reed pipe ranks is a Krummhorn. with analog electronic generators. No, The digital Hautbois, Clarinette and so that sound simply was not good enough. forth are set in level slightly below that. A Within the last decade, the major dig- similar pattern is used for all the flue ital organ companies (Allen, Rodgers, stops. In this manner the full ensemble is Ahlborn-Galanti, Johannus, etc.) have a pipe-dominated ensemble. It is very produced reasonably priced MIDI tempting to do otherwise, but the cost of modules with digital sampling that have doing otherwise is to turn your pipe organ a lot to offer. The lessons learned in into an electronic. adding four of these units to my resi- dence pipe organ provide the material Tuning for this article. I now have 20 ranks of Pipes vary in pitch with change in pipes playing and four MIDI modules. weather. MIDI modules do not. The modules need to be tuned to the pipes if Equipment they are to blend in. That is easily The four modules are an Ahlborn accomplished. Classic Archive module, an Allen MDS Expander II, the Rodgers MX-200, and Finding what works and what a custom Cavaillé-Coll sampled module does not installed on an Ahlborn chassis. Syn- Each of these modules from these dyne LS6401 stop controllers control competing manufacturers has different the two Ahlborn-based modules. All the strengths and weaknesses. Further- modules are controlled by normal stops more, even within the same product, and pistons. the quality of digital sampling can vary greatly. For example, the Rodgers MX- Pipes with digital sound modules Speaker placement 200 contains a 32v pedal Bazuin that is I connected the first module pur- almost good enough to justify the cost of planned and thus save space. use the Rodgers, there is no ca-chunk. chased to my high-quality stereo sys- the unit by itself. On the other hand Flue Doubles. Sometimes a 16v flue You move to the real Subbass when tem. The loudspeakers were on the there is an ensemble Principal chorus is nice to have on the manuals. The real more is happening. opposite side of the room from the pipe 8v, 4v, 2v that to my ear sounds like a estate such stops take up makes them Celestes. I purchased a real ranks. Such placement only served to 1940s electronic with Leslie speaker on impractical for a residence organ. The Gemshorn and its corresponding accent the differences between the dig- slow with spring-loaded reverb. That Allen 16v Gedeckt, for example, works Celeste. The Gemshorn is the most ital stops and the real pipes. The best sound may be desirable in some quar- very well when used in conjunction with recently installed rank on my organ. place for the speakers turned out to be ters, but not for my pipe organ. So in real manual flutes. Until I could get the Celeste installed, I behind the pipe chests with the speak- working with these units, you find things On the Pedal I have a real 16v Sub- decided to assign one of the Rodgers ers pointing at the wall rather than the that work very well, and other things bass. On some small pipe organs, a sin- Celeste stops to that function. Even listeners. Sound now bounces off the that you will not use. gle pipe rank is used for a Lieblich though by itself this Rodgers Celeste wall and travels through the pipe ranks Mutations. In general, these work Gedeckt and a more powerful Subbass does not sound realistic in all areas of before arriving at the listener. Now extremely well. For example, on the by varying the wind pressure supplied the compass, when combined with the there is cohesion of pipe and digital Positiv, my 8v pipe Holz Gedeckt com- the pipes. That practice is often unsat- real Gemshorn, the result is fabulous. sound that is light years ahead of the bined with the Allen Sesquialtera is isfactory. The digital units fill the The effect is sufficiently successful that original placement. Proper speaker every bit as good as the real deal on the Lieblich function well. In a Rodgers I have decided to forgo the real Celeste, placement can be the difference Swell. workshop, Hector Olivera mentioned since I don’t have room for all the between success and mediocrity. Mixtures. On my Swell I am using an that he was a bit tired of the overdone remaining ranks I want. Experience has shown that for my Ahlborn-Galanti Plein Jeu and on the ca-chunk attack of 16v pedal stops on Observation. In the above para- residence, I did not need special “organ Great a Rodgers Fourniture. These are many “organ reform” instruments. So, graphs I have listed the functions in speakers,” but high-quality stereo working out so well that I have decided if I use the Allen Bourdon on the which the digital stops work very well. speakers do the job splendidly. Since I can forgo the real mixture I originally Pedal, I get a tasteful ca-chunk. If I In these functions, the digital stops have the following things in common: 1. Real pipe ranks are combined with them giving the “breath of life.” French, British and German 2. The digital stops have a pitch rela- tionship to those pipes as well as a tim- Organ Music Seminars bre relationship. Generally when you are looking for a honoring the 100th Anniversary of Jean Langlais’ Birth certain timbre from a digital stop and Directors: Marie-Louise Langlais & Christina Harmon that stop is to be used alone, the result is Sponsored by the Schola Cantorum of Paris often not as good. The same is often true when only digital stops are combined. June 24 - July 13, 2007 Reeds. Today’s digital reeds are bet- ter than ever before. But that is not to Play & Study on the Organs of say that they equal pipes. Nevertheless, they can be quite useful. France, Germany, & England My organ contains four real reed with Marie-Louise Langlais, Daniel Roth, Naji ranks (Rankette, Dulzian, Krummhorn, Hakim, Marie-Bernadette Dufourcet, Sophie and Trompette Musette). Note that Choplin, Sarah Baldock, Michael Grueber, they are all short-length resonator types. Stefan Engels & others! Suppose the middle section of Franck’s Pastorale is to be played. With the See www.bfoms.com for details Cavaillé-Coll unit, the Trompette can email [email protected]; phone 1-800-805-9571 be used. Not bad, but it sounds digital. Using the real Krummhorn gives a sound that is too “Baroqueish.” But
24 THE DIAPASON The author and his four-manual pipe organ with digital sound modules Digital modules sit on top of the console, behind the music rack when using the Trompette and If you have played an Allen or hand, if the basic specification is suffi- properly adjusted to complement rather Krummhorn together something won- Rodgers organ that supports these cient, and you occasionally want to aug- than blot out or compete with the pipes, derful happens. The Trompette seems MIDI modules, you will notice that the ment with a more exotic stop (i.e., these modules offer a lot of resources at to give the Krummhorn a full-length MIDI stops do not couple. On my con- French Horn or Harp and Chimes, or a a very reasonable price. I 1 resonator sound, while the Krummhorn sole, it all couples. To couple is the 1 ⁄7v Septieme, etc.), then an Allen or gives the Trompette the attack and equivalent of playing more notes. On a Rodgers unit is a good choice. And of Joseph E. Robinson received his B.A. from other missing characteristics of a real three- or four-manual console, if a course, you can do both and more as California State University at Long Beach reed stop. MIDI stop is selected on each manual finances permit. and his M.A. from Occidental College in Los Angeles. He studied piano with Charles In the Pedal I use two 32v digital and pedal, and all manuals are coupled Shepherd and organ with Clarence Mader, reeds. These are the 32v Bombarde to Great and Pedal, and we come to the Conclusion Paul Stroud and Robert Prichard. During from the Ahlborn-Galanti and the 32v end of a composition such as Vierne’s If I had it to do all over again, I would 1970–1971 he was an organbuilding appren- Bazuin from the Rodgers unit. As good Carillon de Westminster, the MIDI still do the same mix to get the advan- tice with the Schlicker Organ Co. under the as they are, they could be better. From modules are going to run out of notes. tages of each brand. One does have to direction of Herman L. Schlicker. He was the lesson learned above, I ordered a The first notes lost in overplaying are use a little organ common sense to get organist at the University United Methodist 32v octave for my Rankette from Ger- the lowest notes, so that 32v reed is lost the best effects. In the Principal section Church in Buffalo, New York, and later at many. This short-length 32v stop gives precisely when needed most. So you use I mentioned for the closing of a big St. James’ United Methodist Church in Pasadena, California. the digital stops the real slap of the reed good organ sense and reduce the num- Bach fugue, I used the pipe Principals Now a retired business systems analyst, tongue that they were missing. The dig- ber of MIDI stops requested of a mod- of 8v, 4v, and 2v along with the Allen 16v he is currently organist for the Aliso Creek ital stops in turn give the effect of a full- ule until it can supply all the notes. Principal, the Rodgers IV Fourniture, Ward, Church of Jesus Christ of Latter length resonator. Perhaps because the Ahlborn-Galanti and the Ahlborn-Galanti III Cymbale. Day Saints, and a member of the Orange Principals. The older analog elec- uses a MIDI channel per division rather By spreading the load across the several County California chapter of the American tronic organs provided some sort of than per stop, you can use all its stops modules, you gain the advantages of Guild of Organists. He is very grateful to generic sound called Diapason. With coupled and still have eight simultane- using more loudspeakers and amplified his wife Pat, without whose support a large these digital modules, the principals ous notes available before overplaying. channels, giving a more realistic ensem- residence pipe organ would not have been possible. His interest in pipe organs and have character. The Ahlborn-Galanti A nice design feature is that notes are ble effect. These modules have given their music was sparked years ago when, as Principal has a southern European fla- lost from the second note up when over me the flexibility to play effectively the a sixth grade student, his class was taken on vor. The Cavaillé-Coll Montre gives played. So on this module that impor- same music I used to play on the large a field trip to a recital on the Mormon something of the sound of slotted pipes. tant bass note is always there. pipe organs in graduate school. When Tabernacle organ. The Allen Principal has a northern European influence. The Ahlborn- Distinctive features Galanti Principal is used on my Positiv Allen went to some effort to make division whose pipe 8v flue is the Holz their module organist-friendly. On the Gedeckt. This Principal adds some LCD you see organ divisions (SW, GT, • Respect for Tradition interesting foundation tone when added etc.), not MIDI channel numbers. You to the Positiv ensemble. also see the name of the stop that is That said, however, the following also going to play when you activate the needs to be noted. Suppose the final MIDI tab or knob. This intuitiveness is • Vision for the Future measures of Bach’s “St. Anne” triple a good feature of the Allen for those of fugue in E-flat major are played. Com- us who want organ terms and not MIDI bining the Great pipe stops of Principals terms. The Allen provides more organ • Passion for Reliability 8v, 4v, and 2v with the Allen 16v Princi- stop samples than any other module. pal, the Rodgers IV Fourniture, and the [Note: Allen has replaced the MDS Ahlborn-Galanti III Cymbale gives a Expander II with a newer model. These very good sound. What happens though features apply to both.] • Enabled with Innovative Technology if digital 8v, 4v, and 2v Principals are sub- The Rodgers MX-200 provides stituted for the real ones? Then you almost as many organ samples as the move instantly from the real organ Allen. With 170 orchestral samples it sound to a pale imitation. If at all possi- excels in this area. This unit is also most WE BELIEVE BACH WOULD APPROVE. ble, you want at least your 8v and 4v prin- like MIDI sound modules obtainable cipals to be real! outside the organ world. On a Rodgers Orchestral sounds. The Allen and organ, a sound may be assigned to a How About You? Rodgers modules offer orchestral MIDI channel by a “Quick Key.” Set sounds in addition to organ stops. While much like a capture combination action, in general I do not see great art served for example, when middle C is pressed, by a one-man imitation orchestra, a the selected MIDI “stop” becomes a 16v number of these sounds are very useful. Pommer. For a non-Rodgers organ, The Allen orchestral flute, for example, move the part knob to the MIDI chan- An Unmatched Feature Set In A Compact Package That Is Easy to Operate and Install with tremolo, combined with a real 8v nel to be changed, set the selector Koppelfloete produces a most lovely switch to “flue” and turn the value knob flute solo. In addition to its many until the number “3” appears on the dis- orchestral sounds, the Rodgers can alter play. That gives the same 16v Pommer. the attack by way of “velocity sensing” Since only a number appears and not a keyboards. That feature I can’t com- stop name, I keep my owner’s manual at ment on: with my 1927 Casavant con- the organ at all times. sole the note is either on or off. Using a very different approach, I just ran out of notes! While the Ahlborn-Galanti gives you only 20 sam- advertisements and user manuals don’t pled organ stops. However, the mention it, when you own the modules, Ahlborn-Galanti is like a 20-stop organ you may soon discover that you run out in a box. These stops may be combined of notes. One reason is explained in and coupled in any way. Great flexibility more detail in Jerome Markowitz’s book is provided in adjusting the relative lev- Triumphs & Trials of an Organ Builder. els and scales of each of these stops. By Virtuoso In brief, as the digital organ was being using a MIDI channel per division developed, it was “financially question- rather than per stop, only three MIDI PIPE ORGAN CONTROL SYSTEM able.” A Rockwell engineer by the name channels are used for the 20 stops, in of Watson reasoned that people have contrast with the one stop to one MIDI ten fingers and two feet. Hence there channel of the others. WWW.IOTI.COM would only have to be 12 notes available If an organ needs more stops, the 877.GO2.IOTI & 877.462.4684 for playing at any time, not 61. That Ahlborn-Galanti unit is a good choice to reduction resulted in a great cost saving. provide 20 more stops. On the other
MARCH, 2007 25 Pierre Cogen, a French Organist-Composer in the Sainte-Clotilde Tradition Carolyn Shuster Fournier
he Sainte-Clotilde Tradition1 is Titular at the Sainte-Clotilde Tbased on the lineage transmitted in Basilica in Paris a teacher/student relationship from Beginning in 1955, Cogen began to Franck to Tournemire to Langlais.2 substitute for Langlais at the Sainte- Especially beginning with Charles Clotilde Basilica when his official assis- Tournemire, these organist/composers, tant, Pierre Denis,11 was not available. as well as many of their substitutes The Grand Orgue gave solemnity to (among others, Maurice Duruflé, André the church services, and prepared and Fleury, and Daniel-Lesur), the choir- prolonged the atmosphere of the litur- master Maurice Emmanuel,3 and other gical chants during the masses, vespers, titular organists at Sainte-Clotilde— weddings and funerals. When Langlais notably Joseph Ermend Bonnal, Jean asked him to substitute for him, Cogen Langlais, and Pierre Cogen—had an played for three Sunday morning mass- intimate, spiritual understanding of the es: the 9:30 a.m. high mass was in Latin Gregorian chants used in the traditional and Gregorian chant; the two others, at Catholic liturgy. This was manifest in 11 a.m. and noon, were low masses. At their deeply poetic and colorful inter- the high mass, Cogen played the Pre- Illustration 2. Jean Langlais’ 1976 ded- pretations, and in their use of Gregorian lude, the Offertory, the Elevation, the ication to Pierre Cogen [“To the fourth with friendship from the third, to Pierre chants in their improvisations and com- Communion, and the Postlude. During 14 positions. They all served their art with the low masses, he played continuously Cogen.—Jean Langlais”] (Collection humility. This article is dedicated to while the celebrant recited his prayers Pierre Cogen) Pierre Cogen, a French organist-com- in a “low” voice. During the church poser in the Sainte-Clotilde Tradition. services, Cogen based his improvisa- tration 3). After Langlais’ death on May tions and his choice of repertory on the 8, 1991, Cogen and Taddei, with other Pierre Cogen’s musical formation Illustration 1. Pierre Cogen (Collection appropriate chants of the liturgical instrumentalists and choirs, played for under Jean Langlais’ guidance Pierre Cogen) year. For the vesper services, after his funeral on May 30. Pierre Cogen (see illustration 1) was playing a processional entrance, he From 1988 to 1991, in addition to his born in Paris on October 2, 1931. From midnight mass at the Notre-Dame improvised fifteen verses, first for the service playing, Cogen organized organ 1944 to 1951, he studied at the Petit Cathedral in 1954, his wife notated the repeated antiphons that follow each of concerts at Sainte-Clotilde every Friday Séminaire de Paris in Conflans.4 He text during the day; each night, Cogen the five psalms, then, in alternation after the noon mass. These concerts sang in the Schola choir, directed by the prepared the separate vocal scores. with the choir, for the verses of the continued until the church was closed in Abbot Jean Revert.5 Such a framework Among other compositions, he notated hymn and the Magnificat, and then 1992 for restoration work. When it provided Cogen with a musical training Langlais’ In Paradisum (Triptyque again for the antiphon. reopened in 1993, Cogen and Taddei in the ancient, pure classical tradition— grégorien) in a hotel in Haarlem, dur- In 1972, Pierre Cogen played the only played for the 11 a.m. mass, but a in a church choir school that sang Gre- ing the International Improvisation organ regularly, becoming Langlais’ song rehearsal that immediately preced- gorian chants as well as the classical Competition in 1978. official assistant. During this period, he ed the mass prevented them from play- polyphonic choral repertory. At the age In 1971, Pierre Cogen decided to only played two Sunday morning mass- ing a prelude. On June 21, 1994, Cogen of 14, Cogen began to accompany this complete his musical training, in both es, at 11 a.m. (preceded by a long pre- retired at the age of 62, after 39 years of choir on the 12-stop Cavaillé-Coll organ and improvisation, as well as in lude) and at noon. Although the vespers service to this parish (21 years as a sub- organ6 in the school chapel. Each year, counterpoint and fugue. He therefore were no longer held, he still played for stitute organist and 18 years as a titular). Jean Langlais was invited to give a con- enrolled at the Schola Cantorum—in weddings and funerals. At the beginning On April 2, he played there for the last cert on this instrument. When Cogen Langlais’ organ class from 1971 to 1973, of 1973, when Langlais fell ill, Cogen time—for the Easter Vigil and the mid- heard him improvise brilliantly on the then in Yvonne Desportes’ fugue class played for all of the services. When night Easter mass, ending it with the Gregorian Sunday mid-Lent Introit, from 1974 to 1976—obtaining the Prix Langlais resumed his activities, he ded- following postlude: Langlais’ Incanta- Laetare Jerusalem, he was moved so de Virtuosité in organ and improvisation icated to Cogen the fourth of his Cinq tion pour un jour saint, which combines deeply that he immediately requested in 1973, and Superior Diplomas in har- Méditations sur l’Apocalypse: “Oh oui, the Lumen Christi chant from the East- to become his student. At the age of 19, mony, counterpoint and fugue in viens, Seigneur viens, Seigneur Jésus.”12 er Vigil and the Litanies, which had Cogen studied privately with him, tak- 1975–76. During the first term of 1973, On January 31, 1976, at Langlais’ been sung by the congregation during ing lessons either on the two-manual when Langlais took a leave of absence request, Pierre Cogen was named as a the vigil to implore heavenly aid. harmonium with a pedalboard in for illness, Cogen took lessons with his co-titular organist at Saint-Clotilde. He Langlais’ home, on the Cavaillé-Coll substitute, André Fleury, studying his still played for the same number of International concert organist and organ in his class at the Paris Institute Prélude, Andante and Toccata, acquir- masses. Even more important, since he recording artist for the Blind, or on the chapel organ at ing a more dreamlike interpretation of had unlimited access to the organ, he As a concert organist, Cogen had the Cogen’s school. the Prélude and a more flamboyant spir- became well integrated into the Sainte- privilege of premiering several of After graduating from this school in it in the Toccata. Fleury insisted upon Clotilde Tradition, playing much of its Langlais’ pieces. On December 30, 1951, at the age of 20, Pierre Cogen absolute precision and rigor in carrying related repertory. On the occasion of 1979, he inaugurated his Noëls avec studied for one year with Edouard Sou- out registration changes. Cogen greatly his nomination as co-titular organist, Variations, Op. 204, at the Saint-Louis berbielle at the César Franck School in appreciated his honesty, his rectitude of Langlais presented him with Léon Val- des Invalides Church in Paris. On Paris, during Langlais’ first tour to the character, and his constant friendship.9 las’s biography of César Franck13 with November 18, 1985, he premiered United States. This distinguished and In July 1975, Pierre Cogen partici- the following inscription (see illustra- Langlais’ Talitha Koum, Op. 225, at a cultivated professor helped Cogen to pated in an improvisation academy in tion 2). second concert that celebrated Langlais’ solidify his technique. Cogen then con- Nice with Pierre Cochereau, driving From 1978 to 1985, in addition to the 40 years of service as an organist at tinued to take private lessons with from Paris to Nice with the American two morning masses, Cogen played for a Sainte-Clotilde. On Sunday, December Langlais, studying organ interpretation organist George Baker. When Cogen traditional low mass in Latin every Sun- 13, 1987, at Sainte-Clotilde, Cogen pre- (especially of the works associated with improvised an “Elevation,” Cochereau day at 6:30 p.m. (except in the summer). miered, with Claire Louchet, soprano, the Sainte-Clotilde Tradition), and also immediately put him at ease, with his On May 17, 1987, Cogen accompanied Langlais’ Antiennes à la Sainte Vierge, harmony, counterpoint, fugue, and customary simplicity and warmth. Langlais’ Messe Solennelle for four-part Op. 242, for one voice and organ. improvisation (notably of the fugue). Cogen recalls that they began with choir and two organs15 while Langlais On February 1, 1987, Pierre Cogen Cogen also studied harmony with Jean modulation exercises, all types of played solo pieces during a televised performed at the Madeleine Church in Lemaire and took preparatory courses canons and toccata formulas, develop- Sunday morning mass that celebrated Paris, along with François-Henri for the exam that would qualify him to ing numerous forms: the sicilienne, var- Langlais’ 80th birthday. In April 1988, Houbart and Georges Bessonnet, in a become a music professor with Eliane ious suite movements, and, of course, when Langlais resigned at the age of 80 concert that celebrated Jean Langlais’ Chevalier (Marie-Madeleine Duruflé- the fugue. Among the advice that due to a bad heart condition, he was 80th birthday. On February 15, 1987, Chevalier’s sister) and Raymond Cogen retained: named “Honorary Organist at Sainte- Langlais’ 80th birthday, he attended Weber. After obtaining his Certificat Clotilde.”16 Cogen succeeded him as tit- Cogen’s recital at the Notre-Dame d’Aptitude as a music education profes- Carry out your effects tactfully. Don’t say ular, and Jacques Taddei was also Cathedral. Cogen performed Langlais’ sor, he taught in Paris, in public schools everything initially! named as titular, joining the list of their Chant de joie, Rosa mystica, Triptyque, and at the private Alsatian School from Interweave all of the elements, one upon illustrious predecessors: and Dans la lumière, an extract from 1961 to 1993. In the meantime, from another. L’Offrande à une âme. At Sainte- Don’t abuse the use of major and minor 17 1952 to 1966, he directed a children’s scales. 1863–1890 César Franck Clotilde, Cogen also performed in sev- choir, Les Petits Chanteurs de Champi- Establish the tonalities of your develop- 1890–1898 Gabriel Pierné eral memorable organ concerts: one was onnet, which sang four-voice a cappella ment. 1898–1939 Charles Tournemire held in Tournemire’s honor on Novem- music from Palestrina to Langlais. It Beware of your repeated chords, too many 1942–1944 Joseph Ermend Bonnal ber 16, 1989. It is particularly moving to toured, notably to Germany in 1964 arpeggiated formulas. 1945–1988 Jean Langlais note that Cogen heard Langlais play for How can you return to the principal tonal- and 1965. 10 1976–1994 Pierre Cogen the last time during this concert—a From 1952 to 1979, in exchange for ity? And the 6/4 chord! 1988–present Jacques Taddei moving rendition of the second of numerous lessons, Cogen assisted Tournemire’s Sei Fioretti, which had Langlais’ wife Jeanne7 as a musical In 1979, Pierre Cogen obtained, by After his nomination, Cogen dedicat- been dedicated to him 57 years earlier, secretary, notating Langlais’ composi- competition, the Aptitude Certificate ed his Offrande to Langlais and pre- in 1932!18 tions onto paper and proofreading for Teaching Organ and Improvisation miered this work during the 11 a.m. Also at Sainte-Clotilde, Cogen played them for publication. In 1954, he (C.A.) in the national French conserva- Easter Mass at Sainte-Clotilde on April in two concerts that celebrated the cen- helped Langlais prepare his edition of tories. In 1984, he created the organ 3, 1988, the day he succeeded Langlais tenary of Cesar Franck’s death in 1990 C. P. E. Bach’s Six Sonatas.8 When class at the Maurice Ravel Conservatory as titular. At the beginning of this piece, and in several recitals that were held in Langlais urgently composed his Salve in Levallois, near Paris, remaining there a beautiful pentatonic melody is harmo- Langlais’ memory in 1991. On Good Regina Mass for the Christmas Eve until his retirement in 1993. nized with refined simplicity (see illus- Friday in 1989, 1990 and 1991, Cogen
26 THE DIAPASON tral section develops certain fragments played very slowly (see illustration 4, of the theme; then a re-exposition is page 28). The bell tolling and the the- calmer and more lyrical. This piece fin- matic fragments are developed with a ishes with a reminder of the bell tolling: crescendo, leading to a brilliant, lumi- at the beginning and the end of this nous presentation of the theme in a work, two chords are superposed in the canon at the interval of a fifth. lower keyboard range, solely on the 2 3 Nasard 2 ⁄3v and the Tierce 1 ⁄5v stops. 5. Psalmodie, composed at Cernay la Ville on December 31, 1985, dedicated 3. Chorale “Erbarm dich mein, ô to his mother. Herre Gott,” 1978, unpublished (5v). Published in Pedals Only, Vienna: In an ecumenical approach, Pierre Universal Edition (UE 18601), 1988 (5v). Cogen had planned on writing several The author could have inscribed an suites that would combine Lutheran epigraph under the title of the piece, chorales with Gregorian themes. This is citing the passage in the Gospel of St. the only work that was completed. In a Luke (chapter I, verse 39), following particularly slow tempo, the chorale the text concerning the Annunciation: theme passes successively from the “Mary left hastily to visit her cousin lower to the upper ranges, from pianis- Elizabeth in the mountains.” At the simo to triple forte with dense poly- beginning of Psalmodie, a series of phonic writing, whereas the Gregorian three groups of three quiet F-sharps on theme, Miserere mei, Deus, serves as a the Flute 4v stop recall the Sainte- countrapuntal element. Clotilde church bells when they toll for the Angelus.19 As Cogen explains, after 4. Deux Hosannas sur des textes this introduction comes a three-voice grégoriens: I. Hosanna in exsilio, fugue, whose joyful subject is none 1980, to François Tricot; II. Hosanna other than that of the psalmody in the Escalquensis, 1982, to Jeanne Langlais, eighth mode, sometimes used to sing in memoriam. the Magnificat. After several exposi- Published in Das neue Orgelalbum II, tions and divertimenti, the movement is Vienna: Universal Edition (UE 17480), accelerated while the subject is com- 1985 (7v30w). pressed through several canons (stret- The first piece begins with an excerpt tos), leading to the tutti, a radiant B- of the Sanctus from the Missa Orbis major chord. Two codas are proposed, Factor. Then, a two-part development with solo pedal or with the addition of Illustration 3. P. Cogen, Offrande, mm. 1–10 (published with the permission of Combre Edi- built around a group of four descending the manuals. tions, Paris, France) notes is followed by a recapitulation with a canon at the seventh and a brief 6. Offrande, 1988 (initially com- was privileged to perform at Sainte- recalls two vital extremities, one’s birth coda. The fear-stricken character of the posed in 1963 for an a cappella four- Clotilde Tournemire’s Sept Chorals- and death, as Cogen explains. music alludes to the title of the piece: voice choir with the title Le Lotus d’Or), Poèmes pour les Sept Paroles du Christ, The first choral, with its inherently we are not in heaven (in excelsis), but in dedicated to his dear master Jean Op. 67. Father Choné, the church intimate character, uses the famous this world of banishment (in exsilio), to Langlais; premiered by Cogen during priest, introduced each piece with a Praetorius Christmas carol in a clear, which the Salve Regina alludes. the 11 a.m. Easter Mass at Sainte- commentary of the Gospel. contrapuntal style, with particularly soft In the second movement, the theme, Clotilde on April 3, 1988, the day he Cogen also rendered homage to his registrations (Gambe and Voix Celeste, a fragment of the Missa Cunctipotens succeeded Langlais as titular. two predecessors by recording their Bourdon 8v, with a soft Pedal Flute). Genitor Deus in the second mode, Published in Paris: Combre (Collec- works on the Sainte-Clotilde Grand The melody, in long note values in the appears three times. A fugato, based on tion Horizon), 1990 (3v). Orgue: soprano, is accompanied by a discreet a fragment of the theme, introduces the Recorded by Andrew Cantrill, at St. 1. Langlais’ works (carried out in the movement of eighth-notes in the inner development section. A large-scale ral- Paul’s Cathedral in Wellington, New composer’s presence): Incantation pour voices, while syncopated rhythms in the lentando leads to a mysterious carillon: Zealand. un jour saint, Ave Maria, Ave Maris bass line (played on the pedal) lull the that of the Escalquens Church (near This is a unique piece: Cogen’s only Stella, Offrande à Marie, Suite upper voices. Toulouse), where Jean and Jeanne work from the 1960s, when he was medievale (a 33 rpm record published Cogen was studying improvisation Langlais are buried. This carillon is strongly influenced by early twentieth- by Tempo FR 760310), 1976; with Langlais when he composed the 2. Langlais’ Première Symphonie, second choral. Langlais had insisted Suite folklorique, Triptyque by Cybélia that the pedal part should not stagnate (CY-867), 1986; in the lower notes. His student fol- 3. Tournemire’s Sept Chorals-Poèmes lowed his advice far beyond his mas- pour les Sept Paroles du Xrist en Croix, ter’s wishes, since the pedal sings Refinement, Grandeur, L’Orgue Mystique (the Assumption and entirely in the upper range on the fol- 2 the Epiphany Offices) (CD, Cybélia, lowing stops: Flute 4v, Nasard 2 ⁄3v, Lar- 1 CY-883), 1990. igot 1 ⁄3v and Piccolo 1v (registration Delicacy, & Grace In 1997, he also recorded Langlais’ that was dear to Messiaen in his Ban- Suite médiévale, Suite brève, and Suite quet céleste). The choral melody, res- française on the organ at the Church of olutely sustained with homophonic the Holy Spirit in Mannheim (CD, Aeo- writing, is confined to the manuals lus, AE-10081). (Bourdon 8v, Voix Humaine and tremo- lo on the Swell or, if this is not avail- Pierre Cogen’s organ works able, on 8v foundation stops that can After retiring from his post at Sainte- sufficiently balance the opposing chant Clotilde in 1994, Pierre Cogen was able in the pedal). If the pedalboard does to devote more time to performing and not contain a G3, it is possible to play to composing. His compositions were the entire pedal part an octave lower inspired by Tournemire’s poetic lan- on a registration based on 2v stops. guage and by Langlais’ colorful har- monies. The influence of the Sainte- 2. Nocturne sur un thème populaire Clotilde Tradition is also manifest in Breton, 1976, dedicated to Michèle Ver- Cogen’s use of modal tonalities, Grego- messe, his future wife; premiered by Ann rian chants, and the imitation of bells. Labounsky in a concert at Sainte- Several of Cogen’s organ works were Clotilde in Paris on May 21, 1979. commissioned, notably by the Austrian Published in Paris: Combre (C 5396), organist and composer Thomas Daniel 1992 (7v30w). Schlee, by two organists in Switzerland, Recorded by Hans Leitner at the Eva and Marco Brandazza, and by the Passau Cathedral in 1995, in Klangfar- Austrian organist Herbert Bolterauer. ben der grössten Kirchenorgel der In the following list of Cogen’s works, Welt, CD 118, Symicon, Passau, and by the titles are given in French, along with Ulrich Karg at the Saint-Vith Church information concerning their dedica- in Belgium, 1999, in Organs in Wal- tions, their premieres and their publica- lonie, a province of Liège, Blawète tion. A brief description of each piece Records, Liège. provides the composer’s remarks con- The theme of this nocturne is a Bre- cerning his works. ton hymn proposed to Pierre Cogen as an improvisation theme to conclude a 1. Deux Chorals, dedicated to his concert given at Douarnenez (in the St. Bede Catholic Church, Williamsburg, VA dear master Jean Langlais, composed southern Finistère) on August 17, 1975. Neil Kraft, Music Director as birthday presents for him; they were This evening hymn affirms a faith as premiered privately, on Langlais’ solid as the granite that is exposed to Member, Associated Pipe Organ house organ, on February 15, 1974 (the harsh atmospheric conditions; it is pre- John-Paul second choral) and in 1977 (the first sented as such in the old Breton night Builders of America choral): “Es ist ein Ros’ entsprungen,” legends (ankou, korrigans, etc.). Cogen Buzard 112 West Hill Street 1977; “Herzlich tut mich verlangen,” tried to bring this atmosphere to life in Pipe Organ Builders Champaign, Illinois 61820 1974. this symphonic, three-part Andante: fol- Published in Paris: Combre (C 5464), lowing the triple exposition of the 800.397.3103 • www.Buzardorgans.com 1993 (6v30w). theme, interspersed with mysterious The association of these two chorals bell tolls, a sombre and anguished cen-
MARCH, 2007 27 century composers such as Debussy, Ravel, Stravinsky, Bartók, and Milhaud. It is based on a Birman folklore melody in the pentatonic mode and is structured according to its four original strophes. The melody initially appears in the soprano on the Swell Oboe 8v, accompa- nied by the left hand on the Positive Sali- cional 8v and a soft 16v and 8v in the Pedal. In the second strophe, a trio, the melody appears in the left hand on the Positive Cromorne, while the alto is played by the right hand on the Swell Cornet, with a Grand Jeu de Tierce in the Pedal. In the slightly agitated third strophe, the melody in the soprano is sus- tained by the two voices in the alto, which develop in imitation before sound- ing together in parallel thirds. The work finishes peacefully on the Swell Gambe Illustration 4. P. Cogen, “Hosanna . . . Escalquensis,” mm. 50–60 (Vienna: Universal Edition [UE 17480], 1985, published with the editor’s and Voix Celeste stops that accompany permission) © Copyright 1985 by Universal Edition A.G., Wien/UE 17480 the melody on the Great Bourdon 8v. As Cogen indicates, the absence of the B main sections of polyphonic writing— paintings (5.60m x 1.90m) of the his ordination to the priesthood; pre- and E notes in the pentatonic melody Lento, Andante and Allegro—that alter- Epiphany of the Savior, which inspired miered by Pierre Cogen at the Notre- allowed him to truly modulate: while the nate with freely expressive recitatives. this piece, are located in the choir of Dame Cathedral on Palm Sunday, on first and the last strophes maintained The Lento section sounds like a funeral the Catholic church, Pfarrkirche March 27, 1994. Unpublished (11v) their “white” key signature, the B-flat march on the soft 8v foundation stops, Gerliswill, in the Gerliswill-Emmen- According to Cogen, this work is a intervenes in the second strophe and After progressing from the lower to the brücke district of Lucerne. They depict grand Gregorian paraphrase in the spir- joins the E-flat in the third one. upper registers, a heavy pedal note imi- the three miracles related in the it of similar pieces by Tournemire and tates a bell-like toll on low C. The Epiphany Gospel: the star followed by Langlais. The title refers to the Feast of 7. Fantaisie sur une Antienne for Andante presents a fugue whose vigor- the Wise Men (who ride on horses the Holy Cross. The melodic material is organ with four hands and pedal, 1988, ous rhythmical theme appears in the alto, instead of camels), the water changed taken from several liturgical antiphons finished at Cernay-la-Ville, near Paris, then in the tenor and in the bass. In the into wine, and the descent of the Holy and hymns from the Holy Week, in par- on November 4, 1989, dedicated to final Allegro, a litany-like dialogue on the Spirit during Christ’s Baptism. While ticular, the antiphons Ecce lignum Cru- Claire and Thomas Daniel Schlee; pre- foundation stops with the mixtures, the looking at these paintings, Cogen was cis, Crucem tuam adoramus, and the miered by Cogen and Schlee in a con- composer presents the Gregorian struck by their link with the Gregorian hymn Vexilla Regis. A Meditation on the cert that celebrated 50th anniversary of antiphon on which this piece is based: antiphon in the first mode, the “Tribus Mystery of the Cross, an instrument of Tournemire’s death, at Sainte-Clotilde the “Ego dormivi” from the Easter miraculis” from the Magnificat of the Christ’s torture but also a symbol of the on November 23, 1989, along with T. D. matins, which Tournemire used several Second Vespers of Epiphany. Since this Redemption, this work is in the form of Schlee’s Prisme, also a work for four times in his L’Orgue mystique, notably in work is based on this theme, it may be a diptyque in two connecting parts: hands and pedal. his Paraphrase Carillon. Cogen’s work sung as an introduction. I. After an introduction inviting one Published in Vienna: Universal Edi- ends majestically on the full organ. According to Cogen, in the first move- to the Adoration of the Cross, a somber tion (UE 19550), 1988 (7v). ment, “The Star, the Three Wise Men procession intones the hymn Vexilla Recorded by Eva and Marco Bran- 8. L’Epiphanie du Seigneur, 1991, and the Manger Scene,” mysterious and Regis in the lower ranges of the organ. dazza at the Schloss Church in Bad in homage to the painter, Werner Hart- stark sonorities (due to the light discord This first part ends peacefully, in expec- Mergentheim (Germany), in Ite, missa mann, dedicated to Geneviève and on the Nazard stop) recall the night and tation of the Resurrection. est, Organum Musikproduktion, Öhrin- Daniel Hartmann; premiered by Pierre the starlit sky. The central part of this II. At the very beginning of the sec- gen, 1996; and by Sylvie Poirier and Cogen on November 10, 1991, for the movement recalls the Wise Men (who ond part, the atmosphere changes. A Philip Crozier on the Casavant organ at tenth anniversary of the death of this travel on horseback to follow the star that theme of exaltation, Exaltavit illum, first the Très Saint Sacrement de Jésus painter, at the Parish Catholic Church led them to the cradle). At the end, a in the upper range of the organ, gives Church in Montréal, Canada, in His- in Gerliswill-Emmenbrücke, near Lu- slow descent leads to a lulling movement, birth to a fugato. Profiting from sec- toric Organs of Montreal, CD 1. cerne, Switzerland. Unpublished (14v) a sweet evocation of the manger scene. ondary episodes, the theme of the hymn Pierre Cogen’s fantasy contains three Werner Hartmann’s series of large In the second movement, “The Vexilla Regis winds its way into the low Wedding at Cana and the Baptism of ranges before powerfully bursting forth. Jesus,” light flutes sound a discreet The work concludes with a fanfare, TENTH ANNUAL carillon, while the rustic reed stops recalling its various themes. introduce a folk melody full of Albert Schweitzer Organ Festival/USA Mediterranean light. The develop- 10. Lucernaire for two organs, “Par- ment, initially calm, becomes more avi lucernam Christo meo” (Ps. 131/132, North American Competition intense, leading up to a brief and tur- v. 17), for the Christmas season or for a bulent agitato that represents the ser- celebration of the Light, 1994, commis- Panel of Judges vants’ astonishment when the miracle sioned by Eva and Marco Brandazza High School Division takes place. Then, the melody is trans- and premiered by them on January 10, formed into a Grand Plein Jeu— 1995, at the Jesuit Church in Lucerne, solemn and hieratic—the manifesta- Switzerland (with Eva on the choir FIRST PRIZE: $2,000 tion of the Divine Presence. This frag- organ and Marco on the tribune organ). Provided by Ahlborn - Galanti Organs ment finishes with the first notes of Unpublished (17v) Other prizes also awarded Ubi caritas et amor, Deus ibi est. Recorded by Eva and Marco Bran- The Baptism of Jesus by John, a dazza (see item 7 above). penance baptism, begins with low notes Underneath the title, the composer College/Young Professional* and rustic sonorities that depict the uni- placed a verse of the Psalm 131 (132): “I verse filled with minerals and the dry have prepared a lamp for my Christ.” desert where John the Baptist carried According to Cogen, this expectation FIRST PRIZE: $3,500 Paul Jacobs out his mission. This long tension is and coming of the Light, an idea that Provided in part by J.H. & C.S. resolved in less dissonant harmonies, the repeatedly occurs in the Christmas sea- Odell Organ Builders first fruits of the salvation announced by son liturgical texts, guided him during John the Baptist. The quotation of the his preparations, from the antiphon O This includes an appearance on Veni Creator recalls the descent of the Oriens (for the winter solstice) and the our 2007-2008 Concert Series Diane Holy Spirit onto Jesus. The work con- Lumen ad revelationem gentium of the Other prizes also awarded Meredith cludes in a luminous atmosphere with Feast of the Purification, until the hymn Jesu, Redemptor omnium *Through age 26 the initial Gregorian theme—that of the and its verse. Belcher antiphon Tribus miraculis. By referring to these texts that were sung during the vespers of the Christmas sea- 9. L’Exaltation de la Sainte Croix, son, the composer thought of structuring AUDITION TAPES/CDS: Diptyque for Organ, 1994, dedicated to his work in the manner of an evening Due on June 1, 2007 Monseigneur Jean Revert, Honorary service, notably the one that was former- Choirmaster at the Notre-Dame Cathe- ly referred to as Lucernaire, because one dral in Paris, for the 50th anniversary of lit lamps during this service. In addition, THE COMPETITION: September 7-9, 2007 Frederick For Information & Hohman Application: First Church of Christ PAST JUDGES: Colin Andrews, Diane Meredith Belcher, Benjamin 250 Main Street Doby, Paul Fejko, Janette Fishell, Wethersfield, CT 06109 Frederick Hohman, Marilyn Mason, www.firstchurch.org/asof Katharine Pardee, Cherry Rhodes, 860.529.1575 Ex. 209 Catherine Rodland, John Rose, 1184 Woodland St. SW, Hartville, Ohio 44632 330-966-2499 www.keggorgan.com [email protected] John Walker and John Weaver
28 THE DIAPASON the composer did not neglect to bring Variation 4: a Moderato movement “The Sainte-Clotilde Traditions—Franck, Tourne- and only recognized the two others: César Franck mire and Langlais: Conversation and Commentary and Charles Tournemire. While it is difficult to out the similarity between the Latin on the Swell Gambe 8v and Voix with Jean Langlais,” THE DIAPASON, 66, no. 4 imagine why Langlais ignored Pierné, he did not word lucerna, the lamp, and the name of Celeste, with a canon between the alto (March, 1975), p. 3. Ann Labounsky was the first to hesitate to explain his disdain for Bonnal. Indeed, the city of Lucerne. (played by the right hand) and the recognize Pierre Cogen as a composer in the Tournemire had reassured Langlais that he had soprano (played on the Pedal Flute 4v); Sainte-Clotilde Tradition. Dr. Lord coined this chosen him as his successor and that this would term, with a capital “T”, in his 1975 article. appear in his will. However, after Tournemire’s 11. Cortège, 1996, in memory of Variation 5: a vigorous Fugue, Alle- 3. Maurice Emmanuel (1862–1938), a compos- accidental death at Arcachon on November 4, 1939, Adrien Maciet, the organ builder; Her- gro ma non troppo, that begins on the er and French musicologist, was choirmaster at the church was closed, due to the war and to poor bert Bolterauer premiered it on Swell 8v, 4v, and 2v foundation stops with Sainte-Clotilde from 1904–1907. His Traité de l’ac- heating. When it reopened in February, 1942, compagnement modal des psaumes [Treatise on the Langlais was furious when the priest named Bonnal November 8, 1996, at the Mariahilf in the mixtures; a progressive crescendo Modal Accompagnement of Psalms] was published as titular, enabling him to succeed Tournemire. Graz, Austria. leads to the triumphal return of Isaac’s in Lyons in 1913. His Trois pièces for organ were Langlais was persuaded that this was due to a con- Published in Paris: Combre (C song, in a “resolutely modern harmo- published by Henry Lemoine in 1986 (in an edition spiracy against him. 05909), in Enluminures. Dix Pièces pour nization” (P. Cogen). by Dr. Th. D. Schlee). After Bonnal’s death on August 14, 1944, the 4. Conflans is a section of Charenton le Pont, in Swiss organist, Bernard Schule, a student of Joseph orgue sur un thème donné, 1999 (5v). A coda concludes this work on the full the Val-de-Marne, just east of Paris. Bonnet, who had substituted for both Tournemire Herbert Bolterauer, the organist at the organ, resounding an open fifth: D–A. 5. The Abbot Jehan Revert was named profes- and Bonnal, played as an interim organist until Mariahilf Church in Graz, Austria, had sor there in 1944, and choirmaster in 1947. In 1953, Langlais’ nomination. When Langlais was finally he was appointed Director of the Choir School at named titular in 1945, he insisted upon beginning requested nine different composers to 14. Laetare, Jerusalem, Ouverture the Notre-Dame Cathedral in Paris and succeeded his official duties at Sainte-Clotilde on November 4, write a short piece on a theme by Alexan- pour le dimanche de mi-carême Canon Merret as choirmaster there around 1959, 1945, the sixth anniversary of Tournemire’s death. dre Schrei. The title of this collection, [Overture for the Sunday of mid-Lent], remaining until his retirement in 1992 (when be Throughout the rest of his life, he always insisted Enluminures [Illuminations], refers to 2004, dedicated to Father Théo Fleury, was named honorary choirmaster there). upon being Tournemire’s successor. 6. The Paris Seminary Preparatory School was 15. This mass was sung by the Petits Chanteurs the way the composers, through the vari- titular organist at the Einsiedeln Abbey situated in Paris until it moved to Conflans in 1911, from Antony, directed by Father Giraud. Their ety of their styles, were able to “illumi- in Switzerland; Pierre Cogen premiered with its 10-stop organ, built by Aristide Cavaillé- organist, Georges Bessonnet, played the second nate” the various aspects of the thematic it in his concert at La Madeleine Coll in 1866. (Cf. Jesse Eschbach, Aristide Cavail- organ part on the choir organ, built by the Cavaillé- lé-Coll, Aspects of his Life and Work [Verlag Peter Coll Pleyel firm in 1935–1936, situated in the material. Since Cogen’s piece is a memo- Church in Paris on March 21, 2004. Ewers, 2003], p. 659.) According to Henri Doyen, a gallery underneath the Grand Orgue. rial one, he chose a writing style that is To be published soon by Combre student in this school from 1915–1923 (Mes leçons 16. Marie-Louise Jacquet-Langlais, Ombre et essentially contrapuntal, quasi-vocal. He Editions in Paris (5v). d’orgue avec Louis Vierne [Paris: Editions Lumière, Jean Langlais 1907–1991 (Paris: Combre, begins his piece in a slow and grave Ever since Cogen heard Langlais “Musique Sacrée”, 1966], pp. 9 and 63), A. Cavail- 1995), p. 300. lé-Coll had offered this “charmant petit orgue” 17. In the fall of 1857, César Franck was appoint- tempo: Schrei’s theme initially appears improvise on this theme in his youth [“charming little organ”] to this school, where his ed choirmaster at the Sainte-Clotilde Basilica (inau- when the pedal enters. The piece inten- (cf. above), Cogen meditated on it over sons studied. When the Cavaillé-Coll/Mutin firm gurated on November 30, 1857) and Théodore sifies until its conclusion. According to a long period of time. His mid-Lent installed this organ at Conflans in 1911, it added a Dubois was hired to accompany his choir on a Mus- Cor de Nuit stop (a Bourdon 8v) to the Récit (54 n.) tel harmonium. Franck played Aristide Cavaillé- the composer, each interpreter can concert at La Madeleine Church in and a Pedal Soubasse 16v stop (borrowed from the Coll’s grand orgue after its installation in 1859 (it choose either to maintain its restrained Paris in 2004 gave him the opportunity Grand Orgue), and enlarged the pedalboard from was inaugurated by L. J. A. Lefébure-Wély and character throughout the work, or to to compose a piece that was both in 20 to 30 notes. This school was closed in 1971. The Franck on December 19, 1859) until his death in increase the sonorities, leading to a max- keeping with the liturgy of the day and chapel is now known as Notre-Dame de Conflans 1890. According to Théodore Dubois’ Souvenirs de and the present organist titular is Jean Guilcher. ma vie, written from 1909–1912, conserved at the imum of sound at the end of the piece. that celebrated the newly installed hor- 7. Jeanne Sartre (known as Jeannette, who died Bibliothèque nationale (BnF Rés. Vmc. Ms. 3) and izontal reeds on the Grand Orgue. suddenly of a heart attack on June 10, 1979) was a published partially in Helga Schauerte-Maubouet’s 12. Psalm “De Profundis” for organ According to Cogen, this piece painter whose parents were from Escalquens (near edition of Théodore Dubois’ Organ Works (Kassel: Toulouse). She married Jean Langlais on Decem- Bârenreiter, Vol. I [BA 8468], 2005), César Franck and brass, 1998, in memory of his expresses the joy of the pilgrims of the ber 3, 1931. Cf. Ann Labounsky, Jean Langlais, The was officially named titular of the grand orgue at father-in-law, Edouard Vermesse; Old Testament who go to Jerusalem to Man and his Music (Portland: Amadeus Press, the Sainte-Clotilde Basilica in the fall of 1863, when Pierre Cogen premiered it on July 17, offer a sacrifice at the Temple, as well 2006), pp. 70–72 and p. 300. Dubois was named choirmaster (in November 1998, with the brass ensemble Hexa- as the joy of Christians who gather 8. Based on a manuscript at the Bibliothèque 1963). Dubois remained choirmaster there until nationale in Paris, this collection was published by 1868. Carolyn Shuster Fournier will translate Helga gone and the solo trumpeter Pierre together around the altar to commem- FitzSimons in 1956. Schauerte-Maubouet’s article on Théodore Dubois Dutot, at the Abbatial Church in orate Christ’s sacrifice—the outer joy 9. Cf. P. Cogen, “Hommage,” in André Fleury and César Franck at Sainte-Clotilde for THE DIA- Guîtres, France (in Gironde, near Bor- of the Introduction, which intones the (L’Orgue, Cahiers et Mémoires, no. 55, 1996-I), pp. PASON. It will appear in French in the June issue of 77–78. L’Orgue. deaux). Unpublished (8v) first notes of the theme three times on 10. Cf. P. Cogen, “Une session d’improvisation,” 18. Since Langlais was too frail to go up to the This piece develops the various successively higher degrees; the inner in Pierre Cochereau (L’Orgue, Cahiers et organ loft, he performed on the two-manual, ten- aspects of Psalm 129 (130), from its ini- joy of the exposition that sings the Gre- Mémoires, no. 42, 1989-II), pp. 49–51. stop Cavaillé-Coll-Pleyel choir organ. tial distressful plea to its message of the gorian melody on a solo stop while the 11. Pierre Denis (1911–2001) was a pharmacist 19. According to Robert de Courcel, La who substituted for Jean Langlais from 1945–1972. Basilique de Sainte-Clotilde (Lyon, M. impr. Les- Lord’s kindness and redemption foundation stops sustain a harmonic 12. Published in Paris by Bornemann in 1974. cuyer et Fils, 1957), p. 185, the four bells in the expressed in verse seven. It uses various accompaniment that is firmly modal. 13. Léon Vallas, La véritable histoire de César Sainte-Clotilde bell tower ring the first four notes of Gregorian melodies: the antiphons from After a development, a psalmody ele- Franck [The True History of César Franck] (Paris: the scale: ut, ré, mi, fa. Cogen explains his use of Flammarion, 1955). the F-sharps at the beginning of his Psalmodie: at the Requiem and the Christmas Vespers, ment in the Gregorian fifth mode is 14. According to Labounsky, Jean Langlais, pp. Sainte-Clotilde the smallest bell, which is used for the Offertory from the twenty-third Sun- presented apart like a fanfare. The 63–64, Jean Langlais largely ignored his predeces- the three bell strokes of the Angelus, sounds more day after Whitsun, and the chorale Aus principal elements of the work are then sors, Gabriel Pierné and Joseph Ermend Bonnal, like an F-sharp than an F-natural. tiefer Not schrei’ ich zu dir (the Luther- combined, ending in jubilation on the an equivalent of the De profundis). full organ. First Presbyterian Church 13. Introduction, Thème et Varia- Conclusion tions sur “Innsbrück, Ich muss dich Pierre Cogen is a spiritual heir in the A L B E M A R L E , N O R T H C A R O L I N A lassen” (Variations on a song by Heinrich Sainte-Clotilde Tradition. Jean Langlais Isaac), 1999–2002, dedicated to Thomas had prepared him to become his succes- We are pleased to announce the design and construction of a new Daniel Schlee; on July 8, 1999, Cogen sor, to pass on this tradition. Cogen’s mechanical action pipe organ for First Presbyterian Church of Albemarle, premiered an excerpt of this work at the solid musical formation served as a firm parish church in Igls-Innsbruck; he then foundation that enabled him to develop North Carolina. With premiered it in its entirety on June 18, freely his own personal style as a liturgi- 26 stops over two 2002, at Saint-Sulpice in Paris, France. cal and concert organist, an improviser, manuals and pedal, the Published in Paris: Combre (C a professor and a composer. Although 06460), 2006 (13v). he retired from Sainte-Clotilde in 1994, organ will be played In 1996, when Cogen gave a concert Cogen continues to maintain this tradi- from a detached two- in Igls, in the immediate vicinity of Inns- tion in his concert programs and his manual console with bruck, he was inspired to compose a compositions. work on Isaac’s tune known as Inns- terraced stopjambs. brück. The association between its name Carolyn Shuster Fournier expresses her Currently under gratitude to Pierre Cogen and to Ann and that of the river Inn inspired him to construction in our write an introduction followed by five Labounsky for providing material and advice for this article, to Marie-Christine Ugo-Lhôte workshops, the variations on this theme. As in most vari- for the loan of her father’s collection of the ations, this work enables the performer review L’Orgue, to Mifa Martin for having instrument will be to present the various tonal colors of the read through the text, and to the Ruth and completed during the organ. An initial Andante introduction Clarence Mader Memorial Scholarship Fund develops several motives of the theme, for its grant in 2006. first quarter of 2007. on the foundation stops and the Swell Trumpet 8v; the theme is then presented An international concert artist, Dr. Car- GREAT: SWELL: PEDAL: un poco più vivo, on the 16v, 8v, and 4v olyn Shuster Fournier is titular of the Aris- Bourdon ...... 16’ Stopped Diapason ...... 8’ Subbass ...... 16’ foundation stops. After the addition of tide Cavaillé-Coll choir organ at La Trinité Open Diapason ...... 8’ Viola di Gamba ...... 8’ Bourdon (GT) ...... 16’ Church in Paris, France. She has written sev- Chimney Flute ...... 8’ Voix Celeste ...... 8’ Principal ...... 8’ the manual mixtures and the Pedal Bas- eral articles for THE DIAPASON. In October son 16v, Isaac’s theme is entirely pre- 1983, she was privileged to perform Jean Salicional ...... 8’ Harmonic Flute ...... 4’ Flute ...... 8’ sented on the full organ, with harmonies Langlais’ Double Fantasy for Two Organists Principal ...... 4’ Piccolo ...... 2’ Choral Bass ...... 4’ reminiscent of those of the fifteenth cen- with the composer, in his concerts during his Open Flute ...... 4’ Mixture ...... III-IV Trombone ...... 16’ tury, when the melody was originally last tour to England: at the Royal Festival Fifteenth ...... 2’ Trumpet ...... 8’ Trumpet ...... 8’ composed. The following five variations Hall in London (on October 26), at the Salis- Mixture ...... IV Oboe ...... 8’ bury Cathedral, and at the Christ Church Usual unison couplers, plus present the various colors of the organ: Cornet ...... III Tremulants for Great Swell to Great Suboctave. Variation 1: an Adagio presents the Chapel in Oxford. Trumpet ...... 8’ and Swell divisions. theme in the lowest part of the pedal- Notes board, using the Swell Bourdon 8v, Voix 1. Much of the material for this article was Humaine 8v and tremulant, with the taken from two interviews, published in French: Orgues Létourneau Limitée Pedal Flutes 8v and 4v and, if possible, Hélène Le Cointre-Severin, “Pierre Cogen, organ- iste et compositeur,” L’Orgue francophone, no. the mutation stops forming the Grand 31–32, 2002–2003, pp. 86–93; and Pierre Cogen, Jeu de Tierce; “Autour du grand orgue de la basilique Sainte- Variation 2: an Andante, with the Clotilde dans la deuxième moitié du XX° siècle,” in In the USA: 1220 L Street N.W. In Canada: 16355, avenue Savoie theme played by the left hand, in a light Marco Brandazza and Bernard Hangartner: Suite 100 – No. 200 St-Hyacinthe, Québec J2T 3N1 character, on the Gambe stops; Festschrift Geistliche Musik und die Jesuitenkirche Washington, DC 20005-4018 Telephone: (450) 774-2698 Luzern (Räber, Luzern, 2001), pp. 179–203; and Toll Free: (800) 625-PIPE Fax: (450) 774-3008 Variation 3: a lyrical movement that also from an article by Ann Labounsky, “The dislocates the theme, using dissonances Sainte-Clotilde Tradition: César Franck to Pierre Fax: (202) 737-1818 e-mail: [email protected] Cogen,” in Marilyn Mason (editor): Hommage to e-mail: [email protected] www.letourneauorgans.com and “harsh” sounding reed stops, such Langlais, The University of Michigan School of as the Great horizontal Trumpet 8v with Music (Ann Arbor, MI, 1996), pp. 63–75. the mixtures; 2. Cf. Labounsky, and Robert Sutherland Lord,
MARCH, 2007 29 Cover feature
Gober Organs, Inc., Elora, Ontario, Canada First Church in Oberlin, First Church in Oberlin, United Church of Christ, Oberlin, Ohio United Church of Christ, Gober Organs, Inc., 2004 Oberlin, Ohio The opportunity to build a new track- GREAT er organ for First Church in Oberlin, 16v Double Diapason (C–A w/Pedal) Ohio afforded us the opportunity to 8v Open Diapason (façade) interpret traditional organbuilding prin- 8v Salicional ciples in the light of the aesthetic and 8v Flute Harmonique 8v Bourdon acoustical demands of this historic con- 4v Octave gregation’s 19th-century building, as 4v Flute 2 well as the community’s culture. 2 ⁄3v Twelfth The town of Oberlin was founded in 2v Fifteenth 1834 by settlers coming to what was then Mixture VI the Western Reserve of the original Cornet V go States. From the outset, the community 8v Trumpet was marked by a religious fervor, even a 8v Clarinet s (prep) certain similarity to utopian communi- SWELL ties common in the United States at the 16v Bourdon s time. For decades, the pastor of this con- 8v Principal gregation, as well as the president of 8v Stopped Diapason s Oberlin College, was Charles Grandison 8v Viola da Gamba s Finney, famed throughout the United 8v Vox Coelestis s States as an evangelistic leader. The 4v Principal 4v Flauto Traverso s town was a hotbed of socially progressive 2 2 ⁄3v Nazard activity. Two focuses in that realm were 2v Flautino s the abolitionist movement opposing 3 1 ⁄5v Tierce slavery, and the temperance movement, Mixture IV which sought to improve the quality of 16v Bassoon life among working families by expound- 8v Cornopean ing the moral and practical benefits of 4v Clarion abstinence from alcohol use. The mem- 8v Oboe ory of abolitionism remains visible today Tremolo in the form of local monuments and his- PEDAL toric sites relating to Oberlin’s role as a 32v Contrabourdon (ext, prep) station on the Underground Railroad. 16v Wood Diapason s (The long-ended activities of the Wom- 16v Double Diapason (ext) en’s Christian Temperance Union had 16v Bourdon s effects on liquor bylaws in the town until 16v Violone (ext, prep) very recently.) The tradition of political 8v Octave (façade) positions espoused by groups and indi- 8v Bourdon s (ext) 8v Violoncello (façade, prep) viduals in the community—both in the 4v Superoctave college, the dominant cultural force in 16v Trombone town these days, and in the town at large 8v Trumpet (ext) including its churches—is a clear out- Gober organ, First Church in Oberlin, United Church of Christ 4v Clairon growth of a heritage dating back to its beginnings. holdover from an earlier Estey organ. while providing plenty of space for the Couplers The other obvious context our new The Blanchard organ included some pipes to speak and easy tuning accessi- Swell to Great organ finds itself in is that of the opulent windchests, swell boxes, and ranks of bility. And the direct relationship Great to Pedal array of organs found in the town’s pipes from E. M. Skinner Opus 230, between windchest layout and façade Swell to Pedal churches and in the buildings of Ober- originally built in 1914 for the no longer permits straightforward and efficient s = E. M. Skinner Opus 230 lin College and its Conservatory of extant Second Church in Oberlin. winding of speaking façade pipes. Mechanical (suspended) key action (electric Music. One of these organs, a Barckhoff In replacing the still serviceable 1962 The two manual divisions are located action for certain Pedal pipes) organ in Peace Community Church, was organ, the church’s goal was to have a across the center half or so of the case, 40 stops from 35 sets of pipes, with pre- built in the 19th century. All the others mechanical-action instrument that the Great in front and the Swell behind. pared-for stops relate more or less directly to another would convincingly fill the Meeting The bass and tenor pipes of the Great Total number of pipes: 2454 progressive wave, one that swept Ober- House in spite of its rather dry Diapason 8v are in reverse chest order in Keyboard compass: 58/32 Electric stop action with SSL combination lin in the 20th century: the organ reform acoustics, while drawing more on histor- the façade’s center opening. The Pedal action movement. They range from the con- ical antecedents than its predecessor windchests are at either end of the case, servatory’s two one-manual Flentrop had. By the time I was approached for a and their façade pipes are the tenor organs from the mid and late 1950s— proposal for an organ, it had become range of the Pedal Diapason 16v, inter- one of which had been in the Busch- clear to the First Church organ commit- spersed with those of the prepared-for Reisinger Museum in Cambridge, tee that although the previous organ Violoncello 16v, following the major third Massachusetts, prior to the arrival of the had had three manuals, it would be layout of the chests. Ours is not a large 3-manual organ there—to the Cavaillé- more rational to concentrate a new organ in number of stops, but each stop Coll-style Fisk organ in Finney Chapel, organ’s resources on two manuals. is complete—each of the 8v foundation completed in 2001. The whole assem- This new organ was to become an stops is present from low C, and, given blage numbers about 30 organs, includ- instrument whose focus, apart from the the generous pipe scaling throughout, ing practice instruments and continuo accompaniment of the congregation the organ fills the case completely. organs, built by Brombaugh, Bedient, singing traditional Protestant hymns— The appearance of the organ exterior Noack, and Holtkamp, among others. including many from the 19th century is little changed. The mouths of each My employees and I have taken care of that remain a staple—would be the per- group of façade pipes, of 70% tin, now most of these instruments for almost fif- formance of organ literature, not least form a garland-like curve mirroring the teen years, and can attest to the com- that of the post-1800 era. Its specifica- arched openings in which they stand. pelling nature of the collection both in tion bears some resemblance to a Hook The new keydesk en fenêtre, in contrast terms of its overall quality and as an organ of similar size, but there are dif- to the white painted case, is of solid admonishment against hubris in plan- ferences—the lack of an Aeoline, or mortise-and-tenon, frame-and-panel ning and building fine pipe organs. echo string, and the inclusion of a large black walnut with a natural oil finish. The sanctuary of First Church, treble Cornet in the Great, for example, The stop names on the drawknobs were known as the Meeting House, in the tra- relating to the performance of literature written in a style evocative of 19th-cen- dition of New England Congregational that we view as canonical, and our rela- tury American organs by Toronto callig- churches, is a spare, nearly square room tive lack of interest today in playing the rapher Diane Iannuziello and scanned with a flat ceiling, white walls, and lots transcriptions of orchestral and popular and laser-engraved onto the faces. of light pouring in through tall windows music that were de rigueur. In seeking antecedents for our organ, I with small panes of streaky glass. The The congregation’s desire to keep the considered the history of the congrega- Some of the treble pipes in the Great seating capacity is over 1000 in pews existing organ case seemed obvious, tion and its building in the perspective of both on the ground level and a balcony, both from a practical standpoint and their origins as a settlement of a New which surrounds the room and forms from the wish to preserve the accrued England Congregationalist group. The the choir loft at the front. history of the building. The case is large First Church sanctuary is a large, nearly First Church has had various organs, and located in the ideal position in the square flat-ceilinged room surrounded the first one having been built by Hook & church, though not shaped at all like a on all sides by a balcony, which in the Hastings in the 19th century. Successive typical mechanical organ, being 30v front of the room forms the choir loft. modifications of the Meeting House wide and 10v deep but only 18v high. Although it is a solid 19th-century build- since then were accompanied by new Nonetheless, it was possible to fit our ing, it is acoustically unsupportive, with organs, most recently an electropneu- organ’s design into the logical matrix its large windows, partly carpeted wood- matic one built by Homer Blanchard in that defines a well-conceived tracker en floor, and cushions on many of the 1962. It was assembled from a variety of organ: the major third pipe layouts pews. The surface which, given the loca- components old and new and housed in result in the compactness necessary for tion of the organ high up in the room, a handsome neo-classical case, a simple, short and optimally light action, should be most supportive of the organ’s The manual action just above the keys
30 THE DIAPASON First Church in Oberlin, United Church of Christ
Church’s dry acoustic could be likened installation of this material entailed to that of a healthy Subbass in a resonant trimming individual pieces to fit in the room. It was evident that those Skinner irregular spaces between the 19th-cen- pipes needed to become part of our new tury ceiling joists, then bonding them organ, and that the scaling of the organ securely to the top side of the drywall as a whole would have to be as generous using gallons of adhesive—without this as that of the Hook pipes I had exam- step, the presence of the panels would ined. The higher-pitched elements in have had no effect. the principal choruses did not require The organ was dedicated as the the same kind of departure from our Cauffiel Organ, honoring musician Jane norm, but I also lavished attention on Cauffiel Thomson, a long-time Oberlin the scaling of the reed stops in order to resident and First Church member, obtain an effortless strength from the whose visionary idea and generous gift fundamental with no hint of harshness. towards the building of a new organ got Besides the Wood Diapason, there this project started. An inaugural recital were other stops from Skinner Opus 230 played jointly by Oberlin Conservatory that I felt had a place in such a scheme— professors David Boe and James David in spite of the seeming improbability of Christie took place in September 2004. Skinner pipes in a tracker organ. These Since then numerous other concerts included, in addition to the Pedal Wood have taken place, including a weekly Diapason and Bourdon, the Swell Bour- noon series. It was organized by First dons 16v and 8v, the Viola da Gamba and Church organist Bálint Karosi, a con- Vox Coelestis, and two 4v traverse flutes, servatory graduate student who has one of which became a 2v in our organ. been a Westfield Center Scholar and Console What I was banking on with these manu- competed for the 2006 Grand Prix de al stops was the potential for infusing Chartres. Other recitalists have includ- them with new life by opening the toe- ed Jean Galard, organiste titulaire of holes to more than compensate for the Beauvais Cathedral and St. Medard in somewhat lower wind pressure we used. Paris, and László Fassang of Budapest For the strings, that was the sole voicing and St. Sebastián, Spain. In February adjustment needed; in the case of the 2007, First Church was the scene of a flutes, I further optimized the tone by Langlais Festival of the Oberlin Con- adjusting the other major factors, the servatory, which featured a recital and windway size and languid position, just as masterclass given by Marie-Louise I do with new pipes. For all the stops, the Langlais. And in addition to its primary effect was great—in spite of the heavily use in the weekly services of First nicked languids, those stops speak with Church, the organ is used by both greater intensity than they did in the pre- Oberlin Conservatory professors as a decessor organ and are very much at teaching instrument two days a week home in this organ’s overall sound. The under an arrangement between the The hand-calligraphed, laser-engraved stopnames Skinner organ’s Clarinet will also take its conservatory and First Church. place as a second reed in the Great when A CD recorded on the organ by funds become available. Bálint Karosi is forthcoming. It includes Another element from the 1914 Skin- performances of works by Bach, Widor, ner instrument that we reused to great Liszt, and Mr. Karosi himself, and will advantage is the swell frames from both be available from Gober Organs, Inc., the Swell and Choir boxes, with their and First Church. priceless sugar pine shutters. They are This is the first time in my work I on three sides of the large swell box. To have undertaken a synthesis like this, maximize the damping effect of the and it has been a challenge whose plea- closed Swell box, all of its other surfaces sures have at least equaled those of are double-walled with dead air spaces designing a new instrument from between. The resulting dynamic range scratch. I am a firm believer in the prin- exceeded our wildest expectations. ciple that constraints foster good art. Tracker connections in the Great The organ is tuned in a new, slightly Some of the constraints here were unequal temperament devised by Ober- given, others, like the effort to incorpo- tone, is the ceiling. But it consists only of lin organ performance student Titus van rate historical tonal material, were a single thickness of drywall, the result of den Heuvel. In contrast to other inspired by the cultural context of the a renovation that saw the removal of the unequal temperaments, it favors keys in instrument. original plaster ceiling. the flat and sharp directions from C Among the people I owe thanks to are This is not unlike the situation for major equally, a valuable feature in a Prof. David Boe, who advised the First which many of Hook & Hastings’ organs church where many hymns are sung in Church organ committee on this pro- were conceived. I visited several of their the “many flat” realm. ject, and Dr. Harold Slocum, its chair. instruments seeking a better under- The organ’s presence in the Meeting First Church member David Clark standing of how they filled such rooms House was enhanced through acousti- spearheaded the implementation of the Some of the Pedal Trombone/Trumpet with music. Here I found foundation cal improvements specified by acousti- physical preparations for the organ’s and Clarion pipes stops that are a world away from wispy cian Dana Kirkegaard. These amount installation and took care of the gener- neo-Baroque principals. The diameter to an unseen “bandshell” behind and ous housing arrangements. Richard of a typical Hook Great Principal is larg- above the organ. At the rear, hardboard Houghten planned and installed the er than the Pedal Principal of many a was installed inside the church’s exteri- SSL electronic stop and combination 20th-century tracker. Such pipes are or brick and the void between filled action. And last but not least, Gober capable of giving forth a strong funda- with vermiculite, harnessing the solidi- Organs employees Matthias Schmidt, mental tone without being “pushed” ty of the masonry and providing heat Wendy McConnell, Burkhard Moeller, using ears or beards, and it was just such insulation. The very essential and par- Mike Collins, Ian Hathaway, and Hen- a broad, unforced foundation that First ticularly laborious ceiling reinforce- drik Oudshoorn. Church’s new organ would require. ment was undertaken with great vigor —Halbert Gober By the same token, the most striking by a stalwart team of volunteers from stop from Skinner Opus 230 that was the congregation. In the front third of Photo credit: Halbert Gober still playing at First Church was the the church, over the organ and choir, Gober Organs, Inc. Pedal Open Wood Diapason 16v, a lightweight but highly rigid panels con- 50 First Line Road stronger cousin of corresponding stops sisting of corrugated cardboard sand- Elora, Ontario N0B 1S0 The horizontal trackers of the Great in Hook organs. The effect that wiched between thicknesses of plywood Canada and Swell extremely powerful stop had in First were added above the ceiling. The www.goberorgans.com
MARCH, 2007 31 New Organs
Dobson Pipe Organ Builders, multi-level combination action are pro- Lake City, Iowa vided. Several Pedal stops are made Calvary Lutheran Church, available at two pitches through a sys- Brookfield, Wisconsin tem of mechanical duplexing. Dobson Pipe Organ Builders, Lake Calvary was assisted in this project by City, Iowa, has completed its Op. 72 for John Behnke, organ consultant, and Calvary Lutheran Church, Brookfield, Scott Riedel, acoustical consultant. Wisconsin. Despite the low ceiling Suzanne and Steve Hibbard were direc- height at the rear of the church, a bal- tor of music and organist, respectively, cony was a part of the original design of at the time of the organ’s construction. the building. As part of a renovation Bill Bravener is the current director of project, the congregation removed the music. balcony and resolved to place a mechan- —John Panning ical action organ in a free-standing posi- tion on the main floor. The choir and Photo credit: Lynn Dobson handbells would then be arranged about the organ. GREAT (58 notes) Even without the hindrance of the 16v Bourdon 8v Prestant balcony, fitting an organ into the broad- 8v Chimney Flute ly V-shaped space proved a challenge. 4v Octave Many different plans were made, finally 4v Nachthorn resulting in a design in which the Swell 2v Fifteenth 1 is located behind and above the choir 1 ⁄3v Mixture IV seating, the Great is placed forward in a 8v Trumpet separate case and the Pedal is situated Swell to Great behind the Great. The console, placed SWELL (58 notes, expressive) in the Great case, is so located that the 8v Gedackt organist can direct the choir. In spite of 8v Salicional its seemingly scattered arrangement, 8v Celeste FF the mechanical design of the organ is 4v Principal quite straightforward and all parts are 4v Traverse Flute 2 readily accessible for tuning and main- 2 ⁄3v Nazard 2v Piccolo tenance. The design of the curving 3 1 ⁄5v Tierce white oak casework echoes the arcing 1 1 ⁄3v Quinte lines of the ceiling, which rises toward 8v Oboe the front of the sanctuary. The tonal design of the organ is PEDAL (32 notes) intended to inspire enthusiastic congre- 16v Subbass gational singing and to accompany a 16v Bourdon (Gt) wide variety of choral literature. The 8v Principal instrument is voiced on a wind pressure 8v Gedackt (ext) of 76 millimeters, which is supplied 4v Choralbass (ext) 16v Posaune from a large, parallel-rise reservoir. 8v Trumpet (ext) Tuning is in equal temperament. Metal Great to Pedal pipes are made of the usual alloys of tin Swell to Pedal Dobson Opus 72 and lead; all wood pipes are made of poplar and cherry. The key action is Tremulant mechanical; an electric stop action and Zimbelstern
2 Karl Wilhelm Inc., Mont St. Hilaire, 2 ⁄3v Quinte Québec, Canada, Opus 157 2v Superoktave 8v Cornet V (cv–dvvv) St. John’s Catholic Church, 1 1 ⁄3v Mixtur IV Fenton, Michigan 1v Zimbel III This new 44-stop organ, Opus 157 by 8v Trompette Karl Wilhelm Inc., was made possible 4v Clairon by the generosity of longtime parish- ioner Mrs. Alvesta Veness and the SWELL C–gvvv (enclosed) William Bowman and Ann McGuire 8v Principal estates, as well as other benefactors and 8v Gambe 8v Celeste TC contributors from the congregation and 8v Hohlflöte the community. The organ project was 4v Principal led by Rev. David W. Harvey with the 4v Flute Harmonique assistance of several other parishioners. 2v Waldflöte 2 Dr. David Wagner performed the dedi- 2 ⁄3v Cornet III (TF) cation recital. 2v Mixtur IV The organ consists of four divisions: 16v Basson the Great is in the center above the 8v Trompette 8v Hautbois impost, the Swell is right behind the Tremolo Great and is enclosed in its own case, the Rückpositiv is in the gallery rail, and the RÜCKPOSITIV C–gvvv Pedal is on either side of the main case. 8v Prinzipal There are 3,017 pipes in this instrument. 8v Gedackt The metal façade pipes are 70% tin and 4v Prinzipal 4v Rohrflöte 30% lead, metal flute pipes are 40% tin 2 and 60% lead. Open pipes are cone 2 ⁄3v Nasard 2v Doublette tuned; stopped pipes have fixed caps. 3 1 ⁄5v Terz The temperament is Bach-Kellner 1 1 ⁄3v Larigot A440. The playing action of the organ is 1v Scharf IV direct mechanical (suspended tracker). 8v Cromorne There are two manual couplers and Tremolo three pedal couplers. Manual/pedal compass is 56/30. The stop action is elec- PEDAL C–fv tric and offers a complete set of registra- 16v Prinzipal 16v Subbass tion aids featuring 32 levels of solid-state 8v Prinzipal memory. Two cuneiform bellows and 8v Bourdon one electric blower provide the winding. 4v Choralbass 2 — Karl Wilhelm Inc. 2 ⁄3v Rauschpfeife IV Facteurs d’Orgues-Organbuilders 16v Posaune 8v Trompete Karl Wilhelm Opus 157 4v Clairon St. John’s Catholic Church Fenton, Michigan Note: Prinzipal 16v in the Pedal: C–E, open 8v GREAT C–gvvv wooden pipes and common with Subbass 16v Bourdon 16v; F–fv, 70% tin and located in the 8v Prinzipal façade. 8v Rohrflöte Prinzipal 8v shares the first octave with the 8v Flute Harmonique Prinzipal 16v in the Pedal. 4v Oktave Prinzipal 8v of the Positiv has common pipes 4v Spitzflöte from C–G# with Gedackt 8v. Wilhelm Opus 157
32 THE DIAPASON Bert Adams, FAGO ATRICK LLEN Calendar Park Ridge Presbyterian Church P A Park Ridge, IL GRACE CHURCH Pickle Piano & Church Organs Craig Cramer; Reyes Organ Hall, University NEW YORK This calendar runs from the 15th of the month of Notre Dame, South Bend, IN 8 pm Bloomingdale, IL of issue through the following month. The deadline is the first of the preceding month (Jan. 1 for 20 MARCH Feb. issue). All events are assumed to be organ Joshua Lawton; King’s Chapel, Boston, MA recitals unless otherwise indicated and are grouped 12:15 pm Christopher Babcock within each date north-south and east-west. •=AGO Sarah Koehler; Church of St. Louis, King of WILLIAM AYLESWORTH Christopher Babcock chapter event, • •=RCCO centre event, +=new France, St. Paul, MN 12:35 pm organ dedication, ++= OHS event. D. M. St. Andrew’s by the Sea, Information cannot be accepted unless it spec- 21 MARCH Hyannis Port ifies artist name, date, location, and hour in writ- Paul Jacobs, workshop; The Juilliard School, EVANSTON, ILLINOIS ing. Multiple listings should be in chronological New York, NY 11:30 am order; please do not send duplicate listings. THE Nathan Laube; St. Bartholomew’s, New DIAPASON regrets that it cannot assume responsi- York, NY 12:30 pm bility for the accuracy of calendar entries. Todd Wilson; Trinity Episcopal Cathedral, Cleveland, OH 7:30 pm John Simpson; Sandy Hook United Methodist, Columbus, IN 12 noon UNITED STATES Larry Wheelock; Cathedral of St. John the East of the Mississippi Evangelist, Milwaukee, WI 12:15 pm Derek Nickels; First Presbyterian, Arlington 15 MARCH Heights, IL 12:10 pm Scott Matthias; Church of the Holy Family, New York, NY 12:45 pm 23 MARCH Theile, St. Matthew Passion; Church of St. Stuart Forster; Trinity Church, Boston, MA Luke in the Fields, New York, NY 8 pm 12:15 pm Choral concert; Mary, Queen of the Universe Choir of St. Thomas Church, New York City, Dean W. Billmeyer Bach, St. Matthew Passion; St. Thomas Shrine; Orlando, FL 7:30 pm Church, New York, NY 7:30 pm University of Minnesota The Eton College Choir; Woodberry Forest 16 MARCH School, Woodberry Forest, VA 8 pm Andrea Macinanti; Trinity Church, Boston, Gillian Weir; St. Paul’s Episcopal, Greenville, Minneapolis 55455 • [email protected] MA 12:15 pm NC 7:30 pm Wilma Jensen, masterclass; East Carolina Birmingham-First Chamber Choir; First Pres- University, Greenville, NC 11 am byterian, Birmingham, MI 7:30 pm Wilma Jensen; St. Paul’s Episcopal, Thomas Murray; Madison Street United Greenville, NC 7:30 pm Methodist, Clarksville, TN 7 pm Carolina Baroque; St. John’s Lutheran, Salis- THOMAS BROWN DAVID CHALMERS Judith Miller; St. John United Presbyterian, bury, NC 7:30 pm ONCERT RGANIST New Albany, IN 12 noon UNIVERSITY C O Janet Hamilton; St. Mark’s United Church of Andrew Kotylo; First Presbyterian, Evans- LORIÆ EI ANTORES Christ, New Albany, IN 12 noon PRESBYTERIAN CHURCH G D C ville, IN 7:30 pm CHAPEL HILL, NORTH CAROLINA ORLEANS, MA 17 MARCH 24 MARCH Bruce Neswick, masterclass; Covenant Gillian Weir, masterclass; St. Paul’s Episco- Presbyterian, Charlotte, NC 9 am pal, Greenville, NC 9 am Aaron David Miller, with Masterworks Leon Griesbach; Franciscan Monastery, Chorale; Monroe Street Methodist, Toledo, OH STEVEN EGLER Washington, DC 12 noon 8 pm DELBERT DISSELHORST Central Michigan University 25 MARCH First Presbyterian Church 18 MARCH US Paul Bisaccia, piano; First Church, Windsor, A. M . D. Mark Nelson; St. John’s Episcopal, Glouces- Mt. Pleasant, Michigan 48858 CT 3 pm UNIVERSITY OF IOWA ter, MA 4 pm SOLO Shelly-Egler Rick Erickson, with soprano and violin; Holy David Kazimir, with choir; Ascension Memo- RECITALS Flute and Organ Duo Trinity Lutheran, New York, NY 5 pm rial Episcopal, Ipswich, MA 4:30 pm Frederick Teardo; St. Thomas Church Fifth Andrew Scanlon; Church of the Advent, Avenue, New York, NY 5:15 pm Boston, MA 4:30 pm, Choral Evensong 5 pm James Metzler; All Saints’ Episcopal, Mark Laubach; Christ Church, New JOHN FENSTERMAKER Worcester, MA 5 pm Brunswick, NJ 6:30 pm Donald Filkins Jay Peterson & Stephen Rapp; St. John’s Singing Boys of Pennsylvania; Calvary United Webb Horton Memorial Lutheran, Stamford, CT 4 pm Church of Christ, Reading, PA 3 pm TRINITY-BY-THE-COVE CONCORA; Immanuel Congregational, Hart- Paul Jacobs; Abingdon Episcopal, White Presbyterian Church ford, CT 4 pm Marsh, VA 5 pm NAPLES, FLORIDA Middletown, NY 10940 Keith Toth, followed by Duruflé, Requiem; Robert Parkins; Duke University Chapel, Brick Presbyterian, New York, NY 4 pm Durham, NC 2:30 pm, 5 pm James Bobb; Holy Trinity Lutheran, New Boyd Jones; Reyes Organ Hall, University of Notre Dame, South Bend, IN 4 pm, 7:30 pm York, NY 5 pm Organist / Pianist Geoffrey Ward; St. Thomas Church Fifth Scott Montgomery; Sursa Performance Hall, ELLEN KURTZ Avenue, New York, NY 5:15 pm Ball State University, Muncie, IN 4 pm Choral Evensong; Christ Church, New Richard Hoskins, with sopranos and viole de Michael Gailit Brunswick, NJ 6:30 pm gamba; St. Chrysostom’s, Chicago, IL 2:30 pm FUNK [email protected] http://www.gailit.at Choral concert; Bryn Mawr Presbyterian, Bryn •Organ and choral music of Buxtehude; First M.Mus., A.A.G.O. Mawr, PA 4 pm Baptist, Macomb, IL 3 pm St. Augustine’s Church Singing Boys of Pennsylvania; St. Theresa Kammerchor; Concordia University Wiscon- Concord, California Conservatory / University (Vienna) Catholic Church, Wilkes-Barre, PA 4 pm sin, Mequon, WI 3:30 pm Fauré, Requiem; Greene Memorial United Methodist, Roanoke, VA 4 pm 26 MARCH Bruce Neswick; Covenant Presbyterian, Timothy Weisman; Woolsey Hall, Yale Uni- III Charlotte, NC 3 pm versity, New Haven CT 8 pm CHRISTOPHER John M. Gearhart Carolina Baroque; West Market United Paul Ayres; Elliott Chapel, The Presbyterian B.A., M.Mus. Methodist, Greensboro, NC 4 pm Homes, Evanston, IL 1:30 pm GARVEN St. John the Divine (Episcopal) Peter Richard Conte; St. Gregory’s Episco- Nancy Lancaster; House of Hope Presbyter- Organist & Music Director 2450 River Oaks Blvd. pal, Boca Raton, FL 4 pm ian, St. Paul, MN 4 pm Church of the Good Samaritan Houston, TX 77019 Cameron Carpenter; Jacoby Hall, Jack- Paoli, Pennsylvania sonville, FL 3 pm 27 MARCH Douglas Cleveland; First Presbyterian, Haydn, Lord Nelson Mass; Trinity Church, Naples, FL 7 pm New York, NY 6 pm Rachmaninoff, Vespers; Holy Trinity Luther- Mary Newton; Church of St. Louis, King of an, Akron, OH 7 pm France, St. Paul, MN 12:35 pm ROBERT GLASGOW Aaron David Miller, with Masterworks Antone Godding Chorale; Monroe Street Methodist, Toledo, OH 28 MARCH PROFESSOR EMERITUS Nichols Hills 8 pm Jeremy Bruns; St. Bartholomew’s, New Choral concert; Peachtree Road United York, NY 12:30 pm The University of Michigan United Methodist Church Methodist, Atlanta, GA 5 pm Renée Anne Louprette; St. Ignatius Loyola, Ann Arbor Oklahoma City Erich Balling; Christ Church Cathedral, Lex- New York, NY 7 pm ington, KY 4:30 pm, Choral Evensong at 5 pm Choral concert; St. Ignatius Loyola, New Scott Hyslop, organ, Martha Folts, harpsi- York, NY 8 pm chord, with tenor, Buxtehude Bash; St. Lorenz David Lamb; First United Methodist, Colum- LORRAINE BRUGH, Ph.D. Lutheran, Frankenmuth, MI 4 pm bus, IN 12 noon Anthony & Beard; Church of the Holy Spirit, Mark Johnson; Cathedral of St. John the A two-inch Episcopal, Lake Forest, IL 4 pm Evangelist, Milwaukee, WI 12:15 pm Associate Professor Bach, Cantata 48; St. Luke Church, Chicago, Donald Mead; First Presbyterian, Arlington Professional Card IL 4 pm Heights, IL 12:10 pm University Organist David Schrader, with Cathedral Choir; St. in THE DIAPASON James Episcopal Cathedral, Chicago, IL 4 pm 30 MARCH Valparaiso University Erik Suter; Christ Episcopal, Milwaukee, WI 3 Frederick Teardo; Trinity Church, Boston, Valparaiso, IN For information on rates and pm MA 12:15 pm www.valpo.edu specifications, contact: Jeffrey Wood; Houghton Chapel, Wellesley 19 MARCH College, Wellesley, MA 8 pm Jerome Butera Charles Tompkins; Furman University, Jason Roberts; Trinity College Chapel, Hart- 219-464-5084 Greenville, SC 8 pm ford, CT 7:30 pm [email protected] Todd Wilson and students; Church of the Russell Patterson; Slee Hall, University at [email protected] 847/391-1045 Covenant, Cleveland, OH 7:30 pm Buffalo (SUNY), Buffalo, NY 8 pm
MARCH, 2007 33 Theresa Bauer; St. Paul’s Episcopal, New 15 APRIL Albany, IN 12 noon Fred Jodry, with Schola Cantorum of Boston; JAMES HAMMANN WILL HEADLEE Christ Church, Westerly, RI 4 pm DMA-AAGO 31 MARCH David Chalmers; Cathedral of St. Patrick, 1650 James Street Parker Kitterman; Battell Chapel, Yale Uni- New York, NY 4:45 pm University of New Orleans Syracuse, NY 13203-2816 versity, New Haven CT 5 pm Harold Stover; St. Thomas Church Fifth Buxtehude, Passion music; Grace Episcopal, Avenue, New York, NY 5:15 pm Chapel of the Holy Comforter (315) 471-8451 Hartford, CT 7:30 pm Singing Boys of Pennsylvania; St. Peter Christian Lane; Dwight Chapel, Yale Univer- Lutheran, Allentown, PA 4 pm sity, New Haven CT 8 pm David Higgs; Shadyside Presbyerian, Pitts- John Scott; St. Thomas Church Fifth burgh, PA 4 pm MICHELE JOHNS Avenue, New York, NY 4 pm Thierry Escaich; Basilica of the National Harry H. Huber Fauré, Requiem; St. Paul’s Episcopal, Shrine, Washington, DC, accompanist at Mass, A.Mus.D D. Mus. Greenville, NC 4 pm 12 noon; recital, 7 pm Kansas Wesleyan University, Emeritus Organ — Harpsichord Brahms, Requiem; First Presbyterian, Kent Tritle; Greene Memorial United Gainesville, FL 7:30 pm Methodist, Roanoke, VA 4 pm University Methodist Church The University of Michigan Anders Paulsson; Masonic Auditorium, SALINA, KANSAS School of Music 1 APRIL Cleveland, OH 3 pm Scott Lamlein; Wesley United Methodist, Anthony & Beard; Hyde Park Community Worcester, MA 12:15 pm United Methodist, Cincinnati, OH 4 pm Peter Lea-Cox; St. Anthony of Padua, New Georgia Festival Chorus; Peachtree Road Bedford, MA 3 pm United Methodist, Atlanta, GA 5 pm Brian Jones KIM R. KASLING Choral Evensong; Trinity Episcopal Church, Paul Jacobs; St. Mark’s Episcopal, Grand D.M.A. Hartford, CT 5 pm Rapids, MI 8 pm Director of Music Emeritus Yale Schola Cantorum; St. Mary’s Church, LeMoyne-Owen College Concert Choir; Sec- TRINITY CHURCH St. John’s Univeristy New Haven, CT 8 pm ond Congregational, Memphis, TN 4 pm Bach, Cantata 131; Holy Trinity Lutheran, Martin Jean; Frank Moody Music Building, Collegeville, MN 56321 BOSTON New York, NY 5 pm Tuscaloosa, AL 2 pm Palm Sunday Vespers; Christ Church, New Rutter, Requiem; First Presbyterian, Arlington Brunswick, NJ 6 pm Heights, IL 4 pm The Eton College Choir; Notre Dame Lorenz Maycher, with soprano; Christ DAVID K. LAMB, D.MUS. Schools, East Stroudsburg, PA 3 pm Church Cathedral, New Orleans, LA 4 pm JAMES KIBBIE University Choir of West Virginia University; The University of Michigan Director of Music/Organist First Presbyterian, Pittsburgh, PA 4 pm 16 APRIL Ann Arbor, MI 48109-2085 First United Methodist Church Singing Boys of Pennsylvania; White Haven Choral concert; Battell Chapel, Yale Universi- United Methodist, White Haven, PA 7 pm ty, New Haven, CT 5 pm 734-764-1591 FAX: 734-763-5097 Columbus, Indiana Rutter, Requiem; First United Methodist, Alistair Nelson; Woolsey Hall, Yale Universi- email: [email protected] 812/372-2851 Charlottesville, Virginia 4 pm ty, New Haven, CT 8 pm Choral Evensong; St. James’s Episcopal, Eric Lebrun; Brick Presbyterian, New York, Richmond, VA 5 pm NY 8 pm Stainer, The Crucifixion; Church of the Paul Jacobs, workshop; Trinity Lutheran, Covenant, Cleveland, OH 4 pm Grand Rapids, MI 8 pm David Lowry BETTY LOUISE LUMBY Choral Evensong; St. James Episcopal THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Cathedral, Chicago, IL 4 pm 17 APRIL 1512 BLANDING STREET, COLUMBIA, SC 29201 Craig Cramer; Reyes Organ Hall, University 2 APRIL of Notre Dame, South Bend, IN 8 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO The Eton College Choir; Church of St. Mary Jean Krinke; Church of St. Louis, King of ROCK HILL, SC 29733 MONTEVALLO, AL 35115 the Virgin, Episcopal, New York, NY 6 pm France, St. Paul, MN 12:35 pm Thierry Escaich; Chapel, University of St. 4 APRIL Thomas, St. Paul, MN 8:15 pm Service of Tenebrae; Church of the Advent, Boston, MA 7 pm 18 APRIL Brahms, Requiem; St. Bartholomew’s, New Sonia Kim; Christ Church Episcopal, New JAMES R. METZLER York, NY 7:30 pm Haven, CT 12:45 pm Ed Brunjes, David Lamb, Lisa Lohmeyer, Gerre Hancock; St. Bartholomew’s, New PARK CONGREGATIONAL CHURCH John Matthews, & John Simpson; First Chris- York, NY 7:30 pm tian Church, Columbus, IN noon GRAND RAPIDS, MICHIGAN 19 APRIL 6 APRIL Russell Weismann; Church of the Holy Fam- Erickson, Passion According to St. John; Holy ily, New York, NY 12:45 pm Trinity Lutheran, New York, NY 12 noon Stainer, The Crucifixion; Brick Presbyterian, 20 APRIL William H. Murray New York, NY 12:15 pm Ray Cornils; Trinity Church, Boston, MA 12:15 pm A.S.C.A.P. Ken Cowan, Dupré, Le Chemin de la Croix; Vaughn Mauren; Trinity College Chapel, FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. St. Bartholomew’s, New York, NY 6 pm Choral Evensong; Emmanuel Church, Hartford, CT 7:30 pm 345 SADDLE LAKE DRIVE Fort Smith, Arkansas Chestertown, MD 6 pm Joan Lippincott, workshop; Proclamation ROSWELL-ATLANTA, GEORGIA 30076 Presbyterian, Bryn Mawr, PA 11 am (770) 594-0949 Samuel Carabetta, with Grace Church choirs, Passion meditation; Grace Episcopal, Joan Lippincott; Proclamation Presbyterian, The Plains, VA 5 pm Bryn Mawr, PA 8 pm MARILYN MASON Kevin Kwan & Todd Wilson, Dupré, The +Paul Davis; Christ Lutheran, Baltimore, MD Stations of the Cross; Church of the Covenant, 7:30 pm CHAIRMAN, DEPARTMENT OF ORGAN Cleveland, OH 7:30 pm Mark King; St. John’s Episcopal, Hagers- UNIVERSITY OF MICHIGAN town, MD 7:30 pm ANN ARBOR 8 APRIL David Hurd; Christ & St. Luke’s Episcopal, Norfolk, VA 8 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played Bach, Cantata 4; Holy Trinity Lutheran, New R. Monty Bennett, with Charlotte Symphony; it with awesome technique and a thrilling command of its daring writing.” York, NY 5 pm Friendship Missionary Baptist Church, Char- The American Organist, 1980 Jeremy Bruns & Frederick Teardo; St. Thomas Church Fifth Avenue, New York, NY lotte, NC 8 pm 5:15 pm André Lash; Christ United Methodist, Lorenz Maycher, with soprano; First-Trinity Greensboro, NC 7:30 pm Presbyterian, Laurel, MS 6 pm David Higgs; St. Joseph Cathedral, Colum- Mary Mozelle bus, OH 7:30 pm LARRY PALMER Todd Wilson, with the Toledo Symphony; Associate Organist 10 APRIL Heinrich Christensen; King’s Chapel, Peristyle Theater, Toledo, OH 8 pm Professor of Boston, MA 12:15 pm Barbara MacGregor, with trumpet; Holy Trin- The National Paul Jacobs, workshop; Juilliard School, ity Lutheran, Akron, OH 8 pm Presbyterian Church Harpsichord and Organ New York, NY 1 pm Ullrich Böhme; Berea United Methodist, Berea, OH 8 pm Washington, DC Robert Vickery; Church of St. Louis, King of Meadows School of the Arts France, St. Paul, MN 12:35 pm John Scott; Christ Church Cathedral, 703.898.9609 Nashville, TN 8 pm SOUTHERN METHODIST UNIVERSITY 11 APRIL www.PipeOrganPro.com 21 APRIL Stephen Tharp; St. Bartholomew’s, New William Ness; First Baptist, Worcester, MA Dallas, Texas 75275 York, NY 7:30 pm “The Sights and Sounds 7:30 pm of the Pipe Organ” Ryan Jackson; Christ Church Episcopal, 12 APRIL Musical Heritage Society recordings New Haven, CT 5 pm Kenneth Nafziger, hymnsing; University of Jieun Newland; Woolsey Hall, Yale Universi- Notre Dame, Notre Dame, IN 8 pm ty, New Haven, CT 8 pm Joan Lippincott, workshop; Proclamation 13 APRIL Presbyterian, Bryn Mawr, PA 10 am Geoffrey Wieting; Trinity Church, Boston, Bach, Mass in B Minor; Severance Hall, A four-inch MA 12:15 pm Cleveland, OH 2:30 pm Carolyn Shuster Fournier; Old West Todd Wilson, with the Toledo Symphony; Professional Card Church, Boston, MA 8 pm Peristyle Theater, Toledo, OH 8 pm Carolina Baroque; St. John’s Lutheran, Salis- Choral concert; Rockefeller Chapel, Chicago, in THE DIAPASON bury, NC 7:30 pm IL 8 pm Craig Cramer; Organ Hall, University of Notre Dame, Notre Dame, IN 8 pm 22 APRIL No additional charge for photos Stephen Cook; St. Thomas Church Fifth 14 APRIL Avenue, New York, NY 5:15 pm For information on rates and specifications, contact Anthony Nardino; Franciscan Monastery, Vernon Williams; Christ Church, New Washington, DC 12 noon Brunswick, NJ 6:30 pm Jerome Butera, 847/391-1045 Anders Paulsson; Masonic Auditorium, Carol Williams; Heinz Memorial Chapel, Cleveland, OH 8 pm Pittsburgh, PA 4 pm [email protected] Thomas Murray; St. Norbert Abbey, DePere, Alan Morrison; Media Presbyterian, Media, WI 2 pm PA 7 pm
34 THE DIAPASON Bruckner, Requiem; First Presbyterian, Felix Hell, complete Bach works; Wesley Lynchburg, VA 4 pm United Methodist, Bethlehem, PA 1 pm, 4 pm, American Brass Quintet; Grace Episcopal, 8 pm LEON NELSON DOUGLAS REED The Plains, VA 5 pm Keith Reas; Franciscan Monastery, Wash- FIRST PRESBYTERIAN CHURCH Todd Wilson; Westwood First Presbyterian, ington, DC 12 noon ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Cincinnati, OH 3 pm Paul Jacobs; First Congregational, Traverse 29 APRIL NORTH PARK UNIVERSITY EVANSVILLE, INDIANA City, MI 4 pm Paul Bisaccia, piano; First Congregational, CHICAGO, IL 60625 Craig Cramer; St. Paul Lutheran, Michigan East Hartford, CT 2 pm City, IN 4 pm Gospel music concert; South Church, New Mary Preston; Mt. Pleasant Lutheran, Britain, CT 4 pm Racine, WI 4 pm Ken Cowan; St. Paul’s on the Green, Nor- STEPHEN G. SCHAEFFER Chicago Chorale; Lake Forest College, Lake walk, CT 4 pm ROBERT L. Forest, IL 3 pm John Sittard; First Presbyterian, Ithaca, NY D.M.A. •Erik Suter; Bethany Lutheran, Crystal Lake, 4 pm IL 4 pm The Cathedral Church SIMPSON Arthur LaMirande; Cathedral of St. Patrick, Christ Church Cathedral Merlin Lehman; St. Luke’s Episcopal, New York, NY 4:45 pm of the Advent 1117 Texas Avenue Evanston, IL 4 pm Naomi Shiga; St. Thomas Church Fifth Birmingham, Alabama 35203 Houston, Texas 77002 Gospel Choir concert; Lutheran School of Avenue, New York, NY 5:15 pm Theology, Chicago, IL 4 pm Michael Diorio; Christ Church, New David Higgs; Benson Great Hall, Bethel Uni- Brunswick, NJ 6:30 pm versity, St. Paul, MN 4 pm Felix Hell, complete Bach works; Wesley United Methodist, Bethlehem, PA 2 pm, 5 pm, David Wagner DMA 23 APRIL 8:15 pm Joe Utterback Madonna University Thomas Baugh; Christ Episcopal, Roanoke, Joseph Gramley, percussion; First Presby- COMMISSIONS & CONCERTS Livonia, Michigan VA 7:30 pm terian, Germantown, Philadelphia, PA 3 pm KMZT-FM Margaret Wilson; Elliott Chapel, The Presby- Paul Jacobs; Lutheran Church of the Good 732 . 747 . 5227 terian Homes, Evanston, IL 1:30 pm Shepherd, Lancaster, PA 4 pm Los Angeles, California John Butt; House of Hope, St. Paul, MN 4 John Weaver; Bomberger Hall, Ursinus Col- [email protected] pm lege, Collegeville, PA 4 pm Kevin Kwan; Church of the Covenant, Cleve- 24 APRIL land, OH 4 pm SALLY SLADE WARNER, AAGO, ChM Yale Schola Cantorum; Beinecke Rare Book Jeremy David Tarrant; Cathedral Church of Library, New Haven, CT 5:15 pm St. Paul, Detroit, MI 4 pm Carillonneur KARL WATSON Tom Ferry; Church of St. Louis, King of Bradley Hunter Welch; Irvington United France, St. Paul, MN 12:35 pm Methodist, Indianapolis, IN 4 pm St. Stephen’s Church, Cohasset, MA ST. RAYMOND’S CHURCH Fauré, Requiem; First United Methodist, Phillips Academy, Andover, MA Columbus, IN 9 am 25 APRIL Recitals PARKCHESTER Zachary Hemenway; Woolsey Hall, Yale John Sherer; St. Chrysostom’s, Chicago, IL University, New Haven, CT 12:30 pm 2:30 pm K. Scott Warren; St. Ignatius Loyola, New The Alleluia Ringers; Concordia University York, NY 7 pm Wisconsin, Mequon, WI 3:30 pm A Professional Card in Vincent Edwards; St. Bartholomew’s, New York, NY 7:30 pm 30 APRIL Cherie Wescott THE DIAPASON Renée Anne Louprette, with orchestra; St. Felix Hell, complete Bach works; Wesley Concerts • Masterclasses • Coaching For rates and digital specifications, Ignatius Loyola, New York, NY 8 pm United Methodist, Bethlehem, PA 7:30 pm contact Jerome Butera 405/942-3958 847/391-1045 26 APRIL e-mail: [email protected] [email protected] Felix Hell, complete Bach works; Wesley UNITED STATES United Methodist, Bethlehem, PA 7:30 pm West of the Mississippi
27 APRIL 15 MARCH Elaine Dykstra; Trinity Church, Boston, MA Brad Lehman, pedal harpsichord; St. 12:15 pm Augustine’s Anglican Church, Chico, CA 2 pm Davis Wortman RONALD WYATT Joseph Gramley, percussion; Immanuel Robert Bowman, harpsichord, fortepiano, Congregational, Hartford, CT 7:30 pm piano and organ; California State University, ST. JAMES’ CHURCH Trinity Church Felix Hell, complete Bach works; Wesley Chico, CA 7:30 pm United Methodist, Bethlehem, PA 6 pm, 8:15 NEW YORK Galveston pm 16 MARCH John Scott; St. Ann’s, Washington, DC 8 pm True North Brass; First United Methodist, Henderson, From Darkness to Light; St. Boise, ID 7:30 pm James Episcopal, Birmingham, MI 7:30 pm Joseph Galema, with brass quintet; All Charles Kennedy; Cathedral Church of the Saints’ Episcopal, Beverly Hills, CA 8 pm Advent, Birmingham, AL 12:30 pm Marcia van Oyen mvanoyen.com Haydn, Mass in Time of War; Cathedral of St. 17 MARCH John the Evangelist, Milwaukee, WI 7:30 pm Alan Morrison, with orchestra; Augustana Bradley Hunter Welch; Shryock Auditorium, Lutheran, Denver, CO 7 pm Carbondale, IL 7:30 pm Plymouth First United Methodist Church, Plymouth, Michigan 18 MARCH 28 APRIL Catherine Rodland & John Ferguson, with Enrico Contenti; Battell Chapel, Yale Univer- orchestra; St. Olaf College, Northfield, MN 3:30 sity, New Haven, CT 1 pm pm Britten, War Requiem; Woolsey Hall, Yale Ken Cowan; St. Martin’s Episcopal, Houston, CHARLES DODSLEY WALKER, FAGO University, New Haven, CT 8 pm TX 3 pm John Scott; St. Thomas Church Fifth Christoph Keggenhoff; Christ the King TRINITY EPISCOPAL CHURCH Avenue, New York, NY 4 pm Lutheran, Houston, TX 5 pm BOX 400 SOUTHPORT, CT 06890
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MARCH, 2007 35 Founders Day Choral Concert; Cathedral of Ken Cowan; First Congregational, Los Ange- Carol Williams; Balboa Park, San Diego, CA Carol Williams; Balboa Park, San Diego, CA the Madeleine, Salt Lake City, UT 8 pm les, CA 4 pm 2 pm 2 pm Martin Jean; Cathedral Church of St. John, Carol Williams; Balboa Park, San Diego, CA Albuquerque, NM 4 pm 2 pm 13 APRIL Julia Brown; Grace Lutheran, Tacoma, WA Ben Carlisle, harpsichord; St. Paul United INTERNATIONAL 3 pm 27 MARCH Methodist, Lincoln, NE 12:10 pm Christiaan Teeuwsen; Trinity Lutheran, Patrick Hawkins; Arizona State University Marilyn Keiser; First Presbyterian, Little 15 MARCH Lynnwood, WA 7 pm Organ Hall, Tempe, AZ 7:30 pm Rock, AR 7:30 pm John Belcher; St. Martin’s, Dorking, UK 1 pm Bach, St. Matthew Passion; Episcopal Church The Eton College Choir; Wichita State Uni- Ashley Grote; St. Matthew’s Westminster, of the Resurrection, Eugene, OR 7 pm versity, Wichita, KS 7:30 pm 15 APRIL London, UK 1:05 pm Garrett Collins; Cathedral of St. Mary of the Raymond Johnston; St. Mark’s Episcopal Assumption, San Francisco, CA 3:30 pm 28 MARCH Cathedral, Minneapolis, MN 4 pm 16 MARCH Thomas Joyce; St. Cecilia’s, San Francisco, Robert Bates; Palmer Memorial Episcopal, Brent Hylton; Pinnacle Presbyterian, Scotts- Jean-François Vauche; Eglise Saint- CA 4 pm Houston, TX 12:10 pm dale, AZ 4 pm François, Lausanne, Switzerland 8 pm Paul Perry; Grace Cathedral, San Francisco, The Eton College Choir; St. Michael’s Cathe- Christoph Tietze; Cathedral of St. Mary of CA 4 pm dral, Episcopal, Boise, ID 7:30 pm the Assumption, San Francisco, CA 3:30 pm 17 MARCH Bach Birthday Bash; Trinity Episcopal, Santa Maxine Thevenot; Grace Cathedral, San Mark Swinton; St. George’s Cathedral Barbara, CA 3:30 pm 30 MARCH Francisco, CA 4 pm Southwark, London, UK 1:05 pm Joseph Adam; University of Puget Sound, Handbell concert; Knox Presbyterian, Santa Carol Williams; Balboa Park, San Diego, CA Choir of St. Thomas Church, New York City, Tacoma, WA 12:05 pm Rosa, CA 5 pm 2 pm with Musica Angelica Los Angeles and Orch- David Higgs; St. Mark’s Lutheran, San Fran- ester Wiener Akademie; Centro Historico and Paul Jacobs; Walt Disney Concert Hall, Los cisco, CA 8 pm UNAM Salle Nezahualcoyotl, Mexico City, MX, Angeles, CA 7:30 pm 19 APRIL Chanticleer; Cathedral Basilica of St. Louis, also 3/18 1 APRIL St. Louis, MO 8 pm 19 MARCH Bach, St. John Passion, BWV 245; Christ the 18 MARCH Carlene Neihart & David Diebold, with choir; King Lutheran, Houston, TX 5 pm Ronald Ebrecht; Sant Kazimieras Church, Country Club Christian Church, Kansas City, 20 APRIL David Goodenough; Cathedral of St. Mary Gillian Weir; The Mormon Tabernacle, Salt Vilnius, Lithuania 1 pm MO 8 pm of the Assumption, San Francisco, CA 3:30 Lake City, UT 7:30 pm pm Frederick Swann; First Church of Christ, Sci- 19 MARCH 20 MARCH David Higgs; Concert Hall, Fresno State Uni- entist, San Diego, CA 8 pm Colin Tilney, masterclass; University of Vic- Thomas Murray; Broadway Baptist, Fort versity, Fresno, CA 3 pm toria, McLaurin, BC, Canada 12:30 pm Worth, TX 7:30 pm Carol Williams; Balboa Park, San Diego, CA 21 APRIL 2 pm Larry Smith, masterclass; St. Olaf College, 20 MARCH 21 MARCH Northfield, MN 9 am Ronald Ebrecht; Philharmonie, Minsk, Maxine Thevenot & Iain Quinn; University of 2 APRIL Ken Cowan; LDS Conference Center, Salt Belarus 8 pm New Mexico, Albuquerque, NM 7:30 pm David Higgs, masterclass; Concert Hall, Lake City, UT 7:30 pm Fresno State University, Fresno, CA 10 am 21 MARCH 24 MARCH 22 APRIL Wolfgang Baumgratz; Catholic Cathedral, VocalEssence; Basilica of St. Mary, Min- 3 APRIL David Higgs; Hennepin Avenue United Moscow, Russia 7:30 pm neapolis, MN 8 pm Bach, St. John Passion, BWV 245; Christ the Methodist, Minneapolis, MN 4 pm Martin Jean; Bridges Hall of Music, Pomona King Lutheran, Houston, TX 7:30 pm John Ferguson & Catherine Rodland, 22 MARCH College, Claremont, CA 8 pm with band; St. Olaf College, Northfield, MN Andrew McCrea, lecture/recital; Organ Hall, 4 APRIL 7:30 pm Gnessins’ Academy of Music, Moscow, Russia 25 MARCH Iain Quinn, Tournemire, Sept Chorals- Carlene Neihart; St. Mary’s Episcopal, 7 pm Paul Oakley; First Presbyterian, Hastings, Poèmes; Cathedral Church of St. John, Albu- Kansas City, MO 2 pm NE 5 pm querque, NM 7 pm Daniel Goltz & Kraig Scott; St. Mark’s 24 MARCH The Tallis Scholars; Cathedral Basilica of St. Cathedral, Seattle, WA 2 pm Edgar Krapp; Catholic Cathedral, Moscow, Louis, St. Louis, MO 7:30 pm 6 APRIL Youth Choir Celebration; Episcopal Church of Russia 8 pm The Eton College Choir; St. John’s Cathedral Bach, St. John Passion, BWV 245; Christ the the Resurrection, Eugene, OR 10:30 am (Episcopal), Denver, CO 4 pm King Lutheran, Houston, TX 3 pm Jeremy Filsell; Los Altos United Methodist, 25 MARCH Mel Butler, with saxophone; St. Mark’s Russ Litchfield; Trinity Lutheran, Manhattan Los Altos, CA 4 pm Florian Pagisch; St. John’s Cathedral, Bris- Cathedral, Seattle, WA 2 pm Beach, CA 12:15 pm bane, Australia 3 pm Kimo Smith; Cathedral of St. Mary of the 23 APRIL Ronald Ebrecht; Glinka Musical Instrument Assumption, San Francisco, CA 3:30 pm 8 APRIL David Higgs, masterclass; Hennepin Avenue Museum, Moscow, Russia 4 pm Susan Jane Matthews; St. Bede’s Episco- Daniel Sullivan; Cathedral of St. Mary of the United Methodist, Minneapolis, MN 6 pm Alexander Fiseisky; Tchaikovsky Hall, pal, Menlo Park, CA 4 pm Assumption, San Francisco, CA 3:30 pm Peter Richard Conte; Benaroya Hall, Seat- Moscow, Russia 7 pm tle, WA 7:30 pm Beate Kruppke, with chorus; Kirche “Zur frohen Botschaft,” Berlin Karlshorst, Germany ORGAN BUILDERS 24 APRIL 5 pm Erik Suter; First Presbyterian, Wichita, KS Marie-Ange Leurent & Eric Lebrun; Notre- 7:30 pm Dame de Lorette, Paris, France 4 pm
L. W. BLACKINTON THE NOACK ORGAN CO., INC. 27 APRIL 29 MARCH MAIN AND SCHOOL STREETS David Pipe; St. Martin’s, Dorking, UK 1 pm and associates, inc. GEORGETOWN, MA 01833 Joseph Adam; University of Puget Sound, www.noackorgan.com Tacoma, WA 12:05 pm 380 FRONT ST. Paul Jacobs; St. John’s Cathedral (Episco- 31 MARCH EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America pal), Denver, CO 7:30 pm Gerben Mourik; St. Saviour’s, St. Albans, UK Choir of Men and Boys; Grace Cathedral, San 5:30 pm Francisco, CA 7 pm martin ott pipe 5 APRIL organ 28 APRIL Joseph Nolan; St. John’s Smith Square, Lon- VocalEssence; Orchestra Hall, Minneapolis, don, UK 1 pm company MN 8 pm inc. Willam Ness; Pacific Union College Church, 8 APRIL 1353 Baur Boulevard Angwin, CA 4 pm David King; All Saints Church Blackheath, St. Louis, Missouri 63132 London, UK 5:30 pm (314) 569-0366 29 APRIL VocalEssence; Orchestra Hall, Minneapolis, 12 APRIL Arnfinn Tobiassen; St. Matthew’s Westmin- NEW INSTRUMENTS MN 2 pm Haydn, The Creation; First-Plymouth Congre- ster, London, UK 1:05 pm MAINTENANCE Parkey gational, Lincoln, NE 7:30 pm RESTORATIONS Martin Rost; Christ the King Lutheran, Hous- 14 APRIL 974 AUTUMN DRIVE OrganBuilders ton, TX 5 pm Edmund Aldhouse; St. John the Evangelist, ANTIOCH, ILLINOIS 60002 Gerre & Judith Hancock; St. Mark’s Episco- Upper Norwood, London, UK 1 pm ABR 847-395-1919 Distinguished Pipe Organs F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 pal, San Antonio, TX 4 pm PIPE ORGANS FAX 847-395-1991 Jonathan Dimmock, organ and harpsichord; 15 APRIL www.fabryinc.com Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com Cathedral Church of St. John, Albuquerque, NM David Drury; St. John’s Cathedral, Brisbane, 4 pm Australia 3 pm Rick Erickson; Lagerquist Hall, Pacific Alan Morrison; Westminster United Church, Hupalo & Repasky Lutheran University, Tacoma, WA 3 pm Winnipeg, MB, Canada 8 pm Pipe Organs Douglas Cleveland; Plymouth Church, Seat- tle, WA 4 pm 18 APRIL 1785 Timothy Dr. Unit 4 John Renke; Grace Cathedral, San Francis- Clive Driskill-Smith, with percussion; Sym- San Leandro, Calif. 94577-2313 co, CA 4 pm phony Hall, Birmingham, UK 7:30 pm 510 483 6905
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36 THE DIAPASON 19 APRIL ROBERT DELCAMP, The University of DAVID HATT, with Stuart Alan Duke, en La Bémol Majeur, op. 36, no. 2, Dupré; Maurizio Croci, with Ensemble Orlando; the South, Sewanee, TN, November 3: Alle- baritone, and Carole Klein, trumpet, St. improvisation on a submitted theme. Eglise des Cordeliers, Fribourg, Switzerland 8 gro (Symphony in g, op. 42, no. 6), Salve Mark’s Episcopal Church, Palo Alto, CA, pm Regina (Symphony in D, op. 13, no. 2), November 19: Donne Secours, Processional BRETT PATTERSON, Temple Square, Andante cantabile (Symphony in f, op. 13, in E-flat, Processional in D, Organ Variations Salt Lake City, UT, August 5: Prelude and 20 APRIL no. 4), Marche du Veilleur de Nuit (Bach’s on Praise the Lord, Ye Heavens Adore Him, Fugue in g, BuxWV 149, Buxtehude; O Lubbert Gnodde; Chapelle de l’Hôpital des Memento), Marche Pontificale (Symphony in three untitled sketches, Serving You, Lord, Gott, du frommer Gott, BWV 767, Bach; Bourgeois, Fribourg, Switzerland 12:15 pm c, op. 13, no. 1), Mystique (Trois Nouvelles Three Chorales for Two Performers, #3, A Krebs; Peeters; Fugue sur le thème du caril- Pièces, op. 87), Allegro vivace, Adagio, Toc- Mighty Fortress, God’s Radiance, Proces- lon des heures de la cathédrale de Soissons, 21 APRIL cata (Symphony in f, op. 42, no. 5), Widor. sional in D, Processional in C, The King’s Duruflé; Berceuse, Vierne; Pièce héroïque, Michel Bouvard; Cathédrale St-Nicolas, Fri- Processional, When the Church of Jesus, O Franck. bourg, Switzerland 8 pm ANDREW DEWAR, St. James Episcopal Shepherd of Souls, There Is Enough, Carol Anthony Hammond; St. George’s Cathedral Church, Los Angeles, CA, October 8: and Toccata on Puer nobis nascitur, Chorale Southwark, London, UK 1:05 pm PIERRE PINCEMAILLE, Vassar Col- Chorale Fantasia on O God our help in ages and March in F, Andante in A, Trumpet lege, Poughkeepsie, NY, October 27: Prelude past, Parry; Sonata for Organ in E-flat, Tune in E-flat, Lo, All Keys Are His, Varia- and Fugue in E-flat, BWV 552, Bach; 22 APRIL tions on St. Anne, You Gave to Me a Soul, Manfred Theilen; Kirche “Zur frohen Bairstow; Kaleidoscope, op. 144, Karg-Elert; Prélude, Fugue et variation, Choral in a, Sonata for Organ in G, op. 28, Elgar. three untitled works, A Dove (A Wedding Botschaft,” Berlin Karlshorst, Germany 5 pm Song), Wedding Hymn, A Little Lamb, I’m Franck; Scherzo (Symphony No. 4), Widor; Luigi Ferdinando Tagliavini, with cornetto; St. Barnabas Episcopal Church, Green- Sorry, Lord, for Those Who Cannot See, Chorale (Symphony No. 2), Vierne; Choral Abbatiale, Payerne, Switzerland 5 pm wich, CT, October 15: Adagio and Fugue in c, Johnson. varié sur Veni Creator, op. 4, Duruflé; Mozart, transcr. Guillou; Trio Sonata No. 4 in Nasard (Suite Française, op. 59), Langlais; 27 APRIL e, BWV 528, Bach; Andante and Variations, improvisation: chorale and variations on a Mendelssohn; Sonata III in a, op. 23, Ritter. JAMES R. METZLER, First (Park) Carol Williams; The Esplanade Theatre, Sin- Congregational Church, Grand Rapids, submitted theme. gapore, SG 7:30 pm MI, October 15: Marche de Fête, Büsser; PETER DUBOIS, Third Presbyterian Andante sostenuto (Symphonie gothique), IAIN QUINN & MAXINE THEVENOT, 28 APRIL Church, Rochester, NY, November 17: Pre- Widor; Fantasia in G, BWV 572, Bach; The Cathedral Church of St. John, Albu- Stephen Disley; St. Albans Cathedral, St. lude and Fugue in B, op. 7, no. 1, Dupré; Chant héroïque, Chant de Paix (Neuf querque, NM, November 19: Fête, Langlais; Albans, UK 5:30 pm Allein Gott in der Höh sei Ehr, BWV 662, Pièces), Langlais; Improvisation sur le Te Scherzo (Dix Pièces), Gigout; Five Liturgical Adrian Gunning; St. John the Evangelist, Toccata and Fugue in F, BWV 540, Bach; Deum, Tournemire, arr. Duruflé; Choral Inventions, Togni; At the Ballet (Five Islington, London, UK 7:30 pm Sonate II, Hindemith; Scherzo, op. 2, Duru- in a, Franck; Arabesque, op. 31, Vierne; Dances), Hampton; Carillon de Westminster flé; Grande Pièce Symphonique, op. 17, Choral varié sur Veni Creator, op. 4, (Pièces de fantaisie), Vierne; Placare Christe Franck. Duruflé. servulis, op. 38, Dupré; Barcarolle, op. 10, Rachmaninoff, arr. Quinn; Pièce Héroïque, Organ Recitals THOMAS FOSTER, St. Chrysostom’s AARON DAVID MILLER, Holy Trinity Franck; Introduction and Passacaglia, op. Episcopal Church, Chicago, IL, November Lutheran Church, Akron, OH, October 13: post, Reger; Max Cat Rag, Dinda. 19: Plein Jeu, Tierce en taille, Basse de Fire and Wind, Barber; Toccata and Fugue PHILIP CROZIER & SYLVIE POIRI- Trompette, Récit, Grand Jeu (Livre in F, BWV 540, Bach; Four Character Pieces, CAROL WILLIAMS, Canterbury ER, St. Antonius Großräschen, Nieder- d’Orgue), DuMage; Prelude in E-flat, Lem- op. 56, Schumann; Carillon-Sortie, Mulet; Cathedral, Canterbury, UK, November 4: lausitz, Germany, August 3: Praeludium und mens; Minuetto, Scherzo (Dix Pièces), Improvised Sonata on Four Welsh Folk Toccata in Seven, Rutter; Voluntary for Fuge in C-Dur, Albrechtsberger; Le Gigout; Choral Dorien, Alain; Trois Pièces, Songs, Miller. Double Organ, Z. 719, Purcell; Dialogue tombeau de Georges Cziffra (Suite à 4 mains op. 7, Barié. (Troisième Livre), Marchand; Marche pour l’orgue dans le style français), Perrot; BRUCE NESWICK, Chevy Chase Funèbre et Chant Séraphique, Guilmant; Christ, der du bist der helle Tag, BWV 766, DAVID A. GELL, Trinity Episcopal Methodist Church, Chevy Chase, MD, Toccata, Paponaud; Larghetto, Stravinsky; Bach; Deux danses à Agni Yavishta, Postlude Church, Santa Barbara, CA, October 8: Pre- October 28: Improvisation on a submitted Hungarian Dance No. 1, Brahms, arr. pour l’office de Complies, Alain; Triosonata lude and Fugue in d, Fugue in b, Wesley; theme; Praeludium und Fuge in E-Moll, Lemare; Mozart Changes, Gardonyi; Nr. 5 C-Dur, BWV 529, Bach; Voluntary in Fugue in e, Prelude and Fugue II in G, Pre- BWV 548, Bach; Psalm-Prelude, op. 32, no. Adiemus: Songs of Sanctuary, Trumpeting D, Boyce; Six Interludes, Bédard; Toccata in lude and Fugue III in d, Sonata II in c, 3, Howells; Variations on Ora Labora, Han- Organ Morgan, Jenkins; Toccata Store Gud, d-moll, BuxWV 155, Buxtehude. Sonata III in A, Mendelssohn. cock; Cantilena, Dirksen; Prélude et Fugue vi lover deg, Kleive.
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MARCH, 2007 37 Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
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Pipe organ factory in the Northeast is cur- Foley-Baker Inc. of Tolland, CT has openings Fantasia on Duke Street by Ralph Kinder, an rently interviewing for positions in chest con- for two pipe organ technicians: general shop American student of Edwin Lemare, is now Harpsichord Technique: A Guide to struction; pneumatic and small parts machin- and field and also a voicer’s assistant. Travel. available for the first time in decades as origi- Expressivity, 2nd edition with CDs, by ing; design and pipemaking. Please forward All benefits including excellent matching nally published in 1904. A great piece for East- Nancy Metzger. Still available and still cover letter and c.v. to: Austin Organs, Inc., 156 401K. Please send résumé to: er, Ascension or Christ the King, these varia- the practical hands-on choice! Woodland St., Hartford, CT 06105 or e-mail to: [email protected] or 42 N. River tions can be performed together or www.rcip.com/musicadulce. [email protected]. Please, no Rd., Tolland, CT 06084. 800/621-2624. separately. www.michaelsmusicservice.com; phone calls. All inquiries answered with privacy 704/567-1066. and respect. Goulding & Wood, Inc. is seeking a service Aging of Organ Leather by Harley Piltingsrud technician for immediate employment. A mini- tells how to test and select organ leathers for mum of three years prior experience is The OHS Catalog is online at longevity of 60 years or more. Treats other Experienced voicers needed for expanded required. Starting salary well above industry www.ohscatalog.org. More than 4,000 organ aspects of leather production and the history of voicing department. Excellent compensation standards. The successful applicant will have and theatre organ CDs, books, sheet music, testing for longevity. New 48-page edition in package includes paid vacation, comprehen- DVDs and VHS videos are listed for browsing 1994, $9.95 + $4 shipping for entire order (with- general knowledge of various action designs, in USA). Order online at www.ohscatalog.org. sive health insurance and company-matched extensive tuning background, and strong and easy ordering. Use a link for adding your IRA. Send résumé or contact Brian Berghaus interpersonal skills. Voicing skills a plus. address to the OHS Catalog mailing list. Organ at Berghaus Organ Company, 2151 Madison Please submit résumés or requests for more Historical Society, Box 26811, Richmond, VA Request a free sample issue of The Diapason St., Bellwood, IL 60104. 708/544-4052, information to: Brandon Woods, Goulding & 23261 E-mail: [email protected]. for a student, friend, or colleague. Write to the [email protected]. Wood, Inc., 823 Massachusetts Avenue, Editor, The Diapason, 3030 Salt Creek Lane, Indianapolis, IN 46204. Fax: 317/637-5236. Suite 201, Arlington Heights, IL 60005; or Reflections: 1947-1997, The Organ Depart- Berghaus Organ Company has an immedi- [email protected], e-mail: [email protected] www.gouldingandwood.com. ment, School of Music, The University of Michi- ate opening for an experienced Technical gan, edited by Marilyn Mason & Margarete Designer. The successful applicant will have Thomsen; dedicated to the memory of Albert HARPSICHORDS/ an architectural degree and be proficient in MISCELLANEOUS Stanley, Earl V. Moore, and Palmer Christian. AutoCAD use and application. Experience Includes an informal history-memoir of the organ CLAVICHORDS with console/façade design a plus. This is a department with papers by 12 current and former key position that provides a significant oppor- Visiting London? Bed and Breakfast accom- faculty and students; 11 scholarly articles; remi- Harpsichords from the workshop of Knight tunity for advancement. Berghaus offers an modation available in large parish house min- niscences and testimonials by graduates of the Vernon. Authentic replicas of historic instru- excellent compensation package that includes utes away from Westminster Abbey, the department; 12 appendices, and a CD recording, ments carefully made and elegantly decorated. paid vacation, comprehensive health insur- Thames, St. James’s Park and the Under- “Marilyn Mason in Recital,” recorded at the 8201 Keystone, Skokie, IL 60076. Telephone ance and company-matched IRA. Send ground. Modern kitchen and laundry available. National Shrine of the Immaculate Conception in 847/679-2809. Web site: résumé or contact Brian Berghaus at For information write: St. Matthew’s House, 20 Washington, DC. $50 from The University of www.vernonharpsichords.mykeyboard.com. Berghaus Organ Company, 2151 Madison St., Great Peter Street, Westminster, London, SWIP Michigan, Prof. Marilyn Mason, School of Music, Bellwood, IL 60104. 708/544-4052, 2BU. Tel. 0171 222 3704, FAX 0171 233 0255, Ann Arbor, MI 48109-2085. PIPE ORGANS e-mail [email protected]. [email protected]. WANTED CD Recording, “In memoriam Mark Buxton Rapidly growing service organization has The Organist Entertained! Organists visiting (1961-1996).” Recorded at Église Notre-Dame Want to purchase: Either a 3-manual, 30-45 immediate openings for experienced service England may stay at Sarum College, situated de France in Leicester Square, London, stop, electro-magnetic action pipe organ or an technicians. Excellent compensation package inside the walled Cathedral Close, Salisbury, between 1987 and 1996. Works of Callahan, adaptable 2-manual, multiple stop pipe organ includes paid vacation, comprehensive health and use two new organs with mechanical Widor, Grunewald, Salome, Ropartz, and Boëll- for church use. Located in the Washington, insurance and company-matched IRA. Send actions for private study. Options for lessons, mann, along with Buxton’s improvisations. $15 DC area. Will travel to evaluate any appropri- résumé or contact Brian Berghaus at time on the Cathedral Father Willis organ, visits postpaid: Sandy Buxton, 10 Beachview ate instrument. Contact: Donna Osthaus; Berghaus Organ Company, 2151 Madison St., to local sights. Excellent food, welcoming staff. Crescent, Toronto ON M4E 2L3 Canada. 8812 Arley Drive, Springfield VA 22153. Tele- Bellwood, IL 60104. 708/544-4052, Website: www.sarum.ac.uk e-mail: 416/699-5387, FAX 416/964-2492; e-mail phone: 703/644-1896; Fax: 703/644-0739; [email protected]. [email protected]. Tel: +44 1722 424805. [email protected]. [email protected].
glück newyork orgaNbuilders
170 Park Row, Suite 20A New York, NY 10038
212.608.5651 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: arndtorgansupply.com Muller Or send for our CD-ROM catalog Pipe Organ Company Arndt Organ Supply Company P.O. Box 353 • Croton, Ohio 43013 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 9310 Dodd Road • Kilkenny, Minnesota 56052 800-543-0167 Phone (515) 964-1274 Fax (515) 963-1215 (507) 334-2277 www.MullerPipeOrgan.com
Visit THE DIAPASON website at New Organ Sales • Rebuilding and Additions TheDiapason.com Maintenance and Tuning Box 838, Lithonia, Georgia 30058 • (770) 482-4845
3030 W. Salt Creek Lane ph 847/391-1045 Suite 201 fax 847/390-0408 THE DIAPASON e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON Classified Advertising Rates CLASSIFIED ADVERTISING will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
3-manual 1935 Aeolian-Skinner, 37 ranks, 1950 Reuter 7-rank pitman split chest with Columbia Organ Leathers sells the finest Austin actions: Come to the source. Fast one-third removed. Skinner English Horn, Clar- chest supports. Three 12-note unit offset leathers available for organ use. We sell pre- delivery. Guaranteed. 860/522-8293; inet and other nice ranks. Organ was installed in chests with high racking. One 6-note unit offset punched pouches and pre-assembled pouches, www.austinorgans.com. 1970 by Moller, with 3-manual Colonial-style chest with high racking. Three 32-note unit and we specialize in custom releathering ser- Moller console, also releathered 1970. 61-note pedal chests with high racking and chest sup- vices. Call today for a catalogue. 800/423-7003 Harp. Ebert Organ Co., Pittsburgh, PA. ports. Two winkers. Zinc Principal 16v, 25 or e-mail: [email protected]. RELEATHERING: also Pipe Organ Rebuild- 412/231-1001; e-mail: [email protected]. notes, starting low G#. E-mail: ing, Repair and Maintenance Service in New [email protected]. Phone: 402/420-7662. England area. Years of experience, fine work- Aeolian-Skinner organ, 28 ranks, 3 manuals, Top Quality Releathering. Pouch rails, pri- manship. Reading Organ Works, A. Richard 1953. Opus 1216, originally built for First maries, reservoirs and any other pneumatic Hunter, 29 Baker Road, Springfield, VT 05156. Consoles, pipes, relays, magnets and 802/886-2304. E-mail [email protected]. Methodist Church, Tacoma, WA. The organ is numerous miscellaneous parts. Let us know action. Removal and installation service avail- removed from the church (demolished) and what you are looking for. E-mail able. Full warranty. Skinner, Casavant and Kim- stored in our shop. A fine, unaltered example of [email protected] (not comcast), phone ball specialty. Spencer Organ Company, Inc. The Whistle Shop repairs and rebuilds pipe G. Donald Harrison. We will rebuild, including full 215/353-0286 or 215/788-3423. Call, Fax or visit our website for quotation and organs. Southwestern U.S. Also, maintenance releathering, and install anywhere in the U.S. information. 781/893-7624 Voice/Fax, and tonal work. Finest materials, expert work- Bond Organ Builders, Inc., Portland, OR. www.spencerorgan.com. manship. K.E.M. Pipe Organ Builders, Austin, 503/238-3987. Details at www.bondorgans.com. Moller 8v Tuba, 5w pressure, Tellers 8v Tuba, 4w pressure; both, 73 pipes; either set $800. Com- TX. 800/792-8180. plete 16v Moller manual Bourdon, 97 pipes; 1954 Moller 2/8, $6,400—still in place, buyer to chests and racks on 5w pressure, $1500. Moller Highest quality organ control systems since remove; 1962 Schantz 3/33, $26,400—still in 8v Doppel Flute, 61 pipes; Clarinet 8v, 61 pipes, 1989. Whether just a pipe relay, combination Austin actions recovered. Over 30 years place, buyer to remove; 1925 Moller 2/10, 4w pressure, spotted metal, $800. Austin 8v action or complete control system, all parts are experience. Units thoroughly tested and fully $8,000—still in place, buyer to remove; 1976 Oboe, 4w pressure, $800. Austin Vox Humana, compatible. Intelligent design, competitive pric- guaranteed. Please call or e-mail for quotes. Berghaus 2/11, $8,800—still in place, buyer to 4w pressure, $300. Siedle Organ Company, ing, custom software to meet all of your require- Technical assistance available. Foley-Baker, remove. Parted out: 1966 Moller 2/10—some 412/221-5484. ments. For more information call Westacott Inc., 42 N. River Road, Tolland, CT 06084. pipework still available, contact for details; 195? Organ Systems, 215/353-0286, or e-mail Phone 1-800/621-2624. FAX 860/870-7571. Reuter 2/9—some pipework still available, con- [email protected]. [email protected]. tact for details. Sold! 1949 Moller 3/30; Sold! Shop equipment of retired organ builder: 1962 Wicks 2/4; Sold! 1969 Moller 2/3; Just Delta Unisaw, 21w drillpress, Delta thickness reduced! 1964 Wicks 2/6, All new Peterson planer, Delter long-table jointer, Delta 12w turret Need help with your re-leathering Flue pipes in metal and wood–Mixtures relay, new DC wiring, ready to ship now! Seller saw, chip collector, benches, shop trucks, project? All pneumatics including and upperwork are available from stock or wants to liquidate! $18,000 or best offer! Fabry, numerous other items. Asking $6400. Prefer to Austin. Over 45 years experience specify custom orders to meet your exact Inc. offers removal services and shipping F.O.B. sell the entire package. Buyer to move. Contact requirements. Tuning Sleeves with Tom Rench, 1601 Circlewood Drive, Racine, WI (on the job assistance available). Antioch, IL. Large used pipe inventory available 615/274-6400. flare–Order complete sets ready to install and ready for use. Contact for available ranks 53402. 262/639-3473, [email protected]. or bulk quantities in each diameter. These and specifications. Fabry, Inc. 974 Autumn sleeves are guaranteed to fit and will not Drive, Antioch, IL 60002, tel: 847/395-1919, fax: 10v electric metal shear originally from the tarnish or corrode. For excellent quality, 847/395-1991, e-mail: [email protected]. Aeolian-Skinner pipe shop. $5,000 or best offer. great pricing and timely delivery contact: Contact: Sandee at A. R. Schopp’s Sons, Inc. ALL REPLIES International Organ Supply, P.O. Box 401, 330/821-8406. Riverside, IL 60546. 800/660-6360. FAX 1952 Wicks organ. Three manuals, 18 ranks, TO BOX NUMBERS 708/447-0702. 36 stops. Playing in Cleveland area. $10,000 that appear minus blower. Greg Sparks, 216/252-8264. Atlantic City Pipe Organ—1940 E.M. Skinner & without an address Son: 3-manual drawknob console, 8v 45sc Swell Postal regulations require that mail Principal and 4v Violin; Moller 3-rank Sputnik should be sent to: REED ORGANS 1962 with direct electric chests; 3-manual to THE DIAPASON include a suite num- FOR SALE drawknob Moller shell, Harp—1952. 8v Harmonic THE DIAPASON ber to assure delivery. Please send Flute, III Cornet, 2v Flautina, Haskell Bass Sali- all correspondence to: THE DIAPA- Mason and Hamlin reed organ, 10 stops plus cional with Celeste, 8v Gamba, Gemshorn and 3030 W. Salt Creek Lane, Suite 201 forte stop and octave coupler, with bench. more. Visit http://mywebpages.comcast.net/acor- SON, 3030 W. Salt Creek Lane, Suite Excellent condition. Best offer. Nelson, 847/367- gan. E-mail: [email protected]. Phone Arlington Heights, IL 60005 201, Arlington Heights, IL 60005. 5102 or 312/304-5287. 609/641-9422.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC CHARLES W. M CMANIS NEW INSTRUMENTS “Three Generations at Organ Building” REBUILDS - ADDITIONS In Memoriam TUNING & SERVICE CHARLOTTE, NORTH CAROLINA 28218 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
PATRICK J. MURPHY & ASSOCIATES, INC. THE DIAPASON ORGANBUILDERS 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 610-970-9817 • 610-970-9297 fax Name ______NEW SUBSCRIBER [email protected] • www.pjmorgans.com RENEWAL Street ______ENCLOSED IS $70.00—3 YEARS Jacques Stinkens City ______ $55.00—2 YEARS W. Zimmer & Sons $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS Your personal wishes are in good hands P.O. Box 520 $85.00—3 YEARS Please allow four weeks for delivery of first issue Pineville, NC 28134 $65.00—2 YEARS Antonlaan 8 Tel. +31 30 - 691 38 27 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3701 VE Zeist Fax +31 30 - 692 06 20 www.stinkens.nl (803) 547-2073
MARCH, 2007 39 KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director Available 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland
WEBWEB SITE:SITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
Thomas Trotter* John Weaver Gillian Weir* Todd Wilson Christopher Young