THE DIAPASON APRIL, 2011
The Community Church at Tellico Village Loudon, Tennessee Cover feature on pages 30–31
Apr 2011 Cover.indd 1 3/11/11 7:32:18 AM Apr 2011 pp. 2-19.indd 2 3/11/11 7:33:46 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 4, Whole No. 1217 APRIL, 2011 Juget-Sinclair organ at St. Mark’s, tions. For this, a circle cutter would not Established in 1909 ISSN 0012-2378 St. Louis do, since the idea was not to cut all the An International Monthly Devoted to the Organ, I was delighted to see my piece on the way through the material. Therefore this the Harpsichord, Carillon, and Church Music new Juget-Sinclair organ at St. Mark’s, thing had a set of multi-spur bits to cut St. Louis, in the February issue of The fl at-bottomed holes at least six inches Diapason. However, the inaugural re- in diameter, and I think perhaps up to cital by Clive Driskill-Smith never took eight or nine inches (but I do not wish to CONTENTS Editor & Publisher JEROME BUTERA [email protected] place, since a volcano in Iceland pre- commit the sin of hyperbole, and it has 847/391-1045 vented him from reaching the United been a long time). In any case, this crea- FEATURES States. Instead, St. Mark’s was success- ture had one speed—very slow—which 55th OHS National OHS Convention Associate Editor JOYCE ROBINSON ful in securing the services of Janette some readers will know translates into June 21–26, 2010, Pittsburgh [email protected] Fishell, who gave a totally stunning re- unbelievable torque. If one of these bits by Frank Rippl 20 847/391-1044 cital on a mere 48 hours notice. Clive were to jam, I was convinced nothing in A Conversation with Contributing Editors LARRY PALMER Driskill-Smith’s recital was rescheduled heaven or on earth would stop it from Christopher Houlihan Harpsichord for February 25, 2011. its duly appointed rounds, and I remem- by Joyce Johnson Robinson 26 John L. Speller ber clamping my stock to the drill press JAMES MCCRAY St. Louis, Missouri table with religious fervor to prevent the Choral Music occasion of painfully proving my theory. NEWS & DEPARTMENTS John Bishop: “The truth about I’ve operated some rather fearsome ma- BRIAN SWAGER Editor’s Notebook 3 Carillon holes” chines but that one took the cake. Letters to the Editor 3 The column by John Bishop on drills, Ron Rarick JOHN BISHOP and the holes they make, was most en- Muncie, Indiana Here & There 3, 4, 6, 8, 10 In the wind . . . joyable. However, his statement that Nunc Dimittis 9 multi-spur bits go up to three inches John Bishop’s column in the January On Teaching by Gavin Black 12 GAVIN BLACK diameter reminded me of an encoun- 2011 issue of The Diapason was a holy On Teaching In the wind . . . by John Bishop 13 ter decades ago when I was in the or- tribute to the organbuilder’s trade. It was gan trade. The fi rm for which I worked a thrill to get the whole truth on rack- Reviewers John L. Speller had a beast of a drill press in the base- board construction. I would describe REVIEWS John M. Bullard Music for Voices and Organ 15 Robert August ment that must have dated from when it as a wholesome and refreshing bit of Jan-Piet Knijff dinosaurs roamed the earth. Certainly, information. I just love it when a writer Book Reviews 15 among drill presses this was a prehis- goes whole hog on a topic. Let’s give a New Recordings 17 Jay Zoller John Collins toric monster. As far as I could tell, it wholehearted tribute to John! New Organ Music 17 Gale Kramer had but one function: to excavate the Joe Rhodes pouch holes for extra-large pedal ac- Prescott, Arizona NEW ORGANS 29 THE DIAPASON (ISSN 0012-2378) is published monthly SUMMER INSTITUTES, WORKSHOPS & by Scranton Gillette Communications, Inc., 3030 W. Salt CONFERENCES 32 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 MSG RLY. E-mail:
Editor’s Notebook
In this issue Website and newsletters Among the offerings in this issue of Are you receiving our e-mail newslet- The Diapason is Frank Rippl’s report ters? The newsletters are a free bonus on the 2010 national convention of the to Diapason subscribers. To sign up Organ Historical Society. For infor- for the newsletters, go to
APRIL, 2011 3
Apr 2011 pp. 2-19.indd 3 3/11/11 7:34:18 AM Holy Trinity Lutheran Church, Ak- The 21st annual International Or- The reunion will offer tours of the ron, Ohio, concludes its 2010–11 music gan Festival takes place May 13–June School of Music facilities and the Insti- series on April 8, with a recital by Rich- 10 at the Parish Church of SS. Ambro- tute’s state-of-the-art pipe organ shop. ard Elliott. For information: 330/376- gio and Theodulo, Stresa, Italy: May 13, The Mildred Andrews Boggess Memo- 5154;
University of Michigan School of Music, Theatre & Dance Tour 57 with Gale Kramer:
Historic Organs of Bavaria, Saxony and Berlin Anna Myeong Michael Unger .VOJDIUP#FSMJOr+VMZm Concert Artist Cooperative, be- ginning its 24th year of operation in Dr. Tchebourkina is one of two organ- rOrgans:0UUPCFVSFO *OOTCSVDL 8JFT .VOJDI "SOTUBEU -FJQ[JH April, welcomes organist/conductor ists serving at the Royal Chapel, Ver- Brenda Lynne Leach, organist/lec- sailles, Paris, France. %SFTEFOBOE#FSMJOrCastles and palaces:-VEXJHT/FVTDIXBOTUFJO turer Anna Myeong, organist/histo- Mr. Unger is director of music at the -VUIFST8BSUCVSH 'SFEFSJDLT4BOTTPVDJrMuseums and birthplaces: rian Marina Tchebourkina, and or- Lutheran Church of the Incarnate Word, ganist/harpsichordist Michael Unger Rochester, New York. 8BHOFS 4DIVNBOO 4DIJMMFS )BOEFM #BDI -JT[UBOE.FOEFMTTPIOr to its roster of soloists and ensembles Further information is available at from around the world. www.ConcertArtistCooperative.com Dr. Leach is a music professor at Tow- and/or from Beth Zucchino, 7710 Lynch TEFSSJH!DPOMJOUSBWFMDPNr son University, Maryland. Road, Sebastopol, California 95472, 707/ Dr. Myeong is organist at Trinity Lu- 824-5611, 707/824-0956 fax, or theran Church, Mission, Kansas.
4 THE DIAPASON
Apr 2011 pp. 2-19.indd 4 3/11/11 7:34:38 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Apr 2011 pp. 2-19.indd 5 3/11/11 7:35:02 AM town of Biarritz, France, is open to or- land Organ Company director John Har- ganists of all ages and nationalities. graves said two team members were not A prize of €3,000 will be awarded to in the building and another managed to the winner in each category: interpreta- escape unaided. The three searched the tion and improvisation. In commemo- rubble and freed two other team mem- ration of the 100th anniversary of Je- bers who were trapped, but were unable han Alain’s birth, a special prize will be to locate Stocker, Lucy, or Dunlop be- awarded for the best interpretation of a fore police cordoned off the site. Search work by that composer, as well as a prix teams, fi rst with sniffer dogs and later du public in each category. For require- heavy equipment, worked through the ments of admission, contact Ralph Til- night searching the debris. den at 828/733-5641. Deadline for sub- The organ in the church was being mission of CDs is July 7, 2011. removed to be stored in Timaru while a decision on the church’s future was The First Church of Christ (Center being made. Hargraves said the job Church), Hartford, Connecticut, invites was not rushed into, and they had wait- interested college students to apply for ed for the building to be thoroughly Frederick Hohman with the Casavant- positions in the Center Church Choir for checked and given clearance before Schantz organ at St. Andrew’s Lutheran the 2011–12 season. Up to four $2,000 the removal started. Church, Mahtomedi, Minnesota scholarships will be awarded. Choral scholars are expected to participate in Center Church’s weekly choral rehearsal and Sunday morning service, as well as Simon Lole special services and concerts. For infor- mation: Jason Charneski, 860/249-5631, The 51st annual Montréal Boys x19;
(top, l to r) Thomas Mellan, Martin Green, Nicholas Halbert; (front) Gary Toops, Carol Williams, Robert Plimpton, Braden McKinley, Jared Jacobsen, and Dale Sorenson
Martin Green (Canon, St. Paul’s work by Hook & Hastings, later addi- Cathedral, San Diego) and Carol tions by Johnston (of Van Nuys), and Williams (Civic Organist of San Di- M. P. Möller. Local organists are per- ego) are working to build up the new forming the concerts, which are free Tuesday lunchtime concert series to the public. Shown in the photo are at St. Paul’s Cathedral in San Di- (top, l to r) Thomas Mellan, Martin ego. A weekly 30-minute organ con- Green, Nicholas Halbert; front: Gary cert is presented on the four-manual Toops, Carol Williams, Robert Plimp- Aeolian-Skinner organ. Part of the ton, Braden McKinley, Jared Jacob- organ dates back to 1887, with pipe- sen, and Dale Sorenson.
Paul Cienniwa, Audrey Sabattier-Cienniwa, and Jerry O’Sullivan
Harpsichordist Paul Cienniwa, Irish American weekly newspaper, with a ERTIFIED PPRAISALS Grammy Award-winning uilleann piper 50-state subscription base. C A Jerry O’Sullivan, and baroque cellist Au- The recording features compositions drey Sabattier-Cienniwa are featured on found in O’Farrell’s tune collections Collections of organ books, recordings, and music a recording, “O’Sullivan Meets O’Farrell, from the 18th century. Volume two in- Vol. 2,” recently cited by The Irish Echo as cludes compositions from the collections for gift, tax, and estate purposes one of the top ten Irish traditional record- that could combine uilleann pipes with ings of 2010. According to reviewer Earle additional instruments; Boston musician Hitchener, it is “drop-dead gorgeous.” Kevin O’Brien wrote the continuo parts. Stephen L. Pinel, Appraiser The CD, made at Emmanuel Church in The CD includes four arranged suites, Newport, Rhode Island in 2008 and fi nal- plus “Sheeling O Guira” performed as a [email protected] / (609) 448-8427 ly released last year, is a compilation of uilleann pipes solo. To listen to excerpts, Irish tunes collected in the 18th-century. to purchase the CD, and for more infor- The Irish Echo is the largest circulation mation, visit
6 THE DIAPASON
Apr 2011 pp. 2-19.indd 6 3/11/11 7:35:25 AM Apr 2011 pp. 2-19.indd 7 3/11/11 7:35:46 AM Following 40 years in medicine, Riess retired and resumed organ playing. Her program, “Music of Joy,” will include works by Langlais, Bach, Brahms, Karg- Elert, Shostakovich, Joplin, and Mes- siaen. She is associate organist at First Christian Church in Las Vegas, Nevada, and maintains her performance edge through a vigorous program of weight training and swimming. For further in- formation see
Paul Jacobs Arthur LaMirande
Paul Jacobs was the 2011 Grammy San Francisco, the Washington National Awards winner for Best Instrumental Cathedral, and Notre Dame Cathedral Soloist Performance (without Orches- in Paris. Three of those performances tra) in the classical category. Jacobs won were recorded. Thomas Murray for his recording of Messiaen’s Livre du The program will open with the Saint-Sacrement (Naxos). It was his fi rst Rhapsodie de Paques by Bernard Piché In 2003, he was named an honorary fel- Grammy award. The other nominees (1908–89), who was for many years or- low of the Royal College of Organists in were Nelson Freire, Chopin: The Noc- ganist of the Church (now Basilica) of St. England, and in 2005 he was awarded turnes (Decca); Marc-André Hamelin, Peter and St. Paul in Lewiston, Maine. the Gustave Stoeckel Award for excel- Hamelin: Études (Hyperion Records); LaMirande performed this work there in lence in teaching by the Yale University Julia Fischer, Paganini: 24 Caprices 2006 and also performed it the same year School of Music. He received the Distin- Carol Williams (Decca); and Sarah Schuster Ericsson, at the Cultural Centre in Hong Kong. guished Service Award from the Organ 20th Century Harp Sonatas (Dorian Historical Society in 2010. “TourBus goes to Luxembourg” is the Sono Luminus). Dan Locklair’s Pater Noster was per- fi fth in the collection of DVDs devoted Jacobs’ Grammy marks the fi rst time formed by the Duke University Chorale, to the King of Instruments, its music, that a solo recording of classical organ Rodney Wynkoop, conductor, February people, and places. Carol Williams music has been recognized in this cat- 20 at St. Timothy’s Episcopal Church, visits ten organs in and around Luxem- egory. Chair of the Juilliard School’s Winston-Salem, North Carolina. Pater bourg, interviews organists, and visits organ department, Jacobs performed all Noster, a motet for SSAATTBB chorus, places of interest. Organs included in the of Messiaen’s works in nine-hour recitals a cappella, written in 2000, has been re- DVDs are those at Luxembourg Cathe- in several cities throughout the United corded for the Koch International Clas- dral (two contrasting instruments); Phil- States in 2002. [See “An Extraordinary sics, Priory, and Arsis labels. harmonie Concert Hall in Luxembourg Musical Journey: Paul Jacobs’ Messiaen Locklair’s In Mystery and Wonder City; St. Martin’s Church in Dudelange; Marathon,” by Frank Ferko, The Dia- (The Casavant Diptych) for organ was Echternach Abbey; and the Buckingham pason, April 2002.] Jacobs has also pre- played by Susan Bates on February 20 at Palace organ, which now resides in Saar- sented marathon concerts of J.S. Bach’s First Presbyterian Church, Greensboro, brucken, Germany. organ works, and has given recitals in all North Carolina. This summer, Bates will Artists interviewed on the DVDs in- 50 states. He is represented by Phillip be the soloist in the composer’s new Con- clude Paul Breisch, Maurice Clement, Truckenbrod Concert Artists certo for Organ and Orchestra with the Paul Kayser, Alain Wirth, Serge Tani, (www.concertartists.com). EMF Orchestra and Gerard Schwarz. and Bernhard Leonardy. There are Jacobs’ recording, Olivier Messi- For information:
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
8 THE DIAPASON
Apr 2011 pp. 2-19.indd 8 3/11/11 7:36:06 AM educated at the St. Louis Country Day gil Fox and other leading artists. He Nunc Dimittis School, Oberlin College, and Ohio State worked with Rodgers Organ Company University, and he completed advanced and Fratelli Ruffatti, handling market- musical study at Syracuse and North- ing, public relations, advertising, product James G. Chapman, retired Univer- western universities. His organ teachers development, and sales until 1976, when sity of Vermont Choral Union conductor included Grigg Fountain, Leo Holden, the concert management grew into a and longtime music professor, died Feb- Wilbur Held, and Arthur Poister. He production company. By 1983, Torrence ruary 8. He was 83. Born and raised in taught organ at Houghton College (NY), was developing high-visibility fund-rais- Manistee, Michigan, Chapman studied served as director of music at Kenmore ing events for such clients as UNICEF, at the University of Michigan, where he Methodist Church (NY) and as organist Dance Theatre of Harlem, New York earned his bachelor’s degree in music in and choirmaster at the Church of the As- City Opera, and the American Founda- 1949 and master’s in 1950. He began as cension in Chicago. tion for AIDS Research (AmFAR). Ce- a church organist while a teenager, and He leaves no immediate survivors, but lebrities he worked with included Eliza- later taught at Flora MacDonald Col- his gentle spirit was infectious, result- beth Taylor, Leonard Bernstein, Mstislav lege in Red Springs, North Carolina, but ing in a multitude of friendships from Rostropovich, Eartha Kitt, Van Cliburn, was drafted into the U.S. Army in 1951. all walks of life. As a mentor to young Madonna, William F. Buckley Jr., Ted Though trained in cryptographic work, musicians, he became an icon of car- Turner, Jane Fonda, and Michael York. he was assigned as an organist and assis- ing, always offering encouragement and During a trip to Russia in 1992, Rich- tant choir director for the Far East Com- concern. He was a prolifi c letter-writer, Richard Torrence ard Torrence became acquainted with mand Chapel Center in Tokyo (1951–53). known to friends all over the country for Anatoly Sobchak, Mayor of St. Peters- He served from 1953–59 as the organist his distinctive prose. ner Marshall Yeager, Torrence promoted burg, and became Advisor to the Mayor and choir director at St. Luke’s Episcopal A memorial celebration of his life was Virgil Fox’s “Heavy Organ” initiative of St. Petersburg on International Proj- Church in Forest Hills, New York. held at the Church of the Ascension, Chi- back in the 1960s and 70s. He guided the ects, 1992–96, facilitating cultural proj- Chapman taught music at Middle- cago, on March 5. Memorial gifts may career of Ted Alan Worth, collaborated ects and investment opportunities in the bury College from 1959 to 1963 and was be made to the Endowment Fund of the with the Rodgers and Ruffatti organ Petersburg region. During his tenure he one of 40 music teachers selected for a American Guild of Organists, 475 River- companies, commissioned Fox’s “Black helped raise $1.3-million for city dental Danforth Teacher Grant in 1963–64. side Dr., Suite 1260, New York, NY 10115, Beauty” touring organ, co-authored the programs, and attracted the Wm. Wrig- In 1964, he fi nished his Ph.D. in musi- or to North Shore University Health Sys- irreverent biography, Virgil Fox: The ley Jr. Co. to St. Petersburg to build a cology at New York University. He also tem Foundation, 1033 University Place, Dish, shepherded the “Virgil Fox Lega- $70-million factory. Vladimir Putin was served as a guest conductor for the Ver- Suite 450, Evanston, IL 60201. cy,” godfathered the ‘virtual organ’, and Torrence’s immediate superior during mont Symphony Orchestra and led tours —Morgan Simmons encouraged Cameron Carpenter. this time. Torrence had twice produced to Europe. Evanston, Illinois Richard Torrence earned a Bachelor the St. Petersburg Festival of American In 1968, Chapman was the founder of Science degree from the University of Films, and in 1998 he designed and mar- and director of the UVM Choral Union. Richard Torrence, promoter and Wisconsin-Madison in 1958. He moved keted Le Club, a business and profes- Chapman teamed up with UVM Eng- manager, died February 6 following a to New York and established a concert sional complex with two restaurants and lish professor Betty Bandel in February stroke. With his colleague and life-part- management in 1963, representing Vir- special events facilities. 1973 to release the record album “Ver- mont Harmony” that featured music by Vermont composers between 1790 and ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
1810. Three years later, Chapman and DOBSON CASAVANT FRERES Bandel released “Vermont Harmony II” with the works of Hezekiah Moors and Jeremiah Ingalls, and “Vermont Harmony III” appeared in 1986. Chap- man—along with Mel Kaplan and Bill Metcalfe—helped create the Vermont Mozart Festival in 1973. Chapman was selected to perform the inaugural recital on the Vedder Van Dyck memorial organ BOODY TAYLOR in the new St. Paul’s Episcopal Cathedral in Burlington in 1974. .DE DYER R. IK GARLAND FISK FRITTS
Roy Kehl
Musician, scholar, and philanthropist The Future of Church Music Roy Frederic Kehl died at his home in Evanston, Illinois, on February 12 at the age of 75 after a valiant 24-year battle is in These Fingers
with cancer. A Fellow of the American GOULDING & WOOD Guild of Organists, Kehl was a member of the Bishop’s Advisory Commission Share a 10 year-old’s sense of wonder as she first touches an organ’s keys! Delight in of Church Music of the Diocese (Epis- copal) of Chicago. He also served as a a 12 year-old’s steady concentration, as he learns the pedals. Watch a 14 year old member of the Hymn Music Committee mature before your eyes during his first recital! of the Episcopal Church, making many contributions to The Hymnal 1982. His generosity was extensive, benefi t- Young people are forever changed when they play the pipe organ! Join APOBA in sup- ing his chosen interests: the American porting AGO outreach programs to the next generation of organists! Guild of Organists and the North Shore University Health System, where he endowed the gastroenterology labora- QUIMBY REDMAN SCHANTZ SCHOENSTEIN & tory. At considerable personal expense, HENDRICKSON he conducted exhaustive research at the To receive information about pipe organs Steinway piano facilities in New York and recognized pipe organ builders and became the world’s foremost au- thority on the history of Steinway & Sons AP write or call toll free 1-800-473-5270 piano production. Outside of his musi- or on the web @ www.apoba.com cal interests, Kehl was also a train and PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America mass-transit enthusiast, and maintained BO a signifi cant collection of historical docu- A P.O. Box 155 • Chicago Ridge, Illinois 60415 ments and photographs of the mass tran-
sit systems of Chicago and St. Louis. OTT PARSONS The only child of F. Arthur and El- eanor McFarland Kehl, he was born on NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP November 22, 1935 in St. Louis. He was
APRIL, 2011 9
Apr 2011 pp. 2-19.indd 9 3/11/11 7:36:36 AM H. Lemare: Prelude to Act III of Die speakers provide the sound. The bass Here & There Meistersinger, Trauermarsch (Siegfried’s subwoofer provides the low tones of Funeral Music) from Götterdämmerung, stops such as the Contra Violone 32′. and Der Ritt der Walküren (The Ride of Surround speakers are positioned on the Amadeus Press announces the re- the Valkyries). A fourth transcription, sides of the organ. Two high-effi ciency lease of The Secret Life of Musical No- War March from Rienzi, is by Edgar S. tweeters aimed directly at the organist tation: Defying Interpretive Traditions, Kelley, an American who studied with reinforce the upper register sounds. by Roberto Poli (987-1-56467-184-1, Clarence Eddy and who lived in Berlin Orchestral voices include trumpet, paperback, $24.99). In the book, the 1902–1910 (when he met Edward Mc- chimes, and piano, in addition to gospel author argues that current understand- Dowell); he enthusiastically promoted and jazz organs with a simulated rotary ing of many common musical signs and American music to European musicians. speaker. The Symphonica has 39 ad- symbols is very different from what com- A quieter option is Lullaby, by Will C. ditional solo and orchestral voices, re- posers in the 18th and 19th centuries Macfarlane. For information: corded from original instruments. Thir- intended, and aims to reveal the true
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10 THE DIAPASON
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10100260_JOHANNUS_ADV_246x360_DIA_FC.indd 1 12/2/10 5:15 PM whole, amongst all of its movements, Example 1 shows off a generous subset of what the On Teaching organ of the composer’s time could do, by Gavin Black with different textures being assigned to different movements rather than to dif- ferent sections of a continuous piece. Textures The sixteenth-note perpetuum mo- bile of this movement manifests itself in three different specifi c textures, with slight variants. The fi rst texture, found Example 2 initially in the opening, occupies about 55 measures out of the total of 111 (Ex- ample 1). The second texture involves the sixteenth notes’ moving to the left hand and the introduction of syncopa- tion (Example 2). This texture is present in 32 measures. In both of these textures, the sixteenth notes are in chord patterns and remain within one hand-span. That is, the hand does not have to turn over Example 3 to reach the notes of each chord shape. This is a crucial factor in the technical learning of the movement. The third tex- ture displays more variety within itself. It fi rst shows up in measure 26 (Exam- Boëllmann Suite Gothique, Part 5: ple 3). With its variants, it accounts for Toccata 18 measures, only three of which occur In this month’s column we look at some before measure 67. It more or less takes aspects of the fourth and last movement over the ending of the piece. of Boëllmann’s Suite Gothique, the Toc- Each of these three textures is fi rst in- Example 4 cata. This is the last column in this series troduced in a manuals-only passage. The to deal in detail with a specifi c move- pedal, whenever it comes in, is providing ment. Next month’s column will wrap up slower-moving motifs, starting with what the yearlong series with a discussion of most listeners familiar with the piece some general points. would probably identify as the principal The Toccata is probably the best- theme (Example 4). This theme returns known and most popular movement several times, sometimes as is, some- of the Suite Gothique. (One singularly times in octaves. Other than this, the Example 5 modern measure of popularity sug- pedal provides quarter-note or slower gests that it is: it has far more entries on harmonic foundation. YouTube than any of the other move- ments.) It is a true perpetuum mobile, Hand placement in that there is one note value (in this What from amongst these initial ob- case the sixteenth note) that is both al- servations about texture might have in- ways present and never superseded by a teresting implications for learning the quicker note value—that is, until the last piece? Several things stand out. several measures, where the intensity is Although the two hands are never ramped up for a dramatic ending. The meant to be played on separate manuals this. (In two beats of Example 3, the right indeed set a lower ceiling on tempo. If relentlessness of those sixteenth notes, (all of the several manual changes, at m. hand’s notes are not chord shapes: this is that note were a very high note, say a′′′ or along with a sense that the piece at least 20, 28, 35, 53, 61, etc., involve moving the exception. In any case, the notes fi t even c′′′′, then the logistics and planning comes across as being diffi cult to play— the whole texture to a new keyboard), under the hand without a shift in hand would still be straightforward but the ex- virtuosic—is part of what makes it fi t the there is never any ambiguity about which position.) This means that fi ngering ecution would be much more diffi cult. genre of “toccata” as that genre was un- hand should play which notes. I have choices are also subject to less variation When the left hand has spread-out derstood in the late nineteenth century. scarcely ever seen a piece about which than usual, though not as little variation chords, as in Example 2, those chords There are, of course, other organ toc- I would so confi dently predict that every as the hand choices. are also arranged in a way that lends it- catas from about the same time as the player would make the same hand choice Most of these quarter-note-long self to simple and predictable fi ngering, Boëllmann that are constructed similar- decisions. The hand choice that makes chord-shaped note patterns succeed one much like the opening right-hand motif, ly, in particular the work by Boëllmann’s sense is that represented by the place- another without the need for any plan- though the specifi c chord shapes are mentor Eugène Gigout—the Toccata in ment of notes on staves in the Durand ning. That is, the transition from one different. In many of these measures— B Minor from 1890—and the famous edition (and for that matter every other to the next is self-evident or, at least, mm. 20, 22, 24, 28 and several similar Widor Toccata from 1879. edition that I have seen). There are a straightforward. This manifests itself in spots—the right hand has mostly scale- It is interesting to remember that in very few spots where it would not be ac- different ways. For the long stretches of wise quarter-note or slower melodies for the Baroque period, the word “toccata” tually impossible to take an isolated left the left hand that resemble Example 1— which fi ngering is again straightforward. was understood entirely differently. A hand note in the right hand—the fi rst eighth-note chords separated by eighth- However, in a few places—mm. 26, 34, toccata was a piece in several sections, note of m. 10, a few notes in m. 20 and note rests, or, looking at it another way, 59, and quite a few measures near the with contrast between the sections. The similar passages—but it would always be detached quarter-note chords—it is end of the piece—there is a new ele- Buxtehude Praeludium that is the other awkward. This is interesting, since work- obvious that the rests give the hand an ment. The right hand has to play a legato subject of these columns is in toccata ing out hand choices has been a focus of opportunity to regroup between chords melody in the top part of the compass form, though under a different name. our discussion of several of the previous and to play each chord with whatever while playing sixteenth notes below that Whereas we sometimes think of a toc- movements of the Boëllmann and also of fi ngering is simply the most comfortable. melody. This is seen in Example 3. These cata as a piece that is meant to show off the Buxtehude. It is a step that is just not Furthermore, the chords are never very are the spots in the piece where the fi n- virtuosity, in the sense of speed, dexter- relevant here. distant from one another on the key- gering becomes somewhat involved. The ity and general fl ashiness, originally the For the majority of the quarter-note board. There are no scary leaps. solution, assuming that the legato of the word denoted a piece that was meant to beats of this piece, each hand is playing When the right hand has the pattern upper line is to be preserved, is to use show off the variety of possibilities inher- a chord shape that fi ts under the hand of the beginning measures, the transition substitution in those upper notes, so that ent in a keyboard instrument. Of course without a change of hand position. Each from the last note of one (spread out) each note can be played by the most in this Boëllmann Suite, the work as a of the manual examples above illustrates chord shape to the next is also easy. This available fi nger and then held by the fi fth is because the new beat begins in the di- fi nger. This leaves the rest of the hand rection in which the hand is already de- free to carry out the sixteenth-note pat- ployed, and the fi rst note of the new beat terns (Example 5). is never too far away. After the thumb has (Of course this is just one way of doing MANDER ORGANS played the fourth right-hand note of the it, based, as usual, on my particular hand. piece, for example, the hand could easily Others might want to use 2/5 on the fi rst play any note from c#′ to, say, e′′′. The beat of the new measure, for example.) ′′ New Mechanical actual next note, g , is extremely easy So, this piece—at least the manual to fi nd. It lies right under a fi nger, the part of it—is constructed out of surpris- Action Organs fourth or fi fth, most likely. This situation ingly simple elements, easy to plan out is repeated throughout the piece. If the as to fi ngering and also easy to execute. fi fth right-hand note of the piece were a That does not mean that a student can middle C, for example, then the fi nger- play it well without working hard on it. ing and execution of that spot would go For one thing, the coordination with the Exquisite from being natural and easy to being ex- pedal is potentially quite challenging; Continuo Organs tremely diffi cult. It would require careful for another, it is all meant to go quite St. Peter’s Square planning and a lot of practice, and would fast—fast enough that it ceases to be London E 2 7AF • England [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 [email protected]
www.mander-organs.com Imaginative Reconstructions
12 THE DIAPASON
Apr 2011 pp. 2-19.indd 12 3/11/11 7:37:39 AM easy, even though it is made up of easy is easier both to learn the part and to of hydraulics is that specially formulated elements. In fact, any student should be execute it in performance if the toe and oil (I know the root of hydraulic refers over-conscientious about mapping out heel choices are the same for both feet. In the wind . . . to water) is pressurized in cylinders, that the fi ngering for all of these simple ele- This is certainly not absolutely neces- by John Bishop pressure being great enough to lift heavy ments, and also should practice all of the sary, but it will happen naturally here, loads, turn rotary motors, or steer huge parts amply: short sections, one hand at since the black note/white note patterns articulated equipment. Without these a time, until each hand for each section largely determine the heel placement. advances we wouldn’t have Bobcats, has become second nature. Only then The second thing—more crucial—is that those snazzy little diggers with cabs like should the hands be put together. This is practicing the feet separately is useful birdcages that can turn on a dime. in principle exactly the same as with any and important. Doing enough of that will Sometime around the year 1250, the other piece. make everything about putting all of the great cathedral in Chartres was complet- parts together easier and more secure. ed. Nearly 800 years later it still stands as Pedal part The protocol for practicing a passage like one of the great monuments to religious The pedal part, unlike the hands, does this should include practicing each foot faith in the world. Tens of thousands of provide the opportunity to make choices separately with each (separate) hand, as pilgrims and tourists visit there every that will vary among different players. well as the feet as a unit with each hand. year. The cathedral houses one of Chris- The opening pedal theme (Example 4) Probably practicing each foot separately tendom’s most revered relics, the Sancta can be played with alternate toes and with the left hand is the most important Camisa, reputed to be the tunic worn by come out as legato as the player might component of practicing the passage. the Virgin Mary at the time of Christ’s wish. This way of playing it feels quite birth. (Camisa and camisole come from natural. Furthermore, there are no indi- Crescendo marking the same root.) There is a labyrinth more cations for use of the swell pedal or other The composer has, rather consider- than 40 feet in diameter laid in stone in non-note-playing uses of the feet during ately, limited crescendo marking (mostly, the fl oor of the nave. The path of the lab- the passages in which the pedal plays this see m. 76) to places where the pedal yrinth is about 13 inches wide and about theme. However, there are also a num- line is both low and slow. That makes it 860 feet long (about a sixth of a mile), ber of different heel-and-toe-based ped- as easy as it can be to choreograph the all twisted upon itself within the confi nes alings that could also make sense. Given use of the swell pedal or, on a modern The seat of the Bishop of the diameter. The towers are 300 and the time and place of the creation of this organ, of the toe studs or the crescendo I’ve always been a sucker for con- 350 feet tall, the ceiling of the nave is 121 piece, any of the above could represent pedal. This should be incorporated into struction equipment. The other day I feet off the fl oor, and the fl oor plan has the composer’s assumptions about how the separate pedal practicing from the was walking up Second Avenue in New an area of nearly 120,000 square feet, it might be played. Since it is important beginning, not left to the step of putting York, where a new subway line is under which is close to two-and-a-half acres. that this theme be played easily with parts together. construction, and although I was on a Thousands and thousands of tons of spontaneity, it is key that the student feel schedule moving between appointments stone lifted to great heights, and not comfortable with the chosen pedaling. Practice strategies I couldn’t help but stop for fi ve minutes a hydraulic cylinder in sight. The chal- During the middle measures of the It is always important to practice parts to watch an enormous crane lowering lenge and effort of building something piece, the pedal line is often a harmoni- and combinations of parts thoroughly an electrical transformer the size of a like that with twelfth- and thirteenth- cally based quarter-note bass line. Again, enough so at each step of the way the UPS truck into a hole in the street. You century technology is breathtaking. Most the pedaling can be worked out a num- material being practiced becomes easy can read about this massive project on of us have been inside tall buildings, and ber of different ways, none of them par- and natural. A specifi c reason that it is the website of the Metropolitan Transit most of us have been in airplanes, so we ticularly complicated. For example, in important to do so with this piece is that Authority at
APRIL, 2011 13
Apr 2011 pp. 2-19.indd 13 3/11/11 7:38:11 AM State Trumpet
More scaffolding
bulletin as one of the cathedral’s artists- in-residence. In the documentary fi lm about his twin-tower feat, Man on Wire, Petit wore a “Cathedral of St. John the Divine” t-shirt. In 1986, Archbishop Desmond Tutu Scaffolding, St. John the Divine Removing 32′ Bombarde preached an anti-apartheid sermon. In 1990, Big Bird, Bert, Ernie, and the rest the transepts, much of the interior fi nish hustle and bustle of construction: how of the Muppets helped celebrate the life stonework, and the two west-end towers workers managed 60-foot granite pillars of their creator, Jim Henson. In 1997, were never built, and the building car- that were quarried in Vinalhaven, Maine, South African President Nelson Man- ries the popular moniker, St. John the transported to New York on barges, and dela preached at a memorial service for Unfi nished. Given the staggering cost hauled across the city by steam-powered anti-apartheid activist Archbishop Trev- of this kind of construction, there are no tractors in 1903; how workers hoisted or Huddleston. And in 2000, New York View down the nave plans for the completion of the building. tons of precisely cut stones to form the Mayor John Lindsay’s funeral packed the Perhaps this stunning building stands as fabric of the vaulted ceilings; how work- place. My wife Wendy attended that ser- ing with more than a dozen chapels and a metaphor for us who are all incomplete ers created stone spiral stairways inside vice and came home raving about how all this fi nery. We love the sound of a before God. the cathedral’s walls leading to such plac- cathedral organist Dorothy Papadakos string celeste. It’s even better to have Two years ago the Organ Clearing es as organ chambers; and how workers had played the crowd out at the end of two celestes to choose from. But this House was privileged to work with the created the ornate spectacular 10-ton the service with Leonard Bernstein’s organ has eight sets of celestes—un- artisans of Quimby Pipe Organs install- marble pulpit—festooned with such del- tune, New York, New York, It’s a Won- imaginable wealth, especially when you ing the restored Aeolian-Skinner organ icate carvings that during the installation derful Town (immortalized by Frank consider that all the celeste ranks except in the two chancel organ chambers, of the organ we built a heavy plywood Sinatra), complete with fanfares from the Swell Unda Maris go all the way to nearly 100 feet off the fl oor of the nave. barricade around it so as not to damage the State Trumpet under the west end low C! When an organist moves skillfully We spent some three months in the it with a battering-ram in the form of a rose window—perfect. around this organ, the range of tone col- building, working with humbling tow- 32-foot organ pipe! We need special places like that for ors seems limitless—a kaleidoscope of ers of scaffolding and an electric hoist And let’s not forget what could be con- events like those. tone color, with a range of volume from that would have been the envy of those sidered the real work—the evangelizing, § the roar of thunder to a barely audible men in thirteenth-century Chartres. We preaching, persuading, and cajoling nec- whisper—exactly in scale with the size had rare opportunities to see that grand essary to raise the money for all this, un- Wendy and I have been in New York and decoration of the building itself. building from angles not open to the fi nished or not. for two months, living in an apartment in And cathedral organist Bruce Neswick general public—somehow a hundred Greenwich Village we’ve borrowed from did just that in his improvised closing vol- feet seems higher indoors than out. And A house for all people my parents’ next-door neighbors. While untary last Sunday—he morphed away we witnessed some of the challenges of Why do we go to all this trouble? This Wendy has been working with editors from the tune of the recessional hymn maintaining such a huge building. Fixing cathedral has been host to countless ex- in publishing companies promoting the into a harmonically and rhythmically so- a roof leak is a big deal when you’re 150 traordinary events, held there because manuscripts produced by her clients, the phisticated fantasy, gave a climactic fan- feet up! That the cathedral’s administra- of the extraordinary scale and dignity of Organ Clearing House has tuned a few fare on the State Trumpet, then melted tion can manage all this is hardly short of the place. Twelve-thousand-fi ve-hundred organs, and dismantled a marvelous, pris- seamlessly from the robust full organ to a miracle. people attended the funeral of Duke El- tine E. M. Skinner organ from a closed the whisper of that Unda Maris. You could There’s a peculiar type of quiet present lington in 1974. (I wonder how much the church building in the Bronx for reloca- hardly tell when the music stopped. in such a building. The interior space is cathedral organist had to do with that.) In tion to the new worship space of an active When the installation of the renovat- large enough that true quiet is probably 1986 Philippe Petit, the high-wire artist Lutheran parish in Iowa, to be restored ed organ was completed and the organ impossible. When it’s very quiet inside, who had walked between the twin towers by Jeff Weiler & Associates of Chicago. had been given a chance to “settle in,” one is aware of the distant sounds of the of the World Trade Center, performed his Last year we renovated and relocated the cathedral presented a series of dedi- city, and even of a kind of interior wind work Ascent inside the cathedral, accom- a 1916 Casavant organ to a church in catory recitals by such distinguished art- blowing. Sitting in the nave or the Great panied by the music of the Paul Winter Manhattan—the dedication recital is in a ists as Daniel Roth, Olivier Latry, Gerre Choir in this special quiet, I imagine the Consort. Petit is listed on every service couple days, and we spent the last week Hancock, Thierry Escaich, and Peter tweaking and tuning it in preparation. Conte. What a thrill to hear such pro- The Cathedral of St. John the Divine is grams on such an organ. But take it from on my mind because we attended Even- me, Neswick shares that organ with the song there last Sunday evening. It was Sunday afternoon congregation as if the a beautiful service, loaded with music, Queen was in attendance. Perhaps it’s prayer, scripture, and a moving sermon. his joy of sitting on the bench of such a We sat in the ornately carved oak pews distinguished and stunning instrument. of the Great Choir, surrounded by mag- Perhaps it’s his sense of the privilege nifi cent decoration and in the midst of a of presenting music in worship in such modest congregation. The choir’s singing a place. Certainly it made me feel like was wonderful, the organ was played with royalty to be so treated, the tariff being true inspiration, and I was aware that what I chose to drop in the basket dur- we were participating in regular weekly ing the offertory. worship in that place where so many of the world’s most powerful and revered Party horn fi gures have led and participated in wor- Another example of the relationship ship. The sense that the place equipped between the scale of the building and to welcome thousands to a huge event is the scale of the organ is the State Trum- open and welcoming to us on an ordinary pet—a single eight-foot rank of trumpet Sunday afternoon was moving to me. You pipes mounted horizontally under the don’t often sing hymns in the presence of rose window facing east down the length an organ with 150 ranks. of the nave. This must be the most fa- mous single organ stop in the world. It A study in scale plays on wind pressure of 50 inches— Some months ago I brought a group something like the pressure of the air in of friends to see the cathedral. Organ- a tractor tire, and nothing like the levels ist Stephen Tharp was practicing in of pressure commonly used in organs. preparation for his presentation of the The pipes are shackled in place to pre- complete organ works of Jeanne Demes- vent them from launching as missiles sieux. As we listened, I told them a little down the nave. And there’s an octave of about the size, resources, and complex- dummy 16-foot bass pipes. They don’t ity of the organ, and one asked me why speak—they’re there to make the rank you would need so many stops. I pointed of pipes look like something in that vast out ornate decorations throughout the space. The thing is majestic. It’s almost building—carved pews, fi ligreed lamps, 600 feet from the organ console—two Gothic arches and vaults, tiled stairways, football fi elds. It would take a little more wrought-iron gates, bronze medallions than six seconds to cover that distance inlaid in the fl oor—and suggested that in a car traveling at 60 miles per hour. It such a large organ complements a build- seems as though you can draw the stop,
14 THE DIAPASON
Apr 2011 pp. 2-19.indd 14 3/11/11 7:38:38 AM play a note, and eat a sandwich before messages adapt themselves to diverse keyboard part is not diffi cult. Although quent short unison passages, and a feel- the sound reaches your ears. (No mayo musical styles, as well as to various per- there is a fast tempo, the mood of the ing of calmness. The music is well crafted on the keys, please.) The sound is broad formance groups in schools, community setting is quietly prayerful. and sophisticated in style and mood. and powerful, sonorous and thrilling. choirs, and even praise bands. Today, There can be no building better suited each new parcel of offerings from pub- Three Songs of Petition from the From Age to Age the Same (Psalm to enclose such a sound. lishers usually includes choral works Psalms, John L. Bell. SATB unac- 46), Lloyd Larson. SATB, organ, and But here’s the problem. When the based on Psalm texts. They seem to be companied, GIA Publications, Inc., optional solo trumpet or brass and new State Trumpet was introduced in generic in tone, which makes them more G 6202, $1.20 (E). timpani, and congregation, Lorenz the cathedral as part of the 1954 expan- marketable, especially to those who seek These one-page settings of brief Psalm Music Corp., 10/4039L, $1.95 (M). sion and rebuilding of the organ by Aeo- a more expansive clientele beyond the phrases consist of simple chords on two The last half of the setting incorpo- lian-Skinner, every ambitious organist church. Music publishers make these staves. The Psalms used are 43, 62, and rates the great Luther hymn, A Mighty wanted one. And too many organists got available in exact textual settings or as 19. There are alternate performance Fortress Is Our God. The congregation their wish. Today there are hundreds of paraphrased examples. possibilities suggested (vocal solo with joins the choir in singing this popular modest parish churches cursed with the An interesting exercise for you, dear chorus, optional “Amens”, and as Introits hymn tune, and their music is on the sound of a too-loud but not-too-good readers, is to go through your church in Advent). Easy and pragmatic music. back cover for duplication. Choral parts Trompette en Chamade, searing the air- choir library and make a list of all the are on two staves, often in unison dur- ways six feet above the too-big hair of settings you currently own that are based Be Still (Psalm 46), Mary McDonald. ing the fi rst half of the anthem. This the bride and her attendants. The proud on Psalm texts. Then, in the future, as Beckenhorst Press, BP 1902, $1.95 bold setting will make a great addition organist can’t get enough of it, but every- you plan music for the services, you can (M-). to the choir’s Reformation Day service, one else can. Just because St. John the identify settings you have of the day’s This has the character of a piano solo although the editor points out various Divine has one, the pretty church on the Psalm as designated by the lectionary. with choir. Throughout, the piano has Scripture references in Joshua, Isaiah, town square doesn’t need one. Hearing a Psalm as a call to worship, an- dramatic chordal passages in two hands Romans, and Psalms 34, 46, 65, 119, 137, them, or prayer response in addition to over a sustained low octave, or with left- and 144, which suggest that this anthem It’s a matter of scale having it read during the service as part hand arpeggios. The choral parts, on two would also be appropriate for Lent. All of us who have toiled in the vine- of the weekly liturgy will bring a special staves, are often in parallel thirds. The yards of church music have experienced cohesiveness and understanding to the music moves through different keys, Four Psalm Motets, Carl Schalk. the “big productions” of our parishes—a congregation’s worship. each in short sections, and is never loud. SATB unaccompanied, MorningStar Christmas pageant, the wedding of the The Psalms offer a wide range of top- Music Publishers, MSM-50-2520, pastor’s daughter, Easter Sunday with ics. Although many seem to overlap with Bless the Lord, O My Soul (Psalm $2.75 (M). trumpets and timpani. Imagine the big each other, themes such as praise, mu- 104), Emma Lou Diemer. SATB and The four Psalms are 46, 84, 104, and production for the cathedral organist. sic, refuge, etc. have a powerful spirit keyboard with optional 2 trumpets, 128; each is 4–6 pages in length. Gener- The country’s president might be attend- that for centuries transcended diverse 2 trombones and percussion, Hal ally they are contrapuntal, some with ing a memorial service. National televi- civilizations and denominations. These Leonard, HL #08761360, $2.35 (M). long melismatic lines. Vocal ranges are sion cameras are often present. And on glorious words speak to all people as co- The accompaniment introduction is comfortable and while the music is not a festive Sunday morning, 1,800 people gent guideposts for how to live. What a fi lled with repeated block chords that lead diffi cult, there is a keyboard reduction for might come to the altar to receive Com- special gift! to an opening choral refrain that returns rehearsal that could be used for support munion. That’s a lot of noodling around The reviews this month feature musi- later in the setting. The refrain is always of weaker choirs. These settings will be a with Let Us Break Bread Together on cal settings of Psalm texts. So, as church repeated with the congregation joining bargain since they average out to about 53 Our Knees. choir directors, we join this celebration in on it. Typical of Diemer is a very active cents each. Practical yet effective music. Our two months in New York have by recalling the words of Psalm 95: keyboard accompaniment, which, while brought lots of great experiences, dozens not diffi cult, is a driving force to the mu- of subway rides, and the rich experience O come, let us sing unto the Lord sic. Strong rhythms are used throughout of getting familiar with all that a great Let us heartily rejoice in the strength of in this fast, energetic, and delightful set- our salvation Book Reviews city has to offer. I encourage and invite Let us come before his presence with ting. Highly recommended! you to visit the city and to hear some of thanksgiving the great organs and great organists in And show ourselves glad in him with How Dear to Me Is Your Dwelling Stephen L. Pinel, Organbuilding some of the world’s great churches. Start psalms. (Psalm 84), Bruce Neswick. SATB along the Erie and Chenango Canals: with St. John the Divine, and work your unaccompanied, Paraclete Press, Alvinza and George N. Andrews of way around town. The New York City Psalm 67, David Ashley White. SATB PPM 00703, $2.80 (M+). Utica, New York. Richmond, Virgin- Chapter of the American Guild of Or- unaccompanied, Paraclete Press, This anthem has a variety of textures ia: OHS Press, 2010. Hardback, xxix ganists has a fi ne website with a calendar PPM00710, $2.10 (M). with some counterpoint and some divisi + 300 pp.;
Come, Let Us Sing to the Lord (Psalm Music for voices 95), Paul D. Weber. SATB, soprano Organ solo, and organ with optional vio- and organ lin, MorningStar Music Publishers, by James McCray MSM-50-2647, $2.35 (M+). The violin music consists of long, fl ow- Festival ing sixteenth notes, which are doubled in Psalms: Cogent guideposts the organ for use when the violin is not July 17–21, 2011 used. These busy, diatonic lines domi- The church with psalms must shout, nate the opening section, which is sung No door can keep them out: by the soprano soloist. The second sec- But above all, the heart tion, based on the soloist’s music, opens Must bear the longest part. George Herbert (1593–1633) for SSAA voices, then changes to SSATB. International Artists Antiphon The violin and organ play throughout the entire anthem. There is one short section Maxine Thévenot Psalm texts are among the most re- for TTBB, then the opening vocal solo/vi- Konstantin Volostnov membered words. Each week, in various olin music returns for the closing section, Ken Cowan religious institutions, they are read, spo- which builds to a loud, divisi ending. ken, or sung, and their repetition never Philippe Bélanger seems to tire. These ancient thoughts Psalm 150, Walter L. Pelz. SATB, or- Harvestehude bring comfort and strength, and are heard gan with optional brass quartet and Chamber Choir so often that, without special effort, some timpani, Augsburg Fortress, 978-0- phrases have been memorized. For ex- 8066-9720-8, $2.75 (M). Masterworks for the ample, silently fi nish these Psalm phras- The choral parts are on two staves King of Instruments es: “The Lord is my shepherd . . .” or “Be with brief moments of SA divisi. There & Orchestra still and . . .” This is a very easy challenge is a majestic, fanfare spirit to the mu- for most of this column’s readers, who sic, which is generally loud except for a New Organs probably have conducted them in musi- short, slower middle section when the National Organ Playing cal settings numerous times. These won- text speaks of stringed instruments. This derful words were originally sung, so it is choral score does not contain the brass New VisionsCompetition no surprise that they have continued to music; however, a full score and brass Challenging Workshops inspire contemporary composers. parts may be downloaded from Augs- In pagan Greece, the word psalmos burg. Exciting music with immediate ap- & much more! meant “a plucking of strings of a harp, peal to singers and congregation. or a song sung to a harp accompani- ment.” Over the centuries, the word To You, O Lord (Psalm 25), Thomas went through over 30 different spellings Keesecker. SATB and piano, Augs- in various languages. It became salm, burg Fortress, 978-0-8006-6413-8, saume, salme, but eventually the “p” was $1.75 (M). restored. Composers fi nd their messages Choral parts are on two staves with beautiful, profound, and in most cases, the fi rst two pages in unison; later large immediately musical. sections are for two-part mixed voices. The value of the Psalms to composers The piano accompaniment has arpeg- and to weekly worship services should gios and repeated chords in the right hamiltonorganfestival.caRegister now! rcco.ca or 905.572.6584 Ontario · Canada not be underestimated. These universal hand with some syncopation, yet the
APRIL, 2011 15
Apr 2011 pp. 2-19.indd 15 3/11/11 7:38:58 AM not least for the stalwart service he gave to Utica in 1851, after which Alvinza An- in California down to George’s death in holding the essentials of the Christian for over a quarter of a century as Archi- drews maintained both workshops for a 1904, only one of which still survived in faith.” Lutherans and Presbyterians are vist of the Organ Historical Society. It was time before closing the Waterville one. 1970. In later years the fi rm was less suc- contemplating similar ecumenical agree- fi tting, therefore, that Dr. Pinel was se- Alvinza Andrews was heavily involved cessful than it might have been, owing to ments with the Moravian Church. lected to write the fi rst of what one hopes in local education, particularly in the the conservative style of the instruments Anyone who has attended a Moravian will prove to be an extensive collection Utica Mechanics Institute. One of his it made. church service in which Bechler’s hymn of publications, the OHS Monographs in “parlor organs”—more probably a two- There are seven appendices at the end “Sing Hallelujah, Praise the Lord” is sung, American History, intended eventually to stop pipe organ than a reed organ—re- of the book. The fi rst of these documents will have experienced an overwhelming cover Mexico and Canada as well as the ceived a diploma at the 1851 Mechanics the restoration by Scot Huntington of a religious thrill—or at the other extreme, United States. Dr. Pinel’s volume refl ects Fair. Consideration is then given to the two-stop Andrews parlor organ of around profound intensity of restrained emo- a lifetime of interest in the organbuild- next period of the Andrews fi rm and of 1850. The second lists details of early Al- tion when Latrobe’s Lenten hymn “Go ers of the Mohawk Valley region of New the instruments they produced at what vinza Andrews instruments, and the third to Dark Gethsemane” is sung. Church York State by an author who was born was clearly the height of their output in has stoplists and details of later instru- choirs of all denominations have sung and grew up in the area. Alvinza Andrews the 1850s and 1860s. A further chapter ments. Andrews included some unusual and loved Moravian anthems of extraor- (1799–1862) and his son George N. An- is devoted to biographies of Andrews’ stops such as a Pemento Flute, the nature dinary beauty and appropriateness for drews (1832–1904) were the fi rst signifi - employees at various periods. Of par- of which I was unable to discover. The worship (“It Is a Precious Thing,” “Go, cant organbuilders to set up a workshop ticular interest was John Gale Mark- infl uence of Marklove is perhaps appar- Congregation, Go,” “In Slumber, Peace- in this region. Furthermore, most subse- love, an experienced organbuilder from ent in some antique English stop names ful Slumber,” “The Fruit of the Spirit Is quent organbuilding activity in the area England who later became an important such as Nason for Stopped Flute and Love,” and many others, dating from the stems substantially from the Andrews organbuilder in his own right. Friction Celestina for Violina. Appendices IV and classical period of Haydn, Mozart, and fi rm, so that it is logical that the study of between Andrews’ two top employees— V give details of the trade directory list- Schubert). The musical tradition of the the history of organbuilding in this part of Marklove and Levi—led to Levi leaving ings and census returns for the Andrews Moravians is incredibly rich, embracing New York should begin with Alvinza and and becoming William A. Johnson’s fore- family, while VI reproduces some of the both instrumental and vocal music. George N. Andrews. man at Westfi eld, Massachusetts. Mark- catalogs issued by the Andrews fi rm, and General histories of music in America As the title of the book suggests, good love also left in 1858 and set up his own VII a couple of contracts. A subscription now recognize and give generous space transportation in the form of the canal business in Utica in competition with list and index bring the book to a close. to the contribution of the early Moravi- system was an essential part of the equa- Andrews. Levi briefl y came back in 1859 As usual with the publications of the ans to Colonial American culture and its tion for a successful organbuilding fi rm but then went back to Westfi eld and set Organ Historical Society, this volume subsequent development. While colonial at the time that Alvinza Andrews set up up his own reed pipe supply house. At is elegantly produced, laid out, and Calvinists were debating whether or not his workshop in the late 1830s. Andrews this point, George N. Andrews was suf- typeset, and there are many excellent to allow musical instruments in worship, himself had little or no organbuilding ex- fi ciently experienced to go into partner- photographs. This, the fi rst of what I and Anglicans were struggling to sing perience, but he was fortunate to have an ship with his father, replacing Levi and hope will prove to be an extensive se- the bad psalm-settings of Sternhold and excellent assistant in the form of Henry Marklove as the chief employee, with the ries of OHS Monographs in American Hopkins to pedestrian tunes, the Mora- T. Levi, who had worked for E. & G.G. fi rm becoming A. Andrews & Son. Fol- History, is a fascinating book that I vians were not only performing all sorts Hook and who had the experience that lowing Alvinza Andrews’ death in 1862, thoroughly recommend. of excellent concerted music, vocal and Andrews lacked. the fi rm name again changed to George —John L. Speller instrumental, but reverently composing A substantial section of the book is de- N. Andrews, and moved to a new, larger St. Louis, Missouri new works afresh, intended for practi- voted to the genealogy and biographies workshop in 1866. cal use in the regular worship services of of the Andrews family, who claimed In 1878 George Andrews’ brother-in- their church. descent—albeit somewhat amorphous- law, Dr. Jonas Raymond, moved to Cali- The Music of the Moravian Church This valuable book has been put to- ly—from the Norman invaders of Eng- fornia and sent back favorable reports in America, edited by Nola Reed gether by the current director (since land and the Pilgrim Fathers. Dr. Pinel about the booming economy of that Knouse. Rochester: University of 1994) of the Moravian Music Founda- devotes an entire chapter to one of An- state. Partly because of this and partly Rochester Press 2008, ISBN 13:978- tion, Nola Reed Knouse, who holds drews’ earliest instruments, the 1837 for health reasons, George Andrews de- 1-58046-260-0; 346 + xxii pp., $45; academic degrees in musicology from organ at Mount Vernon Presbyterian cided to relocate his organbuilding work-
16 THE DIAPASON
Apr 2011 pp. 2-19.indd 16 3/11/11 7:39:19 AM Moravians in the Eighteenth and Nine- Jacques Claude Adolphe Miné (1795– the Clavier-Übung III, as does Leupold’s indeed and looks quite handsome, so teenth Centuries: Music, Instruction, 1869) wrote some 24 printed volumes of fi rst volume (Vol. 8). that one hopes this feature may return in and Construction” by Jewel A. Smith organ music, though most of his com- Although Breitkopf does not publicize later volumes. (Ph.D., University of Cincinnati); and positions are now forgotten. His music its new edition in the absolute superlative Breitkopf Vol. 6 is a bit more gener- (10) “Moravian Music: Questions of bridges the gap between late-18th cen- terms of Leupold (the “All-Yes Edition”), ous with supplying articulations in par- Identity and Purpose” by Dr. Knouse. tury composers and the French roman- the aims and even appearances of the two allel places than Leupold Vol. 8; my Tracing the church’s struggle since its tic school—a period often overlooked by series are quite comparable. Both series own preference in this regard is with Golden Age in the late 18th century to organists. This recording features select are intended for performers, but at the Breitkopf. Breitkopf Vol. 5 includes a maintain “intentional identity with integ- pieces from Manuale organi—recueil same time aim to present a text that is CD-ROM with music by Bach, arranged rity” through the past two centuries of de 100 morceaux pour orgue applicables as scholarly sound as possible. Both aim as organ trios, but almost certainly not various cultural upheavals, including the aux messes et aux offi ces, published in for a minimum of page turns, although by the composer. With the possibility threat of excessive nationalism, it now four volumes. within different parameters: Leupold of printing the music out at home, this faces major transitions in culture, eco- The program gives St.-Pauluskerk occasionally breaks up measures to ac- seems a useful way of making these nomics, globalism, pluralism, and other organist Jan Van Mol an opportunity to commodate turns, Breitkopf never does. pieces available in a trustworthy modern challenges. Knouse concludes: “For demonstrate the seemingly unlimited On the other hand, Breitkopf tends to edition. (The CD-ROM would not open Moravians music is only part of living all colors of this attractive instrument. Van be even more economical with spacing, on my Mac with OS X 10.5—nor on my of life as a liturgy. All the people are the Mol is a skilled player who knows his managing to avoid page turns altogether wife’s PC running on Vista—but Breit- musicians. And the audience is God.” instrument inside out, but his sensitive in the Four Duets, the Fugue on “Jesus kopf promptly made a version for OS X Of greatest interest to organists is playing does not evade a sense of pro- Christus, unser Heiland,” and in all six of 10.5 available as a free download.) probably the fascinating chapter on grammatic incompleteness. These short, the Schübler Chorales. The introductory essays by Dirksen “The Organ in Moravian Church Music” light pieces are intended for liturgical Like Leupold, Breitkopf places the (Vol. 5) and Breig (Vol. 6) are well worth (Chapter 5). One might expect the organs use and precede the numerous 19th- pedal part on its own staff; for the famous reading. Dirksen’s notes on the registra- in use by Moravians in Germany and in century collections that were published echo passage in the Prelude in E-fl at tion of the sonatas are especially inter- America to be modeled on the encased, for organists with limited improvisational Major, Werner Breig (Breitkopf) opted esting: he explains how the left-hand mechanical-action instruments of the Ba- skills. Though interesting from a histori- for much the same solution as George part carefully avoids the lowest octave, roque era, especially those designed and cal perspective, they lack enough sub- Stauffer (Leupold): the concluding bass evidently to allow that part to be played built by Schnitger and Silbermann, con- stance to capture an audience in a full- notes are printed in the left hand, with an octave lower with a registration at taining bright mixture stops and snarly length program. a footnote referring to the Commentary. 4-foot pitch. My impression is that the reeds useful for contrapuntal polyphony, (Unlike Leupold, however, Breitkopf vast majority of organists are still not as in the fugues of Bach, and rich ple- Johannes Geffert plays Leyding, Bach, does not offer the Prelude and Fugue on aware of this—a pity, as it makes play- num registrations designed to lead con- De Gruijters, Kuhnau & Bruhns: The two staves in an Appendix.) ing these pieces much easier and, in fact, gregational singing. But the nature of Great Organ in the Sint-Pauluskerk, Both the Leupold and Breitkopf vol- often simplifi es registration as well. On Moravian worship—with its emphasis on Antwerp. LCS HiRes, LCSSACD003. umes open with an introductory essay; the other hand, few organists will want pious simplicity, purity, and the priority Available from
APRIL, 2011 17
Apr 2011 pp. 2-19.indd 17 3/11/11 7:39:38 AM to appear just over 30 years after Heinz which brings back the triplets of the in- bordering on music hall vulgarity.” The pedals at least for the fi rst two bars, num- Lohmann completed the previous Breit- troductory fanfare. motifs that are again tossed around, back ber 13 by N.N di Roma, identifi ed as Ber- kopf Bach organ edition all on his own (a Haan’s music stays within the harmon- and forth, are light and airy, and the ac- nardo Pasquini, and the more interesting remarkable achievement!). Like its pre- ic areas of the hymn and always presents companiment fl ippant. “Wisteria,” the adventurously modulatory sonata number decessor, the new Breitkopf comes in ten the tune in a form the audience will rec- lyrical middle movement, is in 6/8 meter 4 by Bassani. The hauntingly attractive volumes. If the fi rst two volumes are an ognize and enjoy. It is not a sophisticated with a gently moving dotted rhythm. It Sonata Cromatica number 17 by Arresti indication, the whole series will cost less treatment of the French noël, but would plays not only with the image of the fl ow- could also be included in this category. than €300 (just over $400). With the 20% make a happy addition to a Christmas or ering plant, but also of a wistful mood. Only sonata number 3 by Cherli (i.e., Jo- reduction for subscription to the whole Easter service. The Petite Suite is not music that hann Kaspar Kerll) is in binary form, as is series, the price is actually lower than the simply features a trumpet soloist. The his popular (from the number of printed complete Bärenreiter series and much Christmas Fantasy for Organ and organ demands center stage along with and MSS sources) Canzona No. 1. lower than Leupold (fi fteen volumes Brass, arranged by Joel Raney. Hope the trumpet—this music is a real dia- Repeated-note subjects occur in so- of music plus three volumes of text for Publishing Company, No. 8338, logue between two equal instruments. natas number 1 by Ziani, 2 by Pollaroli, close to $1,000). #14.95;
Albert L. Travis, Come, Thou Fount of Every Blessing, Variations for organ on Nettleton. MorningStar, • EASY—online permission and reporting MSM-10-590, $10.00. • ECONOMICAL—based on average weekend attendance In this useful addition to the church • THOROUGH—your favorite songs music repertoire, the composer brings a calm majesty to the chorale and fi rst • CONVENIENT—includes a growing list of publishers three variations by smoothing out the fa- miliar double iambic rhythm of the tune. The fi rst variation is an English horn solo. The second variation contrasts two LOG ON TODAY! WWW.ONELICENSE.NET 4′ fl utes in a two-voice leggiero texture, and the rich texture of the third varia-
18 THE DIAPASON
Apr 2011 pp. 2-19.indd 18 3/11/11 7:40:06 AM tion features the celestes. The familiar guide to dynamics and to the number of One recognizes an incipient varia- the shape of a French overture with a rhythm of the tune animates the closing manuals in play, with a rare indication for tion form in Lebègue’s Noël settings, slow introduction with dotted rhythms toccata. Travis is director of music min- trumpet, fl ute, etc. and often the presentation of the tune is followed by a faster movement with istries at the Broadway Baptist Church These are gospel preludes both in the followed by a double, that is, a variation imitative counterpoint. The Preludes to in Fort Worth, where he presides over sense of being traditional tunes from the using eighth notes. Most settings have a Bach’s English Suites are highly elaborat- the Rildia Bee O’Bryan Cliburn Organ, American evangelical Protestant move- clear three-part or two-part form, and ed examples of this two-part form. Many a fi ve-manual, 191-rank instrument built ment of the late nineteenth and early in the interest of form Lebègue exploits of Dandrieu’s Ofertoires are followed by Casavant Frères, Ltée. in 1996. twentieth centuries, and in the sense of the contrast of manuals inherent in the by an additional section called Suite de occasionally invoking the rhythms and Grands Jeux and alters duple meter to l’Ofertoire, providing an extension in the Albert L. Travis, Joyful, Joyful, 6 keyboard idioms of the African-Ameri- triple meter in some verses. The varia- event that more music is required. Be- Festival Postludes for organ. Morn- can gospel style. The eclectic mix of tions include A la venue de Noël, Une fore the fi rst Ofertoire, Dandrieu placed ingStar, MSM-10-591, $15.00. styles comprises jazz, gospel, baroque, Vierge Pucelle, Noël pour l’Amour de a set of variations on the Easter hymn, These six joyful postludes generally theatre organ and references to De- Marie, Noël cette Journée, Or nous ditte “O fi lii et fi liae.” achieve length and form by surround- bussy, Bach (the Canonic Variations), Marie, Puer nobis nascitur, Les Bour- Lewin’s accompanying biographical ing statements of the tune with fanfares Buxtehude, Reger, and Ives. Technically geoises de Chatre, Ou s’en vont ces gays notes and suggestions for ornamentation and ritornellos. The notes of the tunes challenging, the Gospel Preludes work Bergers, and Laissez paistre vos Bestes, and registration in these scores are of- are never taken for granted, but adapted admirably in concert programs, yet can followed by Les Cloches (for All Saints). fered as encouragement to the amateur and sculpted by the composer’s imagina- be appropriately applied in the context Dandrieu organized the Premier Livre musician, but do not make a pretense tion. Ellacombe, Monkland, Hymn of a church service. de Pièces d’Orgue by tonality. There are to be scholarly. Except for du Mage’s to Joy, and Nun danket favor the The tunes include What a Friend We two suites in each of the following keys: Tierce en Taille, everything reproduced ritornello treatment; Llanfair uses the Have in Jesus, Rock of Ages, Just As I D major, D minor, G major, G minor, here is on two staves with no obligatory fanfare treatment. Italian Hymn is set Am, Jesus Loves Me, Shall We Gather A major, and A minor. The fi rst suite in pedal. By the way, this music in public more freely, the way Bach referred to at the River, Amazing Grace, Jesus Calls each key starts with an Ofertoire (Dan- domain is downloadable these days from Gastoldi’s tune in In dir ist Freude. Us O’er the Tumult, Blessed Assurance, drieu’s 1730 edition spells the word with the Internet. Nearer My God to Thee, Sometimes a single f) and contains between three —Gale Kramer V. Earl Copes, Christmas Contem- I Feel, Sweet Hour of Prayer, O Zion and six pieces. The second suite in each Organist Emeritus, Metropolitan plations. Morningstar, MSM-10-142, Haste, and How Firm a Foundation. key is a Magnifi cat containing invariably United Methodist Church, $8.00. six versets. Most of the Offertoires take Detroit, Michigan These settings of two familiar carols William Bolcom, Four Preludes on are, indeed, contemplative and tender Jewish Melodies, edited by Michael evocations of the Christmas mood. Away Mazzatenta. E. B. Marks/Hal Leon- in a Manger places the tune in contrast- ard, HL 00220195, $12.95. ing keys and varied textures. The partita These four melodies bear the same in fi ve sections on ‘Twas in the Moon relationship to Reform and Conserva- of Wintertime uses fi fths and fourths, tive Judaism that the tunes of the Gospel sometimes with a tom-tom effect, prob- Preludes bear to Protestant Christianity. ably in reference to the Native American As he did in the latter, Bolcom respects appropriation of the French tune, Une the hold that these tunes have in people’s jeune pucelle. The tune appears in hearts and touches a place that is spiritu- the soprano, tenor, and bass with con- al, emotional, and intellectual. Two mel- trasting textures and harmonies. odies (Hinei Mah Tov and Hal’luhu) are from the Psalms, and two (Yism’chu and Jirí Ropek, Partita on Adoro te de- Sim Shalom) are from the liturgy. The vote (revised). Alliance Publications, four tunes are given with their Hebrew Inc., AP-576, $20.00. texts and English translations from Gates Ropek (1922–2005) suffered, as did of Song, the Reform movement’s equiva- Petr Eben, from the suppression of the lent of a hymnal. The Psalm tune pre- church in Czechoslovakia during most ludes are fl owing and lyrical; the settings of his professional career. The Adoro of Yism’chu and Sim Shalom refl ect the te partita and the Variations on Victi- strong rhythmic beats of the folksongs mae paschali laudes (see next review) from which they are derived. The Four testify to his abiding religious faith and Preludes would certainly be at home in creative musical intelligence. Both are a recital program, and possibly useful eminently suitable for church or recital. in a Reform Jewish synagogue service. Ropek published the partita in 1992 but Since the texts are universal (brother- revised it with signifi cant additions in hood, world peace, keeping the Sabbath, this 2001 edition. The seven variations praise of the Deity) they could be used in correspond at least numerically to the Christian worship settings. number of verses in Aquinas’s hymn. To obscure this symbolism, however, Ropek Jean-François Dandrieu, Offertoires in 2001 inserted an additional variation, from Premier Livre de Pièces d’Orgue, numbered 3a, before the original third ed. Greg Lewin. Hawthorns Music, variation (both use canon at the octave), HAOM014 (distributed by magna- now numbered 3b ad libitum. He also music.com), $19.95. changed the closing toccata (variation 7), Nicolas-Antoine Lebègue, Noëls adding 30 measures to his earlier version. from the Troisième Livre d’Orgue, In the fi rst fi ve variations, the cantus fi r- ed. Greg Lewin. Hawthorns Music, mus appears in F, A, C, and D, as though HAOM006 (distributed by magna- following the fi rst pitches of the tune. A music.com), $13.50. rich harmonic language and rhythmic Pierre du Mage, Premier Livre imagination pervade the music. d’Orgue, ed. Greg Lewin. Hawthorns Music, HAOM026 (distributed by Jirí Ropek, Variations on Victimae magnamusic.com), $21.00. Paschali Laudes (revised). Alliance Anyone who wishes to bring to light Publications, Inc., AP-572, $25.00. a new edition of French classic organ This is another gem suitable for the music must deal with the long shadow Easter season or for the concert stage. of the Archives des Maîtres de l’Orgue, Composed in 1955 and fi rst published that fi rst, monumental, comprehensive in 1963, this tune with eight variations and very scholarly edition of composi- stands up to the test of time. Whether tions of the seventeenth and eighteenth in thick chordal textures, sparser melody centuries made by Guilmant and Pirro and accompaniment, canonic treatment, and published by Durand and Schott toccata or the concluding fugue, one between 1897 and 1916. The editorial senses Ropek’s love of the rich variety standards of Guilmant and Pirro set a of sounds and textures of the organ. It standard for accuracy and faithfulness is so satisfying to discover all the ways in to the original edition that has not been which the pitches of the tune appear in superseded by later scholars. the accompaniment. These editions vary only in minor ways, such as the addition or adjustment of or- William Bolcom, Complete Gospel naments, from the inexpensive Kalmus Preludes, edited by Michael Maz- reprints of the Archives (even though the zatenta. E. B. Marks/Hal Leonard, editor has consulted the same original HL 00220163, $16.95. printed sources). In the case of du Mage, Bolcom’s major contribution to the Lewin adds performance directions and organ literature has been republished in metronome markings in the same kind a single volume edited by Michael Maz- of editorial brackets used by Guilmant zatenta. If you have performed from ear- and Pirro, such as [Fierement, Vif, Ten- lier editions, you will recognize the page drement, and Marqué]. The Noëls from layout in this one to be exactly the same. Lebègue’s Third Organ Book and the The editor notes, “An effort has been Offertoires from Dandrieu’s First Book made to pare down the registration indi- of Organ Pieces cost as much in this edi- cations from earlier editions and to cor- tion as the entire works from which they rect notational errors under the supervi- are extracted. More’s the pity not to have sion of the composer.” The registration here some of Dandrieu’s charming if un- indications that remain usually provide a abashedly secular hunting horn pieces.
APRIL, 2011 19
Apr 2011 pp. 2-19.indd 19 3/11/11 7:40:26 AM 55th OHS National Convention June 21–26, 2010, Pittsburgh Frank Rippl
ittsburgh is a very attractive American fl ute and soft pedal. Guy closed with walls, a labor dispute, and some of the Pcity, situated between the Allegheny Gothic Toccata, by another Australian organ’s pipes. It is quite the story. and Monongahela rivers, which meet to composer, Graeme Koehne (b. 1956). We heard a marvelous concert on this form the Ohio River at the tip of a Man- Its C-minor tonality had loads of fi re wonderful little organ. The chairs had hattan-like triangle of land that is the and color—a virtuoso performance! A been turned around so that we faced the downtown. Home to 151 high-rise build- standing ovation demanded an encore: organ. Cook began with Bach’s Fantasia ings, two inclined railways, and a stagger- Angelic Whispers by W. R. Knox, from in C, BWV 570, played expressively on ing 446 bridges, it is more than ketchup the 1930s. a nicely voiced 8′ Principal. Next was a and paint, and I recommend a visit. You setting of Ein’ feste Burg ist unser Gott, will fall in love with the city, its museums, Tuesday, June 22 by Johann Nikolaus Hanff (1615–1711), vistas, churches, and the organs! The day began in pouring rain as we which featured a solo on the Trum- made our way to Bellevue, Pennsylvania, pet stop. We then returned to Bach for Monday evening, June 21, 2010 and the Roman Catholic Church of the Nun freut euch, lieben Christen g’mein, The convention began with an evening Assumption of the Blessed Virgin Mary BWV 734, very well played with a fi ne, concert preceded by a wandering bus on the Beautiful River. The Romanesque clear fl ute on the Great, and the Swell 4′ ride o’er the hills of Pittsburgh through church features a splendid fresco of Mary Krummhorn coupled to the pedal. the campus of Carnegie Mellon and the ascending into heaven surrounded by J. G. Walther’s Lobe den Herren, den magnifi cent architecture of the Univer- saints, apostles, and angels. The acoustics mächtigen König der Ehren used the or- sity of Pittsburgh. Soon we arrived at were wonderful for the 1964 3-manual gan’s very fi ne principal chorus. We then Calvary Episcopal Church, a huge build- Casavant of about 41 ranks. sang the hymn to that tune. It was appro- ing designed in 1904 by Boston architect priately played and the organ was more Ralph Adams Cram. One of the great than adequate to the task of accompany- Gothic Revival churches in America, its ing a church full of OHSers. The “Let 208-foot-long interior seats 1,000 peo- the Amen” was hair-raising! ple. The present organ, a huge 4-manual There followed Two Pieces for a Mu- Lawrence Phelps Casavant, Opus 2729, Estey Op. 1558, 1917, St. John Lutheran sical Clock by Franz Joseph Haydn: dates from 1963, with modifi cations and Church Marche and Presto. The “cute” factor was enlargements in 1991, 2004, and 2010. very much in play—I liked the 4′ Koppel Haskell basses. The tone of this fi ne little Flute. Next was a favorite of mine: Her- organ, rich and full, was more than able mann Schroeder’s setting of Schönster to accompany a church full of OHSers. Herr Jesu; Cook played it with tenderness Those old boys building organs at the and grace. In the Scherzo from Vierne’s turn of the 20th century knew what they Second Symphony, Cook’s nimble fi ngers were doing. fl ew over the keys. Music for a Sunday Then came a beautiful little Prelude, Morning by Allen Orton Gibbs (1910– op. 19, no. 1, by John Knowles Paine, 1996) followed, beginning with energetic which Roederer played with careful at- mf sounds for Prelude (Psalm 122:1); Of- tention to phrasing and elasticity. Dud- fertory (Prayer) had contrasting A and B ley Buck’s Concert Variations on “The sections; Postlude (Psalm 117) was a rol- Star-Spangled Banner,” op. 23, followed, licking dance-like piece. beginning on the gentle Swell Salicional. Cook closed with two movements Casavant Op. 2813, 1964, III/42, Church The hymn was Praise to the Lord, the Al- from Dan Locklair’s Rubrics: “. . . and of the Assumption mighty (Lobe den Herren). We sang thanksgivings may follow” used the 7- the fi rst verse in German, as we were in bell Zimbelstern, mounted in front of The recitalist was Ann Labounsky, the home of this German congregation. the 8′ Principal façade pipes; it seemed who began with Langlais’ famous Hymne Roederer led us skillfully. to dance along with the jazzy rhythms of d’actions de grâce “Te Deum”. It was We then went to Hartwood Acres this wonderful music. “The Peace may marvelously played with great expansive- County Park, site of a large Cotswold- be exchanged” brought this outstanding ness. We then sang the hymn Holy God, style limestone mansion, which houses recital to a gentle end. we praise Thy name (Grosser Gott)— a 2-manual Aeolian player organ, Opus all seven verses. The Pittsburgh area was 1091 (1909), now under restoration. in the midst of a heat wave, and the hu- There was a fun circus-like self-playing midity and heat made for some colorful instrument on the grounds that enter- tuning issues in the many non-air-condi- tained us during our meal. tioned churches we would enter during the convention. This one was no excep- tion. The reeds complained, but Ms. Casavant Op. 2729, IV/138, Calvary Labounsky soldiered on, took charge, set Episcopal Church a good tempo and led us well. She ended with Six More Pieces for The recitalist was Peter Guy from Organ, op. 133, by Pennsylvania compos- Australia, who began with the hymn er Joseph Willcox Jenkins (b. 1928). We How shall I sing that majesty to the tune would hear his fi ne music several times Coe Fen, which I hope will make its during the week. I. Sonatina showed the way into hymnals soon. The concert be- principal choruses. II. Arioso used the gan with Durufl é’s Prelude, Adagio, and strings and a soft solo reed. III. Ludus Chorale Variations on “Veni Creator.” Angelorum used an Alleluia chant from Flutes bubbled about the church as soft the Roman Missal. The clear and focused solo reeds soloed beneath. The Adagio registrations at mf level were well cho- was announced with a somber Trum- sen. IV. Ochone used the Great 8′ Prin- pet, then that gorgeous string passage. cipal as a solo over soft foundation stops. The variations were played with grace, A plaintive bagpipe-like cry was heard, tenderness, and power. The console was then the solo principal returned with an moved into the crossing, and those of us answering phrase by a solo reed. V. Dona sitting in the transept could not help but Nobis Pacem began with the fl utes. Soon notice that, good Aussie boy that he is, we heard the Cornet on the Choir. This Felgemaker Op. 95, 1872, II/25, St. Bene- Guy played in his stocking feet! organ is very much of its time, but the dict the Moor Roman Catholic Church Bach’s Fantasia and Fugue in C Minor, voicing is very refi ned. VI. Toccata (“This BWV 537, came next. The organ’s princi- Service Ends, Let Yours Begin”) brought Möller Op. 10656-T, 1970, II/16, Nativity We were then divided into two groups. pals were warm and expansive as he used the piece to an end. Very enjoyable mu- Lutheran Church Somehow there was a scheduling snafu the swell shades to good effect, although sic, beautifully played, and on a fi ne mid- (these things happen), and my group ar- the registrations did get a little muddy. 20th-century organ! The fi rst stop of the afternoon for my rived at St. Benedict the Moor Roman Guy then played a piece by Australian The second stop of the day was at St. group was Nativity Lutheran Church, Catholic Church in Pittsburgh an hour composer Keith Noake (1915–1968): John’s Evangelical Lutheran Church in Allison Park, to hear James Heustis early, so we enjoyed some down time. Introduction, Pastorale, and Fugue on Perrysville for a recital by the church’s Cook demonstrate the church’s M. P. We admired the many beautiful African LEONI—a good demonstration of some own organist, Charlotte Roederer. Möller Opus 10656-T (1970). That “T” touches that adorned the grand old build- solo stops. In the Pastorale we heard the The organ is a 2-manual, 7-rank, tubu- stands for tracker! This organ proved to ing. The organ in the balcony was a 2- clarinet against the Swell strings. The lar-pneumatic Estey, Opus 1558 (1917). be a surprise favorite of the convention! manual Derrick & Felgemaker, Opus 95 Fugue was announced with, I believe, An unusual feature is the Swell 8′ Oboe, With 2 manuals and pedal and 18 ranks, from 1872; I counted 22 stops. Moved to the powerful Trompette Royale on the which is reedless. Roederer began with it was beautifully voiced, a joint venture St. Benedict’s in 1958, by 1990 it fell into Great. A majestic ending brought the Variations on TALLIS’S CANON by Franklin between Möller and G. F. Steinmeyer & disuse. The Harmony Society, directed by piece to a close. D. Ashdown (b. 1942), which provided Co. of Germany. Page 143 of this con- John Cawkins, restored the instrument. A charming Cantilène by Salomé was a good demonstration of the tiny in- vention’s Atlas tells of a political brou- It is used only occasionally. OHS’s Steven next, with a solo on the oboe and a sort strument’s resources. Each of the three haha that raged around a pastor of this Schnurr presented the congregation with of oom-pah accompaniment on a Choir Great stops (all are at 8′ pitch) has twelve church who barricaded himself within its an OHS Citation of Merit.
20 THE DIAPASON
Apr 2011 pp. 20-25 .indd 20 3/11/11 7:41:39 AM lute its durability. Dana Hull and John deau alternated between the 8b and 2b Cawkins supervised its revitalization. To- flutes and other quiet effects. day it stands in the rear gallery. Richard Next was Bach’s Fantasia and Fugue Konzen presented an eclectic program in C Minor, BWV 537. Scanlon played of music from Gabrieli to Distler. He be- it in the style of the 1920s, with shades gan with a lively Praeludium in C by Jo- and such. He used simple, clear registra- hann Christoph Kellner, in which flutes tions—each musical line was carefully were soon joined by the Open Diapason delineated. The marvelous fugue moved 8b and the Fifteenth. Gabrieli’s Ricercar at a good clip, with only a small use of arioso IV featured the Open Diapason in the shades—good Bach playing. He then fine style, with well-articulated and el- played a piece new to me: Fideles from egant playing. Next came Dreissig Spiel- Four Extemporizations by Percy Whit- stücke für die Kleinorgel by Hugo Distler: lock—very calm and soothing music. I 1. Schnelle was announced with 8b and loved the strings on this organ. There 2b. In 2. Schnelle, the warm Melodia took was a small chime at the end. over. 3. Gehende began on the Dulciana; The hymn was God moves in a mys- he then added the 4b flute for a bit be- terious way (London New). The or- fore returning to the beautiful Dulciana. gan was a trifle too heavy in places, but 4. Flincke was a jolly little canonic thing otherwise it was well done. Scanlon on flutes b8 and 4b with the Fifteenth. closed with Langlais’ Three Character- Next came that great hymn, All my istic Pieces. Pastorale-Prelude featured hope on God is founded, with its tune the Oboe and some of the organ’s soft- Michael by Herbert Howells. Konzen est sounds. Interlude used the fine Swell followed with a great favorite by Pietro Dolce Cornet III. Bells featured many of Yon: Humoresque ‘L’Organo Primitivo’. the stronger sounds, building to a grand He closed with Bach’s Prelude and Fugue “peak” of sorts. A fine demonstration of 'BSSBOE7PUFZ0Q *** $BMWBSZ6OJUFE.FUIPEJTU$IVSDI in D Minor, BWV 539, which worked a great organ! quite well on this organ—Felgemakers We then went to St. John’s United Kevin Birch began with Flöten- are amazing instruments. This was a very Evangelical Protestant Church in Ze- konzert, op. 55, by Johann C.H. Rinck. well-played program. lienople to hear organist Gregory I. Allegro Maestoso: the Great Principal Crowell and cellist Pablo Mahave-Veg- chorus played in dialogue with a very lia, with the church’s sweet little Joseph pleasant-sounding Swell Stopped Dia- Harvey organ from 1838. Harvey was a pason. II. Adagio used the lovely Melo- Pittsburgh organbuilder. This one-man- dia. III. Rondo (Allegretto) alternated ual (no pedal) organ has four stops and between full Great and Swell 8b and 4b stands in the rear gallery. Crowell be- flutes. Full organ with reeds brought gan with Voluntary (Adagio) by Charles this attractive music to a close. Next was Zeuner, played on what sounded like the Liszt: Consolation in D-flat, which used Stopped Diapason, followed by Festi- more of the foundation stops—then came val Voluntary from Cutler & Johnson’s Ave Maris Stella. The gentle and sweet American Church Voluntaries (1856). little Keraulophon had to compete with From Sanahin by Hovhaness, he played the church’s fans; the fans won. (It was VII. Apparition in the Sky (Bird-like) on quite warm and humid.) The hymn Hail, the 4b Principal. Holy Queen enthroned above (Salve Some Mendelssohn followed: Andan- Regina Coelitum) is a sentimental te religioso from Sonata in B-flat, op. 65, favorite of mine, taking me back to my no. 4; Adagio non troppo from Lied ohne ‘younger and more vulnerable years’. A Worte, op. 30. The hymn was I would be Beethoven Scherzo followed. It sounded true (Aspiration); the tune was new to like a glockenspiel—utterly charming. me. We were instructed to sing the last In the Intermezzo from Rheinberger’s verse pp so that we might hear the cello Sonata IV, op. 98, the lovely melody sang obbligato, which used material from out on the Swell’s Bassoon/Oboe. This is Mendelssohn’s Song without Words. It a fantastic organ, and yet the choir sits at )PPL)BTUJOHT0Q ** was lovely. A Fugue in D Minor (1778) the opposite end of the church in front 'JSTU1SFTCZUFSJBO$IVSDI by Wilhelm Friedemann Bach followed, of the old altar surrounded by a piano, an and the concert ended with a fine read- electronic instrument, and a drum set. 'FMHFNBLFS0Q * )PMZ5SJO The afternoon began at First Pres- ing of Vivaldi’s Sonata VI for Cello and Birch closed his program with Fanta- JUZ-VUIFSBO$IVSDI byterian Church in New Brighton, with Continuo in B-flat Major, RV 46. sie-Sonate No. 2 by Samuel de Lange Sr. a recital by Andrew Scanlon on the The next recital was one I had looked (1811–1884). I. Maestoso used full ple- Our bus caravan drove northwest of church’s fine 2-manual, 17-register Hook forward to for a long time. Paul Mat- num with reeds in music reminiscent of Pittsburgh through forested hills and & Hastings Opus 2548 from 1928, which thew Weber played the 1969 Flentrop Guilmant. II. Andante provided another valleys to the city of Beaver, and Holy stands at the front of the church. Scanlon organ (2 manuals, 22 stops) at Center visit with the beautiful flutes of this or- Trinity Lutheran Church, a mid-1950s began with three of Six Pieces by Joseph Presbyterian Church in Slippery Rock. gan. III. Allegro con fuoco brought back building in the style of a New England Willcox Jenkins (b. 1928). Deo Gracias I was his first organ teacher, and was big forte sound alternating with a smaller meeting house. The one-manual and showed the usual Hook powerful pres- proud to see him become a Biggs Fel- sound on the Swell, and a fugue. A superb pedal eight-stop Felgemaker organ, ence—the forte sound was arresting. low to the New Haven convention. demonstration recital on a superb organ! Opus 665 (1898), has survived a series Arioso used the organ’s soft sounds—the He would go on to study at Lawrence A delicious dinner was served on of moves and fires that causes one to sa- oboe and strings, etc. were lovely. Ron- University and then at Yale, where he board a riverboat, The Gateway Clipper, as we cruised up and down the wonder- ful rivers, enjoying the skyline, the lights, and the magnificent sunset. Those of us with cameras had a great time! 8FEOFTEBZ +VOF Calvary United Methodist Church in Pittsburgh was our first stop. The 3-man- ual, 32-stop Farrand & Votey, Opus 734 (1895), was given an OHS Citation of Merit. The church is very beautiful with huge Louis Comfort Tiffany windows. James Hammann’s recital featured mu- sic by Horatio Parker. Parker’s Sonata in E-flat Minor, op. 65, was an excellent demonstration piece with its changes in tone color and dynamics. The Doppel Flute and Swell Cornopean were promi- nently featured in the first movement. The second movement, Andante, was a dialogue with the flutes, Clarinet, and Vox Humana. Hammann is no stranger to instruments like this, and he used its !"# resources very well. The Allegretto be- $%& gan with a humorous conversation be- tween the flutes and the clarinet. I could see many smiles around the room. The '( Doppel Flute dominated the chat. The ( )* sonata closed with a fugue, which built + to full organ as it proceeded at a modest pace. The Charles Wesley hymn Forth in ! , Thy Name, O Lord with the tune Pix- ham by Horatio Parker (from The Hym- nal 1940) closed the program. It was well !"#$%& led, and sung with enthusiasm. Pity it did not reappear in the 1982 Hymnal.
"13*- the harp got the last word. VI. “. . . I will sing Thee . . .” (Trio) was more charm and fun. VII. “. . . e’en eternity’s too short to ex- tol Thee” (Finale) had big full sounds—a joyous romp! A great piece, a great organ, and a great organist! And to add to the magic of the evening, fi refl ies gracefully led the way back to our buses. Thursday, June 24 After a lovely climb through more of Pittsburgh’s beautiful neighborhoods, we arrived at the spectacular Gothic Revival Episcopal Church of St. Andrew, Pitts- burgh’s second oldest Episcopal church, formed in 1837. Their present building dates from 1906 and features a chancel window, “Christ Blessing Little Children,” by Tiffany Studios. The organ is a 4-man- ual Skinner, Opus 202 (1913). Beginning in 1992, organist/choirmaster Peter Lu- ley began rebuilding and expanding the organ in the Skinner style. We had two Möller Op. 9628, 1962, III/56, St. James performers that morning: Donald Wilkins Roman Catholic Church and Charles Huddleston Heaton. the altar. Headlee began with Allegro pomposo by Thomas Roseingrave, which marched along nicely. Adagio by Josef Hector Fiocco featured a mini-Cornet sound that was clear and light. Thomas Flentrop, 1969, II/18, Center Presbyte- Arne’s Flute Solo showed off the fi ne rian Church Positiv Koppel Flute 4′. Then came two pieces by Pachelbel: earned his DMA. I shall try to be impar- Prelude in D Minor and Ciacona in D tial in this review. Actually, that will not Minor. One was aware of the top-heavy be a problem, as his recital was brilliant. Kimball Op. 7102, 1931, IV/36/56, Har- sounds of this era of organbuilding. Head- The heat that afternoon was oppressive bison Chapel, Grove City College lee gave his usual fi ne performance, with and the organ fought back, but none of loads of freedom and clearly articulated us minded. Weber began with the Offer- It is always a joy to hear Thomas fast runs. Next, the Gigout Scherzo in E toire sur les grands jeux from François Murray, a regular at OHS conventions. Major from Dix pièces. It put me in mind Couperin’s Parish Mass. The reeds were He began with Rhapsody on a Breton of an old all-French Biggs LP I owned as unhappy with the heat and humidity Theme, op. 7, by Saint-Saëns. Murray is back in college, which was recorded at as we were, but we paid no attention to a master of the orchestral style. His fl aw- St. George’s Episcopal Church in NYC their complaining—Paul’s wonderful less use of expression shades and tone on a Möller of similar vintage. sense of the French Baroque style car- color is the stuff of legend. This piece We then heard Clérambault’s Basse et ried the day. was a delight. He then played one-time dessus de trompette from Livre d’orgue Next was Sweelinck’s variations on Yale faculty member Paul Hindemith’s on the Great Trompet. After a bit, he Mein junges Leben hat ein End. Weber Sonata II. Clean registration with con- added the Harmonics III, giving the began with the Hoofdwerk Prestant 8′, trasting statements highlighted this per- Trompet a different character. Brahms’s then the Brostwerk 4′ Koppelfl uit, then formance. I loved the growl of the lowest O Welt, ich muß dich lassen, op. post. fl utes 8′ and 4′, and led us on a fi ne tour notes of the Swell 16′ Bassoon. Widor’s 122, no. 3, used the pretty strings, fol- of this very good organ. His playing was Symphonie II followed. Murray opened lowed by Messiaen’s Dieu parmi nous. clear and controlled, with imaginative the fi rst movement (Praeludium Circu- Skinner Op. 202, 1913, IV/40, St. An- The piece worked surprisingly well on choices of color. Brahms’s Herzlich tut lare) with the huge First Open Diapason drew’s Episcopal Church this organ. But, oh, those high-pitched mich erfreuen, op. 122, no. 4, featured 8′ forcing its way into the long room. mixtures! The hymn Lift high the cross a dialogue between the Hoofdwerk prin- Other 8′ opens followed. Pastorale play- Donald Wilkins performed music (Crucifer) ended this fi ne program. cipals 8′ and 4′, and the Brostwerk fl utes fully danced before us on the beautiful by Pittsburgh composers. First was a 8′ and 4′. We then sang Weber’s setting Oboe, which provided whimsy and bliss. sturdy Postludium Circulaire by Henry of that hymn, which he led with great He moved the Andante right along— Gaul (1881–1945), followed by Western strength. He closed with Buxtehude’s mostly mf, he built it quite smoothly to Pennsylvania Suite (1958) by Ruel Lah- Toccata in G Minor, BuxWV 163, played a good ff and back. Quieter sounds fi n- mer (b. 1912). I. Dunlap’s Creek moved with a wonderful sense of drive and en- ished the piece, with the French Horn along gently on softer foundation stops. ergy. Immaculate technique and musical playing the theme. The Finale showed II. Fading Flowers was quiet. We heard line propelled this rousing music to an plenty of dash in the hands and feet—it the melancholy nature of Skinner’s solo ebullient conclusion. Well done! was a splendid performance! stops, including Oboe and French Horn. The evening concert took place at After the intermission, Michael Bar- III. Bellevernon was somehow reminis- Grove City College’s Harbison Chapel on one presented Prof. Murray with the cent of Aaron Copland, and built itself its 4-manual Kimball organ, Opus 7102 OHS Distinguished Service Award for to IV. The Spacious Firmament, which from 1931, which stands in chambers on 2010, a richly deserved honor. We leapt to brought this nice piece to an end. either side of the chancel. The organ had our feet to applaud this great musician! Gloria Te Deum by Nancy Galbraith fallen into disrepair, but has been beau- The second half offered transcrip- (b. 1951) is in the style of a French toc- tifully restored by the Thompson-Allen tions by Edwin H. Lemare: Im Garten cata. Next was Joseph Willcox Jenkins’ Company. The console was updated by from Rustic Wedding Symphony, op. Cantique Joyeux from Trois Cadeaux, Nelson Barden & Associates; with solid- 26, by Karl Goldmark (1830–1915). The op. 206 (2005), which featured the bril- state switching and combinations, it is strings, Vox Humana, and French Horn liant Fanfare Trumpet above the west now more practical for teaching. With were heard doing what they do best. doors. It calmed itself down to a pp and the air hot and humid, the doors and Murray did what he does best: bring the then made its way back. Casavant Op. 2593, 1960, II/33, St. Therese windows were left open, which allowed most out of this music and organs of this We then switched organists. Charles of Lisieux Roman Catholic Church fi refl ies to enter the chapel, adding an type, making the music sparkle and glow. Huddleston Heaton began with Du- enchanting touch to the evening. The next transcription was Scherzo, op. pré’s Prelude and Fugue in G Minor, The next recital of the morning was 70, no. 3, by Heinrich Hofmann (1842– op. 7, no. 3; he played it very well, but at St. Therese of Lisieux Roman Catho- 1902), a delightful confection; at the end, I could have done without the fanfare lic Church in Munhall, with Stephen we even heard the harp. trumpets at the end of the fugue. Pre- Schnurr, who gives an astonishing We then heard a 2008 work by Dan lude on CHRISTMAS CAROL by Morgan amount of his time and talent to the OHS. Locklair: Glory and Peace—A Suite of Simmons (b. 1929) followed. It is a gor- The organ was a 1960 2-manual, 33-rank Seven Refl ections, commissioned by the geous setting of that wonderful carol Casavant designed by Lawrence Phelps. Association of Anglican Musicians. Mur- tune by Walford Davies sung to O Little The main part of the organ is in the front ray gave the premiere performance at Town of Bethlehem—worth getting! of the church in a chamber to the right Walt Disney Concert Hall in Los Angeles. Fanfare-Improvisation on AZMON came of the altar. There is a fl oating nave divi- The movements are inspired by the great next and led into the hymn O for a thou- sion at the far end of the long nave, to George Herbert hymn King of Glory, sand tongues to sing. help support congregational singing. Dr. King of Peace. I. King of Glory, King of The next stop was St. James Roman Schnurr opened with Bruhns’s Präludium Peace (Prelude) used the Tuba Mirabilis Catholic Church in Wilkinsburg, which in G Major. He played it very well, grad- in a steadily moving section rising to a ff greeted us with a peal of its bells—some- ually unveiling the resources of the or- then backing down to strings and a 32′. II. thing we used to do all the time at OHS gan. The only reed stop in the sanctuary “. . . seven whole days . . .” (Pavane) used conventions, but have for some reason divisions is an 8′ Krumhorn on the Swell. foundation stops. III. “. . . I will praise or another abandoned. Bring it back, The trumpets are in the Bombarde divi- Thee . . .” (Galliard) is a dance with harp please! Will Headlee performed on the sion back in the nave. Next was a setting and a faint trace of “America”. IV. “. . . I church’s large Möller organ, Opus 9628 of Nun freu’ dich, liebe Christen mein’, S. will love Thee . . .” (Aria) used the Swell (1962), in a program entitled “Homage to 21, by R. E. Bach, who fl ourished in the Trumpet singing with warmth over some Ernest White (1901–1980).” The music 1740s. It sounded a great deal like JSB’s fl utes. V. “. . . with my utmost heart . . .” came from White’s collection Graveyard setting, which elicited a chuckle or two (Scherzo) had playful fl ute sounds occa- Gems (St. Mary’s Press, 1954). The organ from us. sionally interrupted by a single chime, is interesting for, among other things, its Next, A Gigue for the Tuba Stop (2004) which he employed with wit and grace; Swell division divided on either side of by Donald Stuart Wright (b. 1940), a
22 THE DIAPASON
Apr 2011 pp. 20-25 .indd 22 3/11/11 7:42:33 AM his 92-year-old grandmother, and urged all of us to encourage our friends and relatives to attend arts events. We then heard this remarkable young musician play Liszt’s Fantasy and Fugue on “Ad nos, ad salutarem undam.” Jacobs used the huge variety of tone color at his disposal. It was a grand tour that was at times poignant and at times exhilarating. Young and old, we were all agog over this man’s talent and profound musicianship. We leapt to our feet and cheered. He had given his all to this great music, this great organ, and to all of us. For an encore he played a Bach Fugue in C Minor. Apart from Jacobs’ playing, what im- pressed me most was his willingness to meet with all the young people who were present and who clamored to sit on the bench and have their pictures taken with him, this glittering star of the organ world. The Biggs Fellows were thrilled at the gracious generosity of his spirit. Holtkamp, 1970, II/30, Pleasant Hills Community Presbyterian Church He seemed not to have any other con- cern in the world but to spend time with pleasant piece, played amicably. The them—a lesson for all of us! hymn was Lord, you give the great com- Hook & Hastings Op. 1687, 1895, II/25, mission (Abbot’s Leigh). This rather Friday, June 25 All Saints Roman Catholic Church gentle neo-baroque organ didn’t stand Friday morning began with a drive to a chance trying to accompany the OHS the Verona United Methodist Church (no. 2 from Five Short Pieces), by Percy in spite of Schnurr’s best efforts. Then, for a recital by Carol Britt on the Whitlock. The Salicional accompanied a lovely setting by Edwin H. Lemare of church’s 2-manual, 12-rank Wirsching fl utes on the Great, then the Oboe in My Old Kentucky Home (Stephen Fos- organ (1915). The organ sits in a balcony the tenor range. The sounds were warm ter). Unfortunately our bus drivers took directly above the altar: the console fac- and fi lled the room. The hymn, Father, it upon themselves to start their engines es some Tiffany-style windows, with the Lord of all creation, was sung to the tune and move about the parking lot, ruining pipes on either side. A lovely “Corona- Geneva, and included an imaginative Stephen’s charming performance and tion” tapestry hangs down to the altar. reharmonization. Weismann closed with the recording of same. This problem Dudley Buck’s Concert Variations on the would continue throughout this conven- Star Spangled Banner. We had the sur- tion, and was a source of annoyance for prise of a Zimbelstern in about the third all of us. Schnurr closed with Petr Eben’s variation. I’ve never heard anyone else Moto ostinato from Musica Dominicalis do that. It worked very well. He played (1958), which worked quite well on this with expression and artistry! style of organ. We then split into three groups. My We had lunch and the annual meeting group went to First Unitarian Church in at the Pleasant Hills Community Presby- Pittsburgh to hear its Wirsching organ terian Church, followed by a recital on built in Salem, Ohio in 1904: 2 manu- the church’s fi ne Holtkamp organ (1970, als and about 21 ranks. The organ was 2 manuals and 23 stops). The organ stands donated by Andrew Carnegie, and Clar- in the front of the church behind the al- ence Eddy played the dedication recital. tar. James M. Stark, co-chair of this con- Aeolian-Skinner Op. 884, 1935, IV/140, The building is quite handsome, with vention, was chairman of the committee East Liberty Presbyterian Church splendid beams. The organ is at the that produced this organ. Our recitalist front, situated in a gallery with an arched was George Bozeman, who has played architectural historian Walter C. Kid- multiple times for the OHS and who al- ney: “Though building with Presbyterian ways manages to insert a bit of whimsy money . . . [Cram] so designed the chan- along with solid choices of literature. He cel that on half an hour’s notice [it] could began with a piece perfectly suited to be set up for a Catholic or Anglican High this quintessential Chick Holtkamp or- Mass.” Indeed, carvings and statues were gan: Hindemith’s Sonata I (1937). This on display all over the building. And the organ is a warm-sounding neo-baroque 4-manual, 140-rank organ—the larg- Wirsching, 1915, II/12, Verona United instrument, and Bozeman used it wisely. est we heard at the convention—was to Methodist Church I especially enjoyed movement II, Sehr die for. Originally an Aeolian-Skinner, in langsam, in which the Cromorne sang its 2004 Goulding & Wood was awarded the We began by singing When morning sad song from the swell box—a beautiful contract to rebuild the organ and reverse gilds the skies (Laudes Domini). Britt tone, used very expressively. The full ple- changes made in the 1970s. In addition, opened her program with Four Compo- num thrilled but did not dominate. This the acoustics were improved. sitions (3. At Twilight, and 4. The Swan) was an excellent organ for this music. Paul Jacobs began with Mendelssohn’s by Charles Albert Stebbins (1874–1958): Next came a bit of humor: Bozeman’s Sonata in F Minor, op. 65, no. 1. The Al- movement 3 featured the sweet little own transcription of A Day in Venice, op. legro moderato e serioso was grand and Oboe; in the fourth movement, the 25, by Ethelbert Nevin (1862–1901). It spacious. The peaceful Adagio was rest- gentle Salicional moved gracefully. Next began with: Alba (Dawn), which led into ful and quiet. The Andante–Recitativo came Variations on “Les Beaux Mots” by Gondolieri (Gondoliers), with its 12/8 showed the soft solo and chorus reeds. John David Peterson (b. 1946), which rhythm taking us down some pretty canal. Jacobs added more and more reeds. His had a bit of a French Baroque tambourin Canzone Amorosa (Venetian Love Song) pacing was perfect as the sounds grew style. Then we heard Lemare’s transcrip- used the 8′ Principal in the tenor range, grander from this massive organ with tion and paraphrase of Stephen Foster’s with strings and fl utes accompanying. seemingly limitless resources. It was, by Massa’s in the Cold, Cold Ground, with Buona Notte (Good Night) brought it to turns, thrilling and terrifying. the organ’s only reed, the Swell Oboe 8′, a close with dark, thick chords giving way We then sang the hymn The church’s playing in the tenor register. The piece to lighter strings and plucks on the Great one foundation (Aurelia). The organ ended on the Swell Stopped Diapason 8′ Gedackt. Who knew a 1970 Holtkamp seemed a little loud from where I sat. with the occasional chime. Britt closed organ could be a romantic instrument? Next, a piece not in the program: Prelude with Mendelssohn’s Sonata III. Such George Bozeman did! Well done! in F Minor by Nadia Boulanger, which wonderful music, beautifully played, and The hymn was A stable lamp is lighted showed the strings and foundation stops. a very good demonstration of the organ. (Andujar). Bozeman closed this well- He gradually added upperwork before All Saints Roman Catholic Church in prepared and carefully thought-out pro- bringing it down to 8′ fl utes. Jacobs then Etna was our next destination. This Lom- gram with Bach’s Prelude and Fugue in moved into Franck’s Finale in B-fl at, op. bard Romanesque (basilica style) church E Major, BWV 877, from The Well-Tem- 21. He took the beginning at a dazzlingly was built in 1915 to plans by John Theo- pered Clavier, Book Two. In the prelude, fast tempo. I don’t approve of his regis- dore Comes of Pittsburgh. Six towering he demonstrated each of the delicious trations in Franck, but he sells the music. granite columns line each of the side sounding 8′ and 4′ fl utes of this organ. Who am I to tell Paul Jacobs how to play aisles. The organ came from the Organ For the fugue he used reeds and founda- the organ? I confess that I did like the Clearing House, acquired by the church’s tions—solid, well-defi ned. Flauto Mirabilis used as a solo stop. organist and OHS member J. R. Daniels After dinner at the Sheraton Station During the intermission many of us (also a co-chair of this convention): an Square Hotel, we went to the evening stepped up to the console to have a closer 1895 Hook & Hastings, Opus 1687, of event at one of Pittsburgh’s most opu- look. It stood in the center of the chan- 2 manuals and approximately 23 ranks. lent churches, East Liberty Presbyterian cel. The pipes were high up in chambers Patrick Murphy restored the instrument, Church, for a recital by Paul Jacobs. on both sides. We were amused to fi nd a completing it in December 1995. It This is no ordinary Presbyterian church. drawknob labeled “Console Fan”. When stands in the rear gallery, and the acous- It is a huge, vast building in Gothic style drawn, cool air blows onto the player. tics favored the organ quite well. built in 1930 to plans by Boston archi- Not a bad idea! Russell Weismann began with Men- tect Ralph Adams Cram, who was given After intermission, Jacobs acknowl- delssohn’s Prelude and Fugue in C Mi- an unlimited sum of money to spend by edged the presence of all three of his or- nor, op. 37, no. 1, which he played very the donors, B.B. Mellon and his wife, gan teachers: George Rau, John Weaver, well, with just the right blend of clarity, Jennie King Mellon. Our Atlas quoted and Thomas Murray. He also introduced drive, and grace. Next was Folk Tune
APRIL, 2011 23
Apr 2011 pp. 20-25 .indd 23 3/11/11 7:42:54 AM vise. This was entitled Polyphonic Im- provisation on Rendez à Dieu. There were fi ve pieces, each in the style of a different composer. They were utterly convincing. You would have sworn that he had discovered a never-before-heard chorale prelude from the Clavier-Übung, or that Clérambault had written a third suite. It was a tour de force of the high- est magnitude. 1. Chorale was played on the warm 8′ Principal, a beautiful har- monization. 2. Bicinium followed, the evening’s fi rst use of the Cornets in the manner of a French Baroque “Duo” with 16′ in the left hand. 3. Cantus Firmus So- prano had the melody on a strong RH Cornet while the LH accompanied on an 8′ Principal, with Pedal 16′ and 8′ in the manner of a Bach chorale prelude. It was magnifi cent! 4. Aria: Cantus Firmus Alto was a quiet little thing on what were, I believe, fl utes 8′ and 4′. 5. Organo Pleno, c.f. Tenor, and what an organo pleno it Wirsching, 1904, II/21, First Unitarian was. Then we sang the hymn New hymns Church of celebration (Rendez à Dieu). Rüb- sam never used the same harmonization recess. Recitalist Mark W. Frazier be- twice in playing this tune. Brilliant! His gan with the hymn Sing praise to God leadership was extraordinary. who reigns above (Mit Freuden Zart). Next, Bach’s Pièce d’Orgue, BWV 572. We were only a third of our usual size, I’m especially fond of the Gravement but Frazier played as though the entire section, as it was played at our wed- convention was singing in this smallish ding when my wife came down the aisle. church—needless to say, he drowned us Rübsam made this great music lift us to out. The fi rst piece was the Passacaglia, higher realms as it moved through the no. 11 from Rheinberger’s Zwölf Char- great spaces of the building. The Lente- ackterstücke, op. 156 (1888). He carried ment was like a huge peal of bells. it along quite well. Rübsam closed this extraordinary re- Next up were Two Chorale Preludes by cital with two movements from Widor’s Roland Leich (1911–1995). Mein Herz, Symphonie III in E Minor. The Adagio gedenk’, was Jesus thut used a charming was a welcome relief from the much 4′ fl ute. The program listed three move- louder music that preceded it. The 32′ ments including a pastorale; the reeds purred under strings and a solo fl ute, for were used well. Die ganze Welt brought Beckerath, 1962, IV/97, St. Paul Cathedral a lovely effect. Finale pierced the quiet it to a close. Frazier then played Légende spell cast by the Adagio and he was off— (2010), which was written especially for citalist Donald Fellows, organist at St. that this historic and noble instrument incredible and brilliant playing. I was this concert by Luke Mayernik (b. 1981). Paul Roman Catholic Cathedral, told us can be blessed with the thorough resto- reminded of notes I took after hearing It was full of dark mysterious colors on that many of the stops were unusable or ration it so richly deserves. The banquet him play at the Dallas AGO convention the Oboe and foundation stops. The had several silent notes. He put on a fi ne was fantastic. We felt like royalty! in 1994 on the Fisk organ at SMU. His middle section called for a Cornet-like concert nonetheless. The organ stands And then came what was for many of playing transported us to a place where sound. The fi nal part took us back to the in a front balcony, which rises above the us one of those unforgettable OHS recit- we could see into another realm greater beginning, and ended on the strings—a Bima and the Aron Kodesh. Two meno- als: Wolfgang Rübsam in recital on the than our own, but being ordinary mor- good demonstration piece. rahs are mounted near the railing, and huge 4-manual Beckerath organ with its tals, we had to turn back and wait our We then heard Frazier’s own composi- there are ornamental en-chamade pipes 32′ facade (1962) at St. Paul Cathedral. time. It was an awe-inspiring evening! tion, The Whimsical Frustretude (1995), all across the façade. Inside the case is Our fi ne Atlas told us that it is “the fi rst a happy bit of music with a tongue-in- a stop called, appropriately, Tuba Sho- mechanical-action organ to be installed cheek setting including bits of “Woody phar, not playable just now. in a North American cathedral in the Woodpecker”—I liked it a lot! The last Fellows began with Grand Chorus 20th century.” We have the late cathedral piece was Toccata on “Litaniae Sanc- from Twelve Pieces by Theodore Dubois, organist, Paul Koch, to thank for acquir- torum” (2009) by Robert Farrell (b. in which we heard what there was of the ing this fi ne organ. It inspired countless 1945)—an exciting work nicely played. Tutti. Next was Balletto del Granduca organs in the years that followed. It has Frazier provided well-written and much by Sweelinck, with fi ve of its variations; been restored quite elegantly by Taylor appreciated program notes, as there was all were played with great skill and style. & Boody, who began work on it in 2008. a lot of new music on this fi ne concert. I liked the soft fl utes and Swell reeds. An OHS Historic Citation of Merit was There was a symposium on “An Organ Then, music by Ernst Bloch: V. Un poco presented by Stephen Schnurr. in 18th-century Western Pennsylvania: animato from Six Preludes, which pre- Herr Rübsam’s concert was a dandy. Joseph Downer’s ca. 1788 Chamber Or- sented more of the softer stops. Then A He opened with two movements from gan”—an organ that only exists in pieces. Partita on Laudate Dominum by Rich- Vierne’s Symphony No. II in E Minor, A distinguished panel of organ historians ard Proulx—nice individual sounds like op. 20. The Allegro sent volleys of sound discussed this instrument. Slides were the Swell 4′ fl ute and a beautiful Oboe. through the majestic arches of this great shown of what remains of the organ, We then sang the hymn Sing praise to and reverberant building. Rübsam’s along with what these experts could piece the Lord (Laudate Dominum), which famed strength and sense of rhythm together of the instrument’s history. sounded grand beneath the dome of this plumbed the depths of this fantastic mu- great worship space. sic. As always, he was in complete con- The fi nal banquet took place in the pa- trol of music, instrument, and building. latial spaces of the Carnegie Music Hall, The Chorale movement began on the an extraordinary building in Italianate glorious 16′ foundation stops. It picked style. The Grand Foyer, added in 1907, up speed and energy, giving us bigger was set up for our banquet: a gilded hall reed sound, contrasting sections of loud with a 50-foot ceiling lined by green and soft, building to a huge ending—it marble columns from fi ve countries. We, was thrilling. however, entered the Music Hall fi rst: a Next came Franck’s Fantasie in A. It Austin Op. 131, 1905, II/11, First United lovely jewel-box of a space with red seat- was marvelous hearing him turn this very Methodist Church ing for 1,950 people and two balconies. German organ, with its faint neo-Baroque On stage was the huge console of the accents, into a French instrument, which Saturday, June 26 126-rank organ. Originally a Farrand & says a great deal about Prof. Rübsam and This was an extra day for the conven- Votey (1895), the organ was rebuilt by about Rudolf von Beckerath. With the tion, so the group was smaller, but we had E. M. Skinner in 1917. Aeolian-Skinner fi ne restoration by Taylor & Boody, the a full and interesting time. We began in did further rebuilding in 1933 and in organ sounds better than ever. the charming town of West Newton (est. 1950, adding percussions. Then came some Rheinberger (for my in 1731) at the First United Methodist James Stark, in his fi ne lecture com- money, nobody plays this composer bet- Church to hear its 1905 Austin organ (tu- plete with PowerPoint illustrations, told ter than Wolf Rübsam): Sonata No. 5 in bular pneumatic), with 2 manuals and 11 us that the organ had been silent for 20 F-sharp Minor, op. 111. I. Grave-Allegro ranks. Three young men played: Joseph years. You can imagine our surprise when moderato: the music rumbled through Tuttle, Dimitri Sampas, and Adam J. R. Daniels sat down at the console— this great cathedral; one was nearly over- Gruber. Sadly, the room’s acoustic is he played a Fanfare by Michael McCabe come by its sheer force. II. Adagio non quite dead, but the organ held its own that led us into the singing of Eternal troppo used one of the gorgeous prin- and has many beautiful sounds. Gruber Kimball, 1907, IV/54, Temple Rodef Father Strong to Save (Melita). Emo- cipals for a solo in its tenor range. III. went fi rst with a Rheinberger trio, but Shalom tions ran strong throughout that beauti- Finale (Allegro maestoso) began with a the organ decided to add a bit of its own ful and historic room. It was one of those shockingly big sound. He made it roll and in the form of a cipher on what sounded My group then went to Pittsburgh’s “only at OHS” moments. The older folk roar—utterly fantastic. Can you tell that like a 16′ Gedackt in the pedal. In spite Temple Rodef Shalom, a large building headed for the beautiful banquet area I enjoyed this recital? His performance of that, he played with good attention to dating from 1907. The W. W. Kimball while the young folk had a fi eld day with served the music fi rst, not himself. It the independent lines. He then played Company built the 54-rank, 4-manual or- this huge and very grand instrument. ended in a blaze of glory. a Passacaglia by his teacher, Dennis gan. Sadly, the instrument is in poor con- They soon joined us, happy and smiling Then Rübsam did something he does Northway (who does a superb job shep- dition and awaits proper restoration. Re- at their good fortune! We can only hope as well as anyone on the planet: impro- herding the young Biggs Fellows at
24 THE DIAPASON
Apr 2011 pp. 20-25 .indd 24 3/11/11 7:47:51 AM these conventions). The piece has many and subordinate role, the piano, like- humorous elements: twitters and trills. wise. This was a brilliant end to the con- Sampas played an Offertory by Boëll- cert and to the convention. mann, and the Mendelssohn Prelude and Fugue in G. The Boëllmann was Overall, it was a good convention. played on the 8′ Open Diapason—a big, The hotel, food, transportation, venues, bold sound—alternating with the Swell instruments, and artists were fi rst rate. Geigen 8′. He moved the Mendelssohn The 186-page Atlas was fi lled with fasci- along nicely, and kept the many strands nating essays, information, and fi ne pho- of the fugue in order. Tuttle proved to tography; the program booklet was well be quite a skilled improviser. He used laid out—I liked the performers’ bios a hymn composed by a founder of this and photographs at the back of the book, church. We heard more of this organ’s saving more space for specifi cations and sounds—the strings and fl utes were at- programs; and the hymnlets were large tractive. The improvisation was well con- and easy to read. My hat is off to the fi ne ceived and well played! committee who put the convention to- Our next destination was back in Pitts- gether and made it run smoothly. burgh: Holy Rosary Roman Catholic/St. For future conventions, I would sug- Charles Lwanga Parish, occupying a very gest that there be consistency in the list- handsome Ralph Adams Cram Gothic ing of something as simple as number building from 1930. The fi rst organ was of stops and ranks. That is not always a 2-manual, 48-register 1901 Hook & apparent. Also, OHS convention speak- Hastings from their previous church. ers should wait until everyone is seated Presently, there is a 1956 3-manual Casa- before making announcements, use a vant, Opus 2311, located in a front side microphone, and talk slowly, especially gallery. The church fi nds itself nowadays in reverberant rooms. Buses should in an African-American neighborhood, not move about during concerts when so there are beautiful African sacred art church windows are open, thus ruining objects decorating the building. Recital- recordings and performances. Finally, ist Jonathan Ryan began with a spirited I’d like us to go back to the practice of performance of Bach’s Prelude and Fugue ringing the churches’ bells before the in D Major, BWV 532 at breakneck concerts start. It is another introduction speed—he took off like a rocket! The to a musical and often historical sound prelude ended mp. The fugue continued the building can make. at the same tempo, but with full plenum. I look forward to this summer when The organ is very typical of Casavants of the OHS will be in Washington, D.C. this period: a warm, clear tone. The clos- It should be another fi ne event! OHS ing section brought things to ff and full conventions are always a great bargain, pedal. Sadly, there was a cipher. with world-class instruments and per- Next was a charming French noël: Où formers, outstanding scholarship, and s’en vont ces gais bergers? by Claude great food. Everything is done for you. Balbastre. The organ was well suited to See you in D.C.! Q this literature. I wish he hadn’t used the shades on the softer parts, as they ren- Frank Rippl holds a BMus degree from dered them nearly inaudible because fans Lawrence University in Appleton, Wisconsin, were running (but were fi nally turned Aeolian-Skinner Op. 1266, 1955, IV/68, Eastminster Presbyterian Church where he was a student of Miriam Clapp Dun- can and Wolfgang Rübsam, and an MA degree off; churches need to be instructed on from the University of Denver. He has been using fans during organ conventions). I After dinner, the fi nal concert of the The concert ended with Dupré’s organist/choirmaster at All Saints Episcopal wish more performers would use these convention was held at Eastminster Variations on two themes for piano and Church in Appleton since 1971, is co-founder marvelous noëls; they are great demon- Presbyterian Church. The organ was a organ, op. 35, which used a host of col- of the Appleton Boychoir, and coordinator of stration pieces. His playing was excellent. 4-manual, 1955 Aeolian-Skinner, Opus ors from the instruments. Challenging the Lunchtime Organ Recital Series. Next, in Pastorale and Toccata (1991) by 1266 with six divisions, situated at the music for both artists: the organ sound- David Conte, the generous acoustic of front of the church. The Steinway Model ing like an orchestra in both a leading Photos by Len Levasseur this tall stone space enhanced the Great D was courtesy of Trombino Piano Gal- Hohlfl öte 8′ with the Swell strings in a lerie. Performers were Neal Stahurski, pensive section. A livelier section fol- organ, and Yeeha Chiu, piano. Stahurski ORGAN HISTORICAL SOCIETY 56TH NATIONAL CONVENTION lowed, with a return to the fl utes. Ryan began the evening with an arrangement ~ played it with great movement and feel- of Simple Gifts by Charles Callahan that ing. The Toccata started with somewhat was grand and spacious and would please dissonant chords. He controlled all the most any congregation. Chiu then played elements very well. two pieces by Chopin: Polonaise in C- The hymn was My song is love un- sharp Minor, op. 26, no. 1, and Waltz known to the tune by John Ireland, Love in C-sharp Minor, op. 64, no. 2. She is a Unknown. Then came something com- fi ne player and showed good attention to Washington,D.C.-XQH -XO\ pletely different: George Shearing’s I Love musical detail and line. 2 2 2011 Thee, Lord. He closed with The World Stahurski returned to play a Gerald Awaiting the Savior from Dupré’s Pas- Near arrangement of the Largo from sion Symphony, op. 23. Alas, the cipher Bach’s Concerto for Two Violins in D Mi- returned; a pity, as it ruined the recording nor, which featured piano and organ. I of an otherwise fi ne performance. especially liked the beautiful Oboe stop, We then went to Trinity Lutheran which sounded delightful alongside a Church, on the north side of Pittsburgh, solo fl ute in this very familiar music. We whose present building dates from then heard the organ alone in a three- 1960. The organ stands in the back of movement Suite by Jehan Alain. I. Intro- the smallish church: a charming Jardine duction et Variations used fl utes and soft from 1863 that had quite a history of foundation stops in dialogue; the varia- moves here and there; 2 manuals and tions explored other sounds in the organ. an 18-note pedalboard, and 11 stops. II. Scherzo began on a fl ute stretching The case was honey colored, and the into the octatonic-scale harmonies Alain façade pipes were painted a deep ma- loved so much. Then the quicker notes roon. Christopher J. Howerter began took over and he leapt about on the Swell with Opening Voluntary by James Cox reeds, and played with great fl ourish! Beckel (1811–1880), which featured III. Chorale began with widely spaced a broad, warm sound. For Trumpet chords. Stahurski controlled it all very Air, by James Bremner (d. 1780), the well, leading to a full sound, then back- blower was turned off and the organ ing away. A crashing big chord brought was pumped by hand. The blower came to a close. back on for The Sufferings of the Queen A piano piece followed that was not of France, op. 23 by Jan Ladislav Dussek listed, and I did not catch the name. (1760–1812). This was programmatic Then Duo Concertant for piano and or- music “expressing the feelings of the gan by Naji Hakim; they played the sec- unfortunate Marie Antoinette, during ond movement, Andante. It is very clev- her imprisonment, trial . . .” Scherzo, er, bouncy music that used the piano and from Grand Sonata in E-fl at by Dudley organ sonorities quite well. The organ Buck, was nicely played and showed the registrations were snappy and charming. organ well. The hymn followed: Rejoice, Both piano and organ sounded surpris- the Lord Is King! (Jubilate). He ended ingly well in the heavily cushioned and with Postlude in C by Walter H. Lewis carpeted room. We then heard piano (fl . 1890s). This was a real period piece, and organ in an arrangement by David sounding like something a community Schwoebel of It is well with my soul. If band would play on a Sunday afternoon your church sings this hymn, they will en- C OME JOIN US ! concert in a park. It sounded great on joy this grand setting. Pure Technicolor! this organ, bringing out all its personal- We then sang Eternal Father, Strong to REGISTER ONLINE @ WWW.ORGANSOCIETY.ORG/2011 ity. We then had a hymn sing of some Save. Stahurski played it very well; his CRYPT CHURCH, NATIONAL SHRINE ~ SCHUDI ORGAN (1987) ~ PHOTO LEN LEVASSEUR early Western Pennsylvania hymns. last verse was ablaze with light and color.
APRIL, 2011 25
Apr 2011 pp. 20-25 .indd 25 3/11/11 7:48:15 AM A Conversation with Christopher Houlihan Joyce Johnson Robinson
hristopher Houlihan may very well of these students had never experienced Cbe the youngest organist ever inter- an organ recital before supporting their viewed by The Diapason. A Connecti- friend. When he performed with the cut native, Houlihan—sometimes known symphony during his senior year, they as “Houli”—made his debut album at 19 chartered buses to take throngs of stu- (a recording of the Vierne Second Sym- dents to the orchestra hall, where they phony, made before he went to France rained down loud cheers from the bal- in his junior year; see the review by Da- cony. Christopher Houlihan currently vid Wagner in The Diapason, January studies with Paul Jacobs at the Juilliard 2009, pp. 19–20). His second recording School, and is represented by Phillip (Joys, Mournings, and Battles, Towerhill Truckenbrod Concert Artists (www.con Recordings) was recently released—a certartists.com). Houlihan can be found signifi cant achievement for any artist, on Facebook and YouTube, and his web- but all the more amazing given his youth. site is
Rehearsing with the Hartford Symphony
26 THE DIAPASON
Apr 2011 pp. 26-29.indd 26 3/11/11 7:51:27 AM Christopher Houlihan with violinist Joshua Bell
listener. If hearing Widor played at St. mornings, and I directed two children’s Sulpice brings you to your knees, then choirs—the children’s group, and a teen- that music should have the same effect ager group—and along with all this I wherever you’re playing it, and, typically, had an apartment in the cathedral tower, in my opinion, to get that kind of effect which was really incredible! You could Arriving for a recital at the church of In the shade of a modern artwork on American organs, you have to play the climb to the top of the tower, and you Saint-Eusèbe, Auxerre, France music in a very different way than you had one of the most spectacular views times be diffi cult to learn a piece very might in France. of Paris. You could see all of the major I took classes in all sorts of things: sci- deeply when you’re going through so monuments, really stunning. The cathe- ence, math, philosophy—it was wonder- much music so quickly, but you can al- JR: So are you saying that one must dral is on the Avenue Georges V, which ful, and I made friends with all sorts of ways bring things back to Paul and work register more with one’s ears than is right off the Champs Elysees . . . the people studying all different subjects, on them more, and of course work on just looking at labels on the knobs? whole experience was very surreal and I and I can’t say enough positive things them more on your own, which is where CH: Yes, absolutely. And at the same feel so lucky to have had the opportunity. about how that can affect one’s perspec- the real music happens, spending time time, you don’t have to travel all the way And the people at the cathedral are so tive on making music. But I really felt I getting to know the music very intimate- to France to register that way. I think you wonderful. There are a lot of Americans, was ready to study music in a much more ly. To touch on the last question again, have to go with your gut—you have to of course, and people from England, intense environment, and Juilliard was a even though I’ve been lucky to have look for what’s the most musical solution from Australia, and French people too! great choice for that. I love being in New these opportunities to record a CD and when you’re registering anything. It’s not York City, being at Juilliard, and working study in France and work under man- what the book says is the correct regis- JR: During your time in France, you with Paul. It’s been very rewarding. agement, which I’m incredibly grateful tration, but what has an effect—what performed for George and Laura for and excited by, I believe one never makes the music come alive. Bush at the American Cathedral in JR: Has it been an opportunity to really stops learning. Juilliard has been a Paris. Can you recall that day? learn a lot of new repertoire, or just wonderful place for me to grow more as JR: Was there any particular aspect CH: I’ll certainly never forget it. It refi ne what you already know? a musician, and I hope to continue to do of registration that you had to make actually began on a Saturday afternoon CH: One of the unique things about that for the rest of my life. adjustments for when you returned when I got a knock at the door of my the Juilliard program is that we’re re- to the U.S.? apartment. Now, my apartment was 83 quired to perform a new piece each JR: You have a website, and a presence CH: There are all sorts of things one steps up a cement spiral staircase, so I Thursday morning in our organ studio on Facebook—do you fi nd that these can do. One basic idea that is important didn’t get very many knocks on the door class, which is open to the public. And media help build your audiences? to know about is the upward voicing that . . . I was fairly surprised to discover the that was defi nitely a big draw to go there, CH: I’m not sure, but I do think a lot of the French organs have, where dean of the cathedral and two French to learn a lot of repertoire. It can some- they’re incredibly important tools. How things really sing in the treble in a way police offi cers with enormous rifl es they don’t on most of our organs. There’s standing in front of me. They explained The Fourteenth Annual not an easy solution to this, but it’s some- who would be coming for a visit the fol- thing to keep in mind and listen for. The lowing morning. To complicate things, other thing is that our Swell boxes are, Ned was away, the adult choir hadn’t generally, much more expressive even had a rehearsal the previous Thursday, Albert Schweitzer on smaller organs, and you can use them and we had the children’s choir sched- in a different way for the kinds of musi- uled to sing that morning too. Unfortu- cal effects that naturally occur without nately, we had to keep the news com- Organ Festival moving the box on a French organ. The pletely secret for security reasons, so I reason Franck used the Hautbois with couldn’t let the choirs know what would A Weekend in Celebration of Excellence in Organ Music: his 8′ foundations was to make the Swell be happening. Sunday morning was a more expressive . . . if the oboe isn’t little hectic . . . security came and set up A Gala Concert, ORGAN COMPETITION, Services, and Masterclass needed, I leave it off. Many American metal detectors, dogs sniffed through organs have the only chorus reeds in the whole building, and of course, they High School Division First Prize: $2,000 the Swell, and they might be quite loud; didn’t care that I had a choir to rehearse! Other prizes also awarded therefore, you don’t always have to play We wound up with about 15 minutes to with the full Swell on where Vierne or run through the anthems, but we pulled Widor says “full Swell.” If you’ve only it off pretty well. College/Young Professional First Prize: $3,500 got a full Swell and one more reed on Through age 26 Other prizes also awarded the Great, you don’t get a crescendo ef- JR: What were your studies like with fect; you go from loud to louder. You’ve Jean-Baptiste Robin? This includes an appearance on our 2011-20012 Concert Series got to allow more liberty for these things, CH: Robin was an excellent teacher because in the end you’re being truer to and I learned a great deal from him. At the composer’s intentions . . . his recommendation, we spent the year AUDITION CDS: 2011 JUDGES working almost exclusively on French Due on June 6, 2011 JR: Tell us a little more about your music, and nothing could have made me Gregory time in France. Life in Europe is usu- happier. Each week I would prepare a D’Agostino ally different than it is here, so what different piece, by de Grigny, Marchand, THE COMPETITION: was it like for you—your schedule, Couperin, or one of the other French September 9-11, 2011 your study, your practicing? Did you Baroque composers. We worked a great spend time learning the language? deal on Franck, of course, on Alain’s CH: I was there through the Trin- Trois Danses, as well as one of Robin’s ity College Paris program. They have own pieces, Trois Éléments d’un Songe. For Information & about 20 to 30 students there each Application: semester, and through that program I JR: What made you choose Juilliard took French language classes, a class on for graduate study? For that mat- French culture, a course on art history ter, why even bother with gradu- First Church and architecture—they offer all sorts ate study, because you had already of Christ of courses, ranging from history of the made a recording, you were signed Frederick European Union, to independent stud- to professional management before Hohman ies on anything you want to learn about. you even got a bachelor’s degree, if 250 Main Street I did part of my coursework through my calculations were correct? Wethersfield, CT 06109 Michael Barone them, and Trinity gave me credit for CH: True. I chose Juilliard because I PAST JUDGES: my organ lessons at the conservatory in really wanted to work with Paul Jacobs Colin Andrews, Diane Meredith Belcher, Versailles, and my private harmony les- and I have had a wonderful time study- firstchurch.org/asof Charles Callahan, Benjamin Dobey, David Enlow, sons with Jean-Baptiste. ing with him. I’ve been lucky at this Paul Fejko, Janette Fishell, Gerre Hancock, I was also lucky enough to have an in- point to have studied both at Trinity and 860.529.1575 Fredrick Hohman, Paul Jacobs, Wilma Jensen, credible job at the American Cathedral at Juilliard, and have had vastly differ- Ext. 209 Marilyn Mason, Katharine Pardee, in Paris, working with Ned Tipton. I ent experiences at both schools. At Trin- Cherry Rhodes, Catherine Rodland, music@firstchurch.org was the assistant musician, which meant ity, the focus was on studying music in John Rose, John Walker and John Weaver that I accompanied the choir on Sunday a broader context—a liberal arts school;
APRIL, 2011 27
Apr 2011 pp. 26-29.indd 27 3/11/11 7:51:49 AM With the youngest Houli Fan Houli Fan headgear
At the American Cathedral in Paris The well-dressed Houli Fan I’m not suggesting we necessarily are), you’re ignoring a big part of your audi- many people are on Facebook now? I At Trinity, students came to the concerts ence. So I think it can absolutely help. have no idea, but there’s no reason not and saw that I loved performing, thought YouTube is a fantastic resource for hear- to take advantage of it and to be com- the music was exciting, and they respond- ing and seeing performances—it’s an municating in the world where most ed by getting more people to come! This incredible archive of music and musi- people are interacting today. I don’t is such a good sign for organ music, to cians and organs and all kinds of music, know if my online presence necessarily see people, of any age, who don’t know not just organ music, and quite a tool for helps build my audience, but it certainly anything about organ music responding marketing and advertising. Everything doesn’t hurt it. It certainly helps attract to it. I think in a way the organ may stand links to something else, and people can younger people. in a better place now than it ever has, I see you and discover other organ music suppose you could say—it has been so and other performances. JR: Do you notice that your audi- dismissed and ignored for so many years, ence has a younger demographic that now it stands to be rediscovered. JR: Well, back to the Houli Fans. than that of other organists? We’ve all been in situations where people What are they up to these days? CH: I don’t think so, not yet at least, ask about being an organist. They really CH: We have shirts and hats and cof- but attracting younger people to classical don’t know what that is, they don’t know fee mugs, and people are really respond- music is something I feel very strongly what that means, what we actually do. ing well to it. Everywhere I’ve been this about. And one of the greatest things I When they hear exciting classical organ year I hear “Oh, I’m going to join the experienced at Trinity was bringing my music, they’re so wowed by it—it’s true. Houli Fans” and “I’m your newest Houli With soprano Christine Brewer, at the friends who weren’t musicians to my or- I’ve played recitals this year and people Fan” and things like that. And I fi nd that American Cathedral in Paris gan concerts, and getting them excited come up to me and say, “This was my fi rst both musicians and non-musicians want about it. They responded very positively. organ concert and it was way better than a very fun way to connect with the per- to approach it with respect for the schol- I ever expected!” I tell them, “Now go tell former and somehow be involved in the arship that’s been done on it and its per- JR: Would that be the Houli Fans? somebody else. And come back again and performance. It’s fun! formance practice, but also perform it CH: The Houli Fans grew out of that, bring them!” Once people discover what’s And there’s nothing wrong with having in a way that feels honest to me, so that from friends of mine who weren’t musi- going on, they’re excited by it. And that’s a little bit of fun, or with classical music I can perform it and convince the audi- cians, but who came to my organ concerts a really good sign. being fun. It’s been fun for centuries! ence of the music. I don’t think there is and got excited by the music and discov- much value in performing something ered something far more fantastic than JR: Do you see any special role for JR: You also have an interest in musi- just because you think you should—that they ever expected to. I would have never technology such as iPods or YouTube cal theater. Do you have much time you should play so-and-so’s music. Well, guessed some of my college friends would to advance organ music, or are those for that any more? what if you don’t like so-and-so’s music? greet me by humming the opening bars just tools like a CD would be? CH: No, not right now, in graduate A lot of people may like so-and-so’s mu- of Vierne’s Second Symphony—or talk to CH: I think what’s important is school, and with a busy performance sic, and a lot of scholars may say it’s im- me about how fascinating a Bach fugue reaching as many people as you possi- schedule. But I did a lot of it in high portant . . . But I don’t have to perform was. Houli Fans has caught on in a very bly can. And people are on Facebook, school—I was music director of several everything under the sun. organic way, and audiences everywhere I on YouTube—a lot of people are using shows. That was a lot of fun, and actually go are interested to hear more about it. these things, and if we ignore them (and a really great learning experience. And JR: In one of Gavin Black’s regular I did a lot of it in college, too—music columns in The Diapason, one of directing, performing on stage, singing, his points was that if you don’t re- dancing, and all of that. I really enjoy it. ally like something, why waste your At the moment I don’t have plans to do time learning it? Life’s too short— it professionally, but it’s a small passion unless you’re in a competition and of mine. I particularly love the music of it’s required. Stephen Sondheim, and, coincidentally, CH: At the same time, I’ve learned I’m going to be inaugurating the organ at some pieces—I’m not sure I can name a the Sondheim Center for the Performing specifi c one—where I’m not sure about Arts in Fairfi eld, Iowa. it at the beginning, or I think I’m not I think there’s a lot that musicians can going to like the piece. But then after I learn from theater, both from straight learn it I think, “Wow, now that I’ve stud- drama and musical theater, about how ied it, and learned more about what the to approach a musical score, similar to composer was trying to do, and found the way an actor takes a script and ana- ways to make it come alive for my own lyzes everything that’s going on to create performance, it really is a good piece.” a character, and perform that character And sometimes I decide to learn a piece, night after night. I try to approach music starting off by thinking it’s a great piece, the same way—take the score and truly and then after becoming more familiar consider how to create a musical expe- with it, decide “This isn’t right for me.” rience—in a way . . . a whole play. Not It works both ways. necessarily a story, but create the kind of experience I’d like to have as a listener. JR: You’ve already recorded two I think there’s a lot we can learn from CDs—are you preparing any other theater and the other arts. recordings? What are your other plans for the future? JR: Of what you’ve worked on so far, CH: I hope to be able to keep record- is there any particular repertoire ing, and I hope to be able to continue you found a diffi cult nut to crack— performing. I really enjoy traveling and you mentioned fi nding the character meeting new people, but most impor- and learning how to bring that out; tantly, I love performing and bring- is there any music that’s been, say, a ing music to an audience. I believe it’s little more opaque for you? more like making music with an audi- CH: One of the most incredible things ence. Sometimes I even tell that to the about the organ literature, and one of audience too—I thank them for mak- the most daunting, is the centuries that ing music with me, since I can’t do it by it spans. All this repertoire and all these myself, and since I get so much joy from different styles—personally, I think it’s performing. Eventually, I’d love to be impossible to be fl uent in and to per- teaching and sharing my love of organ form all these styles in a convincing way. music with others in any way I can.Q Maybe it’s possible; I’d like to be wrong. When I’m learning a piece in a different Joyce Johnson Robinson is associate editor With John Rose, after a recital at the church of Saint-Eusèbe, Auxerre, France style that I haven’t studied before, I try of THE DIAPASON.
28 THE DIAPASON
Apr 2011 pp. 26-29.indd 28 3/11/11 7:52:08 AM New Organs
CHOIR 8′ English Diapason* (D) 8′ Harmonic Flute* (D) 8′ Viola* (D) 8′ Erzähler* (D) 8′ Erzähler Celeste* (D) 4′ Lieblichfl öte* (D) 4′ Gemshorn* (D) 2′ Piccolo* (D) 1 1⁄3′ Quinte (D) III Mixture* (D) 8′ Cornopean* (D) 8′ French Horn* (D) 8′ English Horn* (D) 8′ Clarinet* (D) 8′ Fanfare Trumpet (Gt) Tremolo Chimes Harp* (D) MIDI GREAT 16′ Violone* (D) ANTIPHONAL 8′ Open Diapason 61 pipes 8′ Open Diapason* (D) 8′ Hohlfl öte 61 pipes 8′ Chimney Flute* (D) 8′ Gemshorn* (D) 8′ Flute Celeste II* (D) 8′ Bourdon* 61 pipes 4′ Octave* (D) 4′ Octave 61 pipes 4′ Flauto Traverso* (D) 4′ Spillpfeife* 61 pipes 2′ Gemshorn* (D) 2 2 ⁄3′ Octave Quinte* 61 pipes III Mixture* (D) 2′ Super Octave* 61 pipes Tremolo* ′ Wicks Organ Company, the space on either side of the new al- IV Fourniture 244 pipes 16 Antiphonal Pedal Subbass* (D) 8′ Trumpet 61 pipes 8′ Antiphonal Pedal Flute* (D) Highland, Illinois tar. These towers contain the revoiced (formerly in Swell) All Saints Catholic Church, pipework, ten additional ranks of pipes, 8′ Tuba Mirabilis* (D) PEDAL Manassas, Virginia upgraded digital voices, and an array of 8′ Fanfare Trumpet* 61 pipes 32′ Contra Violone (D) All Saints Catholic Church in Manassas, new digital voices. Tremolo 16′ Open Diapason (D) Virginia, is privileged and blessed to have The enlarged stoplist features a wide Chimes* (D) 16′ Violone* (Gt) (D) a new church building and a newly reno- range of voices in different tonal colors Harp* (Ch) (D) 16′ Bourdon (D) Cymbelstern 9 bells 16′ Rohrbourdon* (Sw) (1–12 D) vated pipe organ. Approximately thirteen that are used to accompany the choir and ′ years ago, our original Opus 6376 was the congregation, as well as to play solo Carillon (existing) 8 Octave (D) MIDI 8′ Bassfl ute* (D) purchased by All Saints from the Wicks organ literature. Full MIDI features, sol- 8′ Gemshorn* (Gt) (D) Organ Company of Highland, Illinois, id-state memory, and a playback system SWELL 8′ Rohrfl öte* (Sw) with the intention of one day moving it are also included. Mounted high above 16′ Rohrbourdon* (1–12 D) 4′ Choral Bass (D) into a new church. The organ is a “hybrid” the baptismal font on the back wall of the 8′ Geigen Diapason* 61 pipes 4′ Kleinfl öte* (Sw) instrument, comprising pipework and sanctuary is a horizontal Fanfare Trum- 8′ Rohrfl öte 61 pipes III Mixture* (D) digital voices. The pipework and console pet. Additionally, the bell tower carillon, 8′ Viole de Gambe 49 pipes 32′ Double Fagotto* (D) (1–12 D*) 16′ Trombone* (D) were built by Wicks, and the digital voices by the Verdin Bell Company, is also con- ′ ′ are a product of the Walker Technical trolled from the organ console. 8 Voix Celeste TC 49 pipes 16 Contra Fagotto* (Sw) (D) 4′ Principal 61 pipes 8′ Trumpet* (Gt) Company of Zionsville, Pennsylvania. The renovated organ was delivered by 4′ Flauto Cantabile* 61 pipes 8′ Fagotto* (Sw) (D) During the design period for our new Wicks in July 2010, and it was complete- 4′ Violina* 4′ Clarion* (Sw) (D) church, every attempt was made to en- ly installed in time for the dedication 4′ Voix Celeste* 8′ Tuba Mirabilis* (Gt) (D) 2 sure that we retained as much of the Mass on August 14. This updated and 2⁄3′ Nazard (1–12 D*) 49 pipes 8′ Fanfare Trumpet (Gt) current organ as possible. In the fall of expanded version of our organ gloriously 2′ Octavin* 61 pipes MIDI 2008, All Saints entered into a contract adorns the liturgical life of our vibrant 2′ Flageolet* (50–61 D) * = New 3 ′ with the Wicks Organ Company for a parish community. 1⁄5 Tierce TC 49 pipes D = digital voice redesign and expansion of the current In addition to the rebuilt main organ, V Plein Jeu* (D) 16′ Contra Fagotto* (D) 83 stops, including six percussions, instrument for the new church. All of a Wicks digital organ was acquired by All 8′ Trompette* (D) 22 pipe ranks, 42 digital voices the pipework in the previous organ was Saints. The two-manual organ was in- 8′ Oboe* (D) retained. The console was renovated and stalled in our Blessed Sacrament Chapel, 8′ Vox Humana* (D) enlarged. Because the wood case of the where it is used for smaller liturgies. 4′ Clarion* (D) original organ did not match the wood- —William H. Atwood 8′ Fanfare Trumpet (Gt) work of the new church and did not fi t Director of Music, and Coordinator Tremolo into the new space, two new identical of Liturgical Ministries MIDI pipe towers were built (matching the All Saints Catholic Church wood stain of the altar area) to fi t into Manassas, Virginia
multiple-memory combination action. POSITIV The multiplex relay system allows the 16′ Rohr Gedeckt (Sw) unit stops to play on all divisions. The 8′ Rohrfl öte (Sw) 8′ Nason Gedeckt 61 pipes result is a reliable, fl exible instrument ′ that can easily provide the right sound 8Gemshorn 61 pipes 8′ Gemshorn Celeste TC 49 pipes for the music. 4′ Nachthorn 61 pipes —Gerald L. Piercey 2′ Principal 61 pipes 1 1⁄3′ Larigot 61 pipes GREAT ′ III Zimbel 183 pipes 16 Rohr Gedeckt (Sw) 16′ Contre Trompette (Sw) 8′ Principal 61 pipes ′ ′ 8 Trompette (Sw) 8Bourdon (Ped Bourdon/Sw Röhrfl ) 8′ Krummhorn 61 pipes 8′ Gedeckt 61 pipes ′ Tremolo 4 Octave 61 pipes Positiv to Positiv 16-UO-4 4′ Koppelfl öte 61 pipes ′ Swell to Positiv 16-8-4 2 Waldfl öte 61 pipes 8′ Festival Trumpet (Gt) IV Fourniture 244 pipes 16′ Contre Trompette (Sw) ′ PEDAL 8Trompette (Sw) 32′ Untersatz (Walker digital) Great to Great 16-UO-4 16′ Principal 32 pipes Swell to Great 16-8-4 16′ Bourdon 32 pipes Positiv to Great 16-8-4 ′ ′ 16 Rohr Gedeckt (Sw) 12 pipes 8Festival Trumpet (Walker digital) 8′ Octave (ext) 12 pipes 8′ Bourdon (ext) 12 pipes SWELL ′ 16′ Rohr Gedeckt (ext) 8Rohrfl öte (Sw) ′ 4′ Choral Bass 32 pipes 8Rohrfl öte 61 pipes ′ 8′ Viole 61 pipes 4Bourdon (ext) 12 pipes ′ 2′ Choral Bass (ext) 12 pipes 8 Viole Celeste TC 49 pipes 2 ′ 4′ Spitz Principal 61 pipes 2⁄3 Mixture III (Walker digital) ′ 32′ Bombarde (Walker digital) Lewis & Hitchcock, no space for them in the organ cham- 4 Hohlfl öte 61 pipes ′ 2 ′ 16 Contre Trompette (Sw) 12 pipes Beltsville, Maryland ber, which is directly behind the altar 2⁄3 Nazard 61 pipes ′ Christ Ascension Episcopal and speaks clearly down the length of 2 Blockfl öte (ext 4′ Hohlfl öte) 12 pipes 8Trompette (Sw) 3 4′ Clarion (Sw) 1⁄5′ Tierce 61 pipes Church, Richmond, Virginia the reverberant nave. Lewis & Hitch- Great to Pedal 8-4 Christ Ascension Episcopal Church cock worked out a plan to use the unit III Scharff 183 pipes 16′ Contre Trompette (ext) Swell to Pedal 8-4 of Richmond, Virginia, has a 1978 stops as much as possible, and then fi ll ′ Positiv to Pedal 8-4 16 Bassoon 61 pipes ′ Schantz organ. Organist/choirmaster out what was missing with digital stops 8′ Trompette 61 pipes 8Festival Trumpet (Gt) Ed Schutt wanted the organ to be made from the Walker Technical fi rm. Tremolo as fl exible as possible. There was a de- The console now has a full comple- Swell to Swell 16-UO-4 27 registers, 34 ranks, 4 Walker digital voices sire for several additions, and there was ment of pistons and toe studs, and a 8′ Festival Trumpet (Gt)
APRIL, 2011 29
Apr 2011 pp. 26-29.indd 29 3/11/11 7:52:29 AM Cover feature
Cornel Zimmer Organ Builders, Denver, North Carolina The Community Church at Tellico Village, Loudon, Tennessee
From the director of music This pipe organ is such a wonderful addition to our music ministry, and we are all excited about the ways in which it has already begun to enhance our wor- ship. Cornel Zimmer Organ Builders has done an outstanding job restoring and creating a versatile and complete instru- ment from quite a diverse collection of historic pipework. In many respects, the organ refl ects the nature of this congre- gation. People come to this community from all over the country, from various denominational and faith backgrounds. Rather than trying to conform to a par- ticular creed or list of beliefs, and instead of spending time arguing about those differences, the people of this church simply start doing things together—good things, like building Habitat for Human- ity houses, working in multiple ministries for the poor or our child advocacy center, and being the body of Christ to each oth- er and to our community. I think all of that starts with worship, and our music each week is one of the unifying factors of the worship of our congregation. Cor- nel Zimmer Organ Builders has done the same with this pipework, fi nding ways to maintain the individual character of the sounds while shaping them to work to- gether to create something more beauti- Cornel Zimmer Opus 114 ful and effective. —Rev. Dr. John R. Orr the organ. This front and center loca- tion, facing the longest axis of the room, From the senior pastor not only provides good sound projection Cornel Zimmer Organ Builders has for the congregation and accompani- brought to life an amazing musical in- ment for our vocal and handbell choirs, strument that enhances our worship but also adds a traditional focal point services in ways we never imagined. The for people sitting in the pews. The fl oor sweeping design of the exposed pipes is of the organ platform is constructed aesthetically majestic. The rich tones of of concrete, and the walls of concrete the organ seem to enfold us acoustically block, with a solid fi nish of old-fashioned with voices from the distant past as well smooth plaster. as the here-and-now. As one parishioner Of course, after six years, the original recently said, “It’s like we are part of the pipe organ committee added new mem- music and the music is a part of us!” bers to form the musical instrumentation But the new pipe organ provides more team. This team visited with and inter- than beautiful music. It embraces us viewed several organbuilders, and fi nally with deeper meaning. Worshipers lift selected Cornel Zimmer Organ Builders up the hymns, knowing they are a part of Denver, North Carolina. Cornel Zim- of a chorus of “voices” that fi rst sang the mer Organ Builders was very much in- songs of faith in Brooklyn, New York, in terested in our project and the use of the the mid-19th century and are now sing- 1862 Henry Erben as the centerpiece for ing again in the 21st century in Loudon, an organ substantial enough to meet the Tennessee. The pipe organ connects us needs of our fairly large worship space to a larger community of faithful people and our somewhat frugal budget. In ev- from north and south, past and present, Erben 8′ Clarinet ery respect, they met and many times Catholic and Protestant. This beautiful exceeded our expectations. Not only did Cornel Zimmer instrument magnifi cent- they embrace the uniqueness of our Er- ly captures and expresses the essence of ben pipes, but they also provided other our church that seeks to be “as inclusive appropriate, and in some cases histori- as the love of God.” cally interesting, stops from a variety of —Rev. Martin C. Singley, III used organs to create an organ that is a joy to hear and that meets the needs From the chair of the organ committee of our signifi cant music ministry. This The organ project of the Community assemblage of pipes, with various back- Church at Tellico Village (Loudon, Ten- grounds working together to form a uni- nessee) began, as many projects do, with fi ed voice, mirrors one of the most basic a group of members who envisioned the concepts of our Community Church. day when their church could replace —Lou Livengood their digital organ with an authentic pipe organ. In 2003, the church began a se- From the organbuilder rious effort to provide additional space During the summer of 2008, Cornel for a growing membership and space Zimmer Organ Builders was approached for a new pipe organ. Soon, this infor- by the musical instrumentation team of mal group received the blessing of the Tellico Village Community Church. The church council to become the ad hoc team had been formed for the purpose pipe organ committee attached to the of choosing an instrument for their new music committee. After investigating sanctuary, which was still in the design several organ companies and types of stages. They presented us with several organs, Brad Rule of B. Rule & Co. sug- criteria and asked for our recommenda- gested that we purchase an 1862 Henry Treble of Pedal 16′ Trombone tion. The resulting dialogue introduced Erben organ that was rescued from a us to an enthusiastic group of individu- church in Brooklyn, New York by the of the most eminent organ builders of As happens with church projects, the als committed to having the best possible Organ Historical Society. By the fall of the nineteenth century. Additionally, expansion plans were delayed for about instrument for their new worship space. 2003, we did acquire the Erben from the the committee noted that Erben was a six years. The good news is that, instead Their enthusiasm was immediately conta- Organ Clearing House and transported key participant in the mid- to late-19th of expanding our current sanctuary gious, and the potential for an exceptional it from their New Hampshire warehouse century “Golden Age” of American pipe with many potential drawbacks such as instrument in a fi ne room became clear. to a storage facility in Tellico Village. Our organ building. He adhered to classical ineffi cient physical design and undesir- The committee had previously pur- intention was to purchase not only a his- principles that included signifi cant en- able acoustics, it was decided to build chased the pipework and some internal torically interesting pipe organ but also a sembles of eight-foot stops, gentle voic- a completely new sanctuary that would components from an 1862 instrument by pipe organ costing signifi cantly less than ing, and low wind pressures, producing seat over 800 members. We carefully Henry Erben. The pipework had been in an all-new instrument. a tone that is bright, free sounding, and designed the new sanctuary to provide storage near the church since 2003, and Henry Erben was considered one decidedly unforced. the best possible space and location for the committee was hopeful that some or
30 THE DIAPASON
Apr 2011 pp. 30-31_4C.indd 30 3/11/11 7:53:32 AM all of the pipework could be incorporat- voiced on fi ve inches, as are the Oboe 8′ Builders involved with this project: ed into a new instrument. We were in- and Trumpet 8′. To give added weight to Cornel Zimmer, president trigued by the possibility of working with this division, both the Viola and Oboe are Jim Twyne, tonal director pipework from this era and, with the extended to 16′, the resonators of the Pe- Nathan Bryson, project manager help of 15 volunteers, took a survey of all tite Bombarde 16′ being full-length. The George Zong, master cabinetmaker of the pipework in storage. The instru- Open Wood, Subbass and Trombone 16′ Eric Molenaar, electrical engineer ment, having been removed by Organ also speak on fi ve inches of wind. The Tommy Linder, pipemaker Clearing House, was well packed and all Pedal Trombone 16′ is 7″ scale and is Joisain Ninaber, pipemaker/cabinet- pipework was intact. We felt confi dent extended to 73 notes, allowing it to be maker apprentice that the pipework could be successfully played in the manuals. To further en- Judy Abernathy, wiring/windchests restored and would play a signifi cant role hance the fl exibility of this stop, it was Morgan Lane, wiring/windchests in a new instrument. Of the 26 ranks of made into a fl oating Tromba “division,” Erben pipework, 20 proved suitable for allowing the stop to be played at multiple Cover photo by Bobbi Miller; all other use in a new instrument. pitches on all manuals. The Choir reeds photos by Rob Dolson. When we were chosen to build the are voiced on three inches and include ′ instrument during the design phase of the 8 Clarinet, the only Erben reed The Community Church at Tellico the new sanctuary, we were able to work that could be retained. Its somewhat Village, Loudon, Tennessee closely with the architects to plan a space edgy character gives it excellent carrying for the organ that would allow maximum power, and it blends well with the Choir GREAT (unenclosed, Manual II) tonal egress and ensure easy access for principals or fl ute stops to take on many 16′ Double Diapason* 49 maintenance and tuning stability. The different colors and uses. 1–12 from Ped Dbl Gamba 16′ 8′ First Open Diapason 61 (Erben) resulting collaboration between all par- The overall pitch of the Erben pipe- ′ ′ ties gave the organ prime placement, work was about one quarter-step sharp 8Second Open Diapason* 12 (ext 16 ) 8′ Principal Flute* 49 (Erben) speaking directly down the axis of the of today’s standard pitch. The Erben 1–12 from Ped Open Wood 16′ nave. The walls behind and around the scales are moderate, compared to today’s 8′ Bell Gamba 41 Great and Pedal divisions organ are either solid concrete or dou- trends, and the cubic volume of the new (ext Ped Dbl Gamba) ble-layered gypsum board, which allows sanctuary is quite large. Therefore, we 8′ Doppelfl ute 61 (Erben) for exceptional clarity and projection. decided to rescale most of the stops up 4′ Principal 61 (Erben) The new sanctuary can comfortably one note to achieve the tuning capability 4′ Night Horn 61 (Erben) 2 ′ seat more than 850 and can accom- for a pitch standard of A=440. All pipe- 2⁄3 Twelfth 61 (Erben) 2′ Fifteenth 61 (Erben) modate more than 1,000 when fi lled to work is placed on one level to promote 3 1⁄5′ Seventeenth 61 capacity. It was clear that the 20 Erben tuning stability. 1 1⁄3′ Mixture IV 244 ranks would need to be augmented to To work within the budget of the 8′ Cornopean (Choir) fi ll such a large space and, while space church, we decided to build electric ac- Zimbelstern 5 bells (Der Zimbelstern) was not a limiting factor, budget was. A tion chests. Our preference, however, is Chimes 25 tubes fi nal specifi cation of 42 ranks was de- to build pneumatic chests, and we were signed, leaving room for future growth. concerned that placing the pipes directly SWELL (expressive, Manual III) 16′ Contra Viola 12 To complement the existing pipework, on electric action would result in diffi cul- ′ we built nine new ranks and carefully ties with pipe speech. Our solution was 8 Open Diapason 61 (Erben) 8′ Chimney Flute 61 (Erben) selected ranks from two other instru- to place all pipework on channeled elec- 8′ Viola+ 61 ments—an early 1900s Haskell instru- tric action to help alleviate any unwanted 8′ Viola Celeste+ 61 ment and a 1929 Austin—for inclusion effects on pipe speech. Larger bass pipes 4′ Principal 61 (Erben) in the instrument. and the pipes of the 16′ Trombone are on 4′ Harmonic Flute 61 (Erben) 2 We carefully cleaned and restored all pneumatic action. This choice of action 2⁄3′ Nazard 61 (Erben) of the existing pipework. Many of the allowed for judicious borrowing of stops 2′ Flageolet 61 (Erben) 3 1⁄5′ Tierce 61 (Erben) fl ue ranks had several coats of paint and between divisions and some extensions ′ shellac that needed to be removed. We to enhance the fl exibility and versatil- 2 Mixture IV 244 16′ Petite Bombarde+ 12 used a cleaning solution with a butyl de- ity of the instrument. For added power (ext Oboe) full length greaser to strip the pipes down to the in the Pedal division, we also chose to 8′ Trumpet+ 61 bare metal and either applied a clear coat include a 32′ resultant. After hearing a 8′ Oboe+ 61 of lacquer where needed or painted the successful example of a “smart” resul- 8′ Vox Humana (prepared) pipes that would be displayed in the fa- tant on the Fisk organ at St. Peter’s in 4′ Clarion 12 (ext) Swell reeds and strings çade silver. We repaired and oiled wood- Charlotte, North Carolina, we asked Pe- Tremulant en pipes and painted the largest Subbass terson to program the resultant to quint Swell to Swell 16′ ′ ′ ′ Swell Unison Off 16 and Open Wood 16 pipes in various the 16 Subbass when it is drawn, but to ′ shades to accent the pipes. All reed pipes then quint the Open Wood 16′ when it Swell to Swell 4 received a complete restoration by Greg is drawn. The results are quite literally CHOIR (expressive, Manual I) Caldwell of Organ Reed Restoration in earth shaking! From a subtle purr under 16′ Lieblich Gedeckt 12 (ext) St. Louis, Missouri. strings to a throaty rumble under full 8′ Diapason 61 On an overcast day in late Octo- organ, this use of technology has proven 8′ Stopped Diapason 61 (Erben) ber 2010, an 18-wheeler loaded with remarkably successful. 8′ Dulciana 61 (Erben) 8′ Unda Maris 49 11 tons of organ set off from our shop Wind for the instrument is provided ′ in Denver, North Carolina, en route to by a 3-HP Spencer blower and is regu- 4 Octave 61 4′ Flute d’ Amour 61 (Erben) Loudon, Tennessee. Our crew arrived at lated by reservoirs using both springs and 2′ Super Octave 61 (Erben) 1 the same time as the tractor-trailer and weights to assure a steady wind supply. 1⁄3′ Larigot (ext Flute 4′) 12 was greeted by more than 50 cheering Solid wood and metal windlines ensure 8′ Cornopean 61 church members, ready to help unload. ample wind even under the greatest de- 8′ Clarinet 61 (Erben) Young and old joined in the procession mands. A Peterson ICS-4000 system con- Tremulant of parts and pipes, and the entire truck trols both the console and pipe drivers. Choir Unison Off was unloaded in only a matter of hours. A respected friend and colleague in Choir to Choir 4′ Working around a busy schedule of con- the business expressed some concern af- TROMBA (fl oating) struction still being completed in the ter hearing our plans for the instrument, 16′ Tromba on Choir sanctuary, we completed the physical wondering if a seemingly disparate col- 8′ Tromba on Choir+ 41 (ext Ped) installation of the organ in December, lection of pipes could become a cohesive 16′ Tromba on Great and tonal fi nishing began in early Janu- whole. One could easily understand his 8′ Tromba on Great ary. The organ was fi rst used in worship concern, but through careful selection 4′ Tromba on Great on February 6. of pipework and special attention to 8′ Tromba on Swell Our tonal approach on the Tellico or- the scaling and regulation of each stop, gan was to maintain the original voicing the fi nished organ is indeed a cohesive PEDAL (unenclosed) 32′ Resultant Swell fl ues of the principal and fl ute choruses in the instrument capable of great power, en- 16′ Open Wood+ 32 1860 Henry Erben pipework. After thor- couraging the congregation to sing while 16′ Double Gamba 32 (Erben) ough cleaning and just a few repairs, we enveloping but not overwhelming them 16′ Subbass+ 32 found that the fl ue pipes responded well with sound. Effective swell enclosures 16′ Lieblich Gedeckt (Ch) on three inches’ wind pressure. Principal allow the softest stops on the organ to 8′ Octave* 32 and fl ute stops alike speak smoothly with speak at a delicate pianissimo and give 8′ Bell Gamba (Gt) 8′ Bass fl ute+ 12 (ext 16′) clear articulation at a moderate volume the organist the ability to create a seam- ′ level. The Great division boasts a com- less crescendo. A complete array of cou- 8 Stopped Diapason (Ch) ′ 4′ Choral Bass* 12 (ext 8′) plete principal chorus from 16 pitch plers and a wealth of color and solo stops 16′ Trombone+ 32 1 ′ through the 1 ⁄3 Mixture IV. The Swell give the organist a broad palette with 16′ Petite Bombarde (Sw) also contains a complete principal chorus which to “orchestrate” works of many 8′ Tromba 12 (ext 16′) based on the 8′ Diapason, and the Choir different genres. 8′ Cornopean (Ch) has a chorus through 2′. One unique Er- Special thanks must be given to min- ben stop, which was quite challenging isters, staff, and members of the Tellico All stops on 3″ wind pressure unless other- wise noted but a favorite of the Tellico organ com- Village Community Church, who had 1 * Stops on 3 ⁄2″ wind pressure mittee, is the Bell Gamba that is playable the vision to undertake both a large- ″ at 16′ and 8′. It takes a prominent place scale building project and a substantial + Stops on 5 wind pressure in the visual aspect of the pipe layout and organ project. It has been a pleasure to 2,515 pipes, 36 stops, 42 ranks tonally provides a unique string timbre be a part of this exciting project and to that works well alone or in combination work with such an enthusiastic group. with other stops. As many of the pipes in the organ reach Cornel Zimmer Organ Builders To complete the specifi cation, we their 150th anniversary, it is our hope 731 Crosspoint Drive carefully selected a number of reed and that these pipes will speak for many Denver, NC 28037 string stops to blend with the tonal char- more generations to come. 866/749-7223 acter of the predominant Erben chorus- —Nathan Bryson, with contribution www.zimmerorgans.com During installation es. The Swell Viola and Viola Celeste are from Jim Twyne
APRIL, 2011 31
Apr 2011 pp. 30-31_4C.indd 31 3/11/11 7:53:54 AM Contact: Presbyterian Association of Saessolsheim Organ Academy Musicians, 888/728-7228, ext. 5288; July 11–16, Alsace, France. Summer Institutes,
%VERYWHERE AND AROUND THE WORLD 59. Internationale Orgeltagung July 31–August 6, ’s-Hertogenbosch, /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING Netherlands. Concerts, visits to organs; Wolfgang Baumgratz, Ben van Oosten, others. Contact:
/44/ (%533 'MB( n 'ERMANY Montréal Boys’ Choir Course July 31–August 7, Christ Church Cathe- 0HONE n s &AX n E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE dral, Montreal, QC, Canada. Simon Lole, guest music director. Contact: 516/746-2956 x18;
32 THE DIAPASON
Apr 2011 pp. 32-37.indd 32 3/11/11 7:54:56 AM Sherborne Summer School of Music Romantic Organ XXVIII Interna- July 31–August 1, August 7–14, 14–21, tional Course Bert Adams, FAGO Sherborne, Dorset, England. August 8–12, San Sebastian, Spain. PATRICK ALLEN Concerts, choral and conducting cours- Instruction on the Cavaillé-Coll organ Park Ridge Presbyterian Church es; Andrew McKenna, Malcolm Binney. at the Basilica de Santa Maria del Coro; Park Ridge, IL GRACE CHURCH Contact: +44 (0) 20 8660 4766; Daniel Roth. Pickle Piano & Church Organs NEW YORK
Calendar
19 APRIL Dean W. Billmeyer GAVIN BLACK This calendar runs from the 15th of the month of Wesley Roberts, with faculty from the School Princeton Early Keyboard Center issue through the following month. The deadline is of Music; Ransdell Chapel, Campbellsville Uni- University of Minnesota the fi rst of the preceding month (Jan. 1 for Feb. versity, Campbellsville, KY 12:20 pm 732/599-0392 issue). All events are assumed to be organ recitals Minneapolis 55455 • [email protected] www.pekc.org unless otherwise indicated and are grouped within 20 APRIL each date north-south and east-west. •=AGO chap- Offi ce of Tenebrae; Cathedral of the Incarna- ter event, • •=RCCO centre event, +=new organ tion, Garden City, NY 8 pm dedication, ++= OHS event. Ed Bruenjes, Colin Andrews, David Lamb, Information cannot be accepted unless it speci- Lisa Lohmeyer, John Simpson, John Mat- fi es artist name, date, location, and hour in writ- thews; First Christian Church, Columbus, IN Byron L. Blackmore THOMAS BROWN ing. Multiple listings should be in chronological order; 12 noon UNIVERSITY please do not send duplicate listings. THE DIAPA- Crown of Life Lutheran Church PRESBYTERIAN CHURCH SON regrets that it cannot assume responsibility for 21 APRIL Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA the accuracy of calendar entries. Michael Sponseller & Paul Cienniwa, harp- sichord; First Church, Boston, MA 12:15 pm 623/214-4903 ThomasBrownMusic.com Vera Kochanowsky, harpsichord; St. Luke UNITED STATES Catholic Church, McLean, VA 1 pm East of the Mississippi Kenneth Brewer; First Baptist, Nashville, TN 12:15 pm David Chalmers DELBERT DISSELHORST 15 APRIL 22 APRIL Concert Organist Colin Lynch; Trinity Church, Boston, MA Lessons & Carols for Good Friday; All Saints, 12:15 pm Worcester, MA 7:30 pm GLORIÆ DEI CANTORES Professor Emeritus Bach, St. Matthew Passion; Cathedral of St. Handel, Messiah, Parts 2–3; First Church of Orleans, MA University of Iowa–Iowa City John the Divine, New York, NY 7:30 pm Christ, Wethersfi eld, CT 4 pm Karl Moyer; Holy Trinity Lutheran, Lancaster, Dubois, Seven Last Words; Community Church PA 12:30 pm of Douglaston, Douglaston, NY 8 pm Todd Wilson, masterclass; Community Fauré, Requiem; Church of the Holy Trinity Church of Vero Beach, FL 1 pm (Episcopal), New York, NY 12 noon JAMES DORROH, AAGO, PhD STEVEN EGLER Todd Wilson, Durufl é, Requiem; Community Maunder, Olivet to Calvary; Grace Church, Central Michigan University Church of Vero Beach, FL 7:30 pm New York, NY 7 pm Saint Luke’s Episcopal Church Judith Miller; First Presbyterian, Jefferson- Brahms, Ein deutsches Requiem; Christ Samford University First Presbyterian Church ville, IN 12 noon Mt. Pleasant, Michigan 48858 Church Grosse Ponte, Grosse Pointe Farms, MI Birmingham, Alabama 7 pm SOLO Shelly-Egler 16 APRIL Gary Pope; Old Capitol United Methodist, Co- Organ Consultant Organ Recitals RECITALS Flute and Organ Duo Cameron Carpenter; Merrill Auditorium, Port- rydon, IN 12 noon land City Hall, Portland, ME 7:30 pm Amanda Mole; Marquand Chapel, New Ha- 24 APRIL ven, CT 8 pm Frederick Teardo and Kevin Kwan; St. Organist / Pianist Gail Archer, with Barnard-Columbia Chorus; Thomas Church Fifth Avenue, New York, NY JOHN FENSTERMAKER Union Theological Seminary, New York, NY 8 pm 5:15 pm Michael Gailit Thierry Escaich; Verizon Hall, Kimmel Cen- Scott Dettra; Washington National Cathedral, TRINITY-BY-THE-COVE www.gailit.at ter, Philadelphia, PA 3 pm Washington, DC 5:15 pm offi [email protected] The Philadelphia Singers; Church of the Holy Trinity, Philadelphia, PA 8 pm NAPLES, FLORIDA Konservatorium Wien University 25 APRIL University of Music, Vienna Todd Wilson, with brass; St. Turibius Chapel, John Ourensma; Elliott Chapel, Presbyterian Pontifi cal College Josephinum, Columbus, OH Homes, Evanston, IL 1:30 pm 5:30 pm 26 APRIL 17 APRIL Andrew Hackett; Church of St. Louis, King of JAMES HAMMANN Bach, St. John Passion; Madison Avenue France, St. Paul, MN 12:35 pm Presbyterian, New York, NY 3 pm DMA-AAGO Choral Evensong; Grace Church, New York, 28 APRIL University of New Orleans NY 4 pm Michael Beattie, harpsichord; First Church, Bruce Neswick; Cathedral Church of St. John Boston, MA 12:15 pm Chapel of the Holy Comforter the Divine, New York, NY 5:15 pm Philadelphia Singers Chorale, with the Phila- Daniel Sansone, Dupré, Le Chemin de la Croix; delphia Orchestra; Verizon Hall, Philadelphia, Cathedral of Mary Our Queen, Baltimore, MD 5 pm PA 8 pm Evensong; Christ Church Grosse Pointe, ANDREW HENDERSON, DMA Grosse Pointe Farms, MI 4:30 pm 29 APRIL WILL HEADLEE Paul Jacobs; Ball State University, Muncie, Bryan Ashley; Trinity Church, Boston, MA IN 4 pm 12:15 pm 1650 James Street Madison Avenue Presbyterian Church Kirsten Smith; First Presbyterian, Evansville, New York, NY William Ness; First Baptist, Worcester, MA Syracuse, NY 13203-2816 IN 4 pm 7:30 pm Robert Horton, organ and harpsichord; Luther- John Rose; Trinity College Chapel, Hartford, (315) 471-8451 www.andrewhenderson.net an Church of the Ascension, Northfi eld, IL 4:30 pm CT 7:30 pm Choral concert; First Presbyterian, Arlington Andrew Sheranian; Cathedral of the Incarna- Heights, IL 4 pm tion, Garden City, NY 4 pm Natalie Niskanen, Joshua Lucas, Sean Choral concert; Grace Church, New York, NY LORRAINE BRUGH, Ph.D. Rajnic, Rachel Cott, Matthew Bartolameolli; 7 pm Madonna della Strada Chapel, Loyola Univer- Philadelphia Singers Chorale, with the Phila- sity, Chicago, IL 3 pm delphia Orchestra; Verizon Hall, Philadelphia, Associate Professor George Felty; Concordia University Chapel, PA 2 pm River Forest, IL 7 pm David Schrader, harpsichord, with chorus and University Organist St. Charles Singers; St. Michael Catholic instruments, Bach works; Nichols Concert Hall, Church, Wheaton, IL 3 pm Evanston, IL 7:30 pm Valparaiso University Kim Kasling, with Kantorei, Solemn Evening Isabelle Demers; Shryock Auditorium, Car- Valparaiso, IN Prayer; Cathedral of St. Paul, St. Paul, MN bondale, IL 7:30 pm www.valpo.edu 7:30 pm Robert Bates; First Trinity Presbyterian, Lau- rel, MS 7:30 pm 18 APRIL 219-464-5084 Frederick Teardo, Maleingreau, Symphonie 30 APRIL de la Passion; St. Thomas Church Fifth Avenue, Peter Krasinski, silent fi lm accompaniment; [email protected] New York, NY 6:30 pm Methuen Memorial Music Hall, Methuen, MA 8 pm
APRIL, 2011 33
Apr 2011 pp. 32-37.indd 33 3/11/11 7:55:20 AM Amy Munoz; Dwight Chapel, New Haven, CT 9 MAY MICHELE JOHNS 5 pm Bemidji State Choir; Cathedral of St. Paul, St. Brian Jones Stephen Tharp; Trinity Church on the Green, Paul, MN 7:30 pm A.Mus.D New Haven, CT 7 pm Philadelphia Singers Chorale, with the Phila- 11 MAY Organ — Harpsichord Director of Music Emeritus delphia Orchestra; Verizon Hall, Philadelphia, Durufl é, Requiem; Church of the Ascension, The University of Michigan TRINITY CHURCH PA 8 pm New York, NY 8 pm School of Music BOSTON John Gouwens, carillon; Memorial Chapel, Culver Academies, Culver, IN 4 pm 12 MAY Alleluia Ringers; Concordia University, Me- Michael Sponseller, harpsichord; First quon, WI 2 pm Church, Boston, MA 12:15 pm William Ferris Chorale; Madonna della Strada KIM R. KASLING JAMES KIBBIE Chapel, Loyola University, Chicago, IL 7:30 pm 13 MAY Rosalind Mohnsen; Trinity Church, Boston, D.M.A. The University of Michigan 1 MAY MA 12:15 pm St. John’s University Ann Arbor, MI 48109-2085 Choral Evensong; All Saints, Worcester, MA Daniel Roth; Cathedral of St. Joseph, Hart- 734-764-1591 FAX: 734-763-5097 5 pm ford, CT 8 pm Collegeville, MN 56321 Tom Trenney; First United Methodist, Sche- Musica Sacra; Alice Tully Hall, Lincoln Center, email: [email protected] nectady, NY 3 pm New York, NY 8 pm Joe Utterback; Community Church of Doug- Cameron Carpenter; Longwood Gardens, laston, Douglaston, NY 8 pm Kennett Square, PA 8 pm Choral Evensong; St. James’ Church, New Charles Miller; National City Christian Church, David K. Lamb, D.Mus. York, NY 4 pm Washington, DC 12:15 pm Director of Music/Organist +Dennis Keene, with choir; Church of the As- cension, New York, NY 4 pm 14 MAY First United Methodist Church Vaughn Mauren; Cathedral Church of St. John Rose; St. Andrew the Apostle Episcopal, ORGAN CONSULTANT Columbus, Indiana John the Divine, New York, NY 5 pm Rocky Hill, CT 7:30 pm www.gabrielkney.com 812/372-2851 Arthur LaMirande; St. Thomas Church Fifth Brian Harlow & Christopher Jennings; St. Avenue, New York, NY 5:15 pm James’ Church, New York, NY 3 pm Gavin Black; Hillsborough Reformed Church, Nigel Potts, with piano and mezzo-soprano; Millstone, NJ 4 pm Christ & St. Stephen’s Episcopal, New York, NY Gail Archer; Longwood Gardens, Kennett 5 pm David Lowry Square, PA 1 pm Joan Lippincott; St. Norbert Abbey, De Pere, John Schwandt; East Liberty Presbyterian, WI 2 pm ARTHUR LAMIRANDE THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Pittsburgh, PA 4 pm [email protected] 1512 BLANDING STREET, COLUMBIA, SC 29201 Jeremy Filsell; Washington National Cathe- 15 MAY DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY dral, Washington, DC 5:15 pm Gavin Black, harpsichord; Christ Episcopal, Norwich, CT 3 pm www.youtube.com/watch?v=WTkDk-cX1X4 ROCK HILL, SC 29733 Paul Jacobs; St. Mark’s Lutheran, Baltimore, MD 3 pm Choral Evensong; Cathedral of the Incarna- Lee Dettra; Calvary Episcopal, Fletcher, NC tion, Garden City, NY 4 pm 4 pm Mark Bani; Church of the Resurrection, New Jack Jones; Episcopal Church of Bethesda- York, NY 3 pm by-the-Sea, Palm Beach, FL 3:30 pm, Evensong Russian Chamber Chorus of New York; Madi- James R. Metzler 4 pm son Avenue Presbyterian, New York, NY 3 pm Park Congregational Church Bradley Hunter Welch; Hendricks Avenue Choral Evensong; Grace Church, New York, Grand Rapids, Michigan Baptist, Jacksonville, FL 2:30 pm NY 4 pm Robert Bates; First Congregational, Colum- Stephen Tharp; Church of the Epiphany, New www.youtube.com bus, OH 4 pm York, NY 4 pm TheCathedralOrganist Jeremy David Tarrant; St. Philip’s Cathedral, Timothy Brumfi eld; Cathedral Church of St. Atlanta, GA 3 pm John the Divine, New York, NY 5 pm Christopher Houlihan; First Congregational, J. David Williams; St. Thomas Church Fifth Traverse City, MI 4 pm Avenue, New York, NY 5:15 pm Julie Ford; Cathedral of the Holy Angels, David Herman; Longwood Gardens, Kennett Gary, IN 3 pm Square, PA 1 pm LEON NELSON Choral concert; Cathedral of Mary Our Queen, A.S.C.A.P. Schola d’Arezzo; St. Norbert Abbey, De Pere, Baltimore, MD 5 pm FELLOW, AMERICAN GUILD OF ORGANISTS University Organist WI 2:30 pm North Park University Kirstin Synnestvedt, Charlie Sega, & Gary Stephen Hamilton; Westminster Presbyte- 345 SADDLE LAKE DRIVE Wendt; Glenview Community Church, Glenview, rian, Lynchburg, VA 4 pm ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois Janette Fishell; River Road Presbyterian, (770) 594-0949 IL 3 pm Richard Webster & Jason Moy, harpsichord, Richmond, VA 5 pm with chorus and instruments, Bach works; Nich- Westminster Church Choir; Westminster Pres- ols Concert Hall, Evanston, IL 7:30 pm byterian, Dayton, OH 7 pm Choral concert; St. Chrysostom’s, Chicago, IL Easter Lessons & Carols; Christ Church DOUGLAS O’NEILL EDE AMES ARRY 2:30 pm Grosse Pointe, Grosse Pointe Farms, MI 4:30 B J P pm Cathedral of the Madeleine John Paradowski; Madonna della Strada ALL SAINTS’ CHURCH 2 MAY Salt Lake City, Utah Ensemble Gaudior; St. Luke Catholic Church, Chapel, Loyola University, Chicago, IL 3 pm Paul Jacobs McLean, VA 4 pm ; University of Chicago, Chicago, [email protected] IL 3 pm LAS VEGAS, NEVADA Jean-Baptiste Robin; Cincinnati Museum 801/671-8657 Marietta College Concert Choir; Cathedral of Center, Cincinnati, OH 7:30 pm St. Paul, St. Paul, MN 2:30 pm 3 MAY 18 MAY MARILYN MASON Thomas Wikman; Lutheran School of Theol- Henk de Vries; St. Luke Catholic Church, CHAIRMAN, DEPARTMENT OF ORGAN ogy, Chicago, IL 12:20 pm McLean, VA 1 pm UNIVERSITY OF MICHIGAN 4 MAY ANN ARBOR 19 MAY Nathanial Gumbs; Woolsey Hall, Yale Univer- “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it James Nicolson, harpsichord; First Church, sity, New Haven, CT 8 pm with awesome technique and a thrilling command of its daring writing.” Boston, MA 12:15 pm The Trinity Choir; Trinity Church, New York, The American Organist, 1980 5 MAY NY 7:30 pm Linda Skernick, harpsichord; First Church, Philadelphia Singers Chorale, with the Phila- Boston, MA 12:15 pm delphia Orchestra; Verizon Hall, Philadelphia, Isabelle Demers ; Trinity Wall Street, New PA 8 pm LARRY PALMER SYLVIE POIRIER York, NY 1 pm Paul Skevington; St. Luke Catholic Church, Jon Gillock; Church of the Ascension, New McLean, VA 1 pm York, NY 8 pm Professor of PHILIP CROZIER 20 MAY ORGAN DUO 6 MAY Mark Pacoe; Trinity Church, Boston, MA Harpsichord and Organ Julie Vidrick Evans; Trinity Church, Boston, 12:15 pm 3355 Queen Mary Road, Apt 424 MA 12:15 pm Alistair Nelson; Cathedral of the Incarnation, Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Ken Cowan; St. George’s Episcopal, Freder- Garden City, NY 8 pm icksburg, VA 7:30 pm Marilyn Keiser; St. Paul’s Lutheran, Washing- SOUTHERN METHODIST UNIVERSITY Canada Peter Richard Conte; St. James Cathedral, ton, DC 7:30 pm Orlando, FL 7 pm (514) 739-8696 Gail Archer; Fourth Presbyterian, Chicago, IL Dallas, Texas 75275 Huw Lewis; DeVos Performance Hall, Grand 12 noon Fax: (514) 739-4752 Rapids, MI 8 pm Craig Cramer; Westminster Presbyterian, Musical Heritage Society recordings 21 MAY [email protected] Knoxville, TN 8 pm Philadelphia Singers Chorale, with the Phila- delphia Orchestra; Verizon Hall, Philadelphia, 7 MAY PA 8 pm Lee Dengler, with brass, choir, handbells; Choral concert; Cathedral Church of St. Paul, First Presbyterian, Lockport, NY 7:30 pm Detroit, MI 5 pm Aaron David Miller; St. John’s Episcopal, John Gouwens, carillon; Memorial Chapel, Chevy Chase, MD 7 pm Culver Academies, Culver, IN 4 pm A four-inch Professional Card Huw Lewis; DeVos Performance Hall, Grand Stephen Tharp, workshop; St. Andrew’s Lu- in THE DIAPASON Rapids, MI 8 pm theran, Park Ridge, IL 10:30 am 8 MAY 22 MAY For rates and specifi cations Jean-Baptiste Dupont; Cathedral Church of John Weaver, with St. Andrew Chorale; Madi- St. John the Divine, New York, NY 5 pm son Avenue Presbyterian, New York, NY 3 pm contact Jerome Butera John Scott; St. Thomas Church Fifth Avenue, Tom Sheehan; Cathedral Church of St. John New York, NY 5:15 pm the Divine, New York, NY 5 pm 847/391-1045 Ludwig Ruckdeschel; Washington National Renée Louprette; St. Thomas Church Fifth Cathedral, Washington, DC 5:15 pm Avenue, New York, NY 5:15 pm [email protected] Bach Society of Dayton; Kettering Adventist Gail Archer; Immaculate Conception R. C. Church, Kettering, OH 7:30 pm Church, Port Jervis, NY 4 pm Fauré, Requiem; English Lutheran Church, Shawn Gingrich, with friends; First United LaCrosse, WI 7:30 pm Methodist, Hershey, PA 3 pm
34 THE DIAPASON
Apr 2011 pp. 32-37.indd 34 3/11/11 7:55:46 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Philadelphia Singers Chorale, with the Phila- delphia Orchestra; Verizon Hall, Philadelphia, UNITED STATES West of the Mississippi Stephen G. Schaeffer PA 2 pm ROBERT L. Vincent Dubois; Cathedral Church of the Na- Recitals – Consultations tivity, Bethlehem, PA 4 pm 16 APRIL SIMPSON Choral festival; Shadyside Presbyterian, Pitts- Cathedral Church of the Advent Christopher Houlihan, with Wartburg Com- Christ Church Cathedral burgh, PA 4 pm Birmingham, Alabama munity Symphony; Wartburg College, Waverly, 1117 Texas Avenue The Heritage Chorale; Holy Trinity Lutheran, IA 7:30 pm www.AdventBirmingham.org Houston, Texas 77002 Lancaster, PA 4 pm Anthony Williams; Washington National Ca- 17 APRIL thedral, Washington, DC 5:15 pm Choral Evensong; St. John’s Cathedral, Den- Choral concert; St. Luke Catholic Church, ver, CO 3:30 pm Stephen Tappe A Professional Card in McLean, VA 4 pm Bruce Stevens; Lagerquist Hall, Pacifi c Lu- Organist and Director of Music The Diapason Choral concert; Brevard-Davidson River Pres- theran University, Tacoma, WA 3 pm byterian, Brevard, NC 3:30 pm Saint John's Cathedral For rates and digital specifi cations, Bakersfi eld High School Choir; St. Mary’s Ca- contact Jerome Butera Choral concert; Basilica of the National thedral, San Francisco, CA 3:30 pm Denver, Colorado Shrine of Mary, Queen of the Universe, Or- 847/391-1045 Isabelle Demers; Grass Valley Seventh-day www.sjcathedral.org [email protected] lando, FL 3 pm Adventist Church, Grass Valley, CA 2 pm Bach, Easter Oratorio, BWV 249; Christ Church Grosse Pointe, Grosse Pointe Farms, MI 18 APRIL 4:30 pm David Goode; Edythe Bates Old Recital Hall, ORGAN MUSIC OF THE SPANISH BAROQUE The Chenaults; Christ Church Cathedral, Rice University, Houston, TX 7 pm Nashville, TN 4 pm Stephen Tharp; St. Andrew’s Lutheran, Park 19 APRIL David Troiano Joe Utterback Ridge, IL 3 pm David Goode, Bach lecture; Edythe Bates Old DMA MAPM COMMISSIONS & CONCERTS James David Christie; Cathedral of St. Jo- Recital Hall, Rice University, Houston, TX 11 am 586.778.8035 seph the Workman, La Crosse, WI 2 pm 732 . 747 . 5227 [email protected] 20 APRIL 23 MAY Tenebrae; St. John’s Cathedral, Denver, CO Andrew Peters; Elliott Chapel, Presbyterian 7 pm Homes, Evanston, IL 1:30 pm Alison Luedecke, with trumpet; Pasadena Presbyterian, Pasadena, CA 12 noon David Wagner 25 MAY DMA Kevin Walters David Enlow; Church of St. Ignatius Loyola, 23 APRIL Madonna University New York, NY 7 pm Christoph Bull; Royce Hall, UCLA, Los An- M.A., F.A.G.O. Choral concert; Church of St. Ignatius Loyola, geles, CA 2 pm Livonia, Michigan New York, NY 8 pm [email protected] Rye, New York 24 APRIL 26 MAY Shinji Inagi; Holsclaw Hall, University of Ari- Frances Fitch, harpsichord; First Church, zona, Tucson, AZ 7 pm Boston, MA 12:15 pm Christoph Tietze, Widor, Symphony No. 5; St. Francis Chapelet; Church of the Ascension, Mary’s Cathedral, San Francisco, CA 3:30 pm New York, NY 8 pm KARL WATSON Cherie Wescott 29 APRIL Concerts • Masterclasses • Coaching 27 MAY Maxine Thévenot, with soprano; Cathedral of SAINT LUKE’S Andrew Sheranian; Trinity Church, Boston, St. John, Albuquerque, NM 7 pm 405/942-3958 MA 12:15 pm Hans Davidsson, Bach works; St. Mark’s Ca- METUCHEN e-mail: [email protected] Philadelphia Singers Chorale, with the Phila- thedral, Seattle, WA 7:30 pm delphia Orchestra; Verizon Hall, Philadelphia, PA 8 pm 30 APRIL Choir of Church of Saint-Martin-in-the-Fields; 28 MAY St. Mark’s Episcopal Cathedral, Minneapolis, MN Davis Wortman Philadelphia Singers Chorale, with the Phila- 7:30 pm RONALD WYATT delphia Orchestra; Verizon Hall, Philadelphia, Lynn Trapp, with choirs, works of Britten; St. PA 8 pm Olaf Catholic Church, Minneapolis, MN 7:30 pm St. James’ Church Trinity Church Gail Archer; Bruton Parish Church, Colonial New York Galveston Williamsburg, VA 8 pm 1 MAY Marilyn Keiser, masterclass; Church of the Ken Cowan; Congregational UCC, Iowa City, Good Shepherd, Jacksonville, FL 10 am IA 4 pm Andrew Peters, Easter Hymn Festival; Sec- 29 MAY ond Presbyterian, St. Louis, MO 4 pm Charles Dodsley Walker, FAGO Edward Moore; Cathedral Church of St. John Las Cantantes; Cathedral of St. John, Albu- Artist-in-Residence Founder/Conductor the Divine, New York, NY 5:15 pm querque, NM 7 pm Saint Luke’s Parish Canterbury Choral Society Rodney Long; Washington National Cathe- Clint Kraus, with soprano; Trinity Lutheran, 1864 Post Road 2 East 90th Street dral, Washington, DC 5:15 pm Lynnwood, WA 7 pm Darien, CT 06820 New York, NY 10128 Paul Skevington, with National Men’s Chorus; David Christopher, with violin; St. Mary’s Ca- (917) 628-7650 (212) 222-9458 St. Luke Catholic Church, McLean, VA 5 pm thedral, San Francisco, CA 3:30 pm Ken Cowan; Grace Episcopal, Charleston, SC Alison Luedecke, with Millennia Consort; La 7:30 pm Jolla Presbyterian, La Jolla, CA 7 pm Marilyn Keiser; Church of the Good Shep- William Webber, C.A.G.O. herd, Jacksonville, FL 6 pm 2 MAY David Lamb, hymn festival; First United Meth- Ken Cowan, masterclass; University of Iowa, Organist/Director, First Christian Church, Danville, KY odist, Columbus, IN 9 am Iowa City, IA 7 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
APRIL, 2011 35
Apr 2011 pp. 32-37.indd 35 3/11/11 7:56:03 AM 4 MAY 15 MAY 30 APRIL Christopher Ahlman; Bates Recital Hall, Uni- Vincent Dubois; St. Michael and All Angels Gillian Weir, workshop on Bach; Oxford Uni- versity of Texas, Austin, TX 4:30 pm Episcopal, Mission, KS 7:30 pm versity, Oxford, UK 10 am Organ Recitals Daniel Roth, Choral Evensong; Church of the 1 MAY 6 MAY Incarnation, Dallas, TX 5:30 pm JOHN BROCK, University of Tennessee, Gerre Hancock; St. Martin’s Episcopal, Hous- James David Christie; Church of the Trans- Neil Wright; St Michael’s Abbey, Farnbor- ough, UK 3 pm, Choral Vespers 4:45 pm Knoxville, TN, November 5: Komm, heiliger ton, TX 7:30 pm fi guration, Dallas, TX 7 pm Geist, Herre Gott, BWV 651, Bach; Toccata Dorothy Young Riess; Doc Rando Hall, Uni- Choral Evensong; St. John’s Cathedral, Den- 2 MAY I (Second Book), Toccata for the Elevation, versity of Nevada, Las Vegas, NV 7:30 pm ver, CO 3:30 pm Martyn Noble; Liverpool Cathedral, Liverpool, Bergamasca (Fiori Musicali), Frescobaldi; Mark Brombaugh & Kathryn Nichols, organ UK 11:15 am Capriccio on the Cuckoo, Kerll; Toccata X 7 MAY and harpsichord; Grace Lutheran, Tacoma, WA (Apparatus Musico-Organisticus), Muffat; Jerrad Fenske, harpsichord and organ; Sa- 3 pm 6 MAY Toccata in c, Ricercare in c, Partita on the cho- cred Heart Chapel, College of St. Benedict, St. Marc D’Anjou; Holy Rosary Cathedral, Van- ral ‘Ach, was soll ich Sünder machen’, Pachel- Joseph, MN 3 pm 17 MAY couver, BC, Canada 8 pm bel; Toccata in F, BWV 540, Bach. Choir of the West; Christ Episcopal, Tacoma, Daniel Roth; Church of the Incarnation, Dal- WA 7:30 pm las, TX 7 pm 7 MAY JAMES RUSSELL BROWN, St. Giles’ David Higgs, masterclass; St. Mark’s Episco- Franz Danksagmüller, with Camerata St. Ja- Episcopal Church, Northbrook, IL, October 3: Prelude and Fugue in b, BWV 544, Bach; pal, Berkeley, CA 2 pm 20 MAY kobi; St. Jakobi, Lübeck, Germany 5 pm •Jelani Eddington, silent fi lm accompaniment; Vater unser im Himmelreich, Böhm; Andante Michael Rhodes; Victoria Hall, Hanley, Stoke- sostenuto (Symphonie Gothique), Widor; Pre- 8 MAY Christ the King Lutheran, Mankato, MN 7 pm on-Trent, UK 12 noon lude and Fugue in B, op. 7, no. 1, Dupré. David Brock; St. Mary’s Cathedral, San Fran- Stephen Hamilton; Faith Lutheran, Des cisco, CA 3:30 pm Moines, IA 7:30 PM 8 MAY ELIZABETH & RAYMOND CHENAULT, David Higgs; St. Mark’s Episcopal, Berkeley, Jörg Halubek, harpsichord; St. Marien, Lü- St. Paul’s Episcopal Church, Augusta, GA, CA 6:10 pm 22 MAY beck, Germany 3 pm October 10: Variations on an Easter Theme, Carole Terry; St. James’ Episcopal, Los An- Joseph Adam, with viola; Thomsen Chapel, Michael Radulescu; St. Jakobi, Lübeck, Ger- Rutter; Eclogue, Shephard; Variations on geles, CA 6 pm St. Mark’s Cathedral, Seattle, WA 2 pm many 5 pm ‘Veni Creator Spiritus’, Briggs; Sending Forth Cameron Carpenter; Walt Disney Concert Larry Palmer, harpsichord; Resurrection Par- the Light of Christ, Clark; Toccata on Sine 9 MAY Hall, Los Angeles, CA 7:30 pm ish, Santa Rosa, CA 3:30 pm Nomine, Evensong, Callahan; The Stars & Arvid Gast, with Capella St. Marien; St. Stripes Forever, Sousa/Chenault. Marien, Lübeck, Germany 7 pm 9 MAY 28 MAY Bruce Neswick DOUGLAS CLEVELAND, Rockefeller Chelsea Chen; First United Methodist, Pasa- ; First Congregational, Los An- 11 MAY dena, CA 8 pm geles, CA 4 pm Memorial Chapel, Chicago, IL, September Mark Venning; Reading Town Hall, Reading, 26: Toccata, Fletcher; Plymouth Suite, Whit- UK 1 pm 29 MAY lock; Jesu, Dulcis Memoria, Decker; Scher- 12 MAY zetto, Toccata, Jongen; Four Concert Etudes, Joseph Henry; St. Barnabas Lutheran, Plym- Cathedral Choir of Boys and Girls, St. Brigid 12 MAY Briggs. outh, MN 12:30 pm School Honor Choir; St. Mary’s Cathedral, San Mario Duella, with tenors and bass; Cathe- Francisco, CA 3:30 pm dral, Biella, Italy 9 pm KEN COWAN, St. James’ Church, New 13 MAY York, NY, October 17: Fantasie in f, K. 608, Diane Meredith Belcher; First Presbyterian, 13 MAY Mozart; The Soul of the Lake (Pastels from Little Rock, AR 8 pm INTERNATIONAL Mario Duella, with tenors and bass; Chiesa the Lake of Constance, op. 96, no. 1), Karg- Jesse Eschbach, with Dakota Chorale, Duru- Parrocchiale SS. Ambrogio e Theodulo, Stresa, Elert; Overture to A Midsummer Night’s Italy 9:15 pm fl é: Requiem; First Congregational, Sioux Falls, Dream, op. 21, Mendelssohn, arr. Warren; SD 7:30 pm 16 APRIL Deux esquisses, op. 41, Dupré; Introduction, 19 MAY Nathan Laube; Victoria Hall, Hanley, Stoke- Passacaglia and Fugue, Willan; Canon in A- Mary Preston; Meyerson Symphony Center, Roger Sayer; Cathedral, Biella, Italy 9 pm Dallas, TX 12:30 pm on-Trent, UK 12 noon fl at, op. 56, no. 4, Canon in E, op. 56, no. 3, Fugue on B-A-C-H, op. 60, no. 5, Schumann; Maxine Thévenot, with soprano; Cathedral of 20 MAY Prelude to Die Meistersinger von Nürnberg, St. John, Albuquerque, NM 7 pm 25 APRIL Roger Sayer; Chiesa Parrocchiale SS. Am- Wagner, arr. Lemare and Warren. Dick Coulter; Church of the Incarnation, San- Ian Tracey; Liverpool Cathedral, Liverpool, brogio e Theodulo, Stresa, Italy 9:15 pm ta Rosa, CA 6 pm UK 11:15 am Karen Beaumont; St. John’s College, Oxford, PHILIP CROZIER, Nieuwe Kerk, Delft, UK 2:30 pm Netherlands, August 5: Choral Song and 14 MAY 28 APRIL Fugue, S.S. Wesley; Trio Sonata No. 6 in G, Houston Chamber Choir; Church of St. John Mineko Kojima; Minato Mirai Hall, Yokohama, 26 MAY BWV 530, Bach; Canon in b, op. 56, no. 5, the Divine, Houston, TX 7:30 pm Japan 12 noon Momoko Koshimizu; Minato Mirai Hall, Yoko- Schumann; Praeludium in f-sharp, BuxWV hama, Japan 12 noon 146, Buxtehude; Pastorale, op. 19, Franck; Michele Croese, with trumpet; Cathedral, Bi- Récit de Tierce en taille (Gloria, Premier ella, Italy 9 pm Livre d’Orgue), de Grigny; Variationer over martin ott pipe ‘Nous chanterons pour toi, Seigneur’, Bédard. organ company 27 MAY Heilige Brigidakerk, Geldrop, Netherlands, inc. Michele Croese, with trumpet; Chiesa Parroc- August 7: Choral Song and Fugue, S.S. Wes- 7408 Somerset Ave. chiale SS. Ambrogio e Theodulo, Stresa, Italy ley; Elfes, op. 7, no. 11, Bonnet; Skizzen für St. Louis, MO 63105 9:15 pm den Pedal Flügel, op. 58, Schumann; Sonata 314-504-0366 Phone 314-569-3879 Fax Gillian Weir; Hexham Abbey, Hexham, UK No. 1 in f, op. 65, no. 1, Mendelssohn; Miroir, 801-756-5777 Martin Ott [email protected] 7:30 pm Wammes; Variations sur ‘Nous chanterons www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com pour toi, Seigneur’, Bédard. 28 MAY Stephen Tharp; Chiesa Prepositurale S. Am- ROBERT DELCAMP, All Saints’ Episco- brogio di Merate, Merate (LC), Italy 9 pm pal Church, Atlanta, GA, October 19: Grand Parkey Chorus in g, op. 84, Allegretto in b, op. 19, no. 30 MAY 1, Guilmant; Suite on the First Tone, Bédard; OrganBuilders Daniel Bishop; Liverpool Cathedral, Liver- Adagio for Strings, Barber; Symphonie-Pas- Distinguished Pipe Organs pool, UK 11:15 am sion, op. 23, Dupré. 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com
NEW INSTRUMENTS sound INSPIRATION MAINTENANCE RESTORATIONS Acoustical Design & Testing • Organ Consultation & 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training ABR 847-395-1919 ATOS F INCY PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 ExperienceAmerican Theatre Organ Society email: [email protected] www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Preserving a unique art form. GAN BUILDERS - EST E OR . 187 PIP 7 Concerts, education, silent film, preservation, Pipe Organ Craftsmen & Builders _ fellowship and more. www.atos.org Hupalo GF 1785 Timothy Drive, Unit 4 Jim Merry, Executive Secretary, [email protected] & San Leandro, CA 94577 P.O. Box 5327, Fullerton, CA 92838 Repasky Tel: 510 483 6905 SAN FRANCISCO www.hupalorepasky.com w ww 58 .sch 47-58 oenstein.com - (707) 7
Advertise in A. David Moore, Inc. The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
36 THE DIAPASON
Apr 2011 pp. 32-37.indd 36 3/11/11 7:56:21 AM STEVEN EGLER and MARY LOU phonie Romane, op. 73, Widor; Comes Au- DEREK E. NICKELS, St. Luke Episco- DONG-ILL SHIN, Church of St. Ignatius NOWICKI, Central Michigan University, tumn Time, Sowerby. pal Church, Dixon, IL, October 17: Sinfonia Loyola, New York, NY, October 27: Sinfonia Mount Pleasant, MI, October 3: Toccata in (Cantata 29), Bach, arr. Guilmant; Siciliano in D (Cantata 29), Trio Sonata in C, BWV F, BuxWV 157, Buxtehude; Liebster Jesu, MARK KING, Zion Lutheran Church, (Sonata for Flute and Clavier, BWV 1031), 526, Toccata and Fugue in F, BWV 540, Bach; Wir Sind Hier (Choraleworks), Veni, Cre- Indiana, PA, October 16: Fanfare, Arnatt; Bach, arr. Best; Chorale (Cantata 129), Bach, Variations sur un thème de Clément Janne- ator Spiritus (Chantworks), Carillon on a Praeludium in D, BuxWV 139, Buxtehude; arr. Taylor; Severn Suite, op. 87a, Elgar, arr. quin, Alain; What a friend we have in Jesus Ukrainian Bell Carol, Near; The Pink Pan- Vom Himmel hoch, BWV 606, Nun komm, Atkins; Legend No. 2: St. Francis of Paul (Gospel Preludes), Bolcom; Allegro (Sympho- ther, Mancini, arr. Trenney; Prelude and der Heiden Heiland, BWV 659, Fantasia su- Walking on the Waves, Liszt, arr. Meyer; ny No. 5, op. 42, no. 1), Widor; Variations sur Fugue in e, Bruhns; Prelude and Fugue in A, per: Komm, heiliger Geist, BWV 651, Bach; Pilgrim’s Chorus (Tannhäuser), Wagner, arr. un vieux noël, Dupré. BWV 536, Bach; Werde munter mein Ge- Quand Dieu naquit a Noël, Balbastre; Andan- Horn; Funeral March of a Marionette, Gou- müte, Christus, der ist mein Leben, Jauchz, te, Menuett, Presto (Works for Flute Clock), nod, arr. Best; The Swan (Carnival of the Ani- KENNETH UDY, University of Nevada, Erd’, und Himmel, juble! (Choralvorspiele, Haydn; Sonata III in A, op. 65, Mendelssohn; mals), Saint-Saëns; Overture to William Tell, Las Vegas, NV, October 1: Toccata in d, BWV op. 67), Reger. Toccata alla Rumba, Planyavsky; Jazz Varia- Rossini, arr. Buck. 538, O Jesus, What Is Thy Countenance, tions on Fairest Lord Jesus, Utterback; Poco BWV 1094, Bach; Church Sonata in D, K. HENRY FAIRS, Resurrection Parish, adagio, Allegro giocoso (Sept Improvisations), CRAIG PHILLIPS, First Baptist Nash- 144, Mozart; Fantasy on ‘Joyful, Joyful, We Santa Rosa, CA, October 31: Toccata in F, Saint-Saëns. ville, Nashville, TN, November 14: Fanfare, Adore Thee’, Hoeve; Gammal Fäbodpsalm, BuxWV 157, Buxtehude; O Lamm Gottes, Phillips; Sonata II, Mendelssohn; Suite Breve, Lindberg; Holy, Holy, Holy, M. Biery; Al- unschuldig, BWV 656, Nun danket alle Gott, ANN LABOUNSKY, Wallace Memo- Phillips; Dieu est simple (Les Méditations sur legro (Concerto in F, HWV 295), Handel; BWV 657, Bach; Choral Song, S. S. Wesley; rial Presbyterian Church, Pittsburgh, Penn- le Mystère de la Sainte-Trinité), Messiaen; The Swan (Carnival of the Animals), Saint- Four Sketches, op. 58, Schumann; Organ So- sylvania, October 17: Te Deum, Hymne Toccata on How Firm a Foundation, Phillips; Saëns; Pastorale and Aviary, Roberts; Rhap- nata (The 94th Psalm), Reubke. d’action de grâce (Trois Paraphrases gré- Andante sostenuto (Symphonie Gothique, op. sodie on the Name of Lavoie, Bédard; Scher- goriennes), Arabesque sur les fl ûtes (Suite 70), Widor; Choral-Improvisation sur le ‘Vic- zetto, Prière, Jongen; Final (Symphonie No. DAVID A. GELL, Trinity Episcopal Française), Dialogue sur les mixtures (Suite timae paschali’, Tournemire, transcr. Durufl é. 3), Vierne. Church, Santa Barbara, CA, October 10: Toc- Brève), Langlais; Six More Pieces for Organ, cata and Fugue in G, Reinken; Prelude and op. 133, Jenkins; Pastorale, op. 19, Franck; DAVID PICKERING, Kansas State Uni- ANITA EGGERT WERLING, First Pres- Fugue in f-sharp, BuxWV 146, Herr Christ, versity, Manhattan, KS, September 15: Pre- byterian Church, Macomb, IL, October 17: der ein’ge Gottes Sohn, BuxWV 192; Buxte- Impromptu (Pièces de Fantasie), Vierne; Prelude in E-fl at, BWV 552a, Dies sind die lude in D, BWV 532, Bach; Fugue (Sonata Fanfare for Organ, Proulx; Wondrous Love: hude; Concerto del Sigr. Torelli appropriato Variations on a Shape-Note Hymn, Bar- heiligen zehn Gebot, BWV 679, 678, Fugue No. 6), Mendelssohn; Adagio in E, Bridge; all’Organo, Walther; Nun freut euch, lieben ber; Auden Variations, op. 136, Persichetti; Voluntary on Old Hundredth, Jordan; Gio- Christen g’mein, BWV 734, Prelude and in E-fl at, BWV 552b, Bach; improvisation on Sketch in c, op. 58, no. 1, Fugue on the Name Fugue in E-fl at, BWV 552, Bach; Septenarium submitted themes. coso and Finale (O Jerusalem—A Symphony of B-A-C-H, op. 60, nos. 3 and 4, Canonic for Organ, Schroeder; Pastorale Sonata in G, for Organ), Gawthrop. Study in B, op. 56, no. 6, Schumann; Toccata Rheinberger. SCOTT MONTGOMERY, The Cathedral and Fugue in F, BWV 540, Bach. of the Holy Angels, Gary, IN, October 24: RUDY SHACKELFORD, Bethany Unit- STEPHEN HAMILTON, The Church of Dialogue, Marchand; Three settings on “Vater ed Methodist Church, Gloucester Point, THOMAS WIKMAN, Lutheran School the Holy Trinity (Episcopal), New York, NY, unser im Himmelreich”, Böhm; Theme et VA, October 24: Prelude and Fugue No. 21 of Theology at Chicago, Chicago, IL, Octo- October 14: Joie et clarté des corps glorieux Variations (Hommage à Frescobaldi), Lang- in B-fl at (The Well-Tempered Clavier, Book ber 5: Toccata cromatica per l’Elevazione, (Les Corps Glorieux), Messiaen; Prelude and lais; Prelude and Fugue in C, BWV 547, Bach; I, BWV 866), Bach; Recollection (Album Frescobaldi; Grand Plein Jeu, Recherche I, Fugue in e, Bruhns; Le Jardin suspendu, JA Fantaisie in E-fl at, Saint-Saëns; Choral (Sym- for the Young, op. 68), Kreisleriana, op. 16, Recherche II (Urbs Jerusalem), Titelouze; 71, Alain; Fantasy for Organ, Coe; Toccata, phony No. 7, op. 42, no. 3), Widor; Allegretto Canon in b (Six Studies for Pedal Piano, op. Fuga alla Giga, Praeludium and Fugue in g, Villancico y Fuga (BACH), Ginastera; Choral (Sonata in e-fl at, op. 65), Parker; Finale (So- 56, no. 5), Fugue No. 3 in g, Fugue No. 5 in BuxWV 163, Buxtehude; Andante Sostenuto No. II in b, Franck; Prelude and Fugue in B, nata No. 1, op. 42), Guilmant. F, Fugue No. 4 in B-fl at (Six Fugues on the (Symphonie Gothique), Widor; Litanies, op. 7, no. 1, Dupré. Name BACH, op. 60), Schumann; Excursions Alain. ANNA MYEONG, St. Paul’s Church, Bir- for Piano, op. 20, Wondrous Love: Variations DAVID C. JONIES, Wallfahrtskirche, Bo- mingham, UK, September 2: Litanies, Alain; on a Shape-note Hymn, op. 34, Barber; Trio BETH ZUCCHINO, Church of the In- genberg, Germany, September 5: Praeludium Récit de Tierce en taille, de Grigny; Variations Sonata, Shackelford; Fugue in e, F. 31, no. carnation, Santa Rosa, CA, October 8: Sechs in E, BuxWV 141, Buxtehude; Sonata No. 5, on America, Ives; Prélude et fugue sur le nom 6, W. F. Bach; Prelude and Fugue in e, BWV Stuecke in kanonischer Form (Studien fuer Mendelssohn; Naïades, op. 55, Vierne; Sym- d’Alain, Durufl é. 548, Bach. den Pedalfl uegel), op. 56, Schumann.
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PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE
St. Lawrence Sketches, by Alexander Russell, Like the harpsichord? Harpsichord Tech- Request a free sample issue of The Diapason 1960s Walcker (German) 14-rank tracker is some of the best program music ever written. nique: A Guide to Expressivity, second for a student, friend, or colleague. Write to the organ. Open toe voicing on 2″ wind pressure. All four—The Citadel at Quebec, The Bells of St edition, by Nancy Metzger is a hands-on Editor, The Diapason, 3030 W. Salt Creek Lane, Reverse console built into case. Footprint is 6′ Anne de Beaupré, Song of the Basket Weaver, guide for touch and historically informed Suite 201, Arlington Heights, IL 60005; or e-mail: wide by 11′6″ deep (including console and pedal and Up the Saguenay—are available again in a performance. www.rcip.com/musicadulce. [email protected]. stops), 9′10″ tall. All encased with 4′ Principal restored edition. Russell, long associated with façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- the Wanamaker organ, was a master of the quialtera, II–III Mixture. Manual II—8′ Gemshorn, symphonic organ. michaelsmusicservice.com; CD Recording, “In memoriam Mark Bux- 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— 704/567-1066. Bruce Neswick, Director of Cathedral Music ton (1961–1996).” Recorded at Église Notre- 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and and Organist at New York City’s Cathedral of Dame de France in Leicester Square, London, in use regularly. Asking $14,500. For recordings St. John the Divine, recorded his fi rst solo CD between 1987 and 1996. Works of Callahan, and pictures contact [email protected]. Wayne Leupold Editions announces new last October at the newly restored Great Organ Widor, Grunewald, Salome, Ropartz, and Boëll- publications, including the Clavier-Übung III at the Cathedral. The soon-to-be-released album mann, along with Buxton’s improvisations. $15 of the complete Bach organ works, and the features music of recognized American compos- postpaid: Sandy Buxton, 10 Beachview Cres- 1971 Bosch Organ —Two manuals, 36 ranks, Anthology of Eighteenth-Century Spanish ers and church musicians Gerre Hancock, Larry cent, Toronto ON M4E 2L3 Canada. 416/699- free standing, encased with detached console. Keyboard Music. New works include compo- King and David Hurd, as well as the Fifth Organ 5387, FAX 416/964-2492; e-mail hannibal@ Mechanical key action, electric stop action. Sell- sitions by Samuel Adler, Chelsea Chen, Car- Sonata of Sir Charles Villiers Stanford, one of idirect.com. ing price $30,000, re-location and installation son Cooman, Pamela Decker, Robin Dinda, the most noted of composers in the Victorian and available. For information package contact Fowl- João Wilson Faustini, Calvin Hampton, Dennis Edwardian eras of the Anglican music tradition. er Organ Company, Lansing, MI. bmforgans@ The OHS Catalog Janzer, Bálint Karosi, Rachel Laurin, Austin The new release also involves a chorus of male is online at www.ohscatalog. aol.com; 517/485-3748. Lovelace, Margaret Sandresky, Larry Visser, singers from the New York City metro area, as- org. More than 5,000 organ and theatre organ and many others. Numerous volumes of tran- sembled and led by Bruce Neswick, who support CDs, books, sheet music, DVDs and VHS videos scriptions are available, including works by some organ selections on the CD with Gregorian are listed for browsing and easy ordering. Use 1958 Klais of Germany, 2 manual, 20 rank a link for adding your address to the OHS Cata- Scott Joplin, Maurice Ravel, and Gioachino chant. Dr. Neswick’s album will include at least pipe organ in exceptional condition. Slider Rossini. For information: 800/765-3196; one organ improvisation. The location recording log mailing list. Organ Historical Society, Box 26811, Richmond, VA 23261. E-mail: catalog@ chests, cone tuning, very easy installation. View www.wayneleupold.com. was made with the ultra-high-fi delity multi-chan- it at www.homelesspipeorgans.com. nel DSD (Direct Stream Digital) format and was organsociety.org. produced and engineered by Frederick Hohman. Historic Organs of Seattle: A Young Yet Vi- A spring, 2011 release date in planned on the If your company was not listed in THE DIAPASON 48-rank, 3-manual and pedal pipe organ, 60 brant History, the latest release from OHS, is a Pro Organo label (www.proorgano.com). stops, 3000+ pipes, 99-level combination action, four-disc set recorded at the 2008 OHS national 2011 Resource Directory, be sure to be part of the 2012 issue! Visit www.TheDiapason.com and Great, Swell, Positive, Echo. With or without a convention, held in the Seattle, Washington ′ ′ area. Nearly fi ve hours of music feature historic Refl ections: 1947–1997, The Organ Depart- from the left column select Supplier Login. For 4,200 sq. ft. 4 bedroom home: 20 x 55 LR, on organs by Aeolian-Skinner, Casavant, Hook & ment, School of Music, The University of Michi- information, contact Joyce Robinson, 847/391- 50+ acres, 2 bedroom guest cottage, lake front, Hastings, and Hutchings-Votey, Kilgen, Tallman, gan, edited by Marilyn Mason & Margarete 1044, [email protected]. excellent for a retreat, on Great Sacandaga Woodberry, Hinners, Cole & Woodberry, plus in- Thomsen; dedicated to the memory of Albert Lake. Saratoga County, New York. $75,000, struments by Flentrop, C. B. Fisk, and Rosales, Stanley, Earl V. Moore, and Palmer Christian. or $750,000 for package. Tel. 863/353-7528; and Pacifi c Northwest organbuilders Paul Fritts, Includes an informal history-memoir of the organ HARPSICHORDS e-mail [email protected]. Martin Pasi, John Brombaugh, Richard Bond, department with papers by 12 current and former FOR SALE and many more! Renowned organists Douglas faculty and students; 11 scholarly articles; remi- Cleveland, Julia Brown, J. Melvin Butler, Carol niscences and testimonials by graduates of the Schlicker organ—two manuals, four ranks. Terry, Bruce Stevens, and others are featured department; 12 appendices, and a CD record- One-manual Rutkowski and Robinette harp- Immaculate condition. Can be seen at The in live performances on 24 pipe organs built be- ing, “Marilyn Mason in Recital,” recorded at the sichord. 8-8-8 in immaculate condition. Dark Church of the Holy Trinity (Episcopal), 316 tween 1871 and 2000. Includes a 36-page book- National Shrine of the Immaculate Conception green case with red interior. Can be seen at The East 88th Street, New York. The instrument let with photographs and stoplists. $34.95, OHS in Washington, DC. $50 from The University of Church of the Holy Trinity (Episcopal), 316 East can be viewed on the church website at www. members: $31.95. For more info or to order: Michigan, Prof. Marilyn Mason, School of Music, 88th Street, New York. Contact: Stephen Hamil- holytrinity-nyc.org. Contact: Stephen Hamilton, http://OHSCatalog.com/hiorofse.html. Ann Arbor, MI 48109-2085. ton at 212/289-4100 ext 210. 212/289-4100 ext 210.
TOTAL PIPE ORGAN RESOURCES
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Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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38 THE DIAPASON
Apr 2011 pp. 38-39.indd 38 3/11/11 7:57:50 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37
PIPE ORGANS MISCELLANEOUS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1929 Estey “Minuette” with 3 unifi ed Atlantic City Pipe Organ Company—OSI: III, Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions IV Mixtures, 4′ principals, 2-2/3′, block fl utes, parts. Let us know what you are looking for. and mechanisms. Highest quality materials and ranks, a very rare 2-manual instrument in ′ ′ a grand piano style case. Completely re- mutations. Trivo: 8 English Horn, 4 Rohr Schal- E-mail [email protected] (not comcast), workmanship. Reasonable rates. Columbia ′ ′ ′ ′ phone 215/353-0286 or 215/788-3423. built including case refi nishing and a new mei, 16 , 8 , 4 Trumpets. Moller: 16 Fagotto, Organ Leathers 800/423-7003. www.columbia blower. $20,000. Contact Box JU-6101, Clarinet. C.S. Haskell pipes. 609/641-9422; organ.com/col. THE DIAPASON. [email protected]; mywebpages.comcast. net/acorgan. Wood pipes. Missing pipes made to match. Damaged pipes in any condition repaired. Over Highest quality organ control systems since 25 years experience. Filip Cerny, 814/342-0975. 1989. Whether just a pipe relay, combination THE DIAPASON 2011 Resource Directory action or complete control system, all parts Three small pipe organs for sale. Great pric- was mailed to all subscribers with the January are compatible. Intelligent design, competitive es. For more information, please go to our web- 2011 issue. Additional copies are available at SERVICES/ pricing, custom software to meet all of your re- site, www.milnarorgan.com. a cost of $5.00 postpaid. Contact the editor, SUPPLIES quirements. For more information call Westa- Jerome Butera, at 847/391-1045, jbutera@ cott Organ Systems, 215/353-0286, or e-mail sgcmail.com. [email protected] Available Summer, 2011. Moller Opus 11546 Aeolian/Robert Morton-style maroon leather (1981), 3-manual, 34+ ranks. Polished zinc is now available from Columbia Organ exposed pipes symmetrically set in wood Leathers! Highest quality. 800/423-7003, ANNOUNCEMENTS finish casework. Chicago area. Come try it! Tired of the monotony of an organ with no www.columbiaorgan.com. Contact Adrienne: 847/816-1468; a.tindall@ enclosed divisions? Want to bring more musical interest back into your preludes? comcast.net. Are you receiving THE DIAPASON E-News? Want to be able, at last, to balance an ac- Austin actions recovered. Over 40 years ex- Our newsletter is e-mailed monthly to our reg- companiment with the choir? We have the perience. Units thoroughly tested and fully guar- istered subscribers; a separate issue each answer—Port-a-Box! Apply Swell shades to 1969 Möller Double-Artiste. 2 manuals, 9 anteed. Please call or e-mail for quotes. Tech- month sends you our web classifi ed ads. Don’t ′ that cold, inexpressive Ruckpositiv, Brust- miss out! To register, visit www.TheDiapason. ranks (including Mixture and 16 Trompette), werk, or even the Hauptwerk! Shades come nical assistance available. Foley-Baker, Inc., 42 28 stops. Newly releathered and reno- N. River Road, Tolland, CT 06084. Phone 1- com, click on Newsletter, and enter your con- pre-mounted on a foldable frame, and can tact information. vated. $44,500 plus installation. Contact: be telescoped from 4 to 16 feet in length. 800/621-2624. FAX 860/870-7571. foleybaker@ [email protected]; 617/688-9290. Enclose the Pedal towers if you want to! sbcglobal.net. (Folded up, they fi t in an average car trunk.) All is wired to an expression pedal, which Need help with your re-leathering Postal regulations require that mail 1981 Lauck Residence Organ—2-manual, you can mount above the pedals (where the ′ ′ ′ project? All pneumatics including to THE DIAPASON include a suite num- 3 ranks, 16 Gedeckt 97, 4 Principal 73, 8 Swell pedal ought to have been—if you’d Austin. Over 45 years experience ber to assure delivery. Please send Oboe TC 49. Unifi ed to 19 stops. Expres- had one!). A special thumb slider control is (on the job assistance available). all correspondence to: THE DIAPASON, sion, tremulant, combination action. Natural available for those who want to adjust them 615/274-6400. ash casework: 94″ high, 72″ wide, 24″ deep. “Wanamaker style.” Possible variations in- 3030 W. Salt Creek Lane, Suite 201, Movable. Presently being restored. $18,000. clude large shade fl aps covering the whole Arlington Heights, IL 60005. Lauck Pipe Organ Co. 269/694-4500; e-mail: facade with artwork on them—they move [email protected]. awfully slowly, but look original on a Dutch ALL REPLIES baroque organ. Also available is the “fl ow- THE DIAPASON’s classified ads are erbox” model, which includes three walls TO BOX NUMBERS and a roof as well as the shutters, so you now available on THE DIAPASON Late-1800s 2-manual Pilcher tracker pipe website—including photographs and organ is available, for just the cost to relo- can enclose that cantilevered chest after that appear all. (Some assembly required.) The inexpen- convenient e-mail links directly to the cate and refurbish. Specification and photo sive Brustwerk model is designed to cover without an address sellers! Visit www.TheDiapason.com at www.pipe-organ.com. Arthur Schlueter, III, the front of a division of supersonic ranks should be sent to: and in the left-hand column, look for 800/836-2726. in a space of 2 feet by 4 feet. Turn your dry, SPOTLIGHTS, then click on Classified academic-sounding baroque organ into an THE DIAPASON Advertisements. Follow the links to the expressive musical instrument with Port-a- 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click Ten-rank pipe organ—Wicks. $2,500. Set of Box! Box Gouwens-Con, THE DIAPASON; the e-mail button to contact the sellers. tubular chimes, twenty beautiful gold color, $50. [email protected]. Arlington Heights, IL 60005 What could be easier? 248/471-1515.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
APRIL, 2011 39
Apr 2011 pp. 38-39.indd 39 3/11/11 7:58:14 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011 SOLD OUT
*=European artists available 2010-2011 and 2011-2012
Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young