THE DIAPASON SEPTEMBER 2020

First United Methodist Church Lubbock, Texas (rendering) A new chapter begins for Orgues Létourneau Cover feature on pages 18–19 PHILLIP TRUCKENBROD CONCERT ARTISTS

ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS

RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ

JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 9, Thank you, thank you, thank you Whole No. 1330 We are grateful for your continued support that keeps The SEPTEMBER 2020 Diapason moving forward, especially in the last six months. Established in 1909 To our readers who have renewed subscriptions and to our Stephen Schnurr ISSN 0012-2378 advertisers who have continued advertising, thank you. 847/954-7989; [email protected] We are especially thankful for our cover feature spon- www.TheDiapason.com An International Monthly Devoted to the Organ, sors during this tumultuous time. Several have needed to the Harpsichord, Carillon, and Church Music reschedule or adapt. Some sponsors have been incredibly flexible in moving their sponsorships to accommodate the In this issue CONTENTS needs of others. Michael McNeil has provided an introduction to the For those wishing to reserve a cover feature in 2021, please FEATURES meantone tuning of Dom Bédos and Pierre Anton as found “The world’s most famous foundry” contact Jerome Butera, advertising director (jbutera@sgcmail. in the 1739 Louis Alexander Clicquot organ of St. James by Brian Swager 12 com; 608/634-6253). Cover features are effective ways to let all Church, Houdan, France. Brian Swager reports on plans to The elusive and sonorous meantone of know of your new, restored, and rebuilt instruments, your aca- repurpose the historic Whitechapel Bell Foundry of London, Dom Bédos demic programs in organ and church music, your milestones in UK, and efforts to preserve this important part of the history by Michael McNeil 14 organbuilding history, and other creative messages. of bell casting. NEWS & DEPARTMENTS Gavin Black, in “On Teaching,” writes about the effect of the Editor’s Notebook 3 Resource Directory current coronavirus pandemic on musicians’ work, particularly Here & There 3 We shall begin work shortly on our 2021 Resource Direc- as it relates to pedagogy. In “In the Wind . . .,” John Appointments 6 tory, which will be mailed with your January issue. If your ponders how different early July is without the ability to see, Nunc Dimittis 6 business was not listed in the 2020 Directory and should be hear, or play an organ, comparing the situation to notable July On Teaching by Gavin Black 9 in 2021, please let me know; listings are free of charge. In events of his life in past years. In the wind . . . by John Bishop 10 addition, listings are available for viewing by thousands of Our cover feature this month details the new generation REVIEWS potential clients at our website (www.thediapason.com, click of leadership that has dawned at Orgues Létourneau of St.- Book Reviews 21 on Resource Directory). If your business was included in our Hyacinthe, Québec, . With the retirement of Fernand Choral Music 21 2020 Directory, carefully review your entry to see if informa- Létourneau, founder of the firm, Dudley Oakes continues the New Organ Music 22 tion needs to be updated, expanded, etc. tradition after forty years of organbuilding. New Recordings 22 For a variety of advertising opportunities in this publication, In New Organs, the Schoenstein instrument at the Basilica New Handbell Music 23 Jerome Butera ([email protected]; 608/634–6253) is always of the National Shrine of Mary, Queen of the Universe, ready to assist you. Our Resource Directory is a reference tool Orlando, Florida, has been recently completed. The instru- NEW ORGANS 20 for our readership for the entire year—and for the world at ment is the largest the firm has built for a Catholic installation CALENDAR 24 large at our website —so make sure you are included! in its 143-year history. Q RECITAL PROGRAMS 25 CLASSIFIED ADVERTISING 26 Here & There

Conferences Simko, Joey Brink, Ryan Mueller (all 20 Cancellations Under 30 awardees of The Diapason), Michael Barone, Darlene Kuperus, and Jeremy David Tarrant. For information: myumi.ch/organconference.

Events

COVER Holtkamp organ, Pleasant Hills Commu- First United Methodist Church, Lubbock, nity Presbyterian Church, Pittsburgh, Texas (rendering); Pennsylvania A new chapter begins for Orgues Létourneau, St-Hyacinthe, Québec, Canada 18 Pleasant Hills Community Pres- Editorial Director STEPHEN SCHNURR byterian Church, Pittsburgh, Penn- and Publisher [email protected] sylvania, has postponed its September 847/954-7989 13 recital honoring the 50th anniversary President RICK SCHWER of the dedication of its Holtkamp organ, [email protected] announced in the August issue, page 3. 847/391-1048 The church intends to reschedule the Hill Auditorium, University of Michigan, event in 2021. For information: Editor-at-Large ANDREW SCHAEFFER Ann Arbor, Michigan (photo credit: Bryan [email protected] pleasanthillschurch.com. Dunnewald) Sales Director JEROME BUTERA The American Guild of [email protected] 608/634-6253 The University of Michigan organ has postponed all regional conventions Circulation/ department’s 60th annual organ confer- from 2021 to 2023. Dates will be updated Subscriptions THE DIAPASON ence, “Creative Collaborations in a Time as they are confirmed. For information: P.O. Box 300 Lincolnshire, IL. 60069-0300 of Change,” October 5–10, will occur in agohq.org. [email protected] an online format this year. The confer- St. Paul Catholic , Pittsburgh, Toll-Free: 877/501-7540 ence topics will explore how organists, Pennsylvania, Beckerath organ Local: 847/763-4933 harpsichordists, carillonists, and sacred Publishers Designers DAN SOLTIS musicians use art to come together, St. Paul Catholic Cathedral, Pitts- Augsburg Fortress announces new [email protected] build community, and support, comfort, burgh, Pennsylvania, announces organ organ publications: Fruits of the Spirit: 847/391-1014 and heal, addressed in a series of live- recitals featuring the cathedral’s 1962 Chorale Preludes for Organ (978-1- CATHERINE LEPENSKE streamed lectures and pre-recorded Beckerath organ (four manuals, 67 5064-6613-2), by David Evan Thomas; [email protected] performances. All events may be viewed stops, 97 ranks): September 25, Vincent The Road to Resurrection, (978-1-5064- 847/954-7964 free of charge, and registration is not Dubois; October 11, Donald Fellows; 6612-5), by Roberta Rowland-Raybold; Contributing Editors LARRY PALMER required. Livestreams occur at noon and November 20, Peter Latona; January 3, Organ Miniatures: Hymn Introductions Harpsichord 8:00 p.m. daily, with events archived for 2021, Mary Catherine Levri. For infor- and Settings (978-1-5064-6608-8), by later viewing. Presenters include Sarah mation: http://stpaulpgh.org. ³ page 4 BRIAN SWAGER Carillon

JOHN BISHOP THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of In the wind . . . Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. GAVIN BLACK Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 ( and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. On Teaching Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specific written permission of the Editor, except that libraries are authorized to make Reviewers Stephen Schnurr 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Charles W. Steele only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fifteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. John L. Speller POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the Leon Nelson 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

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³ page 3 unconventional, fresh approach in teach- Renaissance-Style Wooden Organ (978- Variations on AURELIA (10-497, $14), by Joe Cox; and Draw Us In: Organ Settings ing organ music. Each two-page spread 3-940396-97-6, €18.50), by Walter Janet Linker; Variations on Es ist ein’ (978-1-5064-6609-5), by David Lasky. contains a lesson with practical and Chinaglia. The volume describes the Ros’ (10-183, $9), by Alfred V. Fedak; For information: augsburgfortress.org. theoretical contents. Instead of routine organbuilder author’s ongoing project Fanfare and Processional, for organ and fingering exercises, this method book to construct an Italian Renaissance optional brass quintet (10-662, $8), by Bärenreiter announces new organ offers short compositions of gradually organo di legno (organ with wooden Lynn Trapp; and Toccata on God Rest publications: Fire and Colour: Improvis- increasing levels of difficulty. Pedaling, pipes), modeled after an instrument at Ye Merry, Gentlemen, for organ duet ing on the Organ (BA 11240, 2 volumes, ear training, and improvisation are inte- the Hofkirche in Innsbruck, Austria. (10-186, $14), by Robert A. Hobby. For €74), by Iris Rieg, with text in German grated in simple, motivating exercises Chinaglia combines the use of historical information: morningstarmusic.com. and English; Four Preludes, op. 48 (H corresponding with music and organ tools and materials, simple geometry, 8022, €10.50), by Miloslav Kabelác; and theory, which are taught in a playful and and practical rules to reinterpret the Dies Irae (BA 11258, €24.95), for organ humorous way. To round up the edi- original artifact of an anonymous Organbuilders and percussion, by Zsigmond Szathmáry. tion’s pro-active learning method, this Renaissance builder. Numerous images Mander Organs permanently ceased For information: baerenreiter.com. organ course pays attention to the sty- of the construction invite the reader operations July 27. The London, UK, listic diversity of organ music from little to discover the details of a historically firm was founded by Noel Mander in Breitkopf & Härtel announces new chorales, character pieces, dances, and informed organ and illustrate the tra- 1936. Upon his death in 2005, his son, publications of ’s Ein carillons to brief excursions into swing ditional woodworking techniques used John Mander, took over leadership of the Deutsches Requiem: an urtext based and rock music. for components: windchest, keyboard, company. When the younger Mander on the new complete edition edited by Organ Playing from the Very Begin- pipes, and the mechanism. For informa- retired in 2018, the company was trans- Michael Musgrave and Michael Struck ning contains 108 pages, 41 learning units tion: www.deutsches-museum.de/verlag/ ferred to an Employee Ownership Trust. for choir, soloists, and orchestra (full with 23 lessons on music theory, and 17 aus-der-forschung/studies/. Mander organs were built for installa- score, PB 16109, €60; piano-vocal score, lessons on organ theory. Included in this tions around the world, not just for the EB 9362, €9.90); and an arrangement compendium is a CD with ear training Edition Walhall announces a new UK and the United States, but also for for choir, soloists, two pianos, and tim- exercises and recordings of practice organ publication: Three Gregorian places as far away as , New Zea- pani by Heinrich Poos (full score with pieces. Available at Butz-Musikverlag, Paraphrases (EW1108, €14.90), by land, Japan, and the Middle East. timpani, PB 5697, €79). For information: Bonn, Germany, [email protected], Harald Feller. The three movements breitkopf.com. order # BU 2990 (ISBN 978-3-928412- are composed on Salve Regina, Puer 90-2) or the Organ Historical Society: natus est, and Dies Irae. Feller is a pro- Recordings www.ohscatalog.org. fessor of organ at the Munich University of Music. For information: edition-walhall.de.

Organ Music at Clifton

Organ Playing from the Very Beginning

Butz-Musikverlag announces the publication of Organ Playing from the Towards the Rebuilding of an Italian Re- Very Beginning by Carsten Klomp, a naissance-Style Wooden Organ J. S. Bach, “Sinfonia” from Cantata 29 new comprehensive organ course for beginners of all ages. Carsten Klomp, Deutsches Museum Studies Fruhauf Music Publications has professor at the University of Church announces a new book: Towards published a new online listing of com- Music in Heidelberg, presents an the Rebuilding of an Italian plimentary PDF booklet files to be featured in the course of 2020–2021. The September issue features three settings of Conditor Alme Siderum for organ. J. S. Bach’s “Sinfonia” from And I Saw a New Heaven: Choral Music Cantata No. 29 (transcribed for organ, from Clifton Cathedral two manuals and pedal) will be posted in October. Future additions in 2021 Hoxa announces new CDs. Organ include Sonata on MARION and THE Music at Clifton (HS091028) features ASHGROVE for carillon (solo or duet), and Stephen Bryant performing at Clif- in May a three-verse hymn anthem for ton Cathedral, UK, on a 1973 Rieger voices and organ, Creator Spirit, Hear Orgelbau instrument. The disc includes Us, Gentle Shepherd. Other free music works by Bach, Muffat, Böhm, Buxte- “one of this era’s files are available for download at the hude, Brahms, Mendelssohn, Hendrik most adventurous website, as well. For information: Andriessen, and Derek Bourgeois. interpreters of www.frumuspub.net. Bryant is of the cathedral the classical and director of music at St. Edward’s ” MorningStar Music Publishers School, Cheltenham. NY MUSIC DAILY announces new organ publications: ³ page 6

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³ page 4 Father’s love begotten. For information: And I Saw a New Heaven: Cho- regentrecords.com. ral Music from Clifton Cathedral (HS103618) features works by Parry, Palestrina, Stanford, Howells, and oth- Appointments ers performed by the Clifton Cathedral Choir, directed by David Ogden. For information: naxos.com.

Darlene Kuperus

2020–2021 academic year. She has Carol Williams (photo credit: Kerry Bell) served as a full-time church music direc- tor, organist, pianist, conductor, cham- Carol Williams is appointed organ- Voices of the Hanse, Volume 1 James Kealey ber musician, and concert manager, and ist in residence and choir director at is currently associate music director at St. Thomas Aquinas , Gothic announces a new CD: Voices James Kealey is appointed associate First United Methodist Church, Plym- Charlottesville, Virginia, the of the Hanse, Volume 1 (LRCD-1165, director of music/organist at Third Pres- outh, Michigan, and serves as an instruc- church to the University of Virginia. $18.98), featuring Jonathan Moyer byterian Church, Rochester, New York, tor in the church’s Fine Arts Academy. A new Viscount hybrid organ has been performing works of Matthias Weck- where he will work alongside director She is a former faculty member at Wil- installed in the church’s new sanctuary, mann, Dieterich Buxtehude, and Hein- of music/organist Peter DuBois. Kealey liam Tyndale College, served as visiting which seats 1,200 persons. St. Thomas rich Scheidemann on the 1637 Stellwa- will share with DuBois in service play- faculty in the University of Michigan Aquinas Church will become home of gen organ of St. Jakobi Church, Lübeck, ing, accompanying, and some conduct- organ department in 2016, and is a the Virginia International Organ Festi- Germany. The series title is inspired by ing of the 60-voice Chancel Choir. His frequent presenter at the university’s val as well as other musical events. For the painted faces on the façade of the primary areas of responsibility will be in annual organ conferences. Kuperus information: melcot.com. organ that demonstrate the embodiment growing the children’s choir program, earned her undergraduate degree from of the organ as a “singing voice.” For which has been a ministry of the con- Calvin College, Grand Rapids, Michi- information: gothic-catalog.com. gregation for nearly 70 years, as well as gan, and master’s and doctoral degrees Nunc Dimittis supervising and conducting ensembles in church music from University of within the handbell program. Michigan, where she studied with James Kealey recently completed his Master Kibbie (organ) and Michele Johns of Music degree at the Eastman School (sacred music). of Music, Rochester, in the studio of David Higgs. A native of the UK, his earlier studies were at Royal Holloway of the University of London, where he served as organ scholar, working with Rupert Gough. He subsequently was senior organ scholar/second assistant organist at Wells Cathedral and interim assistant director of music at Sheffield Cathedral before coming to the United States to study. He has also studied with David Briggs and participated in master- Our Father in the Heavens: Anthems by classes led by Michel Bouvard, Reneé Sir Edward Bairstow Anne Louprette, and Simon Johnson. Prior to joining the staff at Third Church, Regent Records announces a new Kealey served as minister of music at the CD, Our Father in the Heavens: Anthems Church of the Ascension, Rochester, Richard Bond by Sir Edward Bairstow (REGCD 543), and most recently was a semi-finalist in featuring the Tewkesbury Abbey Schola the 2020 American Guild of Organists Jeremy David Tarrant Richard Bond, 73, died in Portland, Cantorum, directed by Simon Bell, NYACOP, which was cancelled along Oregon, February 17. Bond first became with Carleton Etherington, organist. with the AGO national convention, due Jeremy David Tarrant is appointed interested in organbuilding at age fif- Works included feature Blessed city, to the pandemic. as visiting faculty in the University of teen. After graduating with a degree in heavenly Salem; Lord, I call upon thee; Michigan organ department for the engineering science from the Univer- The Lamentation; The Blessed Virgin’s Darlene Kuperus is appointed 2020–2021 academic year. He has sity of Redlands, Redlands, California, Cradle Song; along with first recordings as visiting faculty in the University of served as organist and choirmaster he began his organbuilding career in of Our Father in the Heavens and Of the Michigan organ department for the of the Cathedral Church of St. Paul the company of other builders in Los (Episcopal), Detroit, Michigan, since Angeles, including Manuel Rosales and 2000. He is the founding director of the Michael Bigelow. Cathedral Choir School of Metropolitan In 1976, Bond and his wife Roberta Detroit and is a former organ faculty moved to Portland to found their own member of Oakland University. He is a firm. Under his leadership, Bond Organ graduate of the University of Michigan, Builders, Inc., has built thirty-six new where he studied with Robert Glasgow organs and maintains instruments and James Kibbie. throughout the Pacific Northwest, as Tarrant is an active concert organist well as in California and Montana. The and has performed in North America firm has also completed numerous and France. His debut solo recording rebuilds, additions projects, restora- featuring Widor’s Symphonie VII was tions, and relocations of significant his- released in 2018 by Raven (OAR-146). torical instruments. He is represented by Seven Eight Art- For many years, Richard Bond was ists. For information: curator of the famous hanging Casa- www.seveneightartists.com. vant organ at Portland’s Lewis & Clark

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College. More recently he took up the including a new Great division and the business as Trivo Company, Inc., to Organ Company, Texas’s second 20th- care of the Rosales organ at Trinity Epis- other material. provide voicing and reconditioning of century builder (after Otto Hofmann) to copal Cathedral, also in Portland, where John C. Gumpy is survived by his reed stops, as well as new pipes. concentrate on mechanical key action. he and Roberta sang in the choir. wife of fifty-seven years, Margery; son, Lewis retired from Möller in 1972. When Sipe went to the Aeolian-Skinner In addition to his membership in the Edward J. Gumpy and wife Kathryn of While continuing to work part time at Organ Company in that firm’s final years American Institute of Organbuilders, Vernon, New Jersey; daughter, Kather- Trivo, he taught principles of electricity (1969–1972), Judy installed that firm’s Bond served on the Historic Organs ine E. and husband Jeffrey Crawford at Victor Cullen Reform School for Boys organs in the south and southeastern Committee of the Organ Historical of Golden, Colorado; and grandson, in Sabillasville, Maryland, a correctional states, a phase of his career that drew to a Society. Bond Organ Builders, Inc., Logan Gibson Gumpy. A memorial institute run by the State of Maryland. close with Aeolian-Skinner’s bankruptcy, holds membership in the Associated service was held October 4, 2019, at In 1974 when the state relocated the Sipe’s return to Texas, and Judy’s found- Builders of America and the New Goshenhoppen U.C.C. in East school, Lewis switched to full-time work ing of Schudi in Garland, Texas, in 1972. International Society of Organbuilders. Greenville, Pennsylvania. at Trivo, and in 1983, Lewis and Clipp In all, the Schudi firm built twenty- Richard Bond is survived by his wife bought out Edward Lushbaugh’s share seven new organs, primarily in Texas but Roberta and a son Tim. of Trivo. Lewis retired in 2012 at age 86. also Oklahoma, California, Colorado, His career in the organ business spanned Massachusetts, and Washington, D.C. seven decades. Beginning with Opus 17 (1980), a two- Lewis was a member of the Improved manual tracker in Texarkana, Texas, the Order of Red Men #84, Williamsport, Schudi shop concentrated on mechani- Maryland; Washington County Amvets cal action. Keyboards, slider windchests, (Post 10), Hagerstown; and the Ameri- key and stop actions, casework, and can Legion. He was a founding member consoles were made in-house; pipes, of the American Institute of Organbuild- blowers, and electronic components ers. His wife, Nancy, who frequently came from other firms. joined her husband at AIO conventions, Schudi’s first instrument to draw died last year. national attention was a three-manual electric-slider instrument, Opus 6 of 1978, for St. Thomas Aquinas Catholic Church, . Opus 6 was expanded in 1987 and became widely noticed that year for Todd Wilson’s recording of the complete organ works of Maurice Duru- flé (DELOS 3047). As esteemed was John C. Gumpy the firm’s Opus 38 (1987) in the Crypt Homer H. Lewis, Jr. Church of the Basilica of the National John C. Gumpy, 80, of Macungie, Shrine of the Immaculate Conception, Pennsylvania, died September 29, 2019. Homer H. Lewis, Jr., a reed voicer Washington, D.C. Born in 1939 in Danville, Pennsylvania, who worked for both M. P. Möller and In addition to servicing Schudi John owned and ran Lehigh Organ his own firm Trivo, died May 4 in Hag- organs, Judy maintained those by Company for over thirty years, building erstown, Maryland. Known familiarly as others, notably his twenty-two-year and rebuilding organs. For sixteen years, “Junie,” Lewis was 93. curatorship of C. B. Fisk’s Opus 100 at he also served as organist for Trinity In 1942, while still a high school Meyerson Symphony Center, Dallas. Episcopal Church, Easton, Pennsyl- senior, Lewis began employment at In all of the shop’s endeavors, Marvin vania, home to his Opus 128, a three- Möller doing defense work. In 1943, was surrounded by considerable tal- manual instrument of thirty-six ranks. he enlisted in the United States Navy, ent: the conceptual and creative input His home congregation was Grace serving aboard the USS Bronstein, a of George Gilliam early on; long-term Church, Bethlehem. He was a found- destroyer escort, as a fire control man, Marvin Garrett Judy staffers Charles Leonard, Jim Lane, ing member of the American Institute Third Class, in the Atlantic Ocean and James Stillson, Jonathon Maedche, Ivan of Organbuilding. Mediterranean Sea. At the conclusion of Marvin Garrett Judy, 76, founder Witt, Szymon Januszkiewicz, and Piotr For his projects, Gumpy generally World War II, Lewis returned to Möller of Schudi Organ Company, died Febru- Bolesta; also the now-deceased David favored electric-valve windchests and to become a reed voicer alongside his ary 29. Born in Saint Louis, Missouri, Zuber, Moises Carrasco, and E. O. Witt; open-toe nickless voicing for chorus uncle, Adolf Zajic (1909–1987), who in 1943, he moved with his family to the periodic support of friend and col- work; he was a skilled recycler of older had come to Möller from Welte-Tripp Dallas, Texas, in 1952. He studied ’cello league Mark Lively; and through it all, pipes as well. Some Lehigh projects in 1931. through high school and college years. the business and logistical support of included Opus 30 at First United In 1963, Lewis, Joseph E. Clipp, and After attending Southern Methodist Nanette Gordon, initially hired in 1980 Church of Christ in Reading, Penn- Edward Lushbaugh founded the Trivo University for several years, he left in to carve pipe shades. She and Marvin sylvania (1986), in which a 1958 M. P. Company, initially as a part-time enter- 1963 to work for Robert Sipe and Rod- Judy married in 1983. Möller organ was expanded to 80 ranks, prise. In 1969, the partners incorporated ney Yarbrough at the Sipe-Yarbrough ³ page 8

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³ page 7 The financial downturn of the late 1980s and early 1990s dealt harshly with several organbuilding establishments, Schudi among them. Despite the loss of contracts and a reduction of scope, Judy persevered, with a genial nature and persistent work ethic that continued to the end. Even until his final months, he remained active in rebuilding and service work in the Dallas area. Marvin Judy is survived by his wife Nanette; his son, John Judy, of Savannah, Georgia; a daughter, Allison Gordon and Stephen Shein of , Texas; and his brother, Dwight Judy, and sister-in- law, Ruth Judy of Syracuse, Indiana. —Jonathan Ambrosino

David C. Scribner died April 16. William Teague William Teague Born September 21, 1947, in Chicago, Illinois, he received most of his organ William Chandler Teague, 97, died Teague maintained an active concert 1988, the City of Shreveport honored instruction as a student of Arthur C. June 27. He was born July 8, 1922, in career, performing in such venues as him with William C. Teague Day, and Becker and René Dosogne at DePaul Gainesville, Texas, where he began musi- Notre Dame Cathedral in Paris, France, the Teague Music Scholarship was University. At Saint Vincent de Paul cal training at age three with his mother. St. Stephen’s Cathedral in , established at Centenary College. The Catholic Church, Scribner became At age 12 he became the organist for a Austria, Westminster Abbey, Trinity Teague-Smith Scholarship Fund for Becker’s assistant and then successor as large Methodist church. As a teenager Church Wall Street and the Riverside young choristers was later established organist. During his time in Chicago, he studied organ in Dallas, Texas, and Church in , National at St. Mark’s Cathedral. Teague is listed Scribner was a member of the Windy entered Southern Methodist University Cathedral in Washington, D.C., and the in volumes of Who’s Who including City Gay Men’s Chorus. at age 16. His studies were interrupted armed forces academies. He was invited the International Who’s Who, and was Scribner would move to San Fran- when Alexander McCurdy invited him to to play behind the Iron Curtain with recently honored by the East Texas Pipe cisco, California, Pensacola, Florida, study at the Curtis Institute of Music in concerts in East Berlin, Poland, and in Organ Festival. and finally Little Rock, Arkansas. His , Pennsylvania. His studies other countries. He and Lucille were in William Chandler Teague is survived most recent organist position was at at Curtis were interrupted by World War East Berlin at the Wall when the first by a son, Chandler Teague, and wife, Christ Episcopal Church, Little Rock, II, as he joined the United States Army blows were struck to tear it down. He Janis Adams Teague, of Shreveport, as a substitute. He also served as a ves- Air Force as a chaplain’s assistant. He would perform in Japan, Australia, all Louisiana; a daughter, Lynda Gayle tryman of that parish, where he freely returned to Curtis after the war to study over the United States and , Teague Deacon of Memphis, Tennessee; contributed computer expertise to allow and serve as McCurdy’s assistant, play- and in North Africa. In addition to solo three grandchildren, Sandra Deacon, the church to spread its ministry through ing for Sunday oratorio performances at organ concerts, William joined his son, Clay Deacon, and Hunter Deacon; and social media. Having previously worked First Presbyterian Church. Accompany- Chandler, in presenting music for organ four great-grandchildren. He was pre- for other organ firms, Scribner spent the ing Teague to Philadelphia was his young and percussion in concerts across the ceded in death by his wife of 77 years, last twenty years at Nichols & Simpson bride, the former Lucille Ridinger, United States. Following his retirement Lucille Ridinger Teague. Organbuilders in Little Rock. whom he had married during the war. from St. Mark’s Cathedral, Teague was A combined service for Dr. and David Scribner was an active mem- They had met at a Methodist camp when interim organist for churches through- Mrs. Teague will be held at a later ber of the American Institute of Organ- they were 12 years old. Teague’s organ out the region. date. Memorials may be made to the builders, the Organ Historical Society, teachers included Dora Poteet Barclay, Teague was active in the American Shreveport Symphony Orchestra, 616 the American Guild of Organists, the Alexander McCurdy, Marie-Claire Alain, Guild of Organists, the Association of Jordan St., Shreveport, LA 71101; the Atlantic City Convention Hall Organ Harold Gleason, and Catharine Crozier. Anglican Musicians, the Sewanee Music Teague-Smith Scholarship Fund at Society, the Organ Media Foundation, After graduation from Curtis in 1948, Conference, and the Evergreen Sum- St. Mark’s Episcopal Cathedral, 908 and Pipechat.org, the latter being his Teague came to Shreveport, Louisiana, mer Conference. He was a Fellow in Rutherford St., Shreveport, LA 71104; creation. All these organizations he to accept the position of organist/choir- Church Music at Washington National or the Teague Music Scholarship Fund served in numerous ways, much of master at St. Mark’s Episcopal Church Cathedral. For ten summers Teague at Centenary College, 2911 Centenary which involved his expert computer (now the location of The Church of the was summer organist at St. Ann’s Blvd., Shreveport, LA 71104. Q technical knowledge. Holy Cross, St. Mark’s having relocated by-the-Sea Episcopal Church, Ken- In addition to his passion for the pipe in 1954 and in 1990 became a cathedral) nebunkport, Maine. He was a founding organ, Scribner was a lifelong railroad and a teaching position at Centenary member of Baroque Artists of Shreve- enthusiast, greatly enjoying travel on College of Louisiana in the organ and port, founded the Great Masterpiece Amtrak and anything else with a con- sacred music departments. He taught for Series at St. Mark’s Cathedral, recorded nection to train tracks. In this vein, he 44 years earning the rank of full profes- a weekly organ concert for radio broad- supported numerous historical clubs sor. He was later designated Professor cast for eight years, trained thousands and railway museums. of Music Emeritus at the college, which of choristers in the tradition of Anglican Per his wishes, Scribner’s cremains granted him an honorary Doctor of Fine music, and played for hundreds of wed- were interred in Christ Church, Little Arts degree. He served as accompanist dings, funerals, and festivals. Raven Rock, on May 1, as near to the organ as as he and his wife traveled with the Recordings released a two-CD set of possible. A memorial organ concert in Centenary College Choir to various organ music performed by Teague at St. his honor will be scheduled in the future countries including China. He served Mark’s Cathedral, The Aeolian-Skinner at Christ Church, where memorial dona- St. Mark’s Cathedral for 39 years before Sound (OAR-800), including works tions may be made in his name. being designated Organist Emeritus. by Dupré, Messiaen, and Willan. In The Diapason 2021 Resource Directory

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8 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM On Teaching By Gavin Black

Taking stock early source of connection to others. For over, for example, the coupling of perfor- I had intended to make this, finally, others it was a source of approbation, mance with discussion, or giving listeners a normal column, and as recently as a solace, or refuge. For some it tied in to the ability to see things close up that are couple of days ago that was still my plan. a sense of history or connection beyond pretty remote in live concerts. Also the I was going to write on toccata form, or the circle of people around us. proliferation of interesting online perfor- as I conceive it, the “toccata principle,” Continuing motivation comes from all mances may draw listeners in who would a topic I have wanted to write about of the above. Love of or interest in the not otherwise have thought to go to con- for some time. This is an approach to music itself is a part of the picture. For certs. But I believe that there can also constructing pieces and to creating con- me, my love of the sounds of organs and be some strain involved in trying to feel tinuity that is crucially important and, I harpsichords is a major continuing source that this is the same as live performance. believe, somewhat under-discussed. It of motivation as well as joy. The connec- Again, the spatial aspect of the sound segues quite well out of my long, though tion to other people is often important. simply cannot be the same, and as with interrupted, discussion of J. S. Bach’s The This can be through singing or playing all recording the sonorities as such can- Art of the Fugue that has occupied this together, through offering music to oth- not quite be either, even if they can be column for the last year, since it stands ers or receiving music from others. It can beautiful and interesting in themselves. mostly in contrast with the construction also stem from being fellow students at The current situation has caused me of that work. I will get back to that plan, a school or of a particular teacher, from to clarify in my head a bargain I made the time I feel if I knew for sure that the probably next month. talking about music together, agreeing, with myself beginning about ten years things I miss most would someday come However, following discussions with disagreeing, reinforcing one another’s ago. At a point where I was planning back I could be very patient with that readers, colleagues, friends, and stu- feelings, changing one another’s minds, to step up the frequency of my public process, regardless of how long it took. dents, I have decided to return once or agreeing to disagree. performances, I began to step up the And some things will—maybe most. more to discussing the current crisis and There is also the matter of earning a amount of live artistic content that I took I will be surprised if in a year I have some of its effects on our kind of work. I living from music. Related to this is the in. The hope was that I would become a not been to a New Jersey Symphony have recently been on a bit of a vacation, fact that we who work hard on our music better performer by absorbing as many concert. I am purposely mentioning a and that has been a good opportunity to and try hard to be good at what we are as I possibly could. My emphasis was on very well-established institution. Some ponder some ideas. Since this has been a doing have invested some of our self- things other than classical music, though organizations, especially less established, time of reduced responsibilities and very esteem in that. that was not by any means excluded. I more experimental or controversial ones, little distraction, it has been impossible My point is that all of this is currently found myself emphasizing dance, the- may not come back. This will inevitably not to think through things. For at least under threat, except the pure love of the ater (mostly small scale and somewhat include some of the things that are most some people, morale and motivation are music itself. Not every detail of what non-mainstream), poetry readings, important to us. But not knowing means newly problematic as this situation goes keeps each of us enthralled with music is movies and TV, art galleries, gardens, that neither can I just be patient and get on for longer than a lot of us had antici- utterly gone for now; but a lot of it is, and and various sorts of unconventionally on with what there is to get on with, nor pated, and in particular, as a new school all of it has been made to feel fragile. Thus structured music. can I mourn. year and church year loom right around we all have trouble feeling motivated. I believe this plan has worked. While The specifics of what I am describing the corner. I have a one-manual, one-stop practice I cannot really know whether my per- are idiosyncratic. I know that many are I want to write about some of my own organ with pull-down pedals in my home. formances over the last eight or ten experiencing the same thoughts, particu- concerns, problems, and experiences. I The sound is beautiful, and the action is years have been better than those of the larly organists and choristers. Here, too, have become increasingly aware as the sensitive. Normally I love practicing on it, preceding thirty years or so, I know they there is uncertainty. For me recognizing last few weeks have gone by of changes but I have learned that there is a bargain have felt more energetic and committed, that the uncertainty itself is difficult, in my own patterns of motivation, that I have made with myself without and I have felt more energized. I have separate from the loss or potential loss, morale, and focus, and in how I make knowing that I was doing so. I can enjoy come closer to doing with the music that is helpful. choices about allotting energy and time. practicing on that instrument because I I play what I actually want to do with it. From the world of teaching I have one I wish to share some of this, not because know that I will also get to go out and The bargain that seems to have arisen out thing to recount that I recently experi- I believe I have solutions or that my immerse myself from time to time in of the plan is this: that I will feel excited enced. A student wrote to me that she experiences are typical or atypical. In some of the infinitely varied and mag- about performing and give as much was frustrated working on a certain piece writing this I hope to elicit feedback to nificent organ sounds that drew me to the energy and commitment to performing on her own because it was too difficult. help me understand better how to think instrument in the first place. Not being as I possibly can as long as I can nourish She wanted to know whether it would about and deal with what is going on. We able to do that, I find myself looking at that performing life with a steady diet make sense to put it aside and work on a are all in this together. my beautiful practice instrument with a of great artistic content from others. few more straightforward projects. This Every case study is potentially valuable bit of a jaundiced eye. A couple of stu- Of course, it is now all gone. Every few is often a relevant question; however, I when difficult things are occurring. I have dents have said something similar to me days or so over the last four months I have a kind of sub-specialty in helping heard from a number of people that they about their own harpsichords in relation have received an email confirming that people figure out how to make difficult are having trouble staying motivated to to the now-forbidden instruments at the something that I had planned to go to pieces seem manageable. But I realized do even what little they can do with their Princeton Early Keyboard Center studio. has been cancelled. I cannot conceive of how to do that other music or any aspect of their work, and There is also the matter of hearing I think that this is for me the biggest than in person. The process is too subtle they are not sure whether they are alone music. Most of us listen to recordings. specific source of doubt or wavering and too specific. It depends on close in feeling this way and are therefore feel- Earlier in life, I loved recordings more about my status as a performer or even observation of what fragments of the ing guilt. To me, not feeling guilty about than I loved live music, and I still do. But as a musician. I am willing to believe that piece are the most difficult, what can any difficulties that one experiences in they’re not the same. For one thing, the there will be a moment for all of us to be broken down into subsections, what this sort of crisis is crucially important. spatial dimension is not there. Imagine resume giving concerts, so I should be changes can be made in hand distribu- No one is alone in any worries or con- (or remember) sitting in a big room practicing avidly toward that moment. tion, based on the player’s particular cerns right now. Knowing that we are not listening to an organ. The sounds come In fact, I could be savoring the fact that hand size and shape, and a host of other alone should alleviate any guilt. from all around: not only when there are I have extra time to learn that which I small details. These have to be worked For those of us deeply involved in antiphonal divisions or other wide sepa- plan to perform. Instead I feel like I out by very close observation. For the music, what is it that motivated or inter- rations. Even if the organ is all in one have no idea how to grapple with artistic first time I can remember, I simply could ested us in the first place? In normal place, it is a wide and deep place, and output when I have no artistic input. I not come up with an alternative to “Yes, times, what keeps us motivated? A lot the sound jumps and swirls and bounces. could/should feel like what I took in let’s put this one off for now.” Not a of answers to these questions are uni- In the last few years I had rediscovered over ten years was enough. I certainly calamity, but frustrating. Of course, we versally straightforward and similar. For the pleasures of hearing symphony would not claim to have assimilated and are looking forward to picking that piece most of us there were early experiences orchestras in concert. I grew up doing manifested all of the possible lessons up as soon as circumstances allow! Q of hearing music. Some of this early a fair amount of that but had gotten out from all of that content. One reason it is experience of music was about melody, of the habit. I was newly amazed at how hard to do that is that it would have to be Gavin Black is director of the Prince- harmony, rhythm—the elements of magnificent that experience can be. In too analytical—like “I learned from this ton Early Keyboard Center in Princeton, composition. Some of it was about a good hall the sound is simultaneously concert or that play to do the following New Jersey. He can be reached by e-mail instruments, voices, sounds, and sonori- clear and enveloping. I miss this as much with this sort of music or in that sort of at [email protected]. ties. Some of these early experiences are as I do the organ. performance situation.” This is artificial tied to places, people, or activities that if it has to be forced. There have been were valuable or emotionally forceful Continuing to look forward some describable lessons like independent of the music itself. For a lot I find it very exciting that so many that along the way. But the process has 0LOQDU2UJDQ&RPSDQ\ of those who end up drawn in particular musicians are streaming performances largely been subconscious. to the organ this included the experience via the internet. Certainly there are Uncertainty is part of the situation, of church and church music. For some of dimensions to this that will be worth and the inability to respond to uncer- 1HZRUJDQVUHQRYDWLRQVWXQLQJV us playing or singing music, this was an continuing to explore once this crisis is tainty is part of the problem. Most of ([FHOOHQWXVHGSLSHV 0RGHUDWHVFDOHVDQGZLQGSUHVVXUHV 9HU\FOHDQOLNHQHZ WRFRVWRIQHZSLSHV WEEKEND ORGAN 6SHFLILFDWLRQVDQGSKRWRVDYDLODEOH MEDITATIONS -- GHQQLV#PLOQDURUJDQFRP Grace Church in New York ZZZPLOQDURUJDQFRP

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 9 In the wind...

Wandering The mission building was a simple When I was born, my father was rec- frame structure with a linoleum floor, tor of the now-long-gone Saint Thomas and the organ sat down front on the left. Episcopal Church in Somerville, Mas- The building was also designed to be sachusetts. It was on Washington Street expanded to greater glory, and that hap- near the Sullivan Square “T” Station; pened starting in 1963 when two towers there is a Brazilian barbeque restaurant were added with stained glass faces (I in that location now. It was a small parish, got bagged when at seven years old, I but I presume there was a pipe organ— climbed to the top of the scaffolding sur- all churches had pipe organs then. I was rounding the seventy-foot tower only to four months old when Dad was named see my parents’ car coming up the road), the first priest for the new Episcopal and a rear balcony was built. My earliest mission of Saint John in Westwood, Mas- organbuilding memory was seeing that sachusetts, just outside Route 128 (now organ hanging outdoors from a crane. I-95), which was the first circular perim- The roof had been opened in two places eter commuter highway in the United and the organ, pipes and all, was hoisted States. We moved briefly to a rented to its permanent home. I’m a profes- house in Westwood, and in 1958, before sional. Don’t try this at home. I was two years old, we were ensconced Dad was called to be rector at the in the brand-new rectory adjacent to the Parish of the Epiphany in Winchester, church building. Massachusetts, in 1966. That is where I There was a pipe organ at Saint John’s had my first experience playing an organ. from the start, with a juicy tidbit of A new organ by C. B. Fisk was installed American organ history to boot. It was there in 1974. I took organ lessons at the built in 1959 by the Andover Organ Episcopal Theological School in Cam- Saint John’s Episcopal Church, organ as completed in 1992 (photo courtesy: Andover Company, then owned by the thirty- bridge, Massachusetts, on a Holtkamp Organ Company) four-year-old Charles Fisk. It had one organ installed when Charlie Fisk was manual, six stops, and a two-manual an apprentice with Holtkamp, just three I have worked for four organ compa- the tour path through the building, one detached, reversed console, all mounted years before the Saint John’s organ. I nies including my own, I have served first sees the organ partially through an on a platform—a strange little setup continued my lessons at the First Con- two churches as organist for a total of archway at the end of the vast room. The until you realize that it was intended as gregational Church in Winchester on the thirty years, and I have been director of organ was built in the height of the Vic- the Rückpositiv of a larger two-manual new three-manual Fisk organ, went to the Organ Clearing House for twenty, a torian Era, and it looks it, bedecked with organ, the Great and Pedal to be built Oberlin to wallow in the renowned fleet position that has had me in direct contact opulent swirls and swoops of carvings later in a free-standing case as the parish of instruments there, and went out into with hundreds of organs. I have played and elegant inlaid decorations across the grew and funds became available. the world as organist and organbuilder. hundreds (thousands?) of organs in the keydesk. Beautifully made mechanical United States, Great Britain, Europe, stop actions are visible from the sides, even on a Cavaillé-Coll organ in Anta- as well as miles of lead tube for the nanarivo, Madagascar. My wife and I have pneumatic keyboard actions. Next to the traveled extensively in Greece where organ hangs a framed photo of Henry there are very few organs, especially on Willis sitting at the console, apparently sailing vacations in the Ionian and Aegean working on tonal finishing. The case had seas, but while I could not get access to it, not been installed yet, and lots of the I laid eyes on a tiny pipe organ in a high organ’s innards are visible. balcony in a Roman Catholic church on Our host was Andrew Patterson who the Island of Siros. I am thinking that our serves as a volunteer curator of the organ Greek trips might be the only times since and plays many of the regular recitals. my birth that I have gone more than a He pointed out a dent in the largest week without playing, hearing, or seeing façade pipe of the C-side tower, close to a pipe organ. Until now. twenty feet off the floor. The story goes As the Covid-19 pandemic started to that the palace was temporarily home break out in early March, we left New York to a school for boys during the Second City with extended family for our place in World War, and the dent was the result Maine. A few days before that, I visited of an indoor ball game. an E. & G. G. Hook & Hastings organ When I was in high school, I was assis- built in 1872 (Opus 668) that has been in tant organist at the First Congregational storage for ten years. My colleagues and Church in Woburn, Massachusetts, Saint John’s Episcopal Church, Westwood, Massachusetts, original organ (photo I were pulling it out of the container to home of E. & G. G. Hook’s Opus 283 courtesy: Andover Organ Company) measure key components to prepare for (1860). George Bozeman was the organ- laying it out in a new location. It was the ist, and he figured out how to create a last instrument I saw. It has been 117 days position for me so I could be his regular since I laid eyes on an organ. substitute when he traveled for organ installations. The parish has diminished Remembering quite a bit over the years, but the grand In April 2016, Wendy and I spent a organ is still in place hoping for restora- long week in Great Britain. We sure saw tion. It was in good shape for my time 2020-2022 Projects a lot of organs on that trip. I loved seeing there, and I learned a lot from it. the fifty-two-stop Willis organ (1891) in I had agreed to accompany a concert 86$LU)RUFH$FDGHP\3URWHVWDQW&DGHW&KDSHOĆ&RORUDGR6SULQJV&R the library of Blenheim Palace. Following of the all-elementary school chorus in Rebuild III/83 Moller/Holtkamp 86$LU)RUFH$FDGHP\&DWKROLF&DGHW&KDSHOĆ&RORUDGR6SULQJV&R Saving organs throughout Rebuild III/33 Moller/Holtkamp 7KH)R[7KHDWUHĆ$WODQWD*D America....affordably! 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10 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM By John Bishop late June, not long before my gradu- cold call I received from Zina was the ation. I attended a couple rehearsals, doozy of a lifetime, and I agreed to meet and it promised to be a fine event. One him in New York to discuss it. I was sure beautiful June Sunday, a couple of my I was the only organbuilder at work at pals came to church in Woburn to hear the United Nations that day. me play, and we took off for the beach I have written before about the travel after church. I got home that evening plans that included no details about to phone messages wondering where I hotels or even a flight home. Once in was. You guessed it. I missed the concert. the country, my name would be on a list Carl Fudge, the organist of Epiphany in for notification when there would be a Winchester, was in attendance because flight back to Paris. Otherwise I had no his daughter was in the chorus. He vol- Bozeman-Gibson organ, Squirrel Island, itinerary whatsoever. Of course, I was unteered from the audience to mount Maine (photo credit: John Bishop) treated handsomely. My flight arrived the stage and to accompany the concert. after midnight, I was met at the airport I wonder if any readers have a lifelong later, almost to the day, I am sitting at my by snappily dressed presidential aides, blush from a moment like that. desk in Newcastle, Maine, on the shore treated to drinks in the VIP lounge, and (photo credit: Félix Müller) In the summer of 1976, I worked for of the Damariscotta River, about six miles whisked forty minutes to the capital Bozeman-Gibson for a few months. The upriver from Lobsterman’s Wharf. We where I checked into a room in a four- a co-worker slipped on a stairway. When shop was just completing a one-manual have often gone there by boat, tying up at star, French-owned hotel reserved in the he grabbed wildly to steady himself, he organ for the chapel on Squirrel Island, their dock where I can hear the echoes of president’s name. As I ventured into the pulled a fire alarm and the city responded Southport, Maine. John Farmer, long- those two songs. hotel restaurant for breakfast, a server with vigor. We called him Sparky after time organbuilder in Winston-Salem, Adjacent to Lobsterman’s Wharf is the informed me that my driver would be that. And working in an organ loft in North Carolina, was my senior in the Washburn & Doughty Shipyard, famous out front in an hour. Richard, the driver Manhattan, I forgot to turn off the smoke shop, and we would take the organ to for the construction of huge powerful with a big government car, took me to the detector beam. When I walked in front Maine for installation. But first, over the tugboats that service the ports between church where I met the ambassador, was of it, the horns started blaring. This time Independence Day holiday, we installed Boston and New Jersey and move cargo, given a cell phone, and was introduced it was a big deal because there is a large the organ temporarily in the crossing of especially fuel, over the same waters. In to church officials who would show me and active day school in the building, and Boston’s Cathedral of the Holy Cross for July 2008, John Schwandt, then professor the dozen or so churches the president the FDNY knows to respond with intent. Barbara Bruns’s performance of Handel of organ at the University of Oklahoma, wished to enhance with organs. Fire apparatuses filled the cross street organ concertos with the orchestra of was staying with us while preparing for I met Adolha Vonialitahina, a lovely and blocked both Park and Lexington the Handel and Haydn Society for the a concert on the Kotzschmar Organ in young woman who had just graduated avenues. There must have been thou- convention of the American Guild of Portland. On July 11, John and I were from Texas Christian University in a sands of people affected, most singularly Organists, held in Boston that summer. sitting on a rock on the shore of the river scholarship program instituted by the the rector who was in the shower in the We worked hard through a couple nights when we noticed a vast plume of smoke president. Adolha would be my translator sixth-floor rectory and came to the street getting the organ set up. In those days, to the south. Washburn & Doughty was and guide, so I had an entourage. The trip with wet hair wearing a cassock. That the Orange Line of the Massachusetts on fire.The Boothbay Register reported included many rich experiences, includ- memory is filed away next to the trip to Bay Transportation Authority (MBTA, that a 121-foot articulate tug barge ing a four-hour drive to Andasibe-Manta- the beach in 1974. aka “the subway”) ran on tracks elevated and a 92-foot “Z-Drive” tugboat under dia National Park where I saw lemurs in Twenty years ago, the Calgary Inter- above Washington Street, and the trains construction at the time were towed to their natural habitat. We visited a church national Organ Festival was my host for roared past the dark cathedral all night. safety by the heroic efforts of lobster- in Antananarivo (the capital city, colloqui- a project. The Calgary Stampede is held Other highlights of that convention men from East Boothbay and South ally known as Tanariv, or simply, Tana) each year on the Fourth of July, a huge included Farmer and me playing the across the river. The shipyard was where they showed me an organ in a non- rodeo festival celebrating the end of the appropriate parts in a piece for organist rebuilt so quickly that local suspicion had descript plywood case. When I opened roundup and castration of the herd. When and two organbuilders by Martha Folts it that plans and financing were in place the fallboard I burst into tears. There they asked what I liked to eat, I said since on and in the Fisk organ at King’s Cha- for replacing the building before the fire was the familiar and distinctive gilded I am from New England, I would pass on pel, and E. Power Biggs’s last public per- started mysteriously. nameboard of Aristide Cavaillé-Coll. I Alberta seafood. One fellow rubbed his formance, Rheinberger with the Boston Just a month before that riverside chat, saw a lovely organ by Merklin in another hands together and smiled, and off we Pops Orchestra and Arthur Fiedler. I returned from my first trip to Madagas- church, reminding me that Madagascar went to Bottlescrew Bill’s Testicle Festi- After the convention, we dismantled car. I had traveled on an invitation from was a French colony until 1963. val. They don’t taste like chicken. the organ and drove it to Maine, where Zina Andrianarivelo, ambassador from As I returned to JFK Airport, my wife Bottlescrew Bill’s, the 1976 American we loaded it onto the Squirrel Island Madagascar to the United Nations, at the Wendy was leaving for a trip to Jordan Guild of Organists Convention, my trip ferry, a small vessel a lot like a lobster behest of Marc Ravalomanana, the Fed- with a friend. We were in the airport at to Madagascar, the delivery of the organ boat—it took three trips to get the organ eral President. The president was also the same time. She saw my flight from to Squirrel Island, the tugboat fire, the there. The only vehicle on the island was vice-president of the Protestant church Paris arrive, but we did not see each fire alarm in Manhattan, and the missed the superintendent’s ancient beat-up there, and in preparation for an impor- other in person, two ships passing in concert in Winchester all happened pickup truck, which took many trips up tant upcoming anniversary, had asked broad daylight. within a week or so of the Fourth of July. the dusty road from the dock to the cha- the ambassador to “go back to America Delivering an organ to a church in Today is July 6th. I wonder when I will pel laden with organ parts. A cold beer and find an organ for this church.” The Arlington, Massachusetts, in about 1985, see an organ again. Q never tasted so good. The island was buzzing with news of a recent faux pas. The island is roughly equivalent to a condominium corpora- tion where homeowners own shares of the island and contribute to its upkeep. faculty They had recently banded together for graduate study in organ performance the construction of a water tower that Martin Jean brought “city” water to the island for at Yale Institute of Sacred Music and Yale School of Music Professor of Organ the first time, eliminating the reliance on quirky wells. With construction com- Craig Cramer plete, the tank was left full of a cleaning Visiting Professor of Organ solution, and it was the superintendent’s job to empty it at a specified time and Jeffrey Brillhart fill it with water. So he did, forgetting to Organ Improvisation open a valve allowing air into the tank as the fluid drained, and the tank collapsed Walden Moore inward with a big bang. Liturgical Keyboard Skills During the job, we took the ferry back to town for an evening or two and fol- lowed islanders’ recommendations to eat degrees offered at Lobsterman’s Wharf in East Boothbay, Master of Music Maine. My historically informed ongoing Oberlin education was enhanced by a Master of Musical Arts local country-western band sharing such Doctor of Musical Arts gems as I Just Kicked the Daylights Out of Yale Institute of Sacred Music My CB Radio (Google™ didn’t turn it up 406 Prospect Street, New Haven, CT 06511 for me, I wonder if it was an original?) and Institute students receive full Drop Kick Me, , Through the Goal- tel 203.432.9753 tuition scholarships. Generous posts of Life, written and made famous by ism.yale.edu/musicprograms awards available to qualified Bobby Bare and easily found on YouTube, [email protected] applicants. which I later learned was Bill Clinton’s favorite country song. Forty-four years

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 11 Bell foundries

“The world’s most famous bell foundry” Whitechapel’s “Big Ben” bell in the clock tower of the By Brian Swager Palace of Westminster, London

he Whitechapel Bell Foundry in Alfred Lawson, and since 1904 several declaration preventing Tower Hamlets of , yet the market is diversifying, TLondon, England, is a cultural heri- generations of the Hughes family—with Council from proceeding and grant- and new opportunities exist around the tage asset of international significance. knowledge passing from one generation ing planning permission. The planning world. Likewise, technological advances However, it is at grave risk of being to the next, each of them forming a part application has now been “called in,” and must be applied that would bring the renovated into a “bell-themed” boutique of this extraordinary history. a public inquiry will be held on October foundry into the twenty-first century. hotel and café rather than being retained Located in the Borough of Tower 6, 2020, lasting for about one week. as a fully working bell foundry on the site Hamlets in the heart of London, the This gives the opportunity for a fair and A viable future for the foundry that was developed for this purpose in the renowned foundry is Britain’s oldest proper hearing with legal representation. Re-Form Heritage and the Factum 1740s. If this is allowed to happen, the single-purpose industrial building. The Foundation have led the opposition to bell founding skills on this historic site in bells cast here are the voices of nations: A foundry of worldwide stature the redevelopment plans. Together with the East End of London will be lost to they mark the world’s celebrations and The foundry in Whitechapel has sup- the local community, former employees the nation forever, bringing an end to a sorrows, representing principles of plied a striking array of bells to churches of the bell foundry, the Victoria and continuous history of bell casting cover- emancipation, freedom of expression, around the globe as well as a number of Albert Museum, B-Made (Bartlett ing the last 450 years. This is a matter of and justice. Both Big Ben and the Lib- significant and well-known installations. Manufacturing & Design Exchange—a national and international importance. erty Bell were cast on this site. In addition to the Liberty Bell and Big multidisciplinary center that aims to For the last few years I have read In June 2017, the historic Whitecha- Ben, the foundry has produced several foster the next generation of thinkers, reports of the imminent closure of the pel Foundry was sold to a developer, and other bells of national significance. Near designers, and makers), University Col- firm. However, a Public Inquiry called the use of these Grade 2* buildings for the White House, in the Old Post Office lege London, the East London Mosque, by the Secretary of State has been sched- the making of bells ceased. Grade 2* is and Clock Tower in Washington, D.C., artists, and others, they are proposing uled for October 2020, offering real hope a classification of a UK building that is is a ring of ten pealing bells, used for a viable future answering local and of saving the foundry. The UK Historic “particularly important . . . of more than change ringing, called “The Bells of Con- international needs: a working foundry Building Preservation Trust—whose special interest.” Although the foundry gress.” Cast by Whitechapel in 1976, the specializing in the production of bells founding patron was HRH The Prince of had been listed for its historic connec- bells range in weight from 581 to 2,953 and works of art, together with a 3-D and Wales and is now called Re-Form Heri- tion to the East End’s industrial past and pounds. Another Whitechapel ring of ten acoustic archive and research center that tage—launched a joint appeal with the despite campaigns in the national press bells hangs in the tower of the Washing- will conduct bell recording, undertake Factum Foundation for Digital Technol- and emotional public outcry, it was shut ton National Cathedral. Cast by Mears & research into historic casting methods, ogy in Conservation to save the foundry. down by the owners who wanted to take Stainbank in 1962, the bells range from and develop machine learning predictive The many objectors, of which there were advantage of the enormous increase in 608 to 3,588 pounds. software to assist in the preservation of nearly 26,000, believe strongly that the its financial value by selling it for conver- Commissioned and cast for the 2012 bells around the country and beyond. site of the Whitechapel Bell Foundry sion into a hotel. London Olympic Games, the Olympic There is a clear need for such services. should be a place of pilgrimage, preserv- Raycliff, an American venture capital- Bell is the largest harmonically-tuned Maintaining and re-making bells for ing this important heritage. I contacted ist firm, purchased the foundry. Raycliff bell in the world. It was designed by churches is a relatively contained market Adam Lowe, director of the Factum Whitechapel LLP has submitted a plan- Whitechapel, but due to its excessive size in Europe and North America, but it Foundation, who has supplied much of ning application that seeks to secure a (22.91 tons, 10.95 feet in diameter), it serves an important social and preser- the information for this article. change of use and development of the was cast at the Royal Eijsbouts foundry vation function. By contrast, there is a Whitechapel bells hold an envi- site as a 100-bed hotel, private members’ in the Netherlands. It bears an inscrip- significant market for commemorative able place in English history. The first club, restaurant, bar, café, and shop, with tion taken from Shakespeare’s play The bells of all sizes and for bell-related artist recorded bells to have been cast in Lon- desk-sharing workspaces for hire. The Tempest: “Be not afeard; the isle is full projects. Internationally, , Africa, don were made in Whitechapel in the on-site foundry outlined in the Raycliff of noises.” and South America have been identified thirteenth century; bells have been made Whitechapel proposal has been reduced In celebration of the 1976 United as expanding markets for church bells, by the foundry since 1570, and on the dramatically, and all that remains is a States Bicentennial, the people of Britain while China and India have a large and current site on the corner of Whitecha- token activity—a small display workshop gifted the people of this country with a growing demand for bells and gongs. pel Road and Plumber’s Row since the and studio for casting or finishing hand- 12,446-pound Bicentennial Bell cast by Technology has the potential to 1740s. The Whitechapel Bell Foundry bells within a restaurant and café. Whitechapel. It was dedicated by Her revitalize bell making in Whitechapel. adopted its current name in 1968, but In November 2019, the Tower Ham- Majesty Queen Elizabeth II who shared Three-dimensional recording, digital the same purpose-built foundry has lets Development Committee approved her gratitude to America’s Founding modeling, machine learning analysis, been occupied by generations of bell the developer’s planning application. Fathers for teaching the British “to and the use of software to predict and makers—Phelps and Lester, Lester In December of last year, in response respect the right of others to govern control shrinkage, flow, thickness, and and Pack, Pack and Chapman, Chap- to public pressure, the Secretary of themselves in their own way.” shape are all part of this future. The man and Mears, Mears and Stainbank, State, Robert Jenrick, issued a holding Various chimes and rings made in new foundry will also be eco-friendly, Whitechapel were sent to places near filtering emissions and recycling heat. and far beyond England’s borders includ- As has been demonstrated by Peter ing Wales, Scotland, Zimbabwe, South Scully, there are no issues with casting Africa, India, Trinidad, Malawi, Sudan, bells safely in London in a workshop that and Jamaica. No less than twenty-three meets health and safety and the most sets of Whitechapel bells made their way challenging sustainability legislation: in to Canada, forty-four to Australia, four December 2019, Scully and assistants to , and at least sixty-two at B-Made cast three bells in front of a sets to the United States. Several of their group of journalists and supporters using chimes were later enlarged to carillons. ceramic shell investment molding and a Fifty-eight of the seventy-four bells in new efficient electric kiln; the result was Church of Saint Jude the Apostle the Laura Spelman Rockefeller Memo- an unmitigated success. Wauwatosa, Wisconsin rial Carillon in the Riverside Church in Three manuals – forty ranks New York City were recast or replaced Historical research leading to by Whitechapel in 2003. It is no won- technological advances A RTISTRY – R ELIABILITY – A DAPTABILITY der that their website proclaimed: “the The scene of bell making in Andrei Tar- world’s most famous bell foundry.” kovsky’s masterpiece filmAndrei Rublev The business owner Alan Hughes cited depicts a human skill that has been passed financial difficulties with maintenance down in Europe, almost unchanged, from of the building in the current economic generation to generation since the Middle climate. “The future of bell making is Ages. In China its history is much longer, bright” maintains Adam Lowe of the Fac- going back to around 2000 BCE. There tum Foundation. He notes that churches is a profound need to document this are no longer the main commissioners history and to preserve and archive the

12 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM The Cellini Bell was recorded by Factum Foundation’s expert, using Bell at the Whitechapel Bell Foundry in 2016 (photo credit: John Claridge) 3-D rendering of the Cellini Bell close-range photogrammetry, at the in 2018 (photo (photo courtesy: Factum Foundation for credit: Otto Lowe) the British Museum) achievements of this proud technological The Cellini Bell was recorded by Fac- States. Mainstream and social media innovative connections between digital tradition within the UK and beyond. To tum Foundation using close-range pho- have shown a huge interest, and articles input and physical output. this end, the partnership between Re- togrammetry, a task that posed particular have appeared in Financial Times, The Form Heritage and the Factum Foun- challenges specific to this complex object. Daily Mail, Evening Standard, The Call to action dation will conduct extensive research The level of detail on the bell meant that Guardian, and The Economist, among For those interested in supporting this into historic bronze casting technologies it required many photographs, taken with other publications. initiative, Adam Lowe suggests a num- and will establish an archive focused on a great degree of precision, and in order Speaking of his enthusiasm for the ber of ways to be of assistance. the history of bell founding, to include to accurately record the partially reflec- Re-Form/Factum proposals, former Visit and share the Save the Whitecha- acoustic recordings and high-resolution tive surface of the silver, it was necessary Tory leadership candidate and mayoral pel Bell Foundry website with others: 3-D models in addition to more tradi- to conduct the recording twice, once candidate Rory Stewart said: savethewhitechapelbellfoundry.com. tional modes of documentation. This using the standard lenses employed by Here you can sign a petition to register research and the accompanying archive Factum for photogrammetry of this sort, All of this, in one of the most interest- support. By clicking on “Donate,” one will form a key resource as the revitalized and once employing cross-polarization ing parts of our city . . . . An imaginative will be redirected to Re-Form’s website bell foundry works on the preservation, to reduce the glare from the object. The planner—in fact anyone with any imagina- where it is possible to make a donation in tion seeing the possibilities here—could monitoring, and analysis of historic bells. two models were then combined, result- not possibly turn this down. This is a chal- any amount, if desired. Historical documentation will also ing in a 3-D model with 91.5 million lenge of courage, it’s a challenge of joyful Further information is available on inform research into the production of polygons. This was then 3-D printed and imagination. “Spitalfield’s life,” the blog devoted to new bells. In February 2020, an early silver plated, resulting in an exact fac- life in the East End: spitalfieldslife.com seventeenth-century church bell from simile that is now on permanent display Visit Factum Foundation’s online page near Salamanca, Spain, was 3-D recorded at Strawberry Hill House. About Factum Foundation and see the development of the fight to by a team of experts from Factum It was during the process of recording Factum Foundation for Digital Tech- keep the site as a working bell foundry: Foundation. The technique used was the Cellini Bell in 2018, while Factum nology in Conservation is a not-for-profit factumfoundation.org/ind/180/the-resur- photogrammetry, which involves taking Foundation was also working to save the organization founded in Madrid to docu- rection-of-the-whitechapel-bell-foundry. multiple photos of an object (often hun- bell foundry at Whitechapel, that the role ment, monitor, study, recreate, and dis- We are also looking for people in his- dreds or even thousands) that can then of machine-learning software and new seminate the world’s cultural heritage. It toric and preservation societies who are be converted into a 3-D digital model casting technologies for the production of works alongside its sister company, Fac- interested in learning how new technol- using software. The Salamanca recording bells became apparent. This was then put tum Arte, a multi-disciplinary workshop ogy can help create an archive of various and others like it will form the basis of an to the test in December 2019 at B-Made dedicated to digital mediation and physi- types of information that will help revi- archive of photogrammetric recordings in Here East, a media complex located cal transformation in contemporary art, talize interest in bells, their production, of different bells, facilitating a study of in the Olympic Park in East London, not and the materialization of diverse types and their digital and physical restoration. the relationship between the composi- far from the Whitechapel Bell Foundry. of object. Activities include building digi- Support is needed to build a network tion of bell metal, shape, and sound. tal archives for preservation and further that will allow these noble objects to be Building on this information, it will soon The proposed Elizabeth bell study, creating and organizing touring valued and appreciated. Write to: info@ be possible for bell making to enter a new Many of the great moments in Eng- exhibitions, setting up training centers factumfoundation.org. Q phase, in which mathematical modeling land’s history since 1570 have been cel- to enable colleagues across the world to and new methods of precision fabrication ebrated by the tolling of bells founded record their own cultural heritage, and Brian Swager, DM, is an organist, car- are combined with the knowledge and at Whitechapel. The coalition proposes producing exact facsimiles as part of a illonneur, and harpist in San Francisco, experience of traditional bell founders. that the nation should now celebrate the new approach to conservation, restora- California. He is director of music at Following the 3-D recording of the reign of Elizabeth II, their longest serv- tion, and display. Factum Arte works with Immanuel Lutheran Church in San Jose. bell, a research project is now underway ing monarch, with the founding of a bell. foundries in Spain, England, and Greece, He serves as contributing editor for caril- to carry out data processing using Mag- Once the London bell foundry has been casting many alloys and developing lon topics to The Diapason. maSoft, an advanced software that can established as a trust and has reacquired predict flow and shrinkage. Once the the foundry at Whitechapel, the first analysis has been carried out, the data commission the trust hopes to carry out Scattered leaves ... from our Scrapbook will be distorted. A 3-D print will be is the founding of the Elizabeth Bell, a made so that after molding and casting, new quarter bell for the Elizabeth Tower the bell will be the exact shape and size at the Palace of Westminster, of which of the original bell. The casting is being Big Ben is the great bell. The bell will done at Pangolin Foundry in Gloucester- be funded by public donations and will “Every work is worth shire using a mix of bell metal with a high require the support of the royal family however much emotional power it has, tin content. Arthur Prior is undertaking and the government. the digital analysis of the data in Nurem- and that is why I write berg, and Nigel Taylor is advising on the A viable future only when I am inspired. production of the alloy, the temperature The coalition proposal is supported If one can relate to a piece of the casting, and the speed of cooling. by the local community, the East Lon- only intellectually, It is hoped that the new version of the don Mosque, politicians at local and Salamanca bell will sound similar to the national levels, the Victoria and Albert then it isn’t worthwhile; original, even before fine tuning. Museum, and the Bartlett School of for good music must also reach A further digitization project that Architecture; by heritage bodies includ- that very old-fashioned and has shown the possibilities of digital ing the Society for the Protection of recording of bells is the scanning of the Ancient Buildings (SPAB), Spitalfields often cursed resource, the heart.” so-called “Cellini Bell.” This 13-centi- Trust, and SAVE Britain’s Heritage; by meter-high silver bell was made ca. 1550 the blog Spitalfields Life (which has Eugene Zador by the Nuremberg goldsmith Wenzel published extensively on the history of Jamnitzer, although for a long time it the foundry and on this campaign), by was attributed to the Italian Renaissance architectural historian Dan Cruickshank, master Benvenuto Cellini. Once an former Royal Academy Chief Executive important item in Horace Walpole’s col- Charles Saumarez Smith, academics, lection at Strawberry Hill House, it now makers, musicians, and artists including forms part of the Rothschild Bequest at Michael Nyman, Antony Gormley, Anish Schoenstein & Co. the British Museum. The bell is covered Kapoor, and Grayson Perry. While this with intricate relief-work that includes is a local issue it has global implications, Established in San Francisco š 1877 flowers, lizards, and insects, many of and there have been offers of support www.schoenstein.com ❧ (707) 747-5858 which were cast directly from life. from China, Australia, and the United

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 13 Historic temperaments

The elusive and sonorous meantone of Dom Bédos

By Michael McNeil

Editor’s note: The Diapason offers of the F.-H. Clicquot organ at the cathe- here a feature at our digital edition—two dral of Poitiers, intervened when plans sound clips. Any subscriber can access were formulated to modernize the this by logging into our website (www. instrument and discard most of its thediapason.com), click on Current heritage. Villard and the efforts of many Issue, View Digital Edition, scroll to this other preservationists prevailed, and the page, and click on each in work of restoring the organ in its original the text. state was entrusted in 1969 to Robert and Jean-Loup Boisseau. This is the organ we The Clicquot organ at Houdan hear today. If you ever wondered why The community of Houdan with a French Baroque music sounds lackluster current population of just over 3,000 on modern organs tuned in equal tem- is located about thirty-five miles due perament, wonder no longer and buy west of Paris, France. In 1739 the the download of a new recording of the organbuilder Louis Alexandre Clicquot organ at Houdan by Régis Allard.9 It is a completed the organ at Houdan in the revelation; at Houdan the music sounds church of Saint James. He was the father as it did to its composers and their intent of François-Henri Clicquot who built becomes clear. the organ at the cathedral of Poitiers, The limited resources of the com- The 1739 Louis Alexandre Clicquot organ at Saint James Church, Houdan, France and he was also a member of the family munity of Houdan were also probably (photo credit: William T. Van Pelt) who to this day produces the wonderful responsible for the incredible economy champagne of that name. in the design of the Clicquot organ. Meantone was an invention of the Since altering these fifths by one-fourth The organ at Houdan is preserved It has twenty-one stops distributed Renaissance, and one of its earliest of a comma still does not lead to a per- in virtually every detail of its original on three manuals (the third manual is practitioners was Pietro Aaron, who fect octave, one fifth is sacrificed by hav- construction. For this we have to thank treble-only), the pedal has no stops and described his scheme for tuning it in ing all the rest added to it, making it quite that it was placed in a small community simply couples to the bottom two octaves 1523. While earlier temperaments going jangled. However, it lies in a seldom-used key. Organ-builders call this fifth the ‘wolf.’ without the resources to “modernize” of the Grand Orgue, and there are no back all the way to Pythagoras favored ′ Despite the prestige of the scientists who it—large and prosperous cities have a 16 stops. But what looks at first like a pure fifths, the new system favored pure devised the new system, it has neverthe- habit of “improving” the organs in their tonal design lacking in grandeur is in thirds at the expense of the fifths. In Aar- less been abandoned, even though it is less care and irretrievably losing their history. fact extremely versatile and very grand. on’s version there were eight pure thirds, imperfect than the other, in theory. Music The organ was unmolested until it went The French Classical scaling and voicing four very impure thirds, reasonable fifths theorists prefer the old system, alleging silent in the 1870s. is musical and exciting without being in that beat about twice as fast as equally that fifths may be altered one-fourth of a Fortune struck in the 1960s when the slightest overbearing—the grandeur tempered fifths, and a wolf fifth that took comma and even more without becoming Jean-Albert Villard, the organist titulaire derives from its meantone temperament. up the remaining error. Aaron placed disagreeable, whereas imperfect thirds that wolf fifth on G-sharp and E-flat. must of necessity offend the ear: thus their old system is not inferior to the new . . . . There is always an error to be accom- Moreover, the composer makes use of modated with our twelve-tone octave, the very defects of the scale, finding in it and in equal temperament we distribute resources for emphasizing the character that error equally with the result that no of his various compositions. Whether the intervals are in tune without beats. tone be gay, mournful, sublime, majestic, etc., he selects a mode suited to the harmo- The wisdom of François Bédos nies most expressive of his idea. The new de Celles temperament does not offer this resource. Our equally tempered third is a dis- Since all the intervals are equal, they all have the same character, with nothing to sonant monster to which we have simply offset the harshness of the thirds.1 become accustomed. Bédos was well aware of equal temperament and despised The point of meantone is its harmonic it. His thoughts are worth revisiting: purity, tension, and color. The heart of meantone is the pure third, which has Among these schemes, two are the most a benefit not explicated, but intuited by worthy of note. One is called the old sys- Bédos. A pure fifth sounds the second tem, whereby the fifths are unequally tem- and third harmonics of a tone an octave pered [meantone]; and the other is the lower, e.g., the interval at middle C to new, which diminishes all the fifths to a lesser degree, but equally [equal tempera- G has an audible subtone that sounds ment]. The mathematicians and the music- tenor C. Equal temperament fifths come theorists disagree here. The latter, judging close to purity, and we make use of that only by instinct and ear, cannot accept the subtone to create pedal resultants. But new temperament, which they find harsh here is a key feature of meantone: its and less harmonious than the old one. In- pure thirds sound a subtone two octaves deed, the fifths are diminished by only lower, e.g., middle C to E sounds the one-twelfth of a comma . . ., and all equally, fourth and fifth harmonics of a subtone with the result that all major thirds sound that sounds low C. When a French Clas- blurred, which makes a harsh impression on the ear. According to the old tempera- sic composer uses a pure major third in ment, about eleven fifths are diminished by the tenor, that sound contains a very real www.ruffatti.com one-fourth of a comma. This is a greater ad- and audible subtone at 16′ pitch. This justment than one-twelfth of a comma, but is why the Houdan organ sounds grand it saves, or keeps perfect, eight major thirds. without a single 16′ stop. Listen to this

14 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM intervals. Modern conventional wisdom Aaron meantone.6 Bédos’s comma tables has held that these dissonances are to and tuning instructions can be found be avoided, but as Bédos noted, classical in the Ferguson translation of Bédos’s composers consciously used these dis- monumental work, The Organ-Builder.8 sonances to enhance emotional effects. Referring to Volume I, §§1142–1145, Listen to this soundclip of the “Suite du Bédos clearly states that for his tempera- deuxième ton,” Livre d’orgue, I. Plein ment there are “three fifths [D-sharp jeu, by Nicolas Clérambault .9 This vibrant color is completely are diminished more than the others lacking in equal temperament. [beat faster].” Bédos also clearly states in §1145 that the major third A-sharp to D Key features of the Bédos “should be slightly diminished and beat temperament slowly.” A major third tuned flatter than So how does the Bédos temperament pure is very unusual! Something seems differ, and does it have any advantages? amiss here, but the beat rate program This question is not easily answered will shed some light. Figure 1 because Bédos left apparently conflict- ing instructions: these include tables The construction of the Bédos soundclip of the “Suite du premier ton,” notes C, D, D-sharp, E, F, G, A, A-sharp. of various types of commas and some beat rates from Livre d’orgue II, Fugue, by Nicolas The wolf fifth on G-sharp–D-sharp in specific instructions for tuning his tem- In the first column of Figure 1, the beat Clérambault to get a sense of the 16′ the tenor has 12.9 howling beats per perament that do not correlate. There rate program shows the sequence of tun- subtones created by meantone’s pure second; it will have twice as many beats is less conflict when we understand ing the intervals used in the construction thirds .9 in the middle octave. There are four that the tables of commas appear to of the table. The analysis of the Bédos If you take a deep dive into research- very impure thirds on C-sharp, F-sharp, describe conventional meantone; John temperament uses the same sequence ing the temperament of the Houdan G-sharp, B—Bédos called these “wolf” Brombaugh has analyzed these commas until we get to the A-sharp, and from that organ you may find different opinions. thirds. From this table you can get a feel and the author has used Brombaugh’s point it took a few iterations to get it to The notes in the PDF booklet accom- for the extreme variation from consonant frequencies to produce a table of beat the point where the advantages of the panying the recording heard in the purity to dissonant impurity in meantone rates that are virtually identical to the Bédos temperament became obvious. soundclips simply states it to be “méso- tonique,” and American organbuilders who have visited this organ report that 1 it is tuned in ⁄4-comma meantone with the wolf on G-sharp and E-flat, which is Pietro Aaron’s version. But according NORTH AMERICA’S to Timothy Tikker at least one source PREMIER PIPE ORGAN reports that the Houdan organ may be tuned in the temperament devised by BUILDING, REBUILDING the French Classic organbuilder Dom AND SERVICE FIRMS Bédos, a variant of Aaron’s version.2 Are these two temperaments really different, and are the differences important? At first hearing, the record- ing of the Houdan organ abounds in OUR pure thirds. Aaron’s version has eight MEMBERS pure thirds, and according to Bédos, his WHY CHOOSE version has seven pure thirds and one AN APOBA FIRM? “slightly diminished” third on B-flat.3 BUILDER MEMBERS: Tikker states that Bédos’s tuning gained widespread favor in late eighteenth cen- For most people, purchasing a pipe organ is a once Andover Organ Company 2 Bedient Pipe Organ Company tury France with its sonority. in a lifetime experience. It’s hard to know what Berghaus Pipe Organ Builders, Inc. questions to ask, let alone how to get the answers. Bond Organ Builders, Inc. Beat rates describe sonority APOBA provides a simple way for people to take Buzard Pipe Organ Builders, LLC There are many ways to compare the advantage of the expertise of the top people in Casavant Frères two temperaments. We will use beat Dobson Pipe Organ Builders rates (beats per second) to determine Ì iwi`]“>˜ÞœvÜ œ“LÀˆ˜}Ì iiÝ«iÀˆi˜Vi C.B. Fisk, Inc. the relative purity of intervals—and of the several generations who preceded them. Foley-Baker, Inc. beats are what you actually hear when APOBA has developed publications to help organ Paul Fritts & Co. Organ 4 Garland Pipe Organs, Inc. you play an impure interval. A pure committees make interval is consonant and has no beats; Goulding & Wood, Inc. an impure interval with many beats has informed decisions Holtkamp Organ Company dissonant tension. Beat rates depend on and manage their Kegg Pipe Organ Builders actual frequencies, so we must keep in Létourneau Pipe Organs pipe organ projects Muller Pipe Organ Company mind that the beat rates we will see in effectively, whether Patrick J. Murphy & Associates this article are referenced to the specific purchasing an Parsons Pipe Organ Builders pitch A = 440 Hz; if the relative pitch is Pasi Organbuilders, Inc. A = 395 Hz, like the organ at Houdan, organ or planning Quimby Pipe Organs, Inc. the beats will be slightly slower. Beats a program for Schoenstein & Co. will double for each ascending octave, so renovation or service. Taylor & Boody Organbuilders if an interval has two beats in the bass, it A. Thompson-Allen will have four beats in the tenor, and so on. We use beat rates for this comparison OUR VISION SUPPLIER MEMBERS: because we want to compare the relative consonances and dissonances of these Integrated Organ Technologies, Inc. OSI - Total Pipe Organ Resources temperaments, i.e., we want to under- Our vision is focused on the organ effectively serving Peterson Electro-Musical Products stand their sonorities. the musical and liturgical needs of each congregation Solid State Organ Systems Syndyne Corporation Pietro Aaron’s meantone for generations to come. Beat rates can be calculated for all the common intervals, and a table of the beat Whether building a new organ or ensuring the US rates for Pietro Aaron’s meantone is seen longevity of your existing instrument, CONTACT in Figure 1.5 The second column in APOBAwÀ“Ã>Ài>ÌޜÕÀÃiÀۈVi° Figure 1 lists the notes from A-sharp in the bass octave to F in the middle octave. APOBA.com The third column lists the frequencies of Call or email today for Please watch and share those notes. The next columns show the 800.473.5270 beat rates for the intervals of the minor APOBA’s free 84+ page our short video at: color prospectus! apoba.com/video third (m3), major third (M3), fourth 11804 Martin Road (4), fifth (5), minor seventh (m7), major Waterford, PA 16441 seventh (M7), and major ninth (M9). A quick glance at this table will show the eight pure major thirds (0 beats) for the

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 15 Historic temperaments

Figure 2

Figure 3a

The keydesk of the Clicquot organ at Saint James Church, Houdan, France (photo credit: William T. Van Pelt)

major triads of such purity (not to be minor triads on C and E were not a goal confused with the more common ver- of this exercise; they were the surprising sions, Kirnberger II and III).4 result when the adjustments caused by Figure 3b the diminished third were complete! Graphics read better than numbers Those not wanting to dive into the details to imagine the sound of pure fifths, pure Tables of numbers are difficult to Unresolved issues may skip to the next section. major thirds, and pure minor thirds. One read, so we can get a better feel for the A survey of the literature will show The use of a plus sign on a beat rate result of Bédos’s instructions is that the relative sonority of the Bédos meantone that Bédos’s instructions have been inter- means that we tuned the new note keys of C and E now have completely by using color graphics to represent the preted in many different ways. Some of sharp, and a minus sign means we pure major and minor triads. And the relative purity and tension between the this confusion results from the conflicts tuned it flat.7 Starting with the A-sharp, purity in the key of C extends to the twenty-four major and minor triads. In between Bédos’s specific description instead of using the fourth F to A-sharp interval of the major seventh. An inspec- Figure 3 we see the Aaron and Bédos of his tuning method and his tables of = +2.2 beats we will use +3.0 beats; tion of the table in Figure 2 will show meantones represented by major triads commas.8 Brombaugh has shown that Bédos mentions that the fifth B-flat to that we also achieved Bédos’s seven pure in downward facing triangles and minor the tables of commas describe normal F beats faster, so the A-sharp will be major thirds and one slightly diminished triads in upwards facing triangles. The meantone, but there is one other issue in tuned higher to make the major third on major third on B-flat with two beats in lines between the notes are colored to Bédos’s specific instructions for tuning. A-sharp to D diminished. We next tune the tenor octave. represent purity (bright green), less He sets the tuning bearings for the third 1 the “diminished” major third so: A-sharp Bédos did not make clear in his purity (yellow-green), tension (yellow), octave of the Prestant, i.e., 1′ to ⁄2′ pitch, to D = -1.0, making the D diminished instructions that he significantly changed and dissonant impurity (orange and red). and he specifies that the interval G to D from pure by -1.0 beat (it is -2.0 beats an the beat rates of the fifths C to G and The actual beat rates are indicated with has five or six beats per second.3 While octave higher in the tenor). E to B when he diminished the third on the numbers placed next to the colored this beat rate is faster than the normal The major third D to F-sharp is tuned B-flat and adjusted for its effects—those lines. The sonority of the Bédos mean- meantone fifth, it is much slower than pure. Next, the fourth A-sharp to D-sharp fifths are now pure! The pure fifths are tone is now quite evident in the distribu- the beats obtained for that interval in is tuned +2.4 beats rather than the origi- part of the source of the confusion in his tion of green. Figure 2: those beats will be faster in the nal +1.5 beats, and Bédos states that this instructions. Bédos starts with instruc- octave of his tuning bearings. interval will beat faster. It was deter- tions for a normal meantone and then Key features are satisfied Other interpretations of the Bédos mined by iteration that this preserves the modifies it. Perhaps he thought this While we cannot be certain that tuning instructions may yield different original purity in the D-sharp major third. would be obvious. The steps for tuning Bédos’s temperament is represented in results than those in Figure 2, but any The rest is easy. All of the remaining the normal meantone in Figure 1 are Figure 2, the temperament in that table new interpretation must also satisfy the major thirds, D-sharp to G, G to B, and included at the end of this article. does indeed have an improved sonority, constraints Bédos has described: a dimin- E to G-sharp are tuned pure. It is very A price is paid for this new sonor- and it follows Bédos’s instructions. The ished third on B-flat and the faster beat- important to note that we have re-tuned ity, which we can see in the worse wolf beat rate table in Figure 2 resulted from ing fifths on D-sharp, G, and B. Many G and B; both have new frequencies. fifth with 15% more beats. The fifths on an attempt to incorporate the diminished interpretations of the Bédos tempera- Figure 2 shows the beat rates for the D-sharp, G, and B are all now degraded, third on B-flat with the least amount of ment exist, but only the interpretation in presumed Bédos temperament. as noted by Bédos. If this is indeed adjustment to the Pietro Aaron mean- Figure 2 meets all of those constraints. Bédos’s temperament, it has some very tone, and it also resulted in the faster The sonority of the Bédos meantone interesting sonorities. beating fifths on D-sharp, G, and B. The Clicquot organ at Houdan If the sound of pure major thirds in The pure triads are very unusual; only These are noted by Bédos as key features It is reasonably certain that the 1 Aaron’s meantone is impressive, now try the Kirnberger I temperament has two of his temperament. The pure major and Houdan organ is tuned in ⁄4-comma

16 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM Pietro Aaron meantone. But the value of controversies is that they push us to re- 1739 Louis Alexandre Clicquot organ explore our previous assumptions, and 3 ′ the exercise in this article may shed new Positif (Manual I, 48 notes) 1⁄5 Tierce 8′ Bourdon Plein jeu IV light on the temperament of François 4′ Flute 8′ Trompette 2 Bédos de Celles. 2⁄3′ Nazard 4′ Clairon I hope you enjoy the remarkable 2′ Doublette 8′ Voix humaine 3 ′ meantone sonority of the Houdan organ 1⁄5 Tierce Cornet V Plein jeu V as much as I do. Two recent recordings ′ 9, 10 8Cromorne Récit (Manual III, 25 notes) are well worth your money. Q Cornet V Grand Orgue (Manual II, 8′ Trompette Michael McNeil has designed, con- 48 notes) 8′ Montre Two-octave pedalboard permanently coupled structed, and researched pipe organs 8′ Bourdon to Grand-Orgue since 1973. He was also a research 4′ Prestant Shove coupler I/II 2 engineer in the disk drive industry with 2⁄3′ Nazard Tremblant doux twenty-seven patents. He has authored 2′ Doublette Tremblant forte 2′ Quarte de Nazard Pitch A = 395 Hz four hardbound books, among them The Meantone temperament Sound of Pipe Organs, several e-publica- tions, and many journal articles. www.editionshortus.com. The tuning of the two Cs. [C + F + 1.6] Notes & References Houdan organ in this recording is spotless. 7. Tune A below middle C pure to F 1. François Bédos de Celles, O.S.B., The 10. Michel Chapuis and Emmanuel Man- below middle C. Test that tenor C to A Organ-Builder, an English translation of the drin, Marc-Antoine Charpentier: Messe pour le Port-Royal, E 8598, Auvidis, France, 1997. and tenor E to A beat equally (2.0 beats). Saint James Church, Houdan, France original L’Art du facteur d’orgues, 1766– (photo credit: William T. Van Pelt) 1778, by Charles Ferguson, The Sunbury This recording showcases the accompanimen- [F + A] Press, 1977, pp. 230–231, §1135. tal balances of the Houdan organ with solo 8. Tune C-sharp above middle C 2. Personal communication, January 2019. voices. The radiance of the meantone purity pure to A below middle C. Test that the lower A-sharp. Test that the interval with the voices is remarkable. 3. The Organ-Builder, p. 233, §§1140, 1142. C-sharp above middle C beats equally D–A beats 1.4 compared to the interval 4. Michael McNeil, “Exploring the Sound with G-sharp and E below middle C (2.5 F–middle C at 1.6 beats. [A# + D] of Keyboard Tunings,” The Diapason, April Method for tuning the Aaron beats). [A + C#] 13. Tune F-sharp below middle C 2016, pp. 20–21. This article gives a descrip- meantone:5 9. Tune the C-sharp below middle C pure to D below middle C. Test that the tion of the tradeoffs when comparing temper- aments with cents or beat rates. Inputs to the beat rate program are pure to the C-sharp above middle C. C-sharps above and below the F-sharp 5. Detailed and accurate instructions for noted in [ ] Test that both C-sharps beat equally with beat equally (1.7 beats). [D + F#] tuning the Pietro Aaron temperament that the E below middle C (2.5 beats). 14. Tune D-sharp below middle C appears in this table may be found in Tuning 1. Tune middle C. [263.2] This will 10. Tune A-sharp below middle C pure pure to the lower A-sharp and then the Historical Temperaments by Ear, by Owen yield A = 440Hz. (McNeil) to F below middle C, and then raise the raise the D-sharp until it beats equally Jorgensen, Northern Michigan University Press, Marquette, 1977, pp. 173–177. An ab- 2. Tune C below middle C pure to A-sharp until it beats at the same rate as between the lower and upper A-sharp breviated version is appended to this article. middle C. [C–C] the small minor third A-sharp–C-sharp (1.5 beats). [A# + D# + 1.5] 6. Personal communication, April 2019. 3. Tune E below middle C pure to C (2.2 beats). [F + A# + 2.2] 15. Tune G below middle C pure to 7. This program and the instructions for its below middle C. [C–E] 11. Tune the A-sharp an octave lower D-sharp below middle C. [D# + G] use are contained in a DVD with the author’s 4. Tune G-sharp below middle C pure than middle C pure to the A-sharp below 16. Tune B below middle C pure to G book, The Sound of Pipe Organs, CC&A, to E below middle C. [E + G#] middle C. Again, test that A-sharp–F below middle C. [G + B] 2014, Amazon.com. The program is admit- tedly difficult to use. 5. Test all C, E, and G-sharp for purity. and A-sharp–C-sharp beats equally (1.1 17. Tune B an octave below middle 8. The Organ-Builder, pp. 230–234. 6. Tune F below middle C pure to C beats), where A-sharp is an octave lower C pure to B below middle C. Test that 9. Régis Allard, Magnificat 1739, Editions below middle C and then raise F until than middle C. D-sharp–A-sharp beats equally with E–B Hortus, 2017. Available as a download from it beats equally (1.6 beats) between the 12. Tune D below middle C pure to in the octave below middle C (1.5 beats). PLAY ICONIC PIPE ORGANS FROM ALL OVER THE WORLD With the NEW Johannus LiVE 2T-A and 3T-A

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 17 Cover feature

Orgues Létourneau, case and console. There are a number of Here, he met Jean-Albert Villard, the St-Hyacinthe, Québec, Canada other exciting projects we look forward to titular organist, whom he remembers as sharing with you in due course, including being extremely kind. After introducing A new chapter begins a major concert hall instrument. themselves, Fernand recalled the two This isn’t the article we had intended In the meantime, we trust you’ll enjoy men went into the instrument, and after to publish in this issue of The Diapa- the following conversation with Fernand a few minutes of Fernand looking closely son. As with so many other things this Létourneau about his early days and an at the pipework—but being extremely year, the completion of a pipe organ introduction to company’s revamped careful not to touch anything—Villard we had anticipated sharing here has management team. We finish with a pre- looked at him and exclaimed impatiently, been delayed by complications arising view of what’s ahead from Létourneau’s “Well, come on then, pick up the pipes!” from the coronavirus pandemic. We new president, Dudley Oakes. As Fernand recounts the story with a will provide details about our 75-rank —Andrew Forrest laugh, “Needless to say, he didn’t have instrument for First United Methodist to say it twice!” The two men stayed Church in Lubbock, Texas—the render- A conversation with in touch, with Villard writing a letter ing of which is featured on the cover—in Fernand Létourneau to Fernand the following year with the a later issue. Fernand Létourneau began his organ- question, “Aren’t you a little young to Nonetheless, we felt this is an opportu- building career at Casavant Frères in start out as an organbuilder?” Fernand Létourneau voicing a pipe (pho- nity to detail some of the recent changes 1965. He worked briefly in nearly every Tender age of 34 notwithstanding, to credit: Orgues Létourneau) at Orgues Létourneau. The news of Fer- department, but his excellent ear— Fernand Létourneau launched Orgues nand Létourneau selling the company honed as a trumpeter in a local band—led Létourneau in January of 1979 from advertising was expensive and it wasn’t last November to Dr. Dudley Oakes was him to the voicing department where he his home in Ste-Rosalie, Québec. He worth it. Maurice ultimately carried the publicized widely but was necessarily apprenticed under Paul Proulx. Proulx continued to take on freelance voicing day, arguing, “Come on, Fernand! If brief. 2019 was Orgues Létourneau’s for- was known internally as Larry Phelps’s contracts but was soon invited to put you’re excellent but you’re the only one tieth year of continuous operation. Over protégé, showing unusual finesse forward a bid for a practice organ at the who knows it, that’s not worth five cents!” this time, the company has built over 140 voicing flue pipes with open toes and Conservatoire de musique du Québec à Indeed, Maurice Roy was unflagging as a new pipe organs around the world and unnicked languids. Fernand also learned Hull (now Gatineau). It turned out to be publicist for the company and its work, has rebuilt or restored countless others. reed voicing from his uncle, Jean-Paul the company’s very first instrument, with from those early days through the late The sale of an organbuilding enter- Létourneau, who was regarded as the Fernand recalling the director, Monsieur 1990s when his health began to fail. prise is delicate, as is surely the case company’s finest reed voicer for much Aimé Lainesse, asking him, “Have you While he had initially planned to with any business providing personalized of the twentieth century. Having the ever built an organ?” build a workshop on the land behind his products that are evaluated subjec- benefit of two exceptional instructors, “No, this will be my first,” replied Fer- home, Fernand decided in 1983 to buy a tively. This sense of risk is heightened Fernand was soon a skilled voicer for nand with some trepidation. building at a bargain price from the City in our unique industry, thanks to some both flue and reed pipes. This versatility “Oh yes? Well, if no one gives you a of Saint-Hyacinthe. The building, the well-known collapses, even if they were kept him on the road as a tonal finisher, chance to build your first instrument, you company’s headquarters to this day on decades ago. Then again, there are and by the end of the Phelps era he was will never build your second. Monsieur rue Savoie, was a redundant water treat- examples of well-planned and orderly the company’s top trouble-shooter. Létourneau, I will give you that chance, ment facility. With its multiple levels and ownership changes, including the recent Gerhard Brunzema came to Québec you will build your first instrument.” 18-inch-thick concrete walls, Fernand transition at Dobson Pipe Organ Build- from Germany as Phelps’s successor in The next three Létourneau instru- notes its transformation into a workshop ers. Any success-fail probability equation 1972. Fernand credits Brunzema for ments went “down under,” thanks to for organbuilding cost over four times its would involve changes in the quality of having taught him a great deal, espe- Fernand’s work on a Pogson pipe organ purchase price. the product post-sale, the circumstances cially in the area of mechanical key at the Conservatorium of Music As the conversation nears its close, of the sale, the actors involved, the actions. Brunzema soon invited Fernand prior to the construction of Opus 1. Fer- Fernand looks back and acknowledges overall economic climate, and broader to serve as assistant tonal director, a role nand’s revoicing of this instrument won he had something to prove in starting trends in the pipe organ world. The role that drew Fernand into the company’s the acclaim of the late Australian organ- his own company, that he wanted to cre- of simple luck can’t be overlooked either. most prestigious projects and allowed ist David Rumsey, who then enthusiasti- ate something remarkable. He remains Despite the global uncertainty at him to continue as the company’s top cally supported Fernand’s proposals for surprised nonetheless at the extent of present, we are thankful that our organ problem solver. St. Alban’s Church in Epping (Opus 2), his success, “If someone had told me building team at Létourneau will be busy Events over the next few years, for the residence of Dr. Neil Cameron forty years ago that the company would well into the future. The aforementioned however, caused Fernand to realize of Sydney (Opus 3), and for the Sydney be what it is today, I wouldn’t have instrument for First United Method- that further advancement at Casavant Girls’ Grammar believed them.” He also notes how far ist Church, Lubbock, will be followed was unlikely. He pondered starting his School in Darlinghurst (Opus 4). the team of organbuilders currently at later this year by a 36-rank instrument own company, but more immediately, Each of these instruments was built in Létourneau has come: “I am proud that for Alumni Chapel of Michigan State he planned a study trip to Europe with Fernand’s basement with another former many at Létourneau today are really University in East Lansing, Michigan. Brunzema’s tacit support. Fernand was Casavant employee, the cabinetmaker specialists in their fields. Some of our The Aeolian-Skinner/M. P. Möller pipe successful in obtaining a grant from the Noël Bilodeau. Also assisting were Yvan people today are among the best I have organ from Market Square Presbyterian Canadian Council of the Arts of $2,700 Blouin and Sylvain Létourneau, both of ever worked with.” Church of Harrisburg, Pennsylvania, is CAN in 1978 for the study trip, and con- whom are still with Létourneau today. Asked what advice he might offer currently in our workshops where we sequently, Fernand resigned from Casa- Fernand smiles when describing the his successor Dudley Oakes, his closing are hard at work transforming it into our vant. Soon after, he was on his way to unremarkable tools they used in those thoughts are in a similar vein: “I have Opus 136 (IV/83). Létourneau’s Opus Europe to study the voicing techniques days, though he notes that he allowed great faith in Dudley and in the company 127 from St. Mark’s School of Dallas, in unaltered historic instruments. himself one new woodworking machine going into the future. Dudley takes care Texas, has also returned to our work- While he mentions the Schnitger with each new contract. of his customers, and I am delighted he shops; this 61-rank instrument suffered organ of Alkmaar and the Müller organ Fernand also highlights the impor- wanted to step up and guide the com- considerably last fall when a tornado tore of the St-Bavo Church in Haarlem, Fer- tance of a publicist and supporter, pany through its next chapter. I would through the school’s North Dallas neigh- nand singles out the 1790 Clicquot organ Maurice Roy, in those early years, who tell Dudley to trust his team; you can’t do borhood. We will be comprehensively at the Cathedral in Poitiers as the one wanted Fernand to advertise his skills. it all, and they want to keep you happy, rebuilding the organ, including a new that perhaps impressed him the most. Fernand was reluctant, telling Maurice they won’t let you down.”

The Létourneau Team

Dudley Oakes has served Andrew Forrest began Georges Trépanier holds as a liaison for over thirty his organbuilding career diplomas in administration years between the company with Létourneau in Febru- and international commerce and hundreds of clients ary 1999, was named Artistic from Montréal’s prestigious throughout the United Director in 2008, and was HEC business school. After States. Having purchased appointed Vice President of overseeing the company’s the company in November the company in 2019. He accounting for over a decade, 2019, Dr. Oakes is currently oversees the company with he was named General Man- dividing his time between a focus on individual proj- ager in March 2015. In this the company’s workshop in ects, including meeting with role, Mr. Trépanier ably man- Saint-Hyacinthe, Québec, clients, preparing proposals, ages the company’s financial and his home in Winchester, setting artistic benchmarks, affairs as well as relations with Virginia. He received a Doctor of Musical Arts degree and directing tonal finishing. An organist himself, the various levels of government. As a boy, he studied from the University of Michigan in 1987 and has sub- Mr. Forrest’s interests include the art of pipe scaling, piano for seven years, which translated into his inter- sequently held positions at several prestigious churches mixture compositions, reed shallots, and other details est in organbuilding. Over the years, Mr. Trépanier has across the United States. A distinguished concert that go into tone production. He was elected President participated in several pipe organ installations across organist and teacher, Dr. Oakes has lectured and played of the Associated Pipe Organ Builders of America the United States and Australia. recitals across North America as well as in , France, (APOBA) in May 2020. Mr. Forrest holds a Bachelor of Germany, England, and Russia. Arts degree from Carleton University.

18 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM just happens to combine all these things we are poised to realize some thrilling to create a world that I adore. organ projects in a climate that demands I joined with Létourneau in 1987 our best mechanically and musically. It when I had finished my Doctor of Musi- is reassuring to receive inquiries from cal Arts at the University of Michigan. around the world and to know that Fernand Létourneau was looking for an Létourneau is truly equipped, as one organist to represent him in the United of the finest shops in North America, to States; his staff at Létourneau at that respond to a variety of challenges. time was technically superb but only a I can predict the next three years or so few were musicians. In my student days, as much of that time is already commit- I was one of sixty organ students divided ted to some exciting projects. We know between three studios, and while U of M we will be going “all out” to satisfy clients was one of the bigger schools, there were in Texas, Utah, Michigan, Pennsylvania, others as well. Organists like me were the District of Columbia, Ontario, Ten- being trained and educated across North nessee, and Alabama. I am confident America, so it seemed clear there would that other contracts will come forward as be a need for better instruments in time. well, but I expect the needs of our clients In those early days, I was doing church will influence where we go and what we music ministry, teaching music at a col- do over the medium term and beyond. lege, and representing Fernand’s com- Why did I buy the Létourneau com- pany. I was also the only native English pany? That’s easy; it was because I love speaker at Létourneau, so I inevitably what we do. Fernand built the company worked on the company’s documents for for forty years, but we’re also friends, I English-speaking clients, whether it was knew he wanted to retire. I have never my project or not! In this way, I found known a harder working man, and he has myself in the middle of projects with earned the right to step back and enjoy H. M. The Tower of London, St. his golden years. With my experience Andrew’s Anglican Cathedral (Sydney, and knowledge of the company, it is an Australia), and Pembroke College (The honor to step in and take the company University of Oxford) among others. This in some exciting new directions. In fact, was a great vantage point from which to Fernand set a standard decades ago learn about the instrument and the com- when he remarked that each Létourneau pany’s approach to organbuilding. organ should somehow be better than The company’s profile in the United the last one. It is a noble idea and one we Fernand Létourneau and Dudley Oakes sign paperwork marking the sale of Orgues States grew quickly in the early 1990s, and will continue to follow as long as I own Létourneau in the company’s 40th year (photo credit: Orgues Létourneau) I enjoyed my work; I loved telling people the company. that I was the luckiest person alive. I was In terms of changes since I took over, The preceding text is an edited tran- proceeded to earn a Bachelor of Music able to play the organ, to teach students, we’re working hard to perfect what we scription of a conversation that took place degree from the University of Rich- and to work in organbuilding almost every already do, to keep making our instru- in French between Fernand Létourneau mond and followed this immediately by day. Really, who could ask for more? Over ments and our team better and better. and Andrew Forrest at the Létourneau immersing myself in the organ program the past three decades with Létourneau, Our relationships, from initial meetings home on July 20, 2020. of the University of Michigan. I have seen joy countless times on the through installation and tonal finish- At Michigan, it was magical. I was faces of congregants when they hear ing through the organ’s dedication, are A look ahead from the president flooded with all the goodness imaginable their new instrument for the first time. I crucial to our success. Our instruments I have always been fascinated with the by four competent, compelling, and self- have heard stunning recitals on our pipe need to reflect our best work, whether pipe organ. At the age of six, I begged my less teachers for whom a student’s prog- organs by renowned artists. I have heard that work comes from our hands, our parents to allow me to play the organ but ress was their raison d’être. I learned the extraordinary choir in the chapel of minds, or our hearts. We love what we had to follow the usual course of study- about the organ, about music, and about Selwyn College at the University of Cam- do and we want those who experience ing piano all through elementary and life. I was primed for a lifetime ahead as bridge accompanied by our Opus 95. In our instruments to feel that too. secondary school. Eventually, the time a musician by the likes of Robert Clark, many cases, I have performed concerts More broadly, the pipe organ industry came when I had sufficient piano back- Marilyn Mason, James Kibbie, and Rob- on these same instruments. The one con- will endure ups and downs, but I am cer- ground to have a seat at the organ con- ert Glasgow. I also had the opportunity stant through all these experiences has tain organbuilding will always have a place sole of Trinity United Methodist Church to compete for le Grand Prix de Char- been that our lives are all immeasurably in the world. So long as there are people in Richmond, Virginia. I will never forget tres twice, and while I didn’t win, the richer because of the beauty that these who play the organ musically, there will the sheer excitement; it was an electronic value of those experiences far outweighs pipe organs provide. always be the need for our instruments. organ, but little did this kid care! any disappointment. One of the great successes I have In the end, superb pipe organs are our I later had the opportunity to visit Sec- My love for the organ has always gone observed within the Létourneau com- goal. One question I always ask when ond Presbyterian Church in downtown beyond playing it; I am fascinated by pany over three decades is the talented talking about our pipe organs has nothing Richmond, where a high school friend the variety of sounds available and the and experienced group of artisans that to do with the number of pipes or ranks. was a member. There I experienced a manner in which sound is made. I have work for the company today. This team is Rather, what I want to know is, “Is it musi- three-manual pipe organ that produced an innate love for objects of beauty and a tremendous source of encouragement cal?” This renewed pursuit of musicality some of the most amazing sounds I had integrity that extends well beyond pipe to me. Fernand understood that a strong is, I feel, the best way to honor Fernand ever heard. I graduated from high school organs. Such objects typically include team would lead to repeated successes, Létourneau’s legacy going forward. in 1973 able to play all of the Eight Little gorgeous woods, beautiful metals, exqui- so he set out to surround himself with —Dudley Oakes Preludes and Fugues by Bach (or whom- site craftsmanship, a keen eye for detail, talented and hard-working individuals. ever wrote them). Ignoring the objec- or are simply of the highest order because With the team I have inherited and some Builder’s website: tions of my business-oriented father, I of their perfect execution. The pipe organ strategic additions coming in the future, http://letourneauorgans.com/ Q

Photo credits: headshot of Dudley Oakes by John Westervelt; other team photos by Chantale Lecours.

Dany Nault began his Létourneau’s goal with François Carrier began organbuilding career at visual proposals is to offer at Létourneau in 1989 after Létourneau casting pipe a realistic sense of how training as a cabinetmaker. metal at the age of 18. He an instrument will look Over the years, he gained rose quickly to the position once installed. As Artistic experience throughout of chief pipe maker and Designer, Claude Demers the company working as a oversaw the production of is the creative mind behind cabinetmaker, wood finisher, hundreds of ranks of pipes each instrument’s visual con- voicing assistant, installer, over a twelve-year period. cept, designing each organ and windchest builder, Mr. Nault decided in 2013 case in AutoCAD and over- serving as head of this last to study industrial engineer- seeing its transformation department for a decade. ing on a full-time basis, and into a three-dimensional His interest in design led upon completing the program, he worked as a techni- illustration. He holds a diploma in architecture as well him to complete several intensive courses in archi- cian and later manager in the manufacturing sector. In as a certificate in electronics. Mr. Demers is an accom- tectural drafting and AutoCAD; he was promoted to February 2020, Mr. Nault returned to Létourneau as plished wood carver, having sculpted the wood carvings the position of Technical Designer in 2008. Working Director of Production. His responsibilities in this role on many of the company’s instruments over the years. closely with Mr. Demers and Mr. Forrest, Mr. Carrier include overseeing production schedules, enhancing He has been with the company since 1988. translates the initial designs for each instrument into productivity, developing departmental quality improve- completed production drawings to enable construction ment plans, and raising safety standards. in our workshops.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 19 New Organs

Schoenstein & Co., Benicia, California Basilica of the National Shrine of Mary, Queen of the Universe, Orlando, Florida This modern basilica is based on the size and shape of the fourth-century Saint Peter’s Basilica in . It seats 2,000 and is a place of pilgrimage for the millions of international tourists who visit Orlando each year. The extensive music program with professional choir is directed by William F. Picher. The shrine has a busy calendar of Masses, numerous special celebrations, and regular concerts. Dr. Picher envisioned an instrument of extremely broad tonal flexibility, something like the one we built for the Conference Center in Salt Lake City. The organ had to be large enough to match the acoustic of this huge building. Its size is illustrated by the 32′ pipes in display. Behind the pipes on the left are the Great, Swell, and Choir divisions. On the right are Solo and Pedal. The console and singers are to the left of the sanctuary along with a small Positive division to provide an intimate sense of pitch and rhythm. The Gallery division is at the west end. Casework was designed in cooperation with Cameron Bird of Basilica of the National Shrine of Mary, Queen of the Universe The rear of the nave and the Gallery organ façade Jackson & Ryan Architects and built by New Holland Church Furniture. expression—Tuba Magna in the main founding family. Surely our founder, The acoustic of the Basilica maintains organ and Grand Harmonic Trumpet Felix F. Schoenstein, a devout Catholic clarity throughout the space and is in the Gallery. The Solo includes six who dedicated two children and two especially sensitive to subtle tonal color genuine Wurlitzer stops. As in our Salt grandchildren to Catholic religious differences among the stops. This, along Lake City organ, these were selected orders and built his very first organ for a with five divisions under expression plus to broaden the tonal palette. Each of Marian church, would be pleased. Hav- double expression in the Swell allows a these six stops is used in the ensemble ing emigrated from Germany, he would kaleidoscopic color and dynamic range. the same way any other attractive tone be especially honored to know the organ Among the special features is a string would be. will be serving an international assembly division in the Gallery, which is designed This grand organ is the largest we from among the 75 million who visit to create a celestial atmosphere as have built for a Roman Catholic church Orlando yearly. worshippers enter for Mass. There are in our 143-year history. It has very —Jack M. Bethards, President two powerful solo reeds, both under special meaning for our firm and our Schoenstein & Co. Detail of main organ façade

Schoenstein & Co. The Caporella Family Organ, Basilica of the National Shrine of Mary, Queen of the Universe, Orlando, Florida

Four manuals, 70 voices, 86 ranks 8′ Cornopean 61 pipes 4′ Octave (ext 8′ Phonon Diapason) 8′ Violin Celeste 68 pipes Electric-pneumatic action 4′ Clarion 61 pipes 4′ Piccolo (ext Tibia) 8′ Voix Serénissime (II) † 129 pipes 8′ Vox Humana (Solo) 4′ Flute (ext Concert Flute) 4′ Violina (ext Viola Pomposa) GREAT (II) 5′′ wind Swell 16′ 4′ Gambette (ext Gamba) 8′ Grand Harmonic Trumpet †† 32′ Lieblich Gedeckt (TC – Sw) Swell Unison Off 4′ Viol Celeste (II – Violes) 61 pipes 2 16′ Double Open Diapason 61 pipes Swell 4′ 2⁄3′ Twelfth (ext Tibia) † Unison 73, Celeste (TC) 56 8′ Phonon Diapason (Solo) Gallery on Swell 2′ Fifteenth (ext Gamba) †† 10′′ wind 8′ Open Diapason 61 pipes Positive on Swell 2′ Piccolo (ext Tibia) 3 8′ Small Open Diapason (ext) 12 pipes 1⁄5′ Tierce (ext Tibia) PEDAL (enclosed) 5′′–15′′ wind 8′ Gallery Diapasons (II) CHOIR (I – enclosed) 5½′′ wind 16′ Corno di Bassetto 73 pipes 32′ Open Metal (unenclosed) 32 pipes 8′ Harmonic Flute 61 pipes 16′ Aeoline (ext) 12 pipes 8′ Tuba Horn 61 pipes 32′ Resultant 8′ Gallery Strings (VIII) 8′ Open Diapason 61 pipes 8′ French Horn 61 pipes 16′ Open Wood 32 pipes 8′ Aeoline (Choir) 8′ Chimney Flute 61 pipes 8′ Corno di Bassetto (ext) 16′ Open Metal (ext 32′) 12 pipes 8′ Bourdon 61 pipes 8′ Gallery Strings (VIII) 8′ Vox Humana † 61 pipes 16′ Double Open Diapason (Great) 4′ Principal 61 pipes 8′ Aeoline 61 pipes 8′ Tuben (III – Swell) 16′ Diaphone (Solo) 12 pipes 4′ Spire Flute 61 pipes 8′ Unda Maris (TC) 49 pipes Tremulant (ext Phonon Diapason) 2′ Fifteenth 61 pipes 4′ Fugara 61 pipes Variable Tremulant 16′ Diapason (Gallery) 2′ Mixture mf (III) 167 pipes 4′ Silver Flute 61 pipes Solo 16′ 16′ Violone 32 pipes 2 2′ Mixture f (IV) 201 pipes 2⁄3′ Nazard 61 pipes Solo Unison Off 16′ Bourdon 32 pipes 8′ Trumpet 61 pipes 2′ Blockflöte 61 pipes Solo 4′ 16′ Aeoline (Choir) 3 8′ Tuba Magna (Solo) 1⁄5′ Tierce 54 pipes 8′ Tuba Magna (15′′ wind) 61 pipes 16′ Bass Viol (Gallery) 8′ Tuba Chorus † 2′ Mixture mf (IV–V) 285 pipes 8′ Grand Harmonic Trumpet (Gallery) 16′ Lieblich Bourdon (Sw) 8′ Grand Harmonic Trumpet (Gallery) 16′ Bass Horn (ext Fl Horn) 12 pipes Gallery on Solo 8′ Principal 32 pipes Gallery on Great 8′ Trumpet 61 pipes Positive on Solo 8′ Bourdon (ext 16′) 12 pipes Positive on Great 8′ Flügel Horn 61 pipes † Separate Tremulant – slow p/fast f 8′ Tibia Clausa (Solo) † Tuba Magna at 16′, 8′, 4′ 8′ English Horn 61 pipes 8′ Violone (ext 16′) 12 pipes 8′ Clarinet 61 pipes POSITIVE (unenclosed–floating) 8′ Flute (Great) SWELL (III–enclosed) Tremulant 4′′ wind 8′ Stopped Diapason (Swell) 5½′′ wind Choir 16′ 8′ Salicional 61 pipes 4′ Fifteenth 32 pipes 16′ Lieblich Bourdon 12 pipes Choir Unison Off 8′ Lieblich Gedeckt 61 pipes 4′ Flute (Great) (ext Stopped Diapason) Choir 4′ 4′ Salicet (ext) 12 pipes 2′ Mixture mf (IV–V Choir) 8′ Open Diapason 61 pipes 8′ Tuba Magna (Solo) 4′ Lieblich Flute (ext) 12 pipes 32′ Cornet (derived) 8′ Stopped Diapason 61 pipes Gallery on Choir 2′ Fifteenth (ext) 12 pipes 32′ Contra Trombone (ext) 12 pipes 8′ Viole de gambe 61 pipes Positive on Choir 16′ Trombone 32 pipes 8′ Voix céleste 61 pipes GALLERY (floating) 5′′ wind 16′ Posaune (Swell) 8′ Gallery Strings (VIII) SOLO (IV–enclosed) 10′′ wind Unenclosed Stops 16′ Bass Horn (Choir) 4′ Principal 61 pipes 16′ Tibia Clausa 85 pipes 16′ Double Diapason 12 pipes 8′ Tuba Magna (Solo) 4′ Harmonic Flute 61 pipes (1–12 Pedal Bourdon) (ext Diapason No.2) 8′ Tromba (ext 16′) 12 pipes 2′ Harmonic Piccolo 61 pipes 8′ Phonon Diapason 73 pipes 8′ Open Diapason No.1 61 pipes 8′ Posaune (Swell) 2 2⁄3′ Cornet (III) 176 pipes 8′ Symphonic Flute 61 pipes 8′ Open Diapason No.2 61 pipes 4′ Octave Tromba (ext 16′) 12 pipes 8′ Oboe 61 pipes 8′ Tibia Clausa (ext) 4′ Octave (ext Diap No.2) 12 pipes 4′ Corno di Bassetto (Solo) Tremulant 8′ Concert Flute 73 pipes Enclosed Stops 8′ Pizzicato Bass Stops under double expression, 10′′ wind 8′ Gamba 85 pipes 16′ Bass Viol (ext Viola Pomp) 12 pipes Gallery on Pedal 8′ Erzähler 61 pipes 8′ Gamba Celeste 61 pipes 8′ Viola Pomposa 73 pipes Positive on Pedal 8′ Erzähler Celeste (TC) 49 pipes 8′ Viol d’Orchestre 73 pipes 8′ Viola Celeste 73 pipes 2′ Mixture ff (IV) 215 pipes 8′ Viol Celeste 73 pipes 8′ Gamba Celeste (II) † 129 pipes 16′ Posaune 61 pipes 8′ Gallery Strings (VIII) 8′ Violin 73 pipes

20 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM Reviews Bert Adams, FAGO PATRICK ALLEN Park Ridge Presbyterian Church Book Reviews set a standard for authors of organbuild- Park Ridge, IL GRACE CHURCH The Aeolian Pipe Organ and Its ing history to model, and this volume has Pickle Piano & Church Organ Systems NEW YORK Music, Second Edition, by Rollin raised the standard again. Bloomingdale, IL Smith, OHS Press, The Organ Histor- —Stephen Schnurr ical Society, Villanova, Pennsylvania, Gary, Indiana 2018. 638 + xxvi pages, hardbound, 239 illustrations, mostly black and Christopher Babcock Your artist spotlight can appear white, $89.99. Available from www. Choral Music on The Diapason website for organhistoricalsociety.org. These anthems are perfect for the as little as $16 per month St. Andrew’s by the Sea, The fi rst edition of this book appeared smaller choir, with texts and music that Contact Jerome Butera, in 1998. The well-known, green hard- are easily accessible. I direct a church Hyannis Port [email protected] bound volume of over 500 pages was choir of about a dozen voices, and each instantly a must-have for the bookshelves voice is integral to the ensemble. These of organ afi cionados. It would sell out of pieces were carefully chosen, a couple stock for the Organ Historical Society, titles recommended by colleagues yet its continued demand meant that who have a similar situation. Each title W. Billmeyer used copies were consistently sold for became an instant favorite with the choir several times the original purchase price. as well as the congregation, with many University of Minnesota A few books in the organ world have of our church members greatly moved. Minneapolis 55455 • [email protected] attained such popularity, but not many. In fact, our pastor has even made com- The second edition, published twenty ments about each of them from the years later, is apparently just as popular . I hope you enjoy these selections. as the fi rst, as the OHS has sold the vast Sample pages of each anthem are avail- GAVIN BLACK majority of the inventory of the hard- able at respective publishers’ websites. Byron L. Blackmore bound version, and after these are gone, Princeton Early Keyboard Center Crown of Life Lutheran Church the book will be available only in a paper- I Am Making All Things New, by 732/599-0392 Sun City West, Arizona back form. If you do not have your copy David von Kampen. SATB and www.pekc.org yet, you may well wish to have one before piano, Concordia Publishing House, 623/214-4903 you are limited in your choice of binding. #98-4283, $1.90 (E+). Available from This study of the Aeolian Company cph.org. and its pipe organs, with additional The composer has masterfully crafted information on non-pipe organs built the text of Rev. 21:4–5 (ESV) into a pow- THOMAS BROWN Carson Cooman by Aeolian, is incredibly complete and erfully inspiring piece for SATB voices CHAPEL HILL, NORTH CAROLINA Composer and Concert Organist presented in an engaging and enlighten- and piano. Compositional techniques Harvard University ing fashion. The company is surely best include declamatory writing, polytex- ThomasBrownMusic.com www.carsoncooman.com known as America’s most successful and tuality, and skillful use of various keys. prolifi c builder of residence organs, Perfect for Easter Vigil, Easter season, along with its equally successful player All Saints’ Day, funerals, and for general mechanism and extensive roll catalogue. use. Beautifully written. Your professional card One could argue that Aeolian was the DELBERT DISSELHORST nation’s most successful international How Firm a Foundation, arranged could appear here! organbuilder, with sales of instruments by Gilbert M. Martin. SATB, Exulta- Professor Emeritus Contact: [email protected] as far afi eld as Australia, Cuba, the tion (a division of the Lorenz Cor- University of Iowa–Iowa City or 608/634-6253 British Isles, Continental Europe, and poration), #10/1481L, $2.55 (E+). South America. Available from lorenz.com. This book is surely of interest and From a quiet beginning to a powerful value to organ historians. Those who and climactic ending, the familiar hymn- STEVEN EGLER JOHN FENSTERMAKER enjoy American social history of the late tune Foundation is taken through its Central Michigan University nineteenth and early twentieth centuries paces with a supportive accompaniment, TRINITY-BY-THE-COVE will even enjoy chapters such as “Aeolian a key change, and a verse in canon. School of Music Mt. Pleasant, MI 48859 Patrons” and “Organists Who Recorded NAPLES, FLORIDA for the Aeolian Duo-Art Player Organ.” Psalm 139, by Allen Pote. SATB [email protected] This book is often touted as a companion voices and piano, Choristers Guild, for Smith’s Pipe Organs of the Rich and #CGA610, $2.10 (E+). Available Famous, also available from the OHS. from choristersguild.org. Norberto Between the two volumes, a vivid picture Here is a beautifully lyrical setting of of the very wealthy society members who this thought-provoking Psalm, “Lord, Susan Goodson Guinaldo owned Aeolian organs and the cadre of you have searched me and known me.” Emanuel United Church of Christ His Music organists who played them comes alive. The marriage of text and music are per- Manchester, Michigan See—Listen—Buy Additional chapters include topics such fectly in sync, providing a heart-rending www.GuinaldoPublications.com as Aeolian’s rolls and the player mecha- piece that singers and congregation can nisms, music composed for the Aeolian both relate to. player organ, and Igor Stravinsky and A Professional Card in Leopold Stokowski and their connec- All Will Be Well, by Richard Clem- STEPHEN HAMILTON tions to the company. mitt. GIA Publications, G-7997, $2.00 The Diapason Approximately half of the book is (E). Available from giamusic.com. For rates and digital specifi cations, recitalist–clinician–educator devoted to appendices, and these are no This charming choral gem is an easily contact Jerome Butera www.stephenjonhamilton.com less interesting than the narrative at the learned piece for just about any occa- 608/634-6253; [email protected] front. The Aeolian opus list is presented sion. Based on the writings of Julian of with much more information than found Norwich, the text provides images of in the fi rst edition. Organs are listed by family and community, faithfulness, the opus number, by purchaser (“patron”), love of God to us, and times of diffi culty. David Herman and by geographical location. Aeolian’s The melody is lyrical and memorable 116-note rolls and Duo-Art rolls are with a bit of a Celtic fl avor. Written by a Trustees Distinguished Professor Emeritus of Music and University Organist enumerated. A glossary of Aeolian’s pipe fellow Chicagoan, this anthem was com- organ stop names is presented for each posed to celebrate his twentieth wedding The University of Delaware Q [email protected] era of the company’s styles: Italian-Eng- anniversary. Highly recommended. lish nomenclature, “Simplifi ed English” nomenclature, and Aeolian organ names There Is Room in My Father’s House, used after 1907. The annual number of text by Joseph M. Martin and Jona- Gail Archer contracts signed, annual average wages than Martin, music by Joseph M. organist by workers in the organ industry, and Martin. SATB with keyboard, Shaw- Aeolian’s annual production income nee Press, #35030585, $1.90 (E+). www.gailarcher.com Lorraine Brugh, Ph.D. make for interesting reading as well. Available from shawneepress.com. Professor of Music Vassar College And, as one would expect, a plethora This poignant text can be used for any University Organist of organ specifi cations and photographs occasion or more specifi cally for a funeral Barnard College, Columbia University [email protected] Valparaiso, Ind. are presented. or memorial service where choir is used. (212) 854-5096 The hardbound version is sturdily Piano or organ could be used to accom- valpo.edu bound, with high-quality glossy paper. pany, with some rolling chords and arpeg- Promotion 219.464.5084 The book weighs 70 ounces, so it is gios in folksong style. The basis of the SOZO Media [email protected] hardly a pocket reader. The fi rst edition ³ page 22 [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 21 WILL HEADLEE ANDREW HENDERSON, DMA Reviews 1650 James Street Madison Avenue Presbyterian Church New York, NY ³ page 21 in minor mode and Llanfyllin is in Syracuse, NY 13203-2816 text paraphrased in John 14:1–3 is “I go major mode. Williamson uses the same (315) 471-8451 www.andrewhenderson.net to prepare a place for you, there is room musical material, but in the appropriate in my Father’s House,” which is repeated mode, for both tunes. throughout with supportive text, empha- The versatility of the settings is one of sizing the promise of our eternal home. the collection’s strong points. The works Richard Barrick Hoskins Brian Jones Here is a beautifully written anthem that may be incorporated into a worship ser- Director of Music & Organist will be well received by all. vice with the choir and/or congregation Director of Music Emeritus St. Chrysostom's Church —Leon Nelson participating in the singing of the hymn. RINITY CHURCH Chicago T Vernon Hills, Illinois Their use as service music, such as a pre- [email protected] BOSTON lude or postlude is certainly a possibility. They might also be used as a solo selec- New Organ Music tion in an organ concert or as a means of Pilgrim Journey: Seven Fantasies allowing the audience an opportunity to KIM R. KASLING JAMES KIBBIE on Welsh Hymns for the Organ, by sing. The imaginative organist will devise D.M.A. The University of Michigan Richard A. Williamson. Beckenhorst additional creative ways to use and fea- Ann Arbor, MI 48109-2085 Press, OC36, 2019. Available from ture the pieces in this collection. St. John’s University beckenhorstpress.com. —Charles W. Steele 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 A recent organ publication from Pisgah Forest, North Carolina email: [email protected] Beckenhorst Press focuses its attention on seven Welsh hymntunes. The collec- David K. Lamb, D.Mus. tion of arrangements was composed by New Recordings Karen Schneider Kirner Richard Anderson, professor of music at Recital at Bridges Hall. William J. Director of Music Anderson University, Anderson, South Peterson, organ. Loft Recordings, Director, Notre Dame Handbell Choir Trinity United Methodist Church Carolina. At Anderson University, Wil- LRCD-1140, $18.98. Available from Assistant Director, Notre Dame Folk Choir New Albany, Indiana liamson teaches theory and composition www.loft.cc. University of Notre Dame 812/944-2229 and serves as director of choral activi- Fugue in E-fl at Major, BWV 552ii, J. S. ties. He holds degrees in music theory Bach; Choral, op. 49, no. 3, Alexandre and choral conducting from Furman Guilmant; Strophe pour l’hymne “Sacris University, Eastman School of Music, solemniis,” Guilmant; from Les voix de and University of Illinois. Williamson’s la douleur chrétienne: (1) In memoriam:

A.S.C.A.P. organ and choral works may be found quatre improvisations: “Recordare Jesu FELLOW, AMERICAN GUILD OF ORGANISTS in the catalog of several well-established pie,” Jongen; (2) “Epitaphe,” Henri

345 SADDLE LAKE DRIVE publishers. In addition to his university Defossé; (3) “Choral sur ‘Justorum ani- ROSWELL-, GEORGIA 30076 work, Dr. Williamson serves as director mae in manu Dei sunt,’” Jacques Ibert; (770) 594-0949 of music at First Presbyterian Church, Souvenir, John Cage; Neofantasy, Karl Anderson, South Carolina. Kohn; Fanfares, Tom Flaherty. The seven Welsh tunes used in this The organ featured on this record- ANDREW PAUL MOORE collection are common to a number of ing is the instrument in Bridges Hall, LEON NELSON hymnals. The composer has set them in Pomona College, Claremont, California, CHRIST CHURCH Director of Traditional Music a style he refers to as “fantasies.” In the which is C. B. Fisk, Inc., Opus 117 of Southminster Presbyterian Church foreword to the collection, Williamson 2001. This is the fi rst compact disc of this SHORT HILLS Arlington Heights, IL 60005 describes his approach to these particu- organ to appear, and it is in a way surpris- lar pieces: ing that it took more than fi fteen years to get around to recording the instru- Each of these fantasies ends with a com- ment. The featured organist is William J. plete statement of the hymn that inspired Peterson, University Organist Emeritus, LARRY PALMER it. While these pieces may stand on their during whose tenure the instrument PHILIP CROZIER own in both worship and recital settings, was obtained. The compact disc does CONCERT ORGANIST Harpsichord – Organ in worship they may also incorporate choir and/or congregation singing a verse of the not come with a leafl et, but a note on ACCOMPANIST hymn along with the organ’s concluding the folder containing the CD states Professor of Music, Emeritus that “organ specifi cations and extensive 3355 Queen Mary Road, Apt 424 statement. Some of the settings include al- ternate endings to accommodate such sing- liner notes” are available on the Gothic , H3V 1A5, P. Quebec SMU, Dallas, Texas ing. Alternately, the organist may break off website. Though this is true of most of Canada immediately before the concluding section the recordings on the website, the notes and go instead to the hymn as it appears in (514) 739-8696 Recitals — Lectures — Consultancies for his compact disc appear to be miss- the hymnal, using the fantasy as a prelude ing, though the specifi cation of the organ to the entire hymn. [email protected] may be found on the builder’s website. [email protected] + 214.350-3628 Gravitas is the word that comes to The tunes that Williamson features in mind when one hears Dr. Peterson’s the collection are Aberystwyth, Bryn interpretation of Bach’s Fugue in E-fl at Calfaria, Cwm Rhondda, Llanfair, Major. His playing is deliberate and $_;v|-@o=THE DIAPASON1om]u-|†Ѵ-|;v Llanfyllin, Llangloffan, and elegant, his phrasing perfect, and his Rhosymedre. In examining the inclu- tempi self-possessed. The organ is both Ѵ;Š-m7;u;vŒѴ;u-v|_;‰bmm;uo=|_;bm-†]†u-Ѵ sion of these tunes in fi ve denomina- warm and clear, sounding particularly u†;mv|;bm‰-u7ĺ tional hymnals—The Hymnal 1982, The good in the moderately reverberant hall. United Methodist Hymnal, Glory to God Peterson follows this with Choral by (PCUSA), Evangelical Lutheran Wor- Alexandre Guilmant. This is from a col- ship (ELCA), and Celebrating Grace— lection called L’organiste pratique pour one discovers that three of the tunes are harmonium and was published in 1883. included in all fi ve hymnals. These par- It is something of a “song without words” ticular tunes are Aberystwyth, Cwm and is played mezzo forte on some of the A gift subscription to Rhondda, and Llanfair. The tunes foundation stops. It represents the older, Bryn Calfaria and Llangloffan are simpler tradition of chorales before the found in four of the hymnals. Rhosyme- publication of Franck’s Trois chorals in The Diapason dre is used in three of the hymnals, with 1890. After 1890 Guilmant might have The perfect gift for Llanfyllin appearing in only two. written something very different, and + organist colleagues + choir directors The individual pieces are all of the the signifi cance of Franck’s infl uence on same basic length. In each instance, chorales will become apparent in a later + students + organ builders Williamson displays his mastery of track on this compact disc. The second + teachers + counterpoint through his use of imita- piece by Guilmant, Strophe pour l’hymne tion, canon, and episodic material. Each “Sacris solemniis,” is the last of forty- Each month your gift will keep on giving by providing the selection concludes with a majestic nine compositions in L’organiste litur- important news of the organ and church music fi eld. Know that accompaniment wherein the hymntune gique pour orgue ou harmonium, in ten your gift will be just right. is highlighted, sometimes providing the volumes, published between 1886 and For information, The Diapason, P.O. Box 300, Lincolnshire, IL opportunity for the use of a large solo 1899. It is almost like a chorale prelude 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: reed stop. In two of the settings, Llan- on Thomas Aquinas’s Eucharistic hymn, 847/763-4933. Or visit www.thediapason.com and click “subscribe.” fair and Rhosymedre, Williamson Sacris solemniis juncta sint gaudia, and incorporates organ descants. Two tunes, Peterson plays it on the fonds with pedal. $44 one year USA; $35 one year digital; $20 one year student Llangloffan and Llanfyllin, are We enter the twentieth century identical except that Llangloffan is with three pieces from l’Abbé Joseph

22 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM A Professional Card in DEREK E. NICKELS, DMA Reviews The Diapason Church of the Holy Comforter For rates and digital specifications, Kenilworth, IL 60043 Joubert’s six-volume Les voix de la dou- composition at Harvard University, Kohn contact Jerome Butera leur chrétienne, published between 1921 taught at Pomona College for over forty 608/634-6253; [email protected] (847) 251-6120 • [email protected] and 1924 as a memorial to the fallen of years and is now the W. M. Keck Dis- World War I. The composers include tinguished Service Professor Emeritus. such well-known names as Eugène He composed his Neofantasy for organ Gigout, Joseph Jongen, Fernand de la in 1990. The longest piece on the disc, ANDREW PETERS GREGORY PETERSON Tombelle, Henri Dallier, and Albert it combines harmonies somewhat akin to Alain. Jongen’s contribution was Quatre the early works of Messiaen with arpeg- Organ Recitals – Silent Movies – Hymn Festivals Professor of Music improvisations inspirées de l’Office des giated chords and a range of registrations and College Organist défunts, of which Number 4, “Pie Jesu,” from soft foundation stops to full organ. www.AndrewJPeters.com Luther College, Decorah, Iowa is included on this compact disc. It is a The last of the Pomona College com- gentle, plaintive piece for the soft foun- posers is Tom Flaherty, born in 1950, who dation stops. The next composer repre- is John P. and Magdalena R. Dexter Pro- ANDREW SCHAEFFER sented is Henri Defossé (1883–1956), fessor of Music and director of the elec- Jeffrey Schleff, Ed.D. a student of Gabriel Fauré who was an tronic studio at Pomona College, as well Luther Memorial Church (ELCA) Organist/Director of Music orchestral leader, pianist, composer, and as a notable virtuoso ’cellist. He wrote Madison, Wisconsin teacher in Paris. His Epitaphe, featuring Fanfares for organ in 2008 expressly for First Presbyterian Church the reeds, is of a distinctly dark character. William J. Peterson to showcase the Fisk [email protected] Gainesville, Texas The third movement from Les voix de organ. It makes use of several repeated Recitals — Hymn Festivals [email protected] la douleur chrétienne is Jacques Ibert’s fanfare-like motifs, though contrary to “Choral sur ‘Justorum animae in manu what might be expected, the reeds are Dei sunt.’” Here, more than a quarter not used until about two-thirds through of a century after the Trois chorals and the piece. It ends with an enormous cli- STEPHEN SCHNURR in contrast with the Guilmant Choral max on full organ. Saint Paul Catholic Church discussed above, the influence of Franck Professor Peterson is to be congratu- Organogenesis Artists LLC is immediately apparent. This influence lated for his first-rate playing, for his skill Valparaiso, Indiana [email protected] is the subject of an excellent article in showing the fine Fisk organ at Pomona Wesley Roberts, “Jacques Ibert’s Choral College, and for producing an unusual for Organ,” found in The Diapason, program of considerable interest. August 2015, pages 18–19. The plainsong —John L. Speller ROBERT L. melody is treated in a series of variations Port Huron, Michigan and is an extended piece making use of SIMPSON Mark Steinbach varied and contrasting registrations, end- Christ Church Cathedral Brown University ing triumphantly on full organ. New Handbell Music 1117 Texas Avenue The remaining three tracks on the Hymns & Handbells: Easy Handbell Houston, Texas 77002 compact disc are devoted to composers Accompaniments for Congregational connected in some way with Pomona Singing, Volume 1, arranged for 3–5 College. The first of these is John Cage octaves of handbells, by Joel Raney THOMAS R. THOMAS ] (1912–1992), who enrolled at Pomona and Lloyd Larson. Hope Publishing Joe Utterback Organist/Choirmaster College to study theology in 1928. How- Company, Code #2847, Level 2 (E+

]] ] ever, his interests took a different direc- – M-), $49.95. St. Luke’s Episcopal Church www.jazzmuze.com tion, and he decided that college was not Here are forty easy hymn accompani- Live Oak, Florida 32064 203 386 9992 for him, so he dropped out in 1930. Cage ments designed to enhance hymn sing- [email protected] composed his Souvenir for organ in 1983. ing in worship. Each of the reproducible It has a more traditional character than hymns is arranged in two settings to be much of Cage’s work, and some of the played with the organist or pianist and is motifs are evocative of Gregorian chant. compatible with most hymnals. The first Kevin Walters The composition features contrasting setting encompasses the full three to five David Wagner registrations on the flues and reeds. octaves with chordal accompaniment, DMA M.A., F.A.G.O. The second featured composer with while the second version is for treble clef www.davewagner.net Pomona College connections is Karl only in a descant/ostinato style, played Rye, New York Kohn, born in Vienna in 1926, who came in octaves; many can be played without to the United States as a child. With his a bell table. There are popular titles and wife Margaret, Kohn toured the world general hymns that should be useful for for several decades playing concerts the entire church year. Alan G Woolley PhD KARL WATSON with her as a piano duo. After obtain- —Leon Nelson Musical Instrument Research FIRST PRESBYTERIAN CHURCH  ing bachelor’s and master’s degrees in Vernon Hills, Illinois Edinburgh  WOODBRIDGE, NJ [email protected] 

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected] 2036 - AGO 2018 – American Music . . . concert performances from a national organists convention in Kansas City. S A two-inch Professional Card in The Diapason E 2037 - Nathan Inaugurates Northrop . . . internationally- P DFFODLPHG$PHULFDQUHFLWDOLVW1DWKDQ/DXEHSOD\VWKH¿UVW For information on rates and specifications, contact Jerome Butera: T public concert on the renovated 108-rank Aeolian-Skinner [email protected] 608/634-6253 organ at the University of Minnesota.

2038 - A Day! . . . selections from special 2 Artist Spotlights 0 concerts featuring the world’s largest fully functional pipe Artist Spotlightspotlights organ at Macy’s Center City Store in Philadelphia, PA. 2 Artist Spotlights 0 2039 - ‘Saint’ Francis from France . . . some profound and are available on Your professional card entertaining compositions by the ‘bad boy’ of the 20th The Diapason century Parisian music scene, Francis Poulenc. website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 23 Calendar

20 OCTOBER Hans-Eberhard Roß; St. Martin, Mem- 7 OCTOBER This calendar runs from the 15th of the month Musica Sacra: Cathedral of St. John the mingen, Germany 7 pm Jens Korndörfer of issue through the following month. The deadline ; Frauenkirche, Dres- Divine, New York, NY 7:30 pm den, Germany 8 pm is the first of the preceding month (Jan. 1 for 16 SEPTEMBER Feb. issue). All events are assumed to be organ 21 OCTOBER Christian Schmitt; Kulturpalast, Dres- recitals unless otherwise indicated and are grouped 8 OCTOBER Nicholas Schmelter; Cathedral of St. den, Germany 8 pm Hans-Eberhard Roß; St. Martin, Mem- within each date north-south and east-west. •=AGO John the Evangelist, Milwaukee, WI 12:15 chapter event, • •=RCCO centre event, +=new organ mingen, Germany 7 pm pm 17 SEPTEMBER dedication, ++= OHS event. Joonho Park; St. James Basilica, 10 OCTOBER Information cannot be accepted unless it 25 OCTOBER Prague, Czech Republic 7 pm specifies artist name, date, location, and hour in Natalia Uzhvi; Münster, Überlingen, Nicholas Schmelter, with piano; Brook- Aigars Reinis; Cathedral, Merseburg, writing. Multiple listings should be in chronological field Congregational (UCC), Brookfield, WI Germany 12 noon Germany 11:30 am order; please do not send duplicate listings. 3 pm Edgar Krapp; Cathedral, Merseburg, Patrick Gläser; Augustinerkirche, Würz- THE DIAPASON regrets that it cannot assume Germany 7 pm burg, Germany 7:30 pm responsibility for the accuracy of calendar entries. UNITED STATES 18 SEPTEMBER 11 OCTOBER West of the Mississippi UNITED STATES Bernhard Pattis; Franciscan Church, Vi- Christian Bischof, with choir and brass, enna, Austria 7:30 pm Vierne, Messe solennelle; St. Margaret, East of the Mississippi 20 SEPTEMBER Ismaele Gatti; Cathedral, Merseburg, Munich, Germany 10:30 am + Stephen Tharp; St. John’s Benedictine Germany 12 noon Christian Bischof; St. Margaret, Mu- 18 SEPTEMBER Abbey Church, Collegeville, MN 3 pm Michael Schönheit, with piano; Cathe- nich, Germany 5 pm Nicholas Schmelter; Christ Lutheran, Angela Kraft Cross; Cathedral of St. dral, Merseburg, Germany 9:30 pm Kokomo, IN 7 pm Mary of the Assumption, San Francisco, CA Przemyslaw Kapitula; Cathedral, Laus- 14 OCTOBER Bradley Hunter Welch; Bethel Univer- 4 pm (livestream) anne, Switzerland 8 pm sity, Arden Hills, MN 7:30 pm Daniel Beckmann; St. Margaret, Mu- 27 SEPTEMBER 19 SEPTEMBER nich, Germany 8 pm 20 SEPTEMBER Jin Kyung Lim; Cathedral of St. Mary of Ansgar Schlei, with narrator, children’s Matthias Neumann; Kreuzkirche, Dres- Nathan Laube; St. Stephen’s Episcopal, the Assumption, San Francisco, CA 4 pm concert; Willibrordi-Dom, Wesel, Germany den, Germany 8 pm Durham, NC 4 pm (livestream) 5 pm Amanda Mole; St. Joseph Catholic Ca- , with trombones; Ca- 17 OCTOBER thedral, Columbus, OH 3 pm 4 OCTOBER thedral, Brussels, Belgium 8:30 pm Edgar Knapp; St. Margaret, Munich, Christoph Tietze, works of Tournemire; Germany 11:30 am 25 SEPTEMBER Cathedral of St. Mary of the Assumption, 20 SEPTEMBER Vincent Dubois; St. Paul Catholic Ca- San Francisco, CA 4 pm (livestream) Claus-Erhard Heinrich; St. Pankratius- 18 OCTOBER thedral, Pittsburgh, PA 7:30 pm Kirche, Güttersloh, Germany 5 pm Christian Bishof; St. Margaret, Munich, 11 OCTOBER Renate Sperger; St. Agnes, Hamm, Ger- Germany 11:30 am 26 SEPTEMBER Bruce Neswick; Christ Church Luther- many 6 pm James Kennerley; Merrill Auditorium, an, Minneapolis, MN 3 pm Stefan Engels; Evangelische Kirche, Portland, ME 7 pm (livestream) 23 SEPTEMBER Murrhardt, Germany 7 pm 16 OCTOBER David Timm, with saxophone; Pau- Wolfgang Weis, with saxophone; St. 27 SEPTEMBER ; Christ Cathedral, Garden luskirche, Hamm, Germany 6 pm Margaret, Munich, Germany 8 pm Craig Williams; Culpeper Baptist, Cul- Grove, CA 8 pm Jörg Endebrock; Kreuzkirche, Dresden, Jean-Baptist Monnot; Saint-Sulpice, peper, VA 4 pm Germany 8 pm Paris, France 4 pm 18 OCTOBER 28 SEPTEMBER David Hatt, Vierne, Symphonie VI; Ca- 24 SEPTEMBER 22 OCTOBER Katelyn Emerson, masterclass; Northrop thedral of St. Mary of the Assumption, San Irena Chribkova; St. James Basilica, David Cassan; St. Margaret, Munich, Auditorium, Minneapolis, MN 7 pm Francisco, CA 4 pm (livestream) Prague, Czech Republic 7 pm Germany 8 pm 29 SEPTEMBER 24 OCTOBER 25 SEPTEMBER 24 OCTOBER Katelyn Emerson; Northrop Auditorium, Jeannine Jordan, with media artist; First Jeremy Joseph, Manfred Tausch & Jo- Minneapolis, MN 7:30 pm Congregational, Anchorage, AK 4 pm hannes Ebenbauer; Franciscan Church, Christoph Bossert; St. Margaret, Mu- Vienna, Austria 7:30 pm nich, Germany 11:30 am 4 OCTOBER 25 OCTOBER Giulia Biagetti; Cathedral, Lausanne, Erwan Le Prado; Marktkirche, Han- Jeffrey Blersch, hymn festival; Zion Lu- Rachel Laurin; St. John’s Benedictine Switzerland 8 pm nover, Germany 12 noon theran, Wausau, WI 3 pm Abbey Church, Collegeville, MN 3 pm Isabelle Demers; St. John the Evange- Christoph Tietze; Cathedral of St. Mary 27 SEPTEMBER list, Islington, UK 7:30 pm 7 OCTOBER of the Assumption, San Francisco, CA 4 Jürgen Essl; Evangelische Kirche, Andrew Fredel; Cathedral of St. John pm (livestream) Murrhardt, Germany 7 pm 25 OCTOBER the Evangelist, Milwaukee, WI 12:15 pm Christian Bishof; St. Margaret, Munich, 3 OCTOBER INTERNATIONAL Germany 11:30 am 11 OCTOBER Ami Hoyano; Oratoire du Louvre, Paris, Donald Fellows; St. Paul Catholic Ca- France 4 pm Martin Sturm; St. Margaret, Munich, thedral, Pittsburgh, PA 3:30 pm 15 SEPTEMBER Germany 5 pm Johannes Trümpler; Cathedral, Merse- 4 OCTOBER 13 OCTOBER burg, Germany 12 noon Martin Gregorius, with soprano, trum- 28 OCTOBER Kenneth Stein; Campbellsville Univer- Rui Soares; Cathedral, Merseburg, Ger- pet, and cello; St. Pankratius-Kirche, Güt- Johannes Trümpler; Kulturpalast, Dres- sity, Campbellsville, KY 12:20 pm many 7 pm tersloh, Germany 5 pm den, Germany 8 pm

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24 Q THE DIAPASON Q SEPTEMBER 2020 WWW.THEDIAPASON.COM Recital Programs

PATRICK ALLEN, Grace Episcopal 625, Jesus Christus, unser Heiland, BWV d’une âme devant la gloire du Christ qui f-sharp, op. 28), Vierne; Fantasia on a Church, New York, NY, April 28: Prelude 626, Bach; Concerto in a, BWV 593, Viv- est la sienne (L’Ascension), Messiaen; Theme of Gustav Holst, Miller. and Fugue in c, BWV 546, Liebster Jesu, aldi, transcr. Bach. Hommage à Messiaen, Robinson; Cho- wir sind hier, BWV 633, 634, An Wasser- Grace Episcopal Church, New York, ral variations (Prélude, adagio, et choral GEORGE SARGEANT, Trinity flüßen Babylon, BWV 653, Fantasy and NY, May 12: Pastorale in F, BWV 590, varié sur le Veni Creator, op. 4), Duru- Church, Boston, MA, May 29: Sonata VI Fugue in g, BWV 542, Bach. Ich ruf’ zu dir, Herr Jesu Christ, BWV flé; Choral No. 2 in b, Franck; Passaca- in d, op. 65, no. 6, Mendelssohn; Resur- Grace Episcopal Church, New York, 639, Ach wie nichtig, ach wie flüchtig, glia in c, BWV 582, Bach; Prélude (Trois rection, King. NY, April 29: Fantasia super Komm, BWV 644, Toccata in C, BWV 564, Bach. Pièces pour orgue), Boulanger; Final heiliger Geist, Herre Gott, BWV 651, O Grace Episcopal Church, New York, (Symphonie I in d, op. 14), Vierne. JOSHUA STAFFORD, St. Peter’s Lamm Gottes, unschuldig, BWV 656, NY, May 13: Prelude and Fugue in e, Episcopal Church, Morristown, NJ, Alle Menschen müßen sterben, BWV 643, BWV 533, Jesu, Joy of Man’s Desiring, JEFFREY C. JOHNSON, Trinity April 22: Pièce héroïque (Trois pièces Prelude and Fugue in G, BWV 541, Bach. BWV 147, Arioso, BWV 1056, Bist du bei Church, Boston, MA, June 5: Prelude and pour grand orgue), M 37, Franck; Ber- Grace Episcopal Church, New York, mir, BWV 508, Air (Orchestral Suite in Fugue in C, BWV 547, Bach; Pastorale ceuse à la mémoire de , Co- NY, April 30: Schmücke dich, O liebe D, BWV 1068), Sheep May Safely Graze, (Vingt-quatre pièces en style libre, op. 31, chereau, transcr. Blanc; Sonata eroïca, Seele, BWV 654, Sonata in E-flat, BWV BWV 208, Fugue in g, BWV 578, Bach. book 2, no. 8), Vierne; Prière du Christ op. 94, Jongen. 525, Pièce d’orgue, BWV 572, Bach. Grace Episcopal Church, New York, montant vers son Père (L’Ascension), St. Peter’s Episcopal Church, Mor- Grace Episcopal Church, New York, NY, May 14: Prelude and Fugue in C, Messiaen; Choral Variations on Veni ristown, NJ, April 29: Finlandia, op. NY, May 1: Fugue in b, BWV 579, In BWV 553, Partita diverse sopra Sei Creator Spiritus, op. 4, Duruflé. 26, Sibelius, transcr. Fricker; Mon dich hab ich gehoffet Herr, BWV 640, gegrüßet, Jesu gütig, BWV 769, Canzona coeur s’ouvre à ta voix, Saint-Saëns, Meine Seele erhebt den Herren, BWV in d, BWV 588, Bach. MICHAEL KLEINSCHMIDT, St. transcr. Lemare; Carmen Fantasy, Bizet, 648, Nun danket alle Gott, BWV 657, Grace Episcopal Church, New York, Mark’s Episcopal Cathedral, Seattle, transcr. Lemare. Sonata in e, BWV 528, Bach. NY, May 15: Prelude and Fugue in D, WA, May 8: Toccata and Fugue in d, St. Peter’s Episcopal Church, Mor- Grace Episcopal Church, New York, BWV 556, Prelude and Fugue in a, BWV BWV 565, Toccata, Adagio, and Fugue ristown, NJ, May 6: Symphonie III in f- NY, May 5: Prelude and Fugue in G, 559, Bach; Concerto in d, BWV 596, Viv- in C, BWV 564, Toccata and Fugue in F, sharp, op. 28, Vierne. BWV 550, Christ ist erstanden, BWV aldi, transcr. Bach; Vater unser im Him- BWV 540, Passacaglia and Fugue in c, St. Peter’s Episcopal Church, Morris- 627, Erstanden ist der heilge Christ, melreich, BWV 636, Prelude and Fugue BWV 582, Bach. town, NJ, May 13: Cortège et litanie, op. BWV 628, Erschienen ist der herrliche in d, BWV 554, Bach. 19, no. 2, Dupré; Chant de Mai (2 Pièces, Tag, BWV 629, Es ist das Heil uns kom- ADAM PAJAN, St. John’s Episcopal op. 53, no. 1), Jongen; Final, op. 21 (Six men her, BWV 638, Toccata and Fugue JOSEPH ARNDT, St. John’s Episco- Church, Tulsa, OK, May 6: Sonata I in d, pièces pour grand orgue, no. 6), Franck. in d, BWV 538, Bach. pal Church, Tulsa, OK, May 20: Fanta- op. 42, Guilmant. St. Peter’s Episcopal Church, Morris- Grace Episcopal Church, New York, sia, Alcock; Tuba Tune, Lang; Prélude, St. John’s Episcopal Church, Tulsa, town, NJ, May 20: Suite, op. 5, Duruflé. NY, May 6: Prelude and Fugue in C, Fugue, et Variation, op. 18, Franck; Toc- OK, May 13: Coronation March (Le St. Peter’s Episcopal Church, Mor- BWV 545, Heut triumphieret Gottes cata (Symphonie V, op. 42, no. 1), Widor. Prophète), Meyerbeer, transcr. Warren, ristown, NJ, May 27: Ciaccona, Storace; Sohn, BWV 630, Komm, Gott Schöp- Pajan; Trio super Allein Gott in der Höh’ Concerto in a, BWV 593, Vivaldi, transcr. fer, Heiliger Geist, BWV 631, Herr Jesu MATTHEW DION, Christ Congre- sei Ehr, BWV 676, Wir glauben all an Bach; Prélude et danse fuguée, Litaize. Christ, dich zu uns wend, BWV 632, gational Church, Brockton, MA, June einen Gott, BWV 680, Bach; Elegie, op. St. Peter’s Episcopal Church, Mor- Durch Adams Fall ist ganz verderbt, 10: Plein jeu, Marchand; Tierce en taille 54, no. 2, Hielscher; Flourish for an Oc- ristown, NJ, June 10: Processional BWV 637, Toccata and Fugue in F, BWV (Premier Livre d’orgue), DuMage; Prae- casion, Harris. (Herod), Idyll, Impromptu No. 1, 540, Bach. ludium in d, BuxWV 140, Nun bitten wir St. John’s Episcopal Church, Tulsa, Coleridge-Taylor; Retrospection, Suite Grace Episcopal Church, New York, den heiligen Geist, BuxWV 208, Bux- OK, May 27: La Cité céleste, Rogg; Pre- for Organ, Price. NY, May 7: Prelude in E-flat, BWV 552i, tehude; Prelude and Fugue in a, BWV lude and Festival March, Foote; Sonata Kyrie, Gott Vater in Ewigkeit, BWV 669, 543, Bach; Clair de lune (24 Pièces de Eroïca, op. 94, Jongen. JOHN W. W. SHERER, harmonium, Christe, aller Welt Trost, BWV 670, Ky- fantaisie, Deuxième suite, op. 53, no. Sherer residence, live-stream, Chicago, rie, Gott heiliger Geist, BWV 671, Fugue 5), Vierne; Acclamations sur le texte DARYL ROBINSON & Christina IL, May 15: Entrée, Franck; Prélude in E-flat, BWV 552ii, Bach. des Acclamations Carolingiennes (Suite Carroll, snare drum, Christ Church Ca- modal (Vingt-quatre pièces pour harmo- Grace Episcopal Church, New York, Médiévale), Langlais. thedral, Houston, TX, May 18: Grand nium ou orgue, op. 6), Langlais; Lied (24 NY, May 8: Allabreve in D, BWV 589, Choeur Dialogué (Six Pièces d’orgue, Pièces en style libre pour orgue ou har- Wir danken dir, Herr Jesu Christ, BWV STEPHEN HAMILTON, Aspen no. 6), Gigout; Boléro sur un thème de monium, op, 31, no. 17), Vierne; Scherzo 623, Hilf, Gott, daß mir’s gelinge, BWV Community United Methodist Church, Charles Racquet, Cochereau; Two Scher- in d, op. 31, Guilmant; Interlude, Brewer; 624, Christ lag in Todesbanden, BWV Aspen, CO, June 30: Transports de joie zos, Roberts; Adagio (Symphonie III in Grand Chorus in D, Renaud.

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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black finish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classified ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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Certified appraisals—Collections of Fruhauf Music Publications. The first Raven has released a 2-CD set, Piano students will recognize Men- organ books, recordings, and music, complimentary issue of the 2020–21 : Trois Danses and Other delssohn’s “Spinning Song.” Gaul for divorce, estate, gift, and tax pur- season is a group of three settings of Organ Works, played by Christophe brings this well-known piano standard poses. Stephen L. Pinel, Appraiser. the Gregorian plainchant, Conditor Mantoux on the 1890 Cavaillé-Coll from Songs Without Words to the 629 Edison Drive, East Windsor, NJ Alme Siderum for organ solo. This pub- 4-manual organ at St-Ouen in Rouen, organ in a fast and light piece for your 08520-5205; phone: 609/448-8427; lication of Prélude et Choral Fugué and France. The recording received the program. michaelsmusicservice.com; email: [email protected]. Fantaisie honors two remarkable ladies 704/567-1066. for whom the pipe organ has offered a French Grand Prix du Disque in its ini- special and unique medium for musical tial release as a single CD in 1992 on Raven imports for sale in America communication. The first two settings a small French label, Studio SM, with The new Nordic Journey series of CD the CD recordings of British harpsi- are dedicated to Dr. Emma Lou Diemer, fewer of Alain’s works included, and recordings reveals premiere recordings chordist and builder Colin Booth, on musician, composer, teacher, and per- was reissued in 2009 on the Motette of symphonic organ music—much of his Soundboard CD label. His most former—and a West Coast colleague label. The Raven 2-CD release includes it still unpublished—from Nordic com- recent release is a 2-CD set of Book 2 of many years. The Fantaisie bears additional works recorded in the same posers, played by American organist of Bach’s Well-Tempered Clavier, fol- an inscription to Dr. Irene Robertson sessions but never released, with new James Hicks on a variety of recently lowing on the release in 2019 of Book 1, and is offered as an In memoriam to a editing by Mantoux and new mastering. restored Swedish organs. It’s a little bit like Widor, Reger, and Karg-Elert, also in a 2-CD set. Both have received fine musician, teacher, and performer, Raven OAR-163 2-CDs for the price of outstanding reviews in the early music but with a Nordic twist. Check it out at in recognition of her many years at one $15.98 postpaid in the U.S. from press. He plays a 2-manual harpsichord the University of Southern California. www.proorgano.com and search for the he built in 2016 as based on the design Please visit www.frumuspub.net’s RavenCD.com 804/355-6386 and also term “Nordic Journey.” of an instrument of 1661 and signed by home page Bulletin Board for news of from Amazon, E-Bay, etc. Nicholas Celini, but with an extended this and other upcoming gratis PDF PIPE ORGANS FOR SALE compass. Booth had restored the origi- web publications. The Organ Historical Society nal Celini harpsichord in 2013. Celini e-shoppe offers a new DVD by Fugue 1954 Walcker, 2 manuals and was working in Narbonne in southern ChicAGO Centenary Anthology, by State Films, The English Organ, a pedal, 8 stops, tracker action. Great France when the original instrument Alan J. Hommerding, Paul M. French, three-part documentary presented by condition, excellent voicing, well was built. Booth observes that the Richard Proulx, et al. This joint effort of Daniel Moult. In addition to three hours maintained. Free standing oak case. instrument “has strong similarities to the Chicago Chapter of the American of documentary, almost eight hours of Suitable for home or chapel. $18,000 some German instruments, such as Guild of Organists and World Library music is presented on DVD or CD (in or best offer. Contact: Julio Blanco- those by Mietke, but is of a rather more Publications presents specially com- Eccleston: [email protected], intimate character.” The 2-CD sets both stereo and surround). More than missioned organ works by Chicago thirty organs have been filmed and 703/582-8308. include an extensive essay by Booth on composers, as well as rare or unpub- the works, temperament, performance lished pieces by earlier organists from recorded, including Christ Church Spit- considerations, etc., and are SBCD- the city including Leo Sowerby. Also alfields, Truro Cathedral, Sydney Town Recent studio or antiphonal organ 218 WTC Book 1, and SBCD-219 includes a jubilant Bailado Brasileiro Hall, St. George’s Hall Liverpool, St. (2008), 2/6 + Mixture. Beautiful custom WTC Book 2, each 2-CD set are sold by Richard Proulx, the AGO’s 2006 Paul’s Cathedral , and King’s pipework, OSI chests, Peterson relay, for $16.98 postpaid in the U.S. from Composer of the Year! 003074, $25.00, College. The set can be ordered for $98. additions available $5,000. André CT RavenCD.com 804/355-6386. 800/566-6150, Wlpmusic.com. For information: https://ohscatalog.org. 860/664-0046 [email protected]

A gift subscription to The Diapason The perfect gift for + organist colleagues + teachers + organ builders + students + choir directors + clergy Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music field. Know that your gift will be just right. For information, THE DIAPASON, P.O. Box 300, Lincolnshire, IL 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: 847/763-4933. Or visit th 2320 West 50 Street * Erie, PA 16505-0325 www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $44 one year USA; $35 one year digital; $20 one year student

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

PIPE ORGAN BUILDERS, LTD. LAKE CITY, IOWA 51449 (712) 464-8065

5R\5HGPDQ PEEBLES-HERZOG, INC. 5HGPDQ3LSH2UJDQV//& 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 JL Weiler , Inc. 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders Museum-Quality Restoration www.peeblesherzog.com Member, International Society of Organ Builders of Historic Pipe Organs jlweiler.com e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 THE DIAPASON Suite 201 e-mail [email protected] Arlington Heights, IL 60005 web www.TheDiapason.com

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

Two-manual, 11-rank pipe organ Zoller home pipe organ (1985) for Excellent used pipes, moderate Releathering all types of pipe with unit chests; also mixture III and sale. One manual and fl at pedalboard, scales and wind pressures, very clean, organ actions and mechanisms. aeoline (no chests). Wicks console, cherry case with doors, bench. Six like new, 1/4 to 1/3 cost of new pipes. Highest quality materials and work- ′ blower, reservoir. Some casework. stops divided at middle C: 8 Stopped Specifi cations and photos available. manship. Reasonable rates. Colum- ′ ′ $2,500. Includes trumpet, oboe, wald- Diapason, 8 Krummhorn, 4 Flute; 615/274-6400, dennis@milnarorgan. bia Organ Leathers 800/423-7003. 2-2/3′ Nazard, 2′ Principal, 1-3/5′ horn reeds. Roller relay board. Extra com, www.milnarorgan.com www.columbiaorgan.com/col. Tierce (no pipes). $15,000 or best Reisner magnets. Denver area. Buyer offer, buyer to remove, located New- removes. [email protected] castle, Maine. 207/563-5679. POSITIONS AVAILABLE Aeolian/Robert Morton-style maroon leather is now available Wanted: Organists visiting Maui. from Columbia Organ Leathers! Exceptional original Baroque organ Pfeffer and Debierre organs. Circa case with elegant carvings (18th Lahaina’s Holy Innocents Episcopal Highest quality. 800/423-7003, 1860 Pfeffer eight-rank organ, available Church invites visiting organists to play century) containing a well-conserved www.columbiaorgan.com. rebuilt and custom fi nished. Also 1884 its Beckerath Positiv organ at Sunday Romantic Belgian organ (19th or choir organ by Louis Debierre. Both are services. Built in 1972 by Rudolf von pictured on the Redman website: www. ANNOUNCEMENTS 20th century) by Pierre Schyven. Two Beckerath and then-apprentice Hans- redmanpipeorgans.com. manuals and pedal; 17 stops, 18 ranks. Ulrich Erbslöh for Honolulu’s Lutheran THE DIAPASON Manual/pedal key compass 56/30. Church, the 408-pipe Shrankpositiv has E-Newsletters are Depth 10.5′; height 15.5′; width 15.3′. Patrick J. Murphy & Associates a 54-note “split” manual, 30-note pedal, e-mailed monthly to subscribers who For sale, with installation available. Opus #47 (2006). Three manuals, 61 11 stops, 8 ranks, and 6 registers. Holy sign up to receive them. Don’t miss the Inquiries: [email protected]. stops, includes 32′ Bombarde. Read- Innocents acquired the instrument in latest news, featured artists, and classi- Tel. 00 34 629 30 17 18. ing, Pennsylvania. $200,000, exclusive 1977 and moved it to Maui where it has fi ed ads—all with photos—some before of OCH fees and relocation costs. been played by parish musicians such they appear in print! Visit www.The- Video recordings and layout plans are as Carol Monaghan and visiting artists Diapason.com and click on Subscribe Bosch Opus 518 (1968) for sale. available by request. Contact John including Angus Sinclair of Canada to our newsletter. For assistance, con- Tracker action, 16 ranks, 12 stops, Bishop, the Organ Clearing House, and Dalibor Miklavcic of Slovenia. The tact Stephen Schnurr, 847/954-7989, Hauptwerk, Schwellwerk (expres- [email protected]. instrument is extremely responsive [email protected]. sive), Pedal. Excellent condition. and fi lls the worship space beautifully. Detached console. Buyer to remove Aeolian-Skinner, 1962. III/50. The parish community is “exemplary Postal regulations require that mail to THE from Seattle, Washington, by 2/26/21. $45,000. For more information, visit in its hospitality to all visitors,” and DIAPASON include a suite number to assure Best offer. Contact for pictures and https://www.organclearinghouse.com/ that especially includes visiting organ- delivery. Please send all correspondence to: T DIAPASON details: Howard Wolvington, howard@ HE , 3030 W. Salt Creek Lane, Suite organs-for-sale#/2997-aeolianskinner- ists. For information: 808/661-4202; 201, Arlington Heights, IL 60005. utemple.org, 425/761-4729. new-york-city holyimaui.org.

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2020 Q 27 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] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2022

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Katelyn Emerson

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2022

Stefan Engels* * Janette FishellDavid Goode* Thomas Heywood* David Higgs

Choirs Available

Christ Church Cathedral Oxford, (April 2021)

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Colin MacKnight Amanda Mole Saint Thomas Church Fifth Avenue, New York City (October 2021) New College Oxford, United Kingdom (Spring 2022) Trinty College Cambridge United Kingdom (September 2022) Alan Morrison James O’Donnell* Thomas Ospital* Daryl Robinson Daniel Roth* Jonathan Ryan

Celebrating Our 99th *=Artists based outside Season! the U.S.A. Todd Wilson Christopher Young