THE DIAPASON APRIL 2018

St. Patrick Catholic Church Huntington, New York Cover feature on pages 26–27 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ

ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN

DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER ™ 50th Anniversary Season ™ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 4, As I write this message, not quite halfway through Lent, I Whole No. 1301 realize that you will likely be reading this shortly after Easter. APRIL 2018 For those of us who are church musicians, I hope that you fi nd Established in 1909 your schedules to be less hectic in the months ahead. This Stephen Schnurr ISSN 0012-2378 morning, I drove my lawn mower to the next town to have its 847/954-7989; [email protected] spring tune-up. Many of us look forward to getting out of the www.TheDiapason.com An International Monthly Devoted to the Organ, house and offi ce as spring approaches. the Harpsichord, Carillon, and Church Music In April, make the commitment to have your own personal created and shared with her students, her congregation, and tune-up, now that we have passed winter’s months. Take the her audiences. CONTENTS time to read (especially this month’s issue), attend a concert, Steven Egler has gifted us with several interviews of some of FEATURES recital, or participate in a church service elsewhere than America’s fi nest church musicians. This month, he introduces Remembering Yuko Hayashi (1929–2018) where you serve (glance through our calendar of events for a us to Morgan and Mary Simmons, who spent decades in music by Leonardo Ciampa 18 myriad of opportunities). Seek opportunities to interact with ministry at Fourth Presbyterian Church on the Magnifi cent A conversation with Morgan and Mary other church musicians in a way that is relaxing and energiz- Mile of downtown Chicago. When I fi rst moved to the Chicago Simmons ing. Plan to attend a summer conference, institute, conven- metropolitan area from graduate school, Morgan graciously by Steven Egler 21 tion, or workshop. Our annual listing of these events is to be engaged me for my fi rst recital in the big city. In his true style NEWS & DEPARTMENTS found in this issue. of hospitality, he treated my parents and me to an unforgettable Editor’s Notebook 3 If your church, college, or civic organization is having a sum- lunch afterwards at the Signature Room of the John Hancock Here & There 3 mer series of concerts that would be of interest to our readers, Tower, across Michigan Avenue from the church. This was the Appointments 6 be sure to send us notice for our calendar and Here & There sort of hospitality Morgan and Mary have given their entire lives. Nunc Dimittis 10 sections. Here in the Chicago area, there are several weekly John Bishop, in “In the Wind,” discusses what goes into fi g- Harpsichord Notes by Larry Palmer 10 summer series of organ recitals that are within a day’s drive that uring the cost of a new or relocated pipe organ. It is interesting In the wind . . . by John Bishop 14 offer incredible culture and personality. to understand how certain features of an instrument can infl u- On Teaching by Gavin Black 16 ence the fi nal cost of a project. In “On Teaching,” Gavin Black REVIEWS In this issue continues his discussion, “What is performance?” Choral Music 12 We are pleased to present a remembrance and tribute to Our cover feature is Glück Pipe Organs instrument in St. New Organ Music 12 the late Yuko Hayashi by Leonardo Ciampa. Hayashi was a Patrick Catholic Church, Huntington, New York. Twin con- New Recordings 13 musician and educator who exuded a quiet, yet fi rm infl u- soles control the three-manual instrument in the rear gallery New Handbell Music 13 ence on countless organ students for over a generation. I of the nave as well as the two-manual organ in the sanctuary. remember meeting her at Old West Church approximately Much of the pipework is from Roosevelt Opus 408, removed SUMMER CONFERENCES 28 15 years ago, a gracious woman who lived the music she from a closed church in Brooklyn before it was demolished. Q CALENDAR 29 RECITAL PROGRAMS 33 Here & There CLASSIFIED ADVERTISING 34 Events St. John’s Episcopal Church, Savan- The Evangelical Lutheran Church nah, Georgia, continues 2018 musical THE of the Holy Trinity, New York, New events: April 7, Parker Ramsey, organ; York, concludes its annual Bach Vespers 4/28, Taylor Festival Choir; May 20, John DIAPASONTHE DIAPASONAPRIL 2018 series, its fi ftieth anniversary: April 1, Sabine, organ, followed by Evensong. APRIL 2018 Bach, Easter Oratorio; 4/8, Bach, Can- For information: tata 4; 4/25, Bach, Mass in B Minor. For www.stjohnssavannah.com. information: www.bachvespersnyc.org.

St. Patrick Catholic Church Huntington, New York Cover feature on pages 26–27

Peachtree Road United Methodist Church, Atlanta, Georgia, Mander organ

Peachtree Road United Methodist St. Patrick Catholic Church Huntington, New York Cover feature on pages 26–27 Church, Atlanta, Georgia, continues its music events: April 5, Three Choirs Festi- val; 4/22, Coro Vocati; June 3, Pilgrimage to England Preview Concert, with the COVER Chancel Choir. For further information: Glück Pipe Organs, New York, New York; www.prumc.org. Saint Patrick Catholic Church, Huntington, New York 26

Editorial Director STEPHEN SCHNURR and Publisher [email protected] 847/954-7989

President RICK SCHWER [email protected] 847/391-1048 Washington National Cathedral Editor-at-Large ANDREW SCHAEFFER [email protected] Washington National Cathedral, Fisk Opus 98, First Presbyterian Church, Washington, D.C., continues Sunday Evansville, Indiana Duke Chapel, Duke University, Durham, Sales Director JEROME BUTERA afternoon organ recitals: April 1, Easter North Carolina, Aeolian organ [email protected] 608/634-6253 Day organ recital; 4/8, James Kealey; First Presbyterian Church, Evans- Circulation/ 4/15, Axel Flierl; 4/22, Jamila Javadova- ville, Indiana, continues its season of Duke University Chapel, Durham, Subscriptions KIM SMAGA Spitzberg; 4/29, Joseph Ripka; May musical events. The First Friday Recital North Carolina, continues special musi- [email protected] 847/481-6234 6, Aaron Goen; 5/13, Jeremy Filsell; Series, featuring C. B. Fisk, Inc., Opus cal events: April 22, David Briggs. Cho- 5/27, Mark Thewes and Chad Pitt- 98, begins at 7:00 p.m.: April 6, Leah ral and instrumental programs include: Designer KIMBERLY PELLIKAN man; June 3, Chuck Seipp and Randall Martin; May 4, Collin Miller; June 1, April 8, J. Samuel Hammond, carillon; [email protected] 847/391-1024 Sheets, trumpet and organ; 6/10, Rob- Katie Burk; July 6, Yumiko Tatsuda. Also 4/8, John Ferguson, hymn festival; May ert Knupp; 6/17, Michal Markuszewski; offered: April 29, Messiah, Parts Two 6, Ascension Evensong with Messiaen, Contributing Editors LARRY PALMER 6/24, Tyler Boehmer; July 4, Indepen- and Three, with the Choir School. For L’Ascension. For information: Harpsichord dence Day Concert. For information: further information: https://chapel.duke.edu. BRIAN SWAGER https://cathedral.org/music/organ/. http://fi rstpresevansville.com. ³ page 4 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. Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Canada Copyright ©2018. Printed in the U.S.A. GAVIN BLACK and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 shipping. Other No portion of the contents of this issue may be reproduced in any form without the On Teaching foreign subscriptions: 1 yr. $42 + 30 shipping; 2 yr. $75 + $40 shipping; 3 yr. $100 + $48 shipping. specifi c written permission of the Editor, except that libraries are authorized to make Digital subscription (no print copy): 1 yr. $35. Student (digital only): $20. Single copies $6 (U.S.A.); photocopies of the material contained herein for the purpose of course reserve reading Reviewers Richard Hoskins $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Sarah Mahler Kraaz Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the Myron B. Patterson 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 3 Here & There

³ page 3 Musica Sacra San Antonio, San Antonio, Texas, Owen Duggan, music director, concludes its eighth concert series: April 8, Encounters, Music of John Taverner and John Tavener, with the Viols of Austin Baroque, Little Flower Basilica. For information: [email protected].

Westminster United Church, Win- nipeg, Manitoba, Canada, concludes its series of organ recitals, April 8, Rachel Mahon. For information: http://westminsterchurch.org. Elisa Bickers Justin Hartz Jason Wright Spivey Hall, Clayton State University, Morrow, Georgia, Ruffatti organ Concert Artist Cooperative, beginning its 31st season, announces the addition of three new members to its roster: Elisa Bickers, Justin Hartz, and Jason Wright. Schweitzer Memorial Organ, built by Bickers serves as principal organist of Village Presbyterian Church, Prairie Village, Fratelli Ruffatti: April 14, Alcee Chriss. Kansas, and is active as an organist and harpsichordist. Hartz, a freelance historical For information: www.spiveyhall.org. keyboard artist, is one of the staff organists at Longwood Gardens, Kennett Square, Pennsylvania, playing for thousands of visitors each year. Wright is a choral conduc- tor, organist, and music educator, based in Hilton Head, South Carolina, where he serves as organist/choirmaster of All Saints Episcopal Church. The non-traditional artist representation was founded in 1988 by Beth Zucchino and is now directed by Monty Bennett. For information: www.concertartistcooperative.com.

Ransdell Chapel, Campbellsville Uni- versity, Campbellsville, Kentucky

Campbellsville University, Camp- bellsville, Kentucky, concludes its 10th annual noon concert series in Ransdell Chapel: April 10, Wesley Roberts. For Shadyside Presbyterian Church further information: www.campbellsville.edu. Shadyside Presbyterian Church, Pittsburgh, Pennsylvania, concludes its St. Paul’s Episcopal Church, Music in a Great Space Concert Series, Greenville, North Carolina, concludes Sundays at 3:00 p.m.: April 15, Katelyn its music series: April 11, Canterbury Emerson, organist. Cathedral Choir of Men and Boys. For Music for Midsummer Nights takes information: www.stpaulsepiscopal.com. place Wednesdays at 7:00 p.m.: June 6, How Can I Keep from Singing?: An Eve- Blue Heron, Scott Metcalf, artistic ning of American Music, with Pittsburgh director, concludes its season at First Camerata; 6/13, Happy Birthday, Irving Church, Congregational, Cambridge, Berlin, with mezzo-soprano Suzanne Massachusetts: April 14, The Iberian DuPlantis, baritone Randall Scarlatta, and Lou Anna and Randall Dyer, center, owners of Randall Dyer & Assoc., Inc, are pic- Songbook: Spanish songs and dances, pianist Harold Evans; 6/20, pianist James tured with extended family in front of Opus 100. 1450–1600. For information: W. Iman; 6/27, organist Justin Wallace. www.blueheron.org. For information: www.shadysidepres.org. Randall Dyer & Associates, Inc., Opus 100 was dedicated January 21 in First United Methodist Church, Lebanon, Tennessee. Andrew Risinger, organist of West Spivey Hall, Clayton State Univer- Holy Trinity Lutheran Church, End United Methodist Church, Nashville, played the program, joined by the church’s sity, Morrow, Georgia, concludes events Lynchburg, Virginia, continues its choir under the direction of Windell Little, director of music. For information: for its annual series featuring the Albert ³ page 6 www.rdyerorgans.com.

Forest Lake Presbyterian Church, Co- Rendering for Saemoonan Presbyterian lumbia, South Carolina (photo credit: Sébas- Church, Seoul, South Korea tien Kardos)

Casavant Frères, Limitée, Saint-Hyacinthe, Québec, Canada, completed a new organ for Forest Lake Presbyterian Church, Columbia, South Carolina, in time for Christmas 2017. The instrument features two manuals, 27 ranks. For the bless- ing of the new Cathedral of the Sacred Heart of Jesus in Knoxville, Tennessee, “superb musicianship, masterly technique and savvy programming … Archer’s on March 3, Casavant completed the fi rst phase of installation of its three-manual, sweeping assurance and stamina enable you to hear the music behind the virtuosity.” 67-rank organ, to include the Great, Choir, and Pedal divisions. Also in 2018, Casa- — GRAMOPHONE (JAN 2018) — vant will complete a four-manual, 79-rank organ for the 2,700-seat sanctuary of Sae- moonan Presbyterian Church, Seoul, South Korea. For information: MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com www.casavantfreres.com.

4 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 Appointments series of concerts, Sundays at 4:00 p.m.: Steven Grahl is appointed organist for Christ April 15, Ahreum Han; May 13, Con- Church Cathedral, Oxford, UK, effective Septem- certed: Baroque Strings and Organ. For ber 2018. He succeeds Stephen Darlington, who further information: has been organist of Christ Church for 32 years. www.holytrinitylynchburg.org. Grahl will also have duties with the Faculty of Music for the university and the college. The Lafayette Master Chorale of Grahl has served as music director for Peterbor- Lafayette, Indiana, continues its 53rd ough Cathedral since 2014, is a Junior Fellow of season: April 15, A Peaceable Kingdom, the Royal Birmingham Conservatoire, conductor featuring the work of Randall Thomp- St. Chrysostom’s Church, Fisk organ of Schola Cantorum, Oxford, and president of the son, St. Boniface Catholic Church; Steven Grahl (photo Incorporated Association of Organists. In addition, April 21, Peace on Earth . . . and Lots St. Chrysostom’s Episcopal Church, credit: David Lowndes) he is conductor of the Peterborough Choral Society of Little Crickets, with children’s voices, Chicago, Illinois, continues its musical and the Stamford Chamber Orchestra. Previous Immanuel United Church of Christ. events: April 22, Choral Evensong; 4/24, positions include assistant organist of New College, Oxford, and organist For information: Jory Vinikour, harpsichord, and Anna and director of music for St. Marylebone Parish Church, London. http://lafayettemasterchorale.org. Reinhold, mezzo-soprano; May 20, David His work at Peterborough Cathedral has focused on developing the choir Schrader performs Mendelssohn’s six of 50 boy and girl choristers, working with choral and organ scholars, and organ sonatas. For information: making recordings. He has presented solo organ recitals in venues such as www.saintc.org. King’s College, Cambridge, and the London Oratory, and was a fi nalist at both the St Alban’s and Dudelange (Luxembourg) international organ com- petitions. For information: www.chchchoir.org.

Ahreum Han is appointed director of music and organist at First Presbyterian Church, Fort Worth, Texas. Han will oversee the broad music program, working closely with music associates Becca Sawyer and Laura Collins. First Presbyterian Church has fi ve singing choirs, two handbell choirs, and two instrumental ensembles for adults, youth, and chil- Klais organ, Overture Hall, Madison, dren. Han will play the 1995 Dan Garland organ of Wisconsin fi ve manuals, 133 ranks between chancel and gal- lery divisions. She will reestablish the church’s Penn Madison Symphony Orchestra, Street Arts concert series. Madison, Wisconsin, concludes its sea- Ahreum Han Prior coming to Fort Worth, she served on the son of solo organ recitals in Overture organ faculty at Iowa State University, Ames, Iowa, Hall: April 17, Isabelle Demers; May 11, and was college organist at Cornell College, Mount Vernon, Iowa. She has served Gregory Zelek. For information: as principal organist and artist-in-residence at First Presbyterian Church, Dav- www.madisonsymphony.org. enport, Iowa; principal organist at First Presbyterian Church, West Chester, Pennsylvania; organist at Marquand Chapel of Yale Divinity School; organist for The Cathedral Church of the the Berkeley Divinity School of Yale University, New Haven, Connecticut; and Advent, Birmingham, Alabama, con- organist for St. Andrew’s Episcopal Church, Stamford, Connecticut. Recently, cludes its music series events: April 13, St. Luke’s Episcopal Church, Evanston, she released a new CD on the Raven label, Orpheus in the Underworld, featur- Joel Bacon; 4/19, Highland Consort; Illinois, Skinner organ ing the 1980/1998 Casavant organ in First Presbyterian Church, Davenport, 4/29, Choral Evensong. Iowa. Upcoming recitals include the Kimmel Center in Philadelphia and the The cathedral’s Mid-Day Music Series, Opus 327 NFP, a not-for-profi t Riverside Church in New York City. For information: www.ahreumhan.com. Fridays at 12:30 p.m., concludes April organization founded by St. Luke’s Epis- 27, with Samford University A Cappella copal Church, Evanston, Illinois, for the Davide Mariano is appointed young artist in Choir. The cathedral organ was built in preservation of the church’s 1922 Skin- residence at the Cathedral-Basilica of St. Louis, King 1988 by M. P. Möller and consists of four ner organ, concludes this year’s concert of France, New Orleans, Louisiana. A native of Italy, manuals and 6,056 pipes. For informa- series: April 22, 3:30 p.m., Messiaen Dip- Mariano is active as a recitalist in Europe, the United tion: www.adventbirmingham.org. tyque and Quartet for the End of Time. States, and Canada, having performed in venues in For information: www.opus327.org. Paris, Vienna, Madrid, Barcelona, Munich, Tokyo, Kyoto, Osaka, and Los Angeles. He has appeared at Quire Cleveland continues its tenth festivals in Rome, Amsterdam, Helsinki, Copenha- season: April 27–29, Let the Heavens gen, and Toulouse. As an organist, harpsichordist, Rejoice: Celebratory Psalms for Voices and pianist, he collaborates with diverse groups, and Instruments, Cleveland and Akron; Davide Mariano (photo including the Orchester Wiener Akademie, Tokyo May 12, The Land of Harmony: Ameri- credit: Hiroharu Takoda) Symphony Orchestra, Musica Angelica Los Angeles can Choral Gems, Holland Theatre, Baroque Orchestra, Israel Chamber Orchestra, and Bellefontaine. For information: Sapporo Symphony Orchestra. A prizewinner in six international competitions, www.quirecleveland.org. he graduated with honors from conservatories in Paris and Vienna. Mariano has been organist in residence for one year at the Sapporo Concert Trinity Lutheran Church, Worces- Hall “Kitara,” Japan. During his tenure in New Orleans, he will give recitals, a ter, Massachusetts, concludes its season, masterclass for the New Orleans Chapter of the American Guild of Organists, Reformation: Past, Present, Future: and appear with the Louisiana Philharmonic Orchestra. Q April 29, Bay State Winds. For informa- tion: http://trinityworc.org.

The North Shore Chapter of the American Guild of Organists will St. Ignatius Loyola Catholic Church, celebrate its 60th anniversary, Sunday, New York, New York, Mander organ April 29, 4:00 p.m., at First Presbyterian Church, Evanston, Illinois. The event Sacred Music in a Sacred Space will include a recital by chapter deans continues its season of concerts at St. and a banquet. For information: Ignatius Loyola Catholic Church, New spitzfl [email protected]. York, New York, which celebrates the 25th anniversary of the church’s N. P. Mander organ of four manuals, People 68 stops. The organ was featured in the David Jonies presents recitals: April November 2017 issue. Organ recitals 10, Cathedral of the Immaculate Con- conclude with a performance by David ception, Albany, New York; 4/13, Illinois Higgs, April 15. College, Jacksonville, Illinois; June 20, Additional programs with organ Cathedral of St. John the Evangelist, include: May 23, Poulenc, Concerto Milwaukee, Wisconsin; July 21, St. Mar- for Organ, Strings, and Timpani, with tin’s Church, Deggendorf, Germany; AUSTINORGANS.COM Renée Anne Louprette. Guest choral 7/29, St. Nikola Church, Passau, Ger- 
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group Chanticleer performs April 26. many; August 29, Queen of the Rosary For information: Chapel, Sinsinawa, Wisconsin. www.smssconcerts.org. ³ page 8

6 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Th ank You. St. Peter’s Basilica, Vatican, is the largest church in the world. Its size creates special challenges for an organ. Large scaling of an instrument creates excessive volume near the organ, but still not enough to fi ll the entire sanctuary. Th e Vatican chose an Allen Organ with a fl exible audio solution to resolve this challenge. During the 2017 Christmas Eve celebration, a new Allen GeniSysTM Organ was used throughout the Mass, as heard worldwide in a live telecast.

Allen Organs have been installed in many prestigious institutions. Now, including the Vatican on the top of this list is humbling. As I refl ect on an Allen Organ becoming a part of St. Peter’s Basilica, I consider the eff orts by too many to mention. Th ousands of employees over decades played roles in producing the highest quality products. Our engineers created advanced platforms that enable the instruments to be voiced to exacting and artistic requirements. Our dealers have made and maintain installations that ensure customer satisfaction.

I off er a huge “thank you” and congratulations to all involved in the many eff orts and events over the years that led to this amazing story.

Sincerely,

Steven A. Markowitz, President

EXCELLENCE IS WORTH MORE

Allen Organ Company LLC 150 Locust Street, Macungie, PA 18062 USA 

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³ page 6 were also several surprises: former stu- Childhood education dent, Paul Weber accompanied the choir (having traveled from New Orleans to be in attendance), the Appleton Boychoir made a surprise appearance, along with a children’s choir from the parish formed especially for the occasion. Friends and relatives came from all over the country to be present for the occasion. Two All Saints former rectors were in atten- dance, as well.

Andrew Forrest of Orgues Létourneau and Elizabeth Shannon, executive di- rector of the RCCO, stand in front of an OrgelkidsCAN prototype model

The Royal Canadian College of Organists (RCCO) is working with TourBus 13 DVD Orgues Létourneau, Saint-Hyacinthe, Québec, Canada, to deliver a unique Frank G. Rippl plays an improvisation Carol Williams announces the educational program that will introduce on SINE NOMINE as his postlude on Janu- release of the latest TourBus DVD, the next generation of children to the ary 7 at All Saints Episcopal Church, Appleton, Wisconsin “TourBus goes to the Peragallo Pipe pipe organ. Dubbed OrgelkidsCAN, Organ Company.” The DVD provides the program gives children an opportu- the history of the company, an inside nity to learn about, build, and play a min- Frank G. Rippl retired January 7 as view of the great organ in St. Patrick’s iature pipe organ. OrgelkidsCAN is the organist and choirmaster of All Saints Cathedral, New York City, as well as Canadian extension of the international Episcopal Church, Appleton, Wisconsin, musical performances and interviews. Orgelkids program founded in 2009 by 1 after 46 ⁄2 years of service. The parish For information: www.melcot.com. Dutch organist Lydia Vroegindeweij and celebrated with a festal choral Eucharist, will be the largest of its kind in the world. reception, and establishment of a choral Nicholas Schmelter The new initiative leverages the scholarship for Lawrence University Choral groups craftsmanship and innovation of Orgues students to sing in the church’s choir. All Nicholas Schmelter plays recit- Létourneau to produce the Orgelkids- Saints Church is located adjacent to the als: April 27, First Presbyterian, Caro, CAN kits that will be paired with a cur- university campus. Michigan; May 6, Christ the King Catho- riculum guide offered by the RCCO as Rippl earned the Bachelor of Music lic Church, Saginaw, Michigan; June an enrichment activity that blends arts Education and Organ degree from Law- 20, Yorkminster Park Baptist Church, into the STEM (Science, Technology, rence University Conservatory of Music Toronto, Ontario, Canada. Engineering, and Math) component where he studied organ with Miriam July 6, First United Methodist Church, of education. As students assemble the Clapp Duncan. He received a Master of Alpena, Michigan (with Tyler Kivel, organ, they apply physics, mechanics, Music degree in Orff-Schulwerk from piano); 7/25, Cathedral of St. John the and sound theory while discovering the the University of Denver. Rippl also stud- Evangelist, Milwaukee, Wisconsin (with beauty and music of the pipe organ in a ied at the Royal School of Church Music Tyler Kivel, piano); August 19, Trinity fun and meaningful way. in England. In 1979 he co-founded Episcopal Church, Bay City, Michigan; Group of Durham Cathedral Choristers The OrgelkidsCAN instruments will the Appleton Boychoir. Rippl taught September 4, St. Paul’s Cathedral, Lon- introduce school children to the pipe elementary vocal music in the Appleton don, Ontario, Canada. Durham Cathedral, UK, has organ in an accessible, hands-on man- Area School District for 33 years. In October 28, St. Paul’s Episcopal announced it will admit girls and boys ner. Beginning in September 2018, the 1996 he founded the Lunchtime Organ Church, Flint, Michigan (with Tyler as day choristers for the fi rst time since OrgelkidsCAN program will be available Recital Series held each summer in the Kivel, piano); November 27, St. Paul’s 1906, enabling students to live at home to Canadian schools and community Appleton area attracting organists from Cathedral, London, Ontario (with Tyler while being a member of the cathedral groups across the country for a nominal all over the country. Upon retirement Kivel, piano). choir. For more than a century, all cho- fee. For information: www.rcco.ca and from school teaching, he returned to January 20, 2019, St. Paul’s Episco- risters have been boarding students. www.letourneauorgans.com. Lawrence to have additional organ study pal Church, Flint (with Townes Miller, Daniel Cook is organist and master of with Wolfgang Rübsam. fl ute); March 31, St. Paul’s Episcopal the choristers for Durham Cathedral. At his fi nal service at All Saints, the Church, Flint. For information: For information: Continuing education parish choir sang fi ve anthems. There www.schmeltermusic.com. www.durhamcathedral.co.uk. The American Guild of Organists announces its Pipe Organ Encounters (POE) for summer 2018: June 17–22, Phoenix, Arizona, and Rockford, Illinois Penny Lorenz Artist Management (POE+, for adults); June 24–29, Minne- presents apolis and St. Paul, Minnesota; July 8–13, Philadelphia, Pennsylvania; July 16–21, Los Angeles, California; July 22–27, Deland, Florida. For information: www.agohq.org/education/poe/.

Church Music Association of America announces its 28th Annual Sacred Music Colloquium, June 25–30, at Loyola University, Chicago, Illinois. Highlights include training in Gregorian chant, lectures and breakout sessions, and choral experience in any of four Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux choirs. In addition, four courses of study will be offered simultaneously, June 18–22, at the Mary Pappert Music For Organ Recitals & Workshops, School, Duquesne University, Pittsburg, Please Contact: Pennsylvania. Areas of study include a chant intensive, Clear Creek Monas- tery’s Laus in Ecclesia, and two courses Penny Lorenz in the Ward Method. For information: 425.745.1316 www.musicasacra.com. [email protected] The McClosky Institute of Voice www.organists.net announces its summer seminars, July 9–12, in Manchester, New Hampshire, and July Aaron David Miller Jack Mitchener 18–21, in Greenville, South Carolina. Each seminar includes 20 hours of instruction, ³ page 10

8 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Congratulations CHRIST THE LIGHT OF THE WORLD PARISH, DUQUESNE, PA ECCLESIA D-470

Christ the Light of the World Parish is very pleased with the recent installation of their Ecclesia D-470 hybrid organ. Incorporating the existing 24 ranks of Reuter pipes, the impressive Ecclesia series is Johannus at its very best. This digital church organ with three manuals and 65 stops, is powerful enough to accompany congregational singing, and it can be adapted to comply fully with your own individual needs.

Johannus Hybrid Organ Solutions is an option having particular appeal for churches that already have a pipe organ in place. These church organs may need extra stops, the console may need to be replaced, or some combination of the two. Incorporating digital stops into the pipe organ, and in some cases even adding a digital console, results in an appealing combination of romantic beauty and technical excellence.

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Gregory M. Lesko, organist Christ the Light of the World Parish

Johannus US has dealers throughout the Unites States. Visit johannus-us.com to fi nd a dealer near you. If you have any questions, or would like more information about any of our organs, you can contact a US representative at [email protected]. Here & There

Matthias Neumann, Gerhard Löffl er, Trumpeter and fl ugelhornist Judith Nunc Dimittis Andreas Fischer, and Wolfgang Zerer (all Saxton joins Olsen on several selec- Curtis “Curt” John Oliver, 74, died of Germany). Deadline for registration is tions. Each disc is available for $15.98, January 29 in Minneapolis, Minnesota. May 1. For information: postpaid worldwide. For information: Born September 6, 1943, in St. Paul, www.mh-luebeck.de. www.ravencd.com. Minnesota, he began piano studies at an early age. By age 16 he became organist at Christ Lutheran Church, North St. Paul, Publishers Minnesota. In 1966, Oliver earned the Michael’s Music Service announces Bachelor of Arts degree in music theory sheet music restorations: Marche Fantas- and composition from the University of tique, by Richard Ellsasser, is an imagi- Minnesota, where he studied organ with native, colorful, and humorous piece Lloyd Endter and Daniel Chorzempa particularly useful as a recital encore; and music theory and composition with Spring Song, by William Faulkes, is a Dominick Argento and Paul Fetler. Dur- light and lyrical work; Swing Low, Sweet ing his time at the university, he served as Chariot, by Carl Diton, is a composition organist for the Missouri Synod Lutheran by a little-known African-American pia- student center and later at University nist, organist, and composer; Moto Per- Curtis John Oliver (photo credit: Baptist Church. He continued at the petuo, by Niccolò Paganini, transcribed Brad Stauffer) university as a graduate student but was by Enrico Bossi, is an arrangement of a recruited by KUOM, the University of piece for violin and piano. For informa- Minnesota’s Public Radio Station, where he was the music director from 1970 tion: www.michaelsmusicservice.com. A Year at Bristol to 1993. In 1971 Oliver was named organist at Macalester Plymouth United Church, Regent Records announces St. Paul, Minnesota. He remained there for 42 years, eventually being named Recordings new recordings: A Year at Bristol director of music and composer in residence, overseeing various choirs. After he (REGCD514) features the choir of left KUOM, he had more time to compose music. Over the years he wrote many Bristol Cathedral, UK, directed by introits, anthems, and cantatas, several of them subsequently published. Mark Lee, with choral works from In 1981 Oliver earned the AAGO (Associate of the American Guild of Organ- the 17th century to the present from ists) certifi cate from the A. G. O. He was also a Life Member of the Hymn Society England, Austria, Spain, and France, in the United States and Canada. While at Macalester Plymouth, he studied including the fi rst recording of O clap improvisation with Paul Manz and attended Westminster Choir College, Princ- your hands by Bristol’s David Bednall. eton, New Jersey, where he studied with Alice Parker, Joan Lippincott, James Other composers represented include Litton, and Eric Routley. Byrd, Tallis, Bruckner, Widor, and Oliver initiated Macalester Plymouth Church’s annual hymn contest, calling for Vaughan Williams. new hymn texts on current issues of social justice that could be sung to familiar Our Lady, Queen of Peace hymn tunes. A timely topic is announced each year, and the contest has continued (REGCD510), features music for the since 1996. From 1996 until 2011, he directed the Prospect Park Community Choir. Feast of the Assumption of the Blessed Curt Oliver and Gail Hanson, his life partner of 44 years, were married at Virgin Mary, performed by the Tewkes- Macalester Plymouth United Church on November 23, 2013. Oliver composed bury Abbey Schola Cantorum and the the music for the service, including several choral anthems. Johann Nepomuk David recording Dean Close School Chamber Choir, A memorial service for Curtis John Oliver will be held May 6 at Hennepin directed by Simon Bell, with organist Avenue United Methodist Church, Minneapolis, Minnesota. This service will Ambiente and Breitkopf & Härtel Carleton Etherington. The disc includes include some of his choral and service music compositions. Q announce a new recording, Johann major musical selections for Eucharist Nepomuk David Organ Works, Volume and Evensong for this feast day. Works 1 (€14.99). The disc features Roman by Dupré, Poulenc, Biebl, Flor Peeters, ³ page 8 Liturgy will be held July 24–29 at the Summereder performing works of C. V. Stanford, and Grayston Ives are including topics such as the McClosky Duncan M. Gray Center in Canton. Pre- David, published by Breitkopf & Härtel, included. Available from: Technique, life cycle of the voice, anat- senters include Jason Abel, Colin Lynch, on the Bruckner organ of the Stiftsbasi- www.ohscatalog.org. Q omy/physiology, the speaking voice, vocal and Reverend Rita T. Powell. For infor- lika St. Florian and on the David organ disorders, practicing repertoire, and tips mation: www.mississippiconference.org. of the Evangelischen Christuskirche in on postural alignment and breath manage- Wels, Austria. For information: Harpsichord Notes ment. For information: www.mcclosky.org. www.ambiente-audio.de and Competitions www.breitkopf.com. The Fellowship of American The fi fth International Buxtehude Baptist Musicians announces its 2018 Organ Competition will take place Conference for Church Musicians, July September 21–29 in Lübeck, Germany, 15–20, in Green Lake, Wisconsin. Con- hosted by the Musikhochschule Lübeck. ference presenters include David Cher- The competition is open to organists born wien (organ), Mary McDonald (piano), in or after 1986 and will involve three Tim Sawyer (choral), Molly Marshall rounds with participants performing on (worship), Jason Krug (handbells), Dan- historic organs of Lübeck and Hamburg. iel Gutierrez (youth and children), and First prize is €8,000; second prize is Sergey Bogza (orchestra). For informa- €5,000; third prize is €3,000. The jury Jane Clark with Dr. Charles Mize tion: 812/376-3321, www.fabm.com. consists of Jon Laukvik (chair, Norway), in her Barnes garden during a May Michel Bouvard (France), Pieter van Dijk 2017 visit (Photo credit: Susan Mize) The 43rd Annual Mississippi (Holland), Ja-Kyung Oh (South Korea), Conference on Church Music and Arvid Gast, Franz Danksagmüller, “I’d rather be in Barnes,” the slogan on a favorite coffee mug, refers to the Thames-side Pipe Organs of North Carolina: Volume London borough that has been MANDER ORGANS 1, The German Muse home to British musical greats Gustav Holst, Herbert Howells, Raven announces new CDs in a and Stephen Dodgson. April 17 New Mechanical Action Organs series, Pipe Organs of North Carolina, is the 90th birthday of Dodgson’s featuring organist Timothy Olsen. widow, the noted harpsichordist Volume 1, The German Muse (OAR- and François Couperin authority 977), presents works by Buxtehude, extraordinaire Jane Clark. The Bach, Pachelbel, Distler, Zipoli, many American colleagues who Böhm, Hindemith, and Walcha on have benefi tted so much from the 1965 Flentrop organ, revised by Mrs. Dodgson’s intrepid research the builder in 2013, at Salem College, and convincing teaching during Winston-Salem. harpsichord workshops in Taos, Volume 2, The American and French Santa Fe, and, most memorably, ³ St. Peter’s Square - London E 2 7AF - England Muses (OAR-145), features the Fisk one based in the Dodgsons’ Lon- Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 organ of the University of North Caro- don home, send birthday greet- Continuo Organs [e] [email protected] lina School for the Arts in Winston- ings and heartfelt wishes for our www.mander-organs.com Salem. This disc includes recent works friend and mentor’s continued by composers Margaret Sandresky, vigor and happiness. Aaron Travers, and Ted Oliver, as well —Larry Palmer Imaginative Reconstructions as works by de Grigny and Franck.

10 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM

Reviews

Choral Music fi rst time. We must thank The Stanford The Lord is my Shepherd: SATB imitative writing, and gorgeous harmo- A Stanford Anthology: 18 Anthems Society (www.thestanfordsociety.org) for with organ (1886), described by Herbert nies. The anthem also contrasts dramatic and Motets, edited by Jeremy Dibble. its commendable work bringing his Howells (who studied with him) as “one writing with his brilliant use of the sim- Oxford University Press (ISBN lesser-known music to the public. of the supremely lovely anthems of all plest means to achieve sheer beauty. 9780193866409), SATB and organ, Stanford’s music is compelling, his our history.” Veni, Creator: SATB soloists, SATB, $24.25. Available from: www.oup.com. hallmarks being gracious lyrical melo- Arise, shine: SATB and organ, for and organ (1922), written for a friend’s The choral music of Charles Villiers dies, rhythmic vitality, an understanding Christmas, perhaps the least known daughter’s wedding to the Earl of Scar- Stanford is well known to many of us; of line and compelling development, a of the collection, shows Stanford at his borough, alternates organ, soloists, and our choral repertoire is enriched by vivid sense of orchestration, and marvel- harmonic and dramatic best. choir in a joyous setting. his many anthems. A 2004 collection ous drama. He brought a fi nely crafted Three Latin Motets, op. 38 (c. 1887– How beauteous are their feet: containing 18 anthems and motets is symphonic style to British choral music 1888), his most well-known and beloved SATB and organ (1923). This setting of highly recommended for its well-chosen infl uenced by his studies in Germany. He works written for Trinity’s choir, were Isaac Watts’s text is one of his loveliest overview of Stanford’s music. This col- was a master at building a simple phrase described by him as “Latin introits” and anthems to sing, an outpouring of gra- lection contains early and late works into a grand statement, elegant melodic often sung at Trinity in the chapel and as cious melody. that can, and should, be sung by choirs lines pouring forth. His music sits eas- grace before dinner. Be merciful unto me: SATB and of all abilities. Edited by Jeremy Dibble, ily in the voice, the vocal lines always a Justorum animae: SATB a cappella, organ (1928, published posthumously), the leading Stanford scholar and profes- pleasure to sing, and the organ accompa- appropriate for All Saints, this work provides great contrasts of somber music sor at Durham University, the volume niments are supportive and interesting, alternates moments of serenity with ending in triumphant glory. is elegantly produced in octavo size. creating marvelous effects of text paint- great drama. —Richard Hoskins Professor Dibble prefaces the anthol- ing. From the simplest anthems to his Coelus ascendit hodie: double choir St. Chrysostom Episcopal Church ogy with an illuminating biography and most complex and developed, his choral a cappella is an exhilarating sing, for Chicago, Illinois includes helpful notes on each work. music gives glorious and varied choices Ascension. Charles Villiers Stanford (1852–1924), for worship. Beati quorum via: SSATBB a cap- born in Dublin into a musically sophis- This superb collection contains works pella, is one of the most gracious anthems New Organ Music ticated family, was organ scholar at spanning his entire career including written for the Anglican Church. Using Oxford Hymn Settings for Organ- Queen’s College, Cambridge, pursued well-known motets, part songs, Bible imitative motives, contrasts of high and ists, Volume 6: Autumn Festivals, studies in Leipzig and Berlin, and was songs, and several works that are less low voices, and subtle text painting, it Rebecca Groom te Velde and David appointed organist of Trinity College well known to us. Presenting simple has been described as a “symphonic Blackwell, ed. Oxford University in 1874. He created a marvelous choral settings as well as motets requiring very movement in miniature for choir.” Press, 2016, 144 pages, ISBN program there, writing many anthems assured choristers, the anthology offers Six Hymns (1909): SATB, very fi ne 9780193400689, $35.95. Available and services for the choir until his res- a range of music that will be useful to anthems written in his supremely gra- from: www.oup.com. ignation in 1892. After his appointments choirs of all skills. cious style. The settings are based on The subtitle of this collection, “37 as professor of composition at the Royal In memoria aeterna: double choir well-known hymntunes, the organ original pieces on hymns for World College of Music and professor of music a cappella, an early work (1876) in the accompaniments being particularly Communion, Reformation/The Church, at Cambridge University he trained nineteenth-century Germanic style of good. Each was written to pair with a Harvest, All Saints, All Souls, Remem- many of the twentieth century’s greatest Mendelssohn, Brahms, and Bruckner. corresponding solo from his Six Bible brance, Christ the King, and Thanksgiv- British composers. His infl uence was I heard a voice from heaven: soprano Songs. The vocal parts are often in uni- ing,” hints at the variety of its contents: considerable. In 1900 he resumed com- solo and SATB a cappella, originally a son, with two- and four-part harmony twenty composers from England and posing, adding many marvelous works funeral motet, revised and, in its pub- used skillfully. Phrases are separated by the United States, including the editors, to his catalogue. Happily, his choral, lished version (1910), was sung at C. lyrical organ interludes. contributed settings of hymn tunes for symphonic, chamber works, as well as Hubert H. Parry’s funeral at St. Paul’s Let us, with a gladsome mind: to the “all parts of a service: preludes, proces- an opera, are enjoying a revival, many Cathedral, as well as at Stanford’s funeral tune Monkland is a majestic setting of sionals, communion pieces, and post- of which are also being recorded for the in Westminster Abbey. John Milton’s paraphrase of Psalm 136. ludes; some are also suitable for recital Purest and highest: with a text by Rob- use” (Introduction). Most selections are ert Bridges, an arrangement of Song 22 three pages long, can be played on a two- THE ORGAN HISTORICAL SOCIETY’S SIXTY-THIRD ANNUAL CONVENTION by Orlando Gibbons, is one of the longer manual instrument, and are well within settings of the six, a beautiful anthem the reach of intermediate-level organists. with marvelous harmonies and textures. Groom te Velde and Blackwell com- In thee is gladness: In Dir ist ment that even though “. . . in many Freude contains great contrasts of cases the raw material [hymn tunes] may drama in just four pages. be quite modest—perhaps repetitive or Pray that Jerusalem might have limited in range or rhythmic values— peace: on a tune from Playford’s Psalms often composers have crafted something (1671), alternating a cappella writing telling and inventive that offers some- with organ interludes. thing new and useful.” After playing Praise to the Lord, the Almighty: through the contents of this book, I fully Lobe den Herrn, essentially in two- endorse this statement. Every piece is and four-part writing, is a straightfor- solidly crafted using a variety of tech- ward, festive setting of the hymntune. niques, including French toccata-style Oh! For a closer walk: a serene and with cantus fi rmus in the pedal, trios, gracious work showing his great skill in song form, fanfare/march, and Baroque writing elegant vocal lines over a rich motivic-ritornello patterns. A sampling organ accompaniment. of titles reveals the variety: “He is King When Mary thro’ the garden went: (Epilogue)” by Robert J. Powell is a jubi- SATB (1910). Based on a poem by Mary lant march based on the African Ameri- E. Coleridge, it is a charming part-song can spiritual of that name; “King’s Lynn which works well as an a cappella anthem (Prelude)” by Craig Phillips weaves a for Easter. plaintive, atmospheric spell; Charles OUR FEATURED ARTISTS Eternal Father: SSATBB a cap- Callahan’s setting of “Grand Isle (Pre- pella (1913) is the second of his Three lude),” better known as “I Sing a Song of DAVID BASKEYFIELD WILMA JENSEN MALCOLM MATTHEWS CAROLINE ROBINSON (English) Motets. The text is Robert the Saints of God,” is sweet and straight- EDOARDO BELLOTTI PETER KRASINSKI AMANDA MOLE DARYL ROBINSON Bridge’s paraphrase of the Lord’s Prayer forward as befi ts a children’s hymn. An IVAN BOSNAR CHRISTIAN LANE ALAN MORRISON JONATHAN RYAN and Psalm 23. An extended setting, it is especially welcome setting, also for the KEN COWAN NATHAN LAUBE JONATHAN MOYER NICOLE SIMENTAL similar to Beati quorum via in its use of Feast of All Saints, is Paul Leddington PETER DUBOIS ANNIE LAVER SEAN O’DONNELL JOEL SPEERSTRA contrasts between treble and low voices, Wright’s “Sine Nomine (Postlude).” KATELYN EMERSON THATCHER LYMAN JONATHAN ORTLOFF BRUCE STEVENS DAVID HIGGS COLIN LYNCH DAVID PECKHAM MICHAEL UNGER RICHARD HILLS COLIN MACKNIGHT ROBERT POOVEY JORIS VERDIN BACH AT NOON FRED HOHMAN CHRISTOPHER MARKS WILLIAM PORTER BRADLEY HUNTER WELCH Grace Church in New York

JOIN THE OHS IN ROCHESTER www.gracechurchnyc.org IN COLLABORATION WITH THE EASTMAN ROCHESTER ORGAN INITIATIVE FESTIVAL IN OCTOBER THE 2018 CONVENTION of the Organ Historical Society will celebrate the rich array of instruments in Rochester, New York. Home to an expansive collection of organs representing diverse musical styles and performance practices, Rochester is a hub for organ Music of Ed Nowak performance and education. Convention attendees will experience an eighteenth-century Italian Baroque organ housed in Choral, hymn concertatos, psalm the beautiful Memorial Art Gallery, a tour of the George Eastman Museum—home of the world’s largest residence organ—and settings, organ, piano, orchestral everything in between. Visit the website below for the latest updates! and chamber ensembles WWW.ORGANHISTORICALSOCIETY.ORG/2018 http://ednowakmusic.com

12 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Reviews

Each composer has provided helpful Jackson’s disciplined, organized style of Norwich Cathedral, who, at the young done in 1931, 1959, 1979, and 1995 by registration suggestions for his or her composition and his mastery of contra- age of 35, was tragically killed in an Harrison & Harrison of Durham, and settings, and the hymn tune for each puntal techniques such as fugue and the automobile accident in 1970. The piece uses its immense resources with great piece is listed at the bottom of the fi rst use of established musical forms such as was written for performance at the West artistry. At the time of this 2002 record- page. A companion website includes an sonata form. Riding Cathedrals Choir Festival. This ing, Nieminski was organist and master index of hymn tunes for all six volumes March in C was composed for work is a festive outburst of toccata of the choristers at St. Mary’s Episcopal and some other supplementary mate- Nieminski’s wedding at St. Mary’s fi gurations and ends with a fl ourish of Cathedral, Edinburgh; however, since rial. The layout and editorial notes in Cathedral in 1999. For this relatively arpeggio-styled fi gures in both manual then he has served as organist at St. the introduction are superb. The only short work, the opening jaunty, yet and pedal parts. Mary’s Metropolitan (Catholic) Cathe- feature that could be improved is the angular theme is developed and leads Improvisation on a Chant was an dral in that same city. binding—a spiral-bound book would be to a quieter central trio section based improvised “in voluntary” played as the The year 2017 was the 100th birthday so much easier to use in a volume of this on Jackson’s Missa Matris Dei using a choir entered York Minster for Even- of Francis Jackson. (See “A Celebration of size. Trying to fl atten out pages with fre- quieter registration with the melodic song on the 24th day of the month. The Francis Jackson’s 100th Birthday: A Liv- quent turns is frustrating. But this incon- material being played on 8′ foundation chant on which it is based is in the key ing Centenary at York Minster October venience should not be an obstacle to stops. This is followed by a return of the of E and was composed by John Goss. 4, 2017,” by Lorraine Brugh, December adding this volume to any church organ- opening thematic material concluding Jackson later reconstructed the impro- 2017, p. 20.) This recording is a stellar ist’s collection. Highly recommended. with the opening theme being played visation from a tape recording made on tribute to Jackson in this his centenary. —Sarah Mahler Kraaz on a solo tuba stop. the occasion of the aforesaid Evensong. —Myron B. Patterson Ripon, Wisconsin Prelude and Fugue in C (“The It is tranquil in character and certainly Salt Lake City, Utah Brook”) was composed in 1972 to cel- works well as travelling music. ebrate the restoration of the organ of Partita on a Somerset Carol (opus New Recordings St. Neots’s parish church of St. Mary 45, number 3) is a set of nine contrast- New Handbell Music Sounds of Francis Jackson: Organ the Virgin in Cambridgshire. The fi rst ing variations written for a six-stop, Come, Thou Almighty King, works of Dr. Francis Jackson played performance was given by Francis one-manual organ with one pedal reed arranged for 2 or 3 octaves of hand- by Simon Nieminski in St. Mary’s Jackson; but, after a 24-year period stop. Rather subtle references are bells with optional percussion and Cathedral, Edinburgh. Lammas of dormancy, it was revised by the made to Haydn’s Flötenuhrstücke, an 2 or 3 octaves of handchimes by Records, LAMM 127D. Available composer. Both the prelude and the energetic pedal passage makes a sly Dan R. Edwards. Choristers Guild, from www.amazon.com. fugue are based on an opening four- nod to Bach, followed by a glance at CGB1026, Level 2+ (M), $5.50. March in C (opus 109); Prelude and note fi gure (CDCF) that serves to bind the “Overture” to Handel’s Messiah, Here is a straightforward, festive Fugue in C, “The Brook” (opus 43a); together the two. The prelude has a and fi nally a nod is given to Dupré’s arrangement of the familiar hymn tune Sonata No. 3 (opus 50); Prelude on an water-like babble to it, hence the name Variations sur un Noël. Having the Italian Hymn, with optional percus- American Folk Hymn (1973); Festival “the brook;” ironically, brook translates resources of St. Mary’s Cathedral sion parts (included). The addition of Toccata (opus 37); Improvisation on into German as Bach, the greatest of organ at his disposal Nieminski is able handchimes and the added rhythm a Chant; Partita on a Somerset Carol all fugue writers. to perform these variations with great will greatly enhance the overall effect (opus 45, number 3); Toccata, Chorale, Sonata No. 3 was written to celebrate aplomb using the full spectrum of the of this inspiring and engaging piece. and Fugue (opus 16). the famous four-manual Schulze organ organ’s tonal color palette, especially in The percussion instruments are simply Throughout his life, Francis Jackson dating from 1897 in St. Bartholomew’s the fi nal variation. fi nger cymbals or triangle, tambourine, has been associated with York Minster Church, Armley, West Yorkshire, near Toccata, Chorale, and Fugue (opus and hand drum. There is also an edition in England. It is there that he was a cho- the city of Leeds. The fi rst performance 16) was written in 1955 and is dedi- for 3, 4, 5, or 6 octaves of handbells, rister under Edward Bairstow between of the work was given by the com- cated to the English-born Canadian CGB1027, making both editions com- 1929 and 1933 and also was an organ, poser in 1979. The three-movement composer, organist, and teacher, Healey patible for massed ringing. piano, and composition student of Bair- sonata begins with a rather plaintive, Willan. This composition displays defi - stow, later succeeding him as organist contemplative, and pastoral Allegro nite French infl uences as can be seen All Praise to Thee, Volume 2, and master of the choristers in 1946. placido movement using an oboe stop to in the French overture dotted rhythms arranged for 12 handbells or hand- While studying with Bairstow, Jackson announce its theme. This is followed by and Franck’s pattern of setting a middle chimes by Jason W. Krug. Choristers earned the Bachelor of Music degree an energetic Vivace movement in rondo movement between the prelude and Guild, CGB1018, Levels 2 & 3 (E+ from Durham University and the Fel- form based on material borrowed from fugue, a technique used by Willan – M+), $54.95 (reproducible). lowship diploma from the Royal College the sonata’s fi rst movement. himself in his Introduction, Passacaglia, Following on the heels of Volume 1, of Organists along with the coveted Prelude on an American Folk Hymn is and Fugue. this collection includes 18 new 12-bell Limpus Prize for the highest marks in based on the tune Lonesome Valley Throughout the recording Simon arrangements in a multitude of styles organ playing. In 1957 he attained the and was written for an anthology of pre- Nieminski’s playing is superb, showing for use throughout the entire church Doctor of Music degree from Durham ludes to supplement More Hymns and a thorough understanding of each piece. year. Each title uses only 12 bells University. He was awarded honorary Spiritual Songs, a supplement to The His performance captures with assured- between F5 and C7 and is suitable for 3 fellowships by Westminster Choir Col- Hymnal 1940 of the Episcopal Church. ness the character of each composition to 6 ringers. Another bargain all under lege of Rider University and the Royal The tune is heard twice in the tenor on this outstanding recording. At all one cover. Also available, Volume 1, School of Church Music. In the 1978 voice and once in the top voice. times he has command of the large four- CGB920, $49.95. New Year’s Honors list, he was awarded Festival Toccata is dedicated to the manual and pedal Father Willis organ —Leon Nelson the Order of the British Empire by memory of Brian Runnett, organist of dating from 1879, with further work Vernon Hills, Illinois Queen Elizabeth II. In 1982, Jackson retired from York Minster and was awarded the Fellowship of the Royal Northern College of Music, an honorary doctorate from York University, and the Order of St. William of York from the Archbishop of York. Thousands of Songs Each of the pieces performed by Simon Nieminski on this recording was ONE LICENSE composed for a particular event, person, ONE LICENSE is a premier licensing source that covers or publication. All of the pieces show all of your congregational reprint needs.

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WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 13 In the wind...

What’s it going to cost? that make it so expensive. The most When you’re shopping for a car, it’s obvious is the 32′ façade. How much reasonable to start by setting a budget. do you think those pipes cost? If they’re Whether you say $10,000, $30,000, or polished tin, the most expensive common $75,000, you can expect to fi nd a vehicle material, maybe the bottom octave of the within a given price range. Of course, 32′ Principal costs $200,000? $250,000? it’s up to you whether or not you stick More? And if the organbuilder pays that to your budget, but we all have experi- to purchase the pipes, what does it cost to ence with the exercise, and there’s plenty ship them? A rank of 32-footers is most of solid information available. Printed of a semi-trailer load. What does it cost advertisements broadcast prices in huge to build the structure and racks that hold type, and you can fi ll in forms online them up? This week, the Organ Clearing with details about a given car to receive a House crew is helping a colleague com- generated price. pany install the 32′ Open Wood Diapason When you set out to buy a piano, you for a new organ. It takes ten people to can start with a simple search, and get a carry low CCCC, and once you have it quick idea of price ranges. I just spent in the church, you have to get it stand- a minute or two surfi ng the internet to ing upright. Years ago, after fi nishing the A little extra in the budget (photo credit: 32′ Diapason at York Minster, decorated learn that a new Steinway “B” (that’s the installation of a full-length 32′ Wood Dia- John Bishop) to look like stone columns. Not a $15,000 seven-foot model) sells for over $80,000, pason in the high-altitude chamber of a organ stop (photo credit: John Bishop) and that you should expect to pay about huge cathedral, my colleague Amory said, If you’re thinking about acquiring a 75% the price of a new instrument to “Twelve pipes, twelve men, six days.” It’s vintage organ, you’ll learn that the pur- speech was generally poor throughout the purchase a reconditioned used piano. If things like that that pump up the “price chase prices for most instruments are organ, and it was costly to “re-solder” all you start with that in mind and do some per stop.” In that six-million-dollar organ, $40,000 or less. Organs are often offered of those joints, a process that’s not needed serious shopping, you may well get lucky the 32′ Principal costs $400,000, and the “free to a good home,” especially when in many organ renovations. 3 and fi nd a beautiful instrument for less, 1 ⁄5′ Tierce costs $700. the present owner is planning a renova- It’s generally true that if an organ that’s but at least you have a realistic price Here’s another way to look at the “price tion or demolition project, and the organ relatively new and in good condition is range in mind before you start. per stop” myth. Imagine a two-manual has transformed from being a beloved offered for sale, the asking price will be There is simply no such information or organ with twenty stops —Swell, Great, asset to a huge obstacle. But the pur- higher knowing that the renovation cost formulas available for the acquisition of a and Pedal, 8′ Principal on the Great, chase price is just the beginning. would be low or minimal. But sometimes pipe organ, whether you are considering a three reeds, and the Pedal 16′ stops are a If it’s an organ of average size, it would newer organs are offered for low prices new or vintage instrument. In a usual week Bourdon and a half-length Bassoon. The take a crew of four or fi ve experts a week because they urgently need to be moved. at the Organ Clearing House, I receive at biggest pipes in the organ are low CC of to dismantle it. Including the cost of Let’s consider some of the choices and least two, and as many as ten fi rst-time the Principal, and low CCC of the Bour- building crates and packaging materials, variables that affect the price of an organ: inquiries from people considering the don, and the organ case is 18 feet tall. dismantling might cost $20,000. If it’s an purchase of an organ. These messages Add one stop, a 16′ Principal. Suddenly, out-of-town job for the crew, add trans- Reeds often include a stated budget, usually the case is twice as large, the wind sys- portation, lodging, and meals, and it’ll With the exception of lavish and huge $100,000, sometimes $200,000, and they tem has greater capacity, and the organ’s cost more like $30,000. If it’s a big organ, bass stops, like that 32-footer I mentioned typically specify that it should be a three- internal structure has to support an extra in a high balcony, in a building with lots above, reeds are the most expensive stops manual organ. Each time, I wonder how ton-and-a-half of pipe metal. The addi- of stairs, and you can’t drive a truck close in the organ. They’re the most expensive that number was generated. Was it the tion of that single stop increased the cost to the door, the cost increases accord- to build, to voice, to maintain—and largest amount they could imagine spend- of the organ by $125,000, which is now ingly. With the Organ Clearing House, when they get old, to recondition. When ing? Did they really think that an organ divided over the “price per stop.” we might joke that there’s a surcharge for you’re relocating an organ, the quality of could be purchased for such an amount? Or take that 21-stop organ with the spiral staircases, but you might imagine work engaged for reconditioning reeds It’s as if you were shopping for that added 16′ Principal, but instead of hous- that such a condition would likely add to will affect the cost of the project and is car, but you promised yourself that this ing it in an organ case, you install it in a the cost of a project. important to ensuring the success of the time, you’re going to get your dream car. chamber. In that comparison, the savings Once you’ve purchased and dis- instrument. You would choose between You test-drive a Mercedes, a Maserati, from not building a case likely exceeded mantled the organ, it’s likely to need simply cleaning the pipes and making and a Bentley, and oh boy, that Bentley the cost of the 16′ Principal. renovation, releathering, and perhaps them speak again by tuning and fi ddling is just the thing. You offer the salesman reconstruction to make it fi t in the new with them or sending them to a specialist $20,000. He rolls his eyes and charges Ballpark fi gures location. Several years ago, we had a who would charge a hefty fee to repair any you for the gas. It’s a $250,000 car. On June 10, 1946, a construction man- transaction in which a “free” organ damage, replace and voice the tongues, § ager named Joseph Boucher from Albany, was renovated and relocated for over mill new wedges, and deliver reeds that New York, was sitting in seat 21, row 33 $800,000. The most economical time to sound and stay in tune like new. There’s a popular myth out there that of the bleachers in Boston’s Fenway Park, releather an organ is when it’s disman- people think that organ companies can 502 feet from home plate. Ted Williams tled for relocation. Your organbuilder Keyboards be compared by their “price per stop.” hit a home run that bounced off Boucher’s can place windchests on sawhorses in An organbuilder can purchase new key- The most common source for public head and wound up 12 rows further away. his shop and perform the complex work boards from a supplier for around $1,000 information about the price of an organ Boucher’s oft-repeated comment was, standing comfortably with good lighting, each to over $10,000. The differences is the publicity surrounding the dedica- “How far away does a guy have to sit to rather than slithering around on a fi lthy are determined by the sophistication of tion of a monumental new organ. You be safe in this place.” That still stands as fl oor in the bottom of an organ. balance, weighting, tracker-touch, bush- read in the newspaper that Symphony the longest home run hit at Fenway, and The cost of renovating an organ is a fac- ings, and of course, the choice of playing Hall spent $6,500,000 on a new organ Boucher’s is a solitary red seat in a sea of tor of its size and complexity. For example, surfaces. Plastic covered keys are cheaper with 100 stops. Wow. That’s $65,000 per blue. That’s a ballpark fi gure I can feel we might fi gure a basic price-per-note for than tropical woods, bone, or ivory, which stop. We only need a ten-stop organ. We comfortable with. I have other stories releathering, but the keyboard primary is now offi cially no-touch according to could never raise $650,000. saved up that I use sometimes as sassy of a Skinner pitman chest with its double the United States Department of the The problem with this math is that the answers when someone asks for a “ballpark primaries costs more than twice as much Interior (remember President Obama big concert hall organ has special features fi gure” for the cost of moving an organ. to releather as does a chest with single and Cecil the Lion). Some organbuilders primary valves. A slider chest is relatively make their own keyboards and don’t offer easy to recondition, unless the windchest choices, but especially in renovations, table is cracked and split, and the renova- such choices can make a difference. tion becomes costly reconstruction. It was my privilege to serve as clerk of Climate the works for the Centennial Renovation If an older organ has been exposed to of the 100-stop Austin organ in Merrill extremes of dryness, moisture, or sunlight, Auditorium of City Hall in Portland, it’s likely that the cost of renovation will Maine. (It’s known as the Kotzschmar be higher because of the need to contain Organ, dedicated to the memory of the mold, splits, and weakened glue joints. prominent nineteenth-century Portland musician, Hermann Kotzschmar.) That Casework project included the usual replacement of A fancy decorated organ case with The Association of Lutheran Church Musicians leathered pneumatic actions, but once the moldings, carvings, and gold leaf is an organ was dismantled and the windchests expensive item by itself. As with key- is accepting submissions for the 2019 Raabe Prize for were disassembled, many signifi cant boards, some builders have a “house Excellence in Sacred Composition. cracks were discovered that had affected style” that is built into the price of every the speed of the actions for generations. organ they build. If you don’t want mold- For complete information and submission requirements, Another aspect of the condition of that ings, towers, and pipe shades, you can ask go to www.ALCM.org. organ that affected the cost of the renova- someone else to build the organ. Espe- tion was the fact that many of the solder cially with electro-pneumatic organs, seams in larger zinc bass pipes were bro- chamber installations are often an option, ken. The effect was that low-range pipe and are considerably less expensive than

14 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM By John Bishop

eight or ten stops are more fully devel- oped than those of fi ve or eight, and let’s face it, there’s very little music that simply cannot be played on a two-manual organ. Further, when we’re thinking about relatively modest organs in which an extra keyboard means an extra windchest, res- ervoir, and keyboard action, by choosing two manuals instead of three, you may be reducing the cost of the mechanics and structure of the organ enough to cover the cost of a few extra stops.

Let the building do the talking. Because a pipe organ is a monumental presence in a building and its tonal struc- ture should be planned to maximize the on recordings. But unless you have the Make it even more beautiful (photo credit: John Bishop) building’s acoustics, the consideration of rare gift of being able to picture a hypo- the building is central to the planning of thetical organ in a given room, there’s a building ornate casework. However, I third keyboard, that extra division might the instrument. It’s easy to overpower good chance that you’re barking up the believe that it’s desirable for a pipe organ only have fi ve or six stops, not enough to a room with an organ that’s too large. wrong tree. to have a signifi cant architectural pres- develop a chorus and provide a variety of Likewise, it’s easy to set the stage for While I state that the building defi nes ence in its room, whether it’s a free-stand- 8′ tone or a choice of reeds. Sit down with disappointment by planning a meager, what the organ should be, fi ve different ing case or a well-proportioned façade your organbuilder and work out a stoplist minimal instrument. organbuilders will propose at least fi ve across the arched opening of a chamber. for 25 stops on two manuals, and you’ll Maybe you have in your mind and different organs. Think about what the probably fi nd that to be a larger organ heart the concept of your ideal organ. room calls for, think about the needs of Console because without the third manual you Maybe that’s an organ you played while a the congregation and the music it loves, Drawknob consoles are typically don’t need to duplicate basic stops at fun- student or a visiting recitalist. Or maybe and conceive what the organ should be. more expensive than those with stoptabs damental pitches. Manual divisions with it’s one you’ve seen in photos and heard Then we’ll fi gure out how to pay for it. Q or tilting tablets. Sumptuous and dramatic curved jambs speak to our imagination through the heritage of the great Cavaille-Coll organs, especially the unique and iconic console at Saint- Sulpice in Paris. Those dramatic monu- mental consoles were the successors of the seventeenth- and eighteenth-century stop panels, as found on the Müller W HY CHOOSE organ at Haarlem or the Schnitger at Zwolle, both in the Netherlands. The default settings of most woodworking machinery are “straight” and “square,” AN APOBA FIRM? and by extension, curves require more work and greater expense. Many modern consoles and most renovation projects include the installa- W E PROMISE: tion of solid-state controls and switching. There is a range of different prices in the ◆ KNOWLEDGE ROOTED IN EXPERIENCE choice of which supplier to use, and the cost of individual components, such as electric drawknob motors, vary widely. ◆ TRADITION BLENDED WITH INNOVATION What’s the point? ◆ ECLECTICISM ENSURING MUSICAL RELEVANCE Some of the items I’ve listed represent signifi cant differences in the cost of an ◆ QUALITY THROUGH CRAFTSMANSHIP organ, while some are little more than nit-picking. Saving $30 a pop by using cheap drawknob motors isn’t going ◆ COMMITMENT TO BUILD HISTORY to affect the price of the organ all that much. And what’s your philosophy? ◆ AUTHENTIC SOUND FROM REAL PIPES! Is cheap the most important factor? When you’re commissioning, building, purchasing, or relocating a pipe organ, you’re creating monumental liturgical art. I know as well as anyone that every NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS church or institution that’s considering BUILDER MEMBERS the acquisition of an organ has some A. Thompson-Allen Company Goulding & Wood, Inc. Randall Dyer & Associates, Inc. practical and real limit to the extent of Andover Organ Company Holtkamp Organ Company Schoenstein & Co. the budget. I’ve never seen any of the Bedient Pipe Organ Company Kegg Pipe Organ Builders Taylor & Boody Organbuilders paperwork between Michelangelo and Berghaus Pipe Organ Builders, Inc. Létourneau Pipe Organs Bond Organ Builders, Inc. Muller Pipe Organ Company Pope Julius II, who commissioned the Buzard Pipe Organ Builders, LLC Parkey OrganBuilders SUPPLIER MEMBERS painting of the Sistine Chapel, but it’s C.B. Fisk, Inc. Parsons Pipe Organ Builders Integrated Organ Technologies, Inc. hard to imagine that the Pope com- Casavant Frères Pasi Organbuilders, Inc. Solid State Organ Systems plained that the scheme included too Dobson Pipe Organ Builders Patrick J. Murphy & Associates Syndyne Corporation Foley-Baker, Inc. Paul Fritts & Co. Organ OSI - Total Pipe Organ Resources many saints and should be diminished. Garland Pipe Organs, Inc. Quimby Pipe Organs, Inc. Peterson Electro-Musical Products You may reply that putting a 20-stop organ in a local church is hardly on the scale of the Sistine Chapel, but I like to make the point that the heart of plan- ning a pipe organ should be its artistic content, not its price. If you as a local Call today for APOBA’s Please watch and share organist dream of playing on a big three- Pipe Organ Resource Guide our short video at: manual organ, and you imagine it sound- and Member Prospectus www.apoba.com/video ing like the real thing, and functioning reliably, you can no more press a job for $100,000 or $200,000 than you can drive away in the Bentley for $20,000. Let’s think about that three-manual organ. Money is tight, so we think we can Apoba.com 1-800-473-5270 manage 25 stops, which means that while you’ve gained some fl exibility with the

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 15 On Teaching

What is Performance? Part 2 seem very different to those who know I continue here the speculative, gen- them well. Maybe they would seem very eral, question-based, and perhaps some- different to us if we could see inside what philosophical discussion of perfor- their heads. Famous performers are by mance. Next month I shall write about defi nition both the people whose public some practical aspects of this subject that personas we know the best, and people tie into teaching in concrete ways, like whom we don’t really, actually know. helping students to grapple with nervous- Perhaps some of them have let self- ness, or to understand some of the ways importance get the better of them. The in which performance as opposed to just awareness that I am staking a claim on learning and playing pieces can help with listeners’ lives serves to remind me that student development while enhancing I have an obligation to be serious about the enjoyment and satisfaction that they doing my absolute best—to try as hard as get out of music. I will also continue the I can to make that claim on people’s time discussion, begun here, about perfor- a legitimate rather than a vain one. mance as ritual and performance in the However, my answer to my old friend context of ritual. was relatively modest, in that I didn’t say that I could make an entire room of Why do you perform? listeners always have a guaranteed great Last autumn I attended a family party experience. Maybe I should aspire to at which I saw a long-time friend of mine that, but I don’t really think so. To do so Worship program, February 17, 1974 and my family’s. I hadn’t seen her in expressly seems to me like a denial of one person in about 20 years, and therefore of the most constant and true things about to achieve the goal that I mentioned to my Performance and ritual we were hurriedly catching up. Fur- art, whether performing art or any other friend. For someone else, one of them or What is the relationship between thermore, since over those years we had kind: namely that each person brings dif- something entirely different might be a performance and ritual? Is every per- moved into different phases of life—her ferent needs, desires, tastes, expectations, primary goal. formance a ritual? Does thinking of from youth to middle age, me from early etc., to any artistic encounter. I didn’t say that I wanted to garner the performance as ritual help or hurt, or to late middle age—we canvassed some I am afraid that if I try to guarantee admiration of the listeners, or to be seen sometimes help and sometimes hurt, or of the rather big questions. At one point that I can reach every audience member, as a great virtuoso, or to get a good review. perhaps some of both at the same time? she asked me, “So why do you perform? I will lose my focus on doing what I can Omitting things like this is always under I realize, thinking about the question What do you want to happen when you do best, and on doing it as well as I can. suspicion: perhaps I really feel them, but and answer described above, that for are up there performing?” And my spon- Either I will be afraid to do what I really would be embarrassed to admit it. me personally, musical performance is taneous answer (no time to make notes want and feel interpretively, for fear that likely to be more powerful, and to have and an outline or to sleep on it) was, “I it will run counter to what some part of The desire in performance a greater chance of seeming important want to create the possibility that having the audience likes, expects, or wants, or Years ago, a very fi ne performer once to more of the people in the room, if it been there will be important to at least that I will try to be sensationalistic in the said to me that when he went out onto has an element of what I experience as some of the people in the audience.” way that I play. Either of these would the concert stage the one desire that he ritual. We are in a territory where people That is not necessarily the spontane- open up a real risk of not reaching any- had consciously in his mind was to avoid use words differently, so the possibility ous answer that I would give at another one. This is not to mention the possibility utter, abject humiliation. I was very exists of words creating misunderstand- time. I say this not to suggest that I of utterly boring some listeners, annoying young and inexperienced then, and my ing. My understanding of ritual is some disavow it, or that I don’t think that it is them, or leaving some people convinced reaction to this was simply to be stunned: sort of overall shape to the event as it a “good” answer, whatever that means. that I am a bad performer, a bad musi- too much so, unfortunately, to ask him moves through time. To put it another It’s just that there are probably many cian, or even (since we sometimes make to explain further. My assumption now way, a feeling that, because of the way answers to that question that are valid at this leap) a bad person. Worrying about about what he meant then is something that the individual details of what is any given moment. This one took me by such things would make it impossible for like this: that he knew that the combina- being done relate to each other as they surprise when it popped into my head. me to perform in a way that expressed tion of instrument, repertoire, prepara- move through time, the whole is indeed I believe that what I said that day is my own choices and feelings about the tion, worked-out interpretive choices, more powerful and meaningful than the interesting for a number of reasons. music that I was playing. and so on, was such that if he could avoid sum of the parts. This is not something First of all, it presents a nice mix of There are many things that I didn’t just plain falling apart, the results would that needs to have been prescribed in the self-important and the modest. It is say in that answer that I could have said. be very good. There was no middle advance by someone other than the par- immodest of me to suggest that what I For example, that I hoped to present as ground. Part of what I took from this ticipants, although it can. do could be “important.” It also reminds accurate a version as possible of the com- was that performing is hard. Not even When I am performing in the form us that when we offer ourselves to audi- posers’ intentions; or that I hoped to give the best performers can afford to take that is the most individual to me and ence members as being worth their time the audience pleasure—different from an anything for granted. over which I have the most control, a and sometimes their money, we are “important” experience; or that I hoped How would you answer the question solo recital or concert of my own, and making a claim that there is something to recreate the feeling of the time at that my friend asked me? Would you most especially one that I am present- good about what we are going to do. We which the music had been written; or that consider it a good thing to ask your ing myself, I care a lot about the shape should be upfront with ourselves about I wanted to elucidate the counterpoint or students? What sort of answers would of the beginning and the end. It seems that and deal in whatever ways we think otherwise help listeners to understand the you expect? What sort, if any, would you to me that the way that the transition are best with the possible psychological music from a compositional or structural want? Are there possible answers that from “normal” life into a performance implications of this for ourselves, hoping point of view; or that I wanted to show the would raise a red fl ag? is shaped can have a real effect on the to be able to have a healthy self-esteem, instrument(s) off to best advantage. All of All of the above is most directly about listeners’ perceptions of the whole event. leavened by questioning and working to these, and an infi nite number of others, “pure” or abstract performance: that is, At the same time, that segue can have get better, rather than vanity or hubris. are wonderful possibilities. Each of the playing music for people who are there an effect on the performer’s focus. That We all know about the existence of ones that I have listed here are things that to listen to that music and who are in may infl uence the feel and perhaps the unappealingly self-important perform- I do think about and take into account. fact actually listening to it. Answers to performing results of only the beginning ers. Perhaps some if not most of the For me, they are perhaps secondary or any questions about what we are trying of the event, or it may carry over through people who come across to us that way instrumental. Any of them might help me to achieve might be different for per- the whole performance. formance linked to an occasion or to a Several years ago I decided to take Confident pedal work specifi c describable purpose. Accompani- notice of something that I had known ment is such a situation. Settings in which about at the back of my mind for a long comes with practice and the music itself is part of an overarching time: that I don’t like to be seques- sequence, such as a church service, gradu- tered or hidden immediately prior to a the right shoes ation ceremony, or sports event are also in concert. If I sit in a green room while this category. In these cases answers like the clock ticks towards the appointed on the “to help the soloist to feel comfortable” or time and audience members come in, “to enhance rather than undermine what I just get tense, nervous, distracted by pedals the soloist is trying to do” or “to intensify thoughts that are not about the music. I the effect on the listeners (members of can get into a state where I can’t quite x Men’s & Women’s Organ Shoes a congregation) of the words that they feel or believe that I am someone who are singing and hearing” or “to make the can play or whose playing deserves to with suede soles and heels graduates happy” come to mind. (Or “to be heard. I have now started to allow x Whole & Half help the Mets win?”) myself to arrange the pre-concert time Sizes in 3 Widths x Quick & Easy Duchon’s Organ Pipes Returns New Reeds & New Flues Additions & Repairs JL Weiler , Inc. OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET 44 Montague City Rd Email: [email protected] 330/257-0491 Museum-Quality Restoration jlweiler.com Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes [email protected] of Historic Pipe Organs

16 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM By Gavin Black

on listeners’ appreciation of a perfor- mance when the beginning ritual is not about the music and is negatively tinged. (I do not have any cell phone warning at my own concerts, when it is just up to me. I have a feeling that as people get more and more used to engaging with their cell phones, remembering to turn them off will become such a matter of routine that no one in fact needs to be reminded.)

Composer, performer, and instrument I have a thought about performance that I fi nd interesting. There is a usual tem- plate that we apply to the whole process of musical consumption. The composer this way of looking at it seems to me to Gavin Black is the primary creator of the music. The be an interesting corrective or means of performer is the “interpreter,” and thus achieving balance in thinking about what the way that I like. I hang around the be able to shape the opening exactly the the secondary creator: signifi cantly less we are doing as performers. space, among or near the audience, or, way I want to when I oversee the whole responsible for the reality of the music’s Finaly, a quick word about the illustra- on a nice day, outside the front door of presentation. If at a particular concert existence than the composer, but still with tion on the facing page. A few days ago, the venue: a place that feels relaxed and venue there are expectations about the an important role to play. Instrument I was astonished to fi nd a copy of the friendly to me. I am certain that this has shape of the opening that are different makers, when they are relevant, occupy bulletin for the fi rst church service I ever resulted in at least the beginnings of my from what I am describing and that are third place. Their job is to create the tools played. I wrote about that two months concerts being more effective. It may important to the audience, that is worthy that will best serve what the performer is ago, and at that time never expected to affect the whole of a concert. I don’t of respect. The opening gestures can trying to do, which serves the composer see the program again. (It turned up in a remotely think that this approach is the affect the listeners’ experience of the in turn. The instruments should always be box of items saved by my father.) I have best for everyone, though I am sure that event, and the closing gestures can affect borne in mind as part of the background included an excerpt here. I notice some- it would be for some. I believe that every their memories of it. to performance. I fi nd it interesting to thing that I didn’t remember: that the performer should pay attention to this There is one detail about the opening turn the whole thing around, by con- piece I played was divided into two sec- dimension of the act of performing and gesture/ritual of a concert or other per- structing an alternative template. Music tions, placed at two different spots within determine what feels and works best. formance that arises out of modern life, exists in sound. Instrument makers create the service. This is a good example, if we If I want to be out and about right and it is tricky to handle—a mobile phone the means of producing sound, thereby accept that it was effective, of a ritual before a concert, that implies that I am announcement. As an audience member, creating musical possibilities. Performers shape outside of the music itself changing asking the audience to accept an opening I react negatively to that warning, espe- make themselves adept at getting the best the ways in which the music can work. Q ritual that is different from the traditional cially since it is the last thing that we hear out of those instruments, thereby bring- “lights dim and the performer walks in before the beginning of a performance. ing the work of the instrument makers to More to come . . . from the side, to applause.” I am com- But I am aware that there is a good reason life. Composers simply make suggestions fortable with that. I like the feeling that to have it. If a cell phone goes off, that is as to various ways to get the best out of Gavin Black is director of the Prince- the music arises from normal life and very disruptive and damages the overall the instruments. ton Early Keyboard Center in Princeton, normal interaction, and my experience shape of the experience. Therefore, it is I don’t expect any one to agree with this New Jersey. His website is gavinblack- is that listeners also do. However, this is hard to decide not to do it. But I think interpretation since it relegates the com- baroque.com, and he can be reached by one of the reasons that I only expect to that we tend to underestimate the effect poser to a less important role. However, email at [email protected].

Johann Sebastian Bach Complete Organ Works in 10 Volumes

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Editors: Pieter Dirksen, Matthias Schneider, David Schulenberg, Jean-Claude Zehnder et al.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 17 In memoriam

Remembering Yuko Hayashi (1929–2018)

Yuko Hayashi teaching at the Fisk organ of Old West Church during the Boston Organ Academy, January 14, 2009 (photo credit: Leonardo Ciampa)

even before she had ever seen one! The By Leonardo Ciampa only instruments she knew were the reed organ at church and a Hammond. When you see a bud growing out of was, and I had no particular interest In 2007 I asked her, “When you were the ground, you’re not sure what it is yet, in the organ or harpsichord. I was a young, how did you know you wanted to so you water it and feed it, and you wait 14-year-old piano student in the New play the organ if you didn’t even know to see what it grows into. But you don’t England Conservatory prep school. The what an organ was?” She replied, “I want to step on it. And if the bud is very craziest part of all? I had not the faintest knew when I met J. S. Bach.”3 In a 2009 small, all the more important not to step idea that the New England Conservatory email she wrote, “If I was not exposed to on it. organ department held their lessons, the two-part Inventions by Bach just by —Yuko Hayashi classes, and concerts at Old West, or that chance in my youth, I am positively sure the church’s organist happened to be that I [would] not [have been] drawn Yuko Hayashi is gone. department chair. Attending the concert into music for so many decades since. I feel unworthy of eulogizing her. I do was nothing more than a whim. Certainly, I would not have chosen organ not presume to rank among her greatest I was immediately grabbed, both by as my main instrument.”4 students—a very long list that includes the sound of the Fisk’s ravishing plenum, Finally at age 15 she saw a pipe organ James David Christie, Carolyn Shuster and by Williams’s exquisite selections, for the fi rst time, in Tokyo. It was impor- Fournier, Mamiko Iwasaki, Peter Sykes, all from Bach’s youth. I still remember tant to practice on a pipe organ, for she Christa Rakich, Gregory Crowell, Mark every piece on the program, which was preparing to audition for the Tokyo As a student in Japan, approximately 18 Dwyer, Kevin Birch, Kyler Brown, Bar- opened with Wie schön leuchtet der Mor- Ueno Conservatory (now named Tokyo years old (photo courtesy: Barbara Bruns) bara Bruns, Ray Cornils, Nancy Granert, genstern, BWV 739. After the concert, a University of the Arts). Imagine this organ and went to two concerts in one day. Hatsumi Miura, Tomoko Akatsu Miya- short but elegant Japanese woman intro- 15-year-old girl, in 1944, with bombs fall- Alexander Schreiner was there. Can you moto, Dana Robinson, Naomi Shiga, duced herself to me and shook my hand. ing around her, traveling two and a half imagine? Next I visited my father’s friends Paul Tegels, and others too numerous I had no idea she had any affi liation with hours to Tokyo to practice for two hours in Minneapolis, and then the remainder of to name. NEC. I’m not sure I even understood on this organ, then making the two and a the summer stayed in a guesthouse at the University of Chicago. Finally, I arrived at I cannot describe, or comprehend, the that she was the church’s organist. half hour return trip home. (I recall that, Cottey College, and do you know what I fortune of being her student between Who could have predicted that, one in the 1980s, she told me that this organ found there? A Baldwin organ!9 the ages of 15 and 18—at the time, her year later, September 1986, I would quit was an Estey.5 However, other students only high school student. She was in the piano and become an organ student remember her saying it was a Casavant.6) After a year she was no longer able to her late 50s—still at the height of her of Yuko, taking lessons on that same She passed the audition and enrolled stay at the school; however, she received powers, still performing internationally instrument? But even that was random. in the conservatory. Eight students had a scholarship to go to any other school and recording. She brought a constant In the NEC prep school catalogue, to share “a Yamaha and an electric-action of her choice in America. Where would parade of heavy-hitters to Old West under “Organ,” Yuko’s was the name pipe organ with a hideous sound. We she go? She knew nothing about Ober- Church in Boston for recitals and master- listed. That’s the one and only reason I each practiced for 50 minutes and then lin or Eastman. Ultimately, her decision classes. During those three years alone contacted her. let the motor rest for ten minutes in was infl uenced by having grown up by (1986–1989), there were José Manuel between because it was old and cranky.”7 the sea. Azkue, Guy Bovet, Fenner Douglass, Early years in Japan At that school in Missouri, every Friday Susan Ferré, Roberta Gary, Mireille (1929–1953) Study in America (1953–1960) you know what we had to eat? Fish. That Lagacé, Joan Lippincott, Karel Paukert, Yuko Hayashi was born in 1929 in In the early 1950s, Yuko’s father urged fi sh must have been dead for ten days by Umberto Pineschi, Peter Planyavsky, Hiratsuka, a coastal town 24 miles from her to visit America. She accepted a the time we had it. The fi sh was so fresh Michael Radulescu, Montserrat Torrent, Yokohama. She was born on November scholarship to attend Cottey College in Japan. So I knew I wanted to live near the sea. New York was too big. Washington, Harald Vogel, and the list goes on. Yuko 2. (She used to joke about having been in Nevada, Missouri. The port of entry D.C., was too political. But Boston . . . .10 was something of an impresario. In the born on All Souls’ Day, having missed was faraway Seattle. The sea voyage 70s, when Harald Vogel was completely All Saints’ Day by only one day!) Many from Yokohama to Seattle took 12 days. And so in 1954 she entered the New unknown in America, she brought him of Yuko’s students would come to notice She arrived in Seattle on July 23, 1953. England Conservatory and studied organ to Old West to play his very fi rst concert her unusual perceptiveness. A couple of Tuition, room, and board were covered, with the legendary George Faxon. here—for $100, which she paid out of us thought it bordered on ESP. She had but she had only thirty dollars in her I spoke almost no English, and he her own pocket! Guy Boet, same story— the ability to reach for things even when pocket (which was all she was allowed). didn’t say very much. So our lessons were his fi rst concert in America, for $100. she couldn’t see them. Case in point: why She stretched the thirty dollars as far fi lled with music but had long silences! In 1972, at the International Christian did a woman who was born in 1929, in a as she could, though at least she had an One week he asked me to bring in the University (ICU) in Tokyo, Yuko orga- country that was only one percent Chris- Amtrak pass that enabled her to travel by Vivaldi[/Bach] A-minor concerto. And I memorized it. I’d never memorized any- nized the very fi rst organ academy ever tian, decide that she wanted to become train anywhere in the country. thing before. He didn’t say much. But you held in Japan, bringing both Anton an organist, when she didn’t even know know what he did? He wrote on a piece Heiller and Marie-Claire Alain. In 1985, what an organ was? My father arranged a train trip for me of paper “Sowerby Pageant” and told me Yuko, Umberto Pineschi, and Masakata Yuko’s father was a Japanese Anglican around half of the country, visiting some to go to Carl Fischer [Music Company] to of his friends. When I arrived in Seattle on pick up the music. When I got to the store Kanazawa started the Academy of Italian priest. He was the pastor of St. Andrew’s July 23 [1953], his friend’s daughter, who and showed the man the piece of paper, Organ Music in Shirakawa. A list of her Church in Yokohama. At age fi ve, Yuko was the secretary of St. Mark’s Cathedral, he said, “Oh, you’re playing this?” I said, accomplishments would be long, indeed. started playing the reed organ at St. came to pick me up. Within two hours of “Yes.” I had no idea what it was. Then At the time, I knew virtually nothing Andrew’s. (Soon enough, she became setting foot on American soil, I played the when I opened the music! Incredibly diffi - organ at St. Mark’s. I think it was a Kilgen.8 cult. At my next lesson Faxon wrote in the about Yuko’s life or career. Meeting her suffi ciently profi cient to play an entire I met Peter Hallock, and he gave me some pedalings, very quickly, from beginning to was truly random. It was September of Anglican service.) In sixth grade, her of his compositions. From Seattle I went to end. What a technique he had. And you 1985 (Bach’s 300th birthday year). I was music teacher suggested she learn the San Francisco and stayed with my father’s knew where he got it? Fernando Germani. skimming the concert listings in The piano. “Hanon: hated it. Czerny: a little friend there. I heard Richard Purvis play a Once Faxon took me to Brown Univer- recital in a museum, and I remember I kept sity to see his teacher, Germani, play the Boston Globe, and I happened to see that better. Burgmüller: not as bad. But then, looking around for the pipes, which were Sowerby. I got to sit very close to him, so there was going to be an all-Bach organ Bach Inventions! I became hooked on not visible. That was my second American I could see Germani playing. And there he and harpsichord concert at Old West this music. I practiced all hours; I didn’t organ experience. Next I stayed in Los An- was, fi ve-foot-three, his feet fl ying all over Church, given by Peter Williams. I had want to quit.”1 She reasoned, “If Bach geles for a few days. I didn’t see any organs the pedalboard.11 never heard a “real pipe organ,” and I wrote pieces for the organ, then the organ there, but what I remember most was my 2 fi rst American picnic, a culturally foreign had never set foot in a Protestant church must be a wonderful instrument.” She experience for me. Then I went to Salt On February 6, 1956, Yuko played before. I had no idea who Peter Williams knew that she wanted to play the organ, Lake City, found the Mormon Tabernacle her bachelor’s recital in Jordan Hall, her

18 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Old West Church (1974) Charles Fisk built one of his most beautiful instruments, Opus 55, for Old West Church in Boston.21 It went on to become the main teaching instrument for the New England Conservatory organ department for decades. The organ was dedicated on Easter Sunday 1971 by Max Miller and Marian Ruhl Metson. In 1973, Old West was conducting a search for a new organist. The organ committee consisted of the Rev. Dr. Richard Eslinger (pastor of Old West), Charles Fisk, Max Miller, and Jeanne Crowgey.22 Sneakily, but fortuitously, Eslinger and Fisk invited Yuko to attend At the Casavant organ installed in 1972 a committee meeting in December at First Church in Boston, photo taken With Charles B. Fisk at the Fisk shop during construction of the House of Hope 1973. After this meeting, they took Yuko in 1973 (photo courtesy: Robert Jan August) organ, 1978 (photo courtesy: Barbara Bruns) across the street for a beer or two at a Chinese restaurant and lounge. Yuko fi rst recital ever. In only three weeks [Massachusetts] to practice cembalo at the First European tours (1968) enjoyed telling this story. Yuko memorized the daunting program, Harvard Shop, and once a week I went to Yuko’s fi rst concert in Europe was at New York to study with Leonhardt. He was Charlie said, “Yuko, have you ever which included Vivaldi/Bach A-minor young, late 20s. A whole summer [1960] I the 1968 International Organ Festival thought of becoming the organist for Old concerto (fi rst movement), D’Aquin studied with him.15 in Haarlem. From there she went on to West Church?” These were absolutely un- Noël X, Schumann Canon (probably B play many concerts on historic instru- expected words, and my answer was simply, “No.” Charlie kept a smile on his face and minor, op. 56, no. 5), Bach Toccata, Ada- Yuko so enjoyed her study with Leon- ments in Austria, Belgium, Denmark, went on to tell me how convinced he was gio, and Fugue, Liszt “Ad Nos” (second hardt that she considered switching to Germany, Holland, Italy, Spain, and for me to be the organist of his organ at Old half), Sowerby Pageant, Titcomb Regina harpsichord. Indirectly it was Leonhardt Switzerland. “The wife of Hiroshi Tsuji, West, and that it was the right thing for me Caeli, Dupré Second Symphony (Inter- who dissuaded her. the Japanese organbuilder, arranged to do. mezzo), and Messiaen L’Ascension my fi rst concert tour in Europe. [. . .] I was overwhelmed by his totally posi- Finally [Leonhardt] said, “You really tive thoughts, and by the end of the con- (third movement). should study organ with Anton Heiller.” I soon discovered that I loved going to versation that evening I was convinced that In 1956, Faxon told Yuko, “This is still And I thought, “Who is that?” So I bought places where I didn’t know the people Charlie was right and said “Yes” to him a secret, so you can’t tell anybody. But records of Heiller. You know, the old LP re- or the organs. I like to explore things I without knowing what the future would I’m leaving NEC and going to teach at cords. [. . .] [I]t was grand playing. Already don’t know.”19 Here again we see Yuko’s hold. [. . .] In February of 1974 I began to I noticed something.16 play for worship services (as a non-salaried B.U. [Boston University]” Yuko was dis- fearlessness in reaching for things organist), organized organ recitals for the appointed at the news. “I wanted to fol- she could not see. As Nancy Granert season as well as the weekly lunchtime con- low him to B.U. I didn’t know anybody 1962 marked Heiller’s fi rst visit to reminisced, certs that, after a decade, evolved into the Summer Evening Concerts. else. But he said, ‘No, don’t follow me. America and his fi rst ever trip on an As I look back [. . .] I say to myself, “How You studied with me two years—that’s airplane! He gave two all-Bach per- One time, Yuko and I were talking about on the earth did Charlie know that I would enough. Stay at NEC.’ And then he said, formances on the Flentrop at Harvard traveling alone through Europe. I was say- be the appropriate one?” [. . . .] Charlie ‘You must make Boston your home.’”12 University. Yuko attended the fi rst per- ing that I always had a map in my purse, then knew that if I were caught by [the] and that I really didn’t like being lost. She beautiful sonorities that I could not leave Yuko was disheartened and considered formance and was so impressed that she replied that she loved being lost and to them, would enjoy them, would maintain returning to Japan. But Chester (“Chet”) attended the second one as well. fi nd new places. She, after all, always knew the instrument, and would let it be heard Williams, beloved dean of NEC, would where she was, right?20 and played by all. [. . .] And you know the most wonderful thing have none of it. Faxon’s imminent he played? O Mensch . . . with the melody departure was still a secret. But Chet on the Principal . . . . The whole program had another secret for Yuko: “There is swept me away. And I immediately said, another man coming, someone with great “This is the man I want to study with.” But I was shy, so I didn’t go to him right away. ideas.” That man was Donald Willing. On [. . .] He used to come to America every Unprecedented Natural Chet’s advice, Yuko stayed at NEC. three years. He had come in ’62, so in ’65 Willing had been to Europe and was he came back, and he returned again in ’68, galvanized by the new tracker instru- ’71, etc. So in ’65 he was teaching at Wash- ington University in St. Louis. I went down Pipe Organ Sound ments being built. He immediately there, and for the fi rst time, I met him. arranged for NEC to purchase new [The course was] six-and-a-half weeks. Ev- ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO practice organs by Metzler and Rieger. ery morning, he gave four hours of classes. The 1957 Metzler was voiced by Oscar Bach, David, Reger, and Hindemith—on a H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, Möller! Then, in the afternoon, private les- Metzler himself. sons on a 10-stop Walcker organ in a pri- 17 As soon as I touched the instrument, I vate studio. had an immediate reaction: “This is it! This is a living organism!” My teacher did not persuade me to have this reaction—I had it Heiller urged Yuko to enroll in the on my own, from touching the instrument summer academy in Haarlem the fol- myself. That was 1957. The next year, 1958, I got my M. M. from the conservatory. And lowing year (1961). This marked her very that same year, the Flentrop was put in at fi rst visit to Europe. She went on to study Busch-Reisinger [now Adolphus Busch with Heiller sporadically, following him Hall]. That was Biggs’s instrument. He let wherever he happened to be playing. all the students play it. We had to practice at night, when the museum was closed. (She was the only Heiller student who And we were poor; we couldn’t afford to didn’t study with him in Vienna.) pay a security guard. So Peggy [Mrs. Biggs] would act as the guard. The Biggs’s were so Maybe [Heiller] taught differently with generous to organ students.13 other people, but with me, most of what I learned was from his playing, not from his words. [H]e played a lot [during les- Not all the organ students were taken sons]. But I would move and he would sit by these new instruments. “They would on the bench. He didn’t just play over my 14 shoulder. With him, nothing was halfway. say, ‘Are you going backwards?’” Yuko [. . .] Funny thing: when he was just stand- was undeterred. She played her Artist ing there, without doing anything, I played Diploma recital on the Flentrop in 1960. better. He felt the music inside him, and it came out. It was a weird thing. [. . .] I per- formed his organ concerto. Of course he Leonhardt and Heiller (1960–1966) wanted to hear it at a lesson. But I wasn’t In 1960, Yuko joined the faculty of ready. He only told me about it three weeks the organ department of New England before. But again, he was standing right there. And it’s funny, I was able to play it. Conservatory. At this point she had not You see, he was so perfect, he made me yet heard of Gustav Leonhardt. feel I could play. [. . .] You know, I was so little—I’m still little. (laughter) And he was I fi rst heard of Leonhardt from John much bigger than me. But he said to me, Fesperman. Before John went to the Smith- “Don’t be afraid of the piece.”18 sonian, he taught at the Conservatory. The organ faculty was Donald Willing, John Fesperman, and I, who had just been In 1969, Yuko became chair of Integrated Organ Technologies hired. I don’t know why, but John had been to Holland already, and he said, “Leon- the organ department of NEC. She ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP hardt is coming; you should go study with remained until 2001, a total of 41 years him.” So I did. I used to go to Waltham on the faculty, 30 of which as chair.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 19 In memoriam

As I listened to organ students of the “You know, this music was originally New England Conservatory day by day, written on four staves.” I played it again. year after year, and, of course, through my own practice, I became convinced that the This time, her face was even more dis- 1971 Charles Fisk organ at Old West is a pleased, and she said nothing at all. She living organism and not just an organ with sat down on the bench next to me and extraordinary beauty. This organ responds said, “OK, you play the alto and the bass, to the high demands of an artist as if a lively dialogue between two humans is being ex- and I’ll play the soprano and the tenor.” changed. I even dare say that the spirit of I was fl oored. Her two voices breathed. Charlie, an artist/organbuilder, is present They sang. She got up from the bench, when the organ is played by any organist without saying a word. Her point was 23 who wishes to engage in conversation. made, and powerfully.

Yuko remained organist of Old West Later years for 36 years. I was so fortunate to hear Yuko and I exchanged many emails in so many of her recitals there during the 2009. Many of them concerned admin- 1980s. I remember matchless perfor- istrative details of the Old West Organ mances of Bach’s Passacaglia, Franck’s Society (of which I was then a board Grand Pièce, and the Italian Baroque member). However, more often the With Jon Gillock and the author at St. Mary’s Church, Charlestown, Massachusetts, repertoire for which she had an incred- emails were simply about music. during the Boston Organ Academy, January 14, 2009 (photo courtesy: Leonardo Ciampa) ible knack. (In fact, I never in my life heard a non-Italian play this music as I remember when I fi rst heard Mozart, with anyone. The next time I saw her, in Peter Williams’s life-changing recital at 24 in a castle outside Vienna, in [the] early well as she. ) As late as 2008 (her last 1970s. It was a big shock to me. While they 2010, she showed signs of memory loss. Old West so many years ago, the night recital was in 2010), she gave a perfor- were performing Mozart’s chamber music, Clearly this was Yuko’s instinct at work, I met Yuko Hayashi. Eerily, but not mance of Bach’s Pièce d’Orgue that to I started to have the image about the leaves once again: she knew that in that phone surprisingly, only three and a half hours of the tree which show the front of the leaf me remains the benchmark for all oth- and the back of the leaf, back and forth. conversation in 2009, she needed to tell after my last Mass, Yuko Hayashi left ers. Few organists can play the middle Their colors are very different from each me her life’s story. this world. Q gravement section without it sounding other, yet [the] only differences are front or At the 2014 AGO national conven- too long and too heavy. In Yuko’s hands, back of the same leaf. It infl uenced the dy- tion in Boston, there was a workshop Leonardo Ciampa is Maestro di namic control as well in their performance I was astonished by the articulation of at the castle.26 entitled “The Organ as Teacher: The Cappella Onorario of the Basilica di each entrance of each of the fi ve voices. I Legacy of Performance Pedagogy at Old Sant’Ubaldo in Gubbio, Italy, and organ- say without exaggeration that it sounded West Church,” moderated by Margaret ist of St. John the Evangelist Church in like a quintet of breathing musicians. I During this era she always wrote to Angelini, with Barbara Bruns, Susan Cambridge, Massachusetts. was so gripped by it that, when she got to me as a friend and colleague, never as a Ferré, and Anne Labounsky. Indirectly the fi nal section, I couldn’t believe how “student.” Only once did she give some- it was an event honoring Yuko. (Had it Notes short the gravement had seemed. thing resembling “advice:” been entitled “An Event in Honor of 1. Phone conversation with the author, Yuko Hayashi,” she would have strongly July 25, 2007. As a teacher I believe, there are only two emotions 2. Ibid. that stand out, “Love” and “Fear.” You have objected.) It was hard for Yuko’s friends 3. Ibid. Yuko made good use of her ESP. As a plenty of both, which in [an] actual sense to see her in this state of diminished 4. Email to the author, October 19, 2009. teacher, not only did she adapt to each make [a] great artist. Your potentiality is powers—at times aware of what was 5. 1918 Estey (Opus 1598) at Rikkyo (St. individual student, but she adapted to enormous! Don’t waste it, please! After all, going on, at other times not so much. Paul’s) University, Tokyo. Replaced by Bec- it is the gift from God.27 kerath in 1984. each individual lesson with each student. But then came a moment, after the 6. 1927 Casavant (Opus 1208) at Holy Each lesson with her was a brand new workshop, when Yuko was standing, Trinity Church, Tokyo. Church and organ experience—based solely on what she She was pleased, then, when not long chatting with Ferré and Labounsky. All were destroyed by a fi rebomb in 1945. was sensing in the room at that moment. after that email I became artistic director of a sudden she looked at them, pointed 7. Diane Luchese, “A conversation with Yuko Hayashi,” The American Organist, Sep- Besides her perceptiveness, she had of organ concerts at Massachusetts Insti- to me, and told them, “He’s a wonderful tember 2010, p. 57. something else: a regard for the value tute of Technology (home of two historic musician.” For me, that was the equiva- 8. It was a ca. 1902 Kimball (not Kilgen), of each student. I can never forget Holtkamps from 1955). In October, lent of a New York Times review. I have with tubular-pneumatic action. something she told me many years later: Yuko called me to congratulate me. She sought no other musical validation since 9. Luchese, op. cit., p. 57f. 10. Phone conversation with the author, July “When you see a bud growing out of the reminisced about Walter Holtkamp, Sr., that moment. 25, 2007. ground, you’re not sure what it is yet, so whom she met in Cleveland. Last summer Yuko’s health declined. 11. Ibid. you water it and feed it, and you wait In September I learned that her condi- 12. Ibid. to see what it grows into. But you don’t He was a strong character, and rather tion was so grave that her family in Japan 13. Ibid. 25 diffi cult to get along with. Yet, we liked 14. Ibid. want to step on it.” Her next sentence each other. Walter took me for dinner, and were contacted. Her 88th birthday was 15. From an unpublished interview be- was even more unforgettable: “And if the to his organ in the Episcopal Church in to be on November 2, followed eight tween Yuko and the author, which took place bud is very small, all the more important Cleveland, and I played the organ for him. days later by a celebratory concert at in Boston on February 17, 2004. not to step on it.” It would be hard to He liked my playing because I played ex- Old West, featuring some of her great- 16. Ibid. actly as I believed. 17. Ibid. fi nd a famous teacher with that level of est former students. None of us thought 18. Ibid. regard for even the least talented among That led to reminiscing about Mel- she was going to live until the concert— 19. Luchese, op. cit., p. 60. of her students. ville Smith, who dedicated the larger we expected it to be a memorial service. 20. Conversation with Nancy Granert, Janu- Yuko’s ear was astonishing. She could Holtkamp in Kresge Auditorium. She Each day I checked my iPhone compul- ary 11, 2018. 21. Seven years previous, and 500 meters have used that ear to be a critic or an adju- even knew about Saarinen, the archi- sively, not wanting to miss the terrible down the road, Fisk had installed his Opus dicator towards her students. Instead, tect who designed both Kresge and the news. But the news didn’t come. Now 44 at King’s Chapel, the fi rst modern Ameri- she worked tirelessly to get them to use MIT Chapel. One thing led to another. it was November 10, the night of the can three-manual tracker organ built in the their own ear, to make their own deci- She ended up telling me practically her gala concert. Apparently she was still second half of the twentieth century. The organ was a gift of Amelia Peabody. Thanks sions and judgments. In her gentle, quiet whole life story. We spoke for four (!) with us—I had not heard otherwise. I to the friendship between the pastors of way (her voice never rose above a mezzo hours. She did almost all of the talking. arrived at Old West on that bitter cold Old West (Dr. Wilbur C. Ziegler) and King’s piano), she was relentless in making her There wasn’t a single dull moment. night. I walked out of the cold into the Chapel (Dr. Joseph Barth), Amelia Peabody students listen to the sound coming from Every sentence was imbued with energy. warm church, and I heard people say- gave a grant to Old West for their new or- gan. The choice of Fisk was endorsed by the organ, in particular to be aware of She talked about growing up in Japan ing that Yuko was there! At Old West! I the organists of both King’s Chapel (Daniel the air going through the pipes. Most during the war, doing forced labor even didn’t fully believe it. I looked around, Pinkham) and Old West (James Busby), as of all, she wanted her students to learn as a teenager. She talked about her earli- and then I saw it: the back of a wheel- well as E. Power Biggs. directly from the composer. est musical experiences and about more chair. I raced over, and there she was. 22. Jeanne Crowgey was a member of Old West from 1972 to 1980. She was also an or- I will never forget playing Bach’s Allein recent organbuilding trends in Japan. Her eyes were as alert as I had ever ganist, who served unoffi cially as an interim Gott, BWV 664. The moment I stopped She spoke at length about Marc Garnier, seen them. This isn’t possible! How did before the selection of Yuko Hayashi. Crow- listening to one of the three voices, who built the monumental organ at the they even get her there, on that bitter gey went on to be Yuko’s invaluable assistant within milliseconds she started sing- Tokyo Metropolitan Art Center. She cold evening? But Barbara Bruns made during the fi rst six years of the Old West Or- gan Society. Crowgey did a large amount of ing it. Then I would get back on track. told story after story about Guy Bovet, it happen. Yuko took my hand in hers the administrative work for the international Then, the millisecond that I stopped Harald Vogel, Peter Williams, and Karel and kept rubbing it, looking me straight series, the summer series, and the weekly listening to another part, she would Paukert (in whose presence she set foot in the eye the whole time. Not a word noontime concert series. She was one of the sing that one. That was how perceptive in Old West Church for the very fi rst was said. last friends to visit Yuko before her passing. 23. From a reminiscence written by Yuko she was—which was both comforting time). She told me about the time she The entire evening Yuko had that in 2004 and posted on the C. B. Fisk website and frightening! Another astonishing was in France with Michel Chapuis, and same alertness in her eyes, start to fi nish. (edited by L. C.). moment in our lessons that is worth she was playing a three-voice work, and Being at Old West, among her students 24. Once in the 1960s she played a recital mentioning is the one and only time I Chapuis reached over and improvised a and friends, hearing Charles Fisk’s at the Piaristenkirche in Vienna, which in- cluded a piece by Frescobaldi. Heiller was in played Frescobaldi for her. In mod- fourth voice over what she was playing. beloved Opus 55—the energy from all of attendance and raved about how she played ern parlance, you could say that I was She spoke of Heiller (which she did in it must have thrilled her. the Frescobaldi, a composer she had never “schooled.” I was playing the Kyrie della most every conversation I ever had with A few months passed. For Epiphany studied with him (phone conversation with Domenica from Fiori Musicali, which her). She even spoke of events and feel- weekend, January 6 and 7, 2018, as a the author, year unknown). 25. Phone conversation with the author, is in four voices. I played it and could ings in her personal life. It is safe to say prelude at all of my Masses, I played year unknown. tell from her facial expression that she that it was one of the most extraordinary Bach’s Wie schön leuchtet der Morgen- 26. Email to the author, June 10, 2009. was not pleased. She said one sentence: phone conversations that I have ever had, stern, BWV 739—the very fi rst piece at 27. Email to the author, September 2, 2009.

20 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Interview

A conversation with Morgan and Mary Simmons

By Steven Egler Mary and Morgan Simmons on the occasion of Morgan’s 80th birthday

his interview with Morgan and Mary skirt and matching scull cap for winter Dickinson. He introduced me to Dr. D.’s completed my bachelor’s degree. I was TSimmons of Evanston, Illinois, long- months; a white lace surplice with black Technique and Art of Organ Playing and granted a Methodist scholarship and time musicians (1968–1996) at Fourth skirt and matching cap for the summer. plied me with stories of church music in thus attended DePauw for my under- Presbyterian Church, Chicago, reveals I also took up clarinet but never per- the “Big Apple.” graduate study. their strong relationship as evidenced in fected it; then at age 15, I began organ During my stay at Fort Bragg, I sang I appeared in Greencastle green as a their 65-year marriage (1953–present). study. This opened an exciting new chap- in the Chapel Choir. The chapel was only gourd, having taken the train from Ala- We met on July 29, 2017, at their home ter in my life. two doors from our quarters and had a bama. Alas, I arrived without my wallet! in Evanston, where they have lived for small, two-manual Hilgreen-Lane organ It had worked its way out my hip pocket 50 years. Mary, please tell us about your early where I was able to practice. and went to Chicago on the Monon rail- They discussed their rare collabora- years. Following my two years in Fayetteville, road. Believe it or not, it was returned tion in several positions throughout the Mary Simmons: I was born February I returned to Andalusia for my senior to me a couple of days later with all the years, and they shared wonderful anec- 22, 1930, in Centralia, Illinois. When I year in high school and had lessons with money still in it, so it was another of dotes about their time as students at the was six, we moved to Carbondale, Illinois, another Union graduate, Henry Whip- those serendipitous experiences that has Union Theological Seminary School of and I had a wonderful childhood with my ple, who lived in Montgomery. I took the graced my whole life. Sacred Music, various church positions, sister who was fi ve years older than I and bus every other Saturday to Montgom- My fi rst-year organ teacher was Ber- and music making in general. The Sim- my brother who was three years older. ery for lessons with Mr. Whipple, who nice Mozingo, a graduate of DePauw, monses shared the importance of their Unlike Morgan, I did not come from had been a student of Palmer Christian and who had studied with Parvin Titus respective families and the infl uence a large family. My mother was one of six and Clarence Dickinson. On those same and Palmer Christian. The organ pro- that their families had on them and their children, and my father was an only child. Saturdays, I had piano lessons with the fessor at DePauw, Dr. Van Denman careers as individuals and as musicians. This was the family that I mostly knew. distinguished pianist Lily Byron Gill. Thompson, was very particular about Morgan and Mary also revealed insights When we moved to Carbondale, I She had studied with Moszkowski in taking fi rst-year students, but at the into working with two high-profi le became a piano student of Helen Mathis, Paris and was a teacher of the old school, beginning of my second year, I began my pastors—the third and fourth respec- later Vogler, who was head of the piano who taught Czerny and Hanon, so I was study with him. He was unlike any musi- tively—of Fourth Presbyterian Church: department at Southern Illinois Univer- exceedingly fortunate. cian I had ever known. Dr. Elam Davies (1968–1984) and Dr. sity. I studied with her until I graduated A larger-than-life individual, he gradu- John Buchanan (1985–2012). from high school, and it was good that How did you learn about DePauw ated from New England Conservatory Thanks to Ken Wuepper of Saginaw, she took such great interest in me. University? in one year, took postgraduate work at Michigan, for audio technology support, When I was in the eighth grade, my Morgan: A young chaplain, who Harvard, and was teaching college in and to Morgan and Mary Simmons for mother thought that I was getting bored was from Indiana and knew about my Arkansas at age 19. He came to DePauw their careful editing assistance. with the piano and suggested that I interest in organ and church music, when he was 20 and taught for 47 years. would like to study organ. recommended that I consider DePauw His wife, Eula Mae, blind from age Steven Egler: Morgan, let’s begin I studied organ at the Presbyterian University in Greencastle, Indiana. I three, was a very accomplished musi- with you telling us about your child- Church in Carbondale with Eloise Thal- had never heard of the school, yet I was cian in her own right. Together they had hood and formative years. man, who was a very good organist and determined to go to Union once I had seven children, the youngest of whom Morgan Simmons: I was born in took me under her wing. I loved it from Andalusia, Alabama, April 6, 1929. the fi rst day that I started, and during Although I only had one sibling, my the summer, I got up early and rode my extended family was huge with 50 fi rst bicycle to the church to practice because cousins. Both of my parents came from I loved it so much. large families, and my paternal grand- After having had a few lessons that ii — 19 ranks ii — 19 mother was the oldest of 16, 14 of whom same summer, Mrs. Thalman came to my I knew. home and said she would be taking her Since both my grandmothers lived husband to the Mayo Clinic and asked winchester, virginia across the street from each other, and me to play for church. What a shock that

I lived only a block away, I got a lot of was! From that point on, I was hooked. opus 130 attention growing up. Morgan: Mary didn’t say that she has perfect pitch, which was discovered Were you the oldest? before she was six years old. Her native Morgan: No, my sister was three abilities are far greater than mine: I’m years older, and for both of us family was not a gifted, natural musician and have

exceedingly important. always had to work for everything I’ve The Village at Orchard Ridge done, so that has fi gured in our musical Recall for us your earliest musical experiences through the years. experiences. It has occurred to me that one of the rneauor Morgan: I sang in the children’s choir big factors that has enhanced my life is ou ga et n .l s .c of the First Methodist Church of Anda- related to World War II. My father was w follow o w us on m lusia, and I started piano lessons when I in the military, and when I was a junior w facebook! was in the fourth grade with a very old- in high school we moved from Andalusia fashioned lady, Josie Lyons, who taught to Fort Bragg, near Fayetteville, North piano in the ladies’ parlor of the Method- Carolina, which was the beginning of a ist Church. She was a real taskmaster. If totally new experience for me. we were late to lessons we did not have Shortly after arriving at the army base, a lesson, but we were still charged. She I had the good fortune of studying organ was also the organist and choir director with a chaplain’s assistant, Lee Sistare, 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t of the church and wore very interest- who was a graduate of Union Theologi- 450 774-2698 [email protected] ing attire for Sunday worship—a white cal Seminary’s School of Sacred Music satin surplice with a purple full-length where he had been a student of Clarence

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 21 Interview

knowledge of Russell’s style, but I had the good fortune to study one summer with Arthur Poister following my doc- toral degree. With him the music was paramount—the technique secondary! I also studied with Marilyn Mason who emphasized technique: careful fi ngering and pedaling. With Dr. Thompson you learned by osmosis! In New York, one could experience an oratorio every Sunday. At that time, Dickinson was at the Brick Church, Frederick H. Candlyn was at St. Thomas, Harold Friedell was at St. Bar- tholomew’s, Norman Coke-Jephcott was at the Cathedral of St. John the Divine, Robert Baker was at First Presbyterian Church in Brooklyn, and Vernon DeTar was at Ascension. DeTar was very smart: Mary Simmons in her bridal dress, May he presented his oratorios on Monday 1953 evenings, thus avoiding competition. Those were exceedingly memorable seminary. Because our parents and occasions; I remember DeTar conduct- many friends would be attending our ing Honegger’s King David with the commencement, we set Sunday, May Mary and Morgan Simmons with their three children Robert, Kathryn, and David on Witch of Endor being portrayed by 17, 1953, as our wedding date. Dr. the occasion of Morgan’s 80th birthday Madeleine Marshall, who was the dic- Lewis J. Sherrill, author of a powerful tion teacher at Union and a wonderful book, The Struggle of the Soul, and my they named Lynnwood in honor of the When I graduated, I wasn’t quite person. We became close friends, and spiritual advisor, performed the cer- person known by many as America’s sure what I wanted to do; however, my she subsequently came to Evanston to emony. Like the Porters, he and Mrs. greatest organist, Lynnwood Farnam. brother, who was a ministerial student do a program for our A.G.O. chapter. Sherrill became like family to us. He was also teaching and performing at Union Theological Seminary in New It was a heady time to be in New York. Hugh played for our wedding, and Messiaen and other contemporary com- York, told me about the School of Sacred No question! our reception was held on the 15th fl oor posers long before many other organists Music there. of Riverside Church. We left the city for of the day. I interviewed with Hugh Porter, was Mary, what can you say about your our honeymoon in pouring rain, drove The organ used for teaching was in accepted, and attended from 1951–1953. time at Union? up the Hudson to a rustic cottage, and Gobin Memorial Methodist Church, That was the beginning of a wonderful Mary: My experience was a little returned Tuesday for commencement a four-manual vintage Kimball instru- relationship with Hugh Porter and his different from Morgan’s. He more was to receive our Master’s degrees. You can ment with fabulous strings, and before wife Ethel, which was enhanced by expe- interested in the theological studies imagine the fl urry of activity surround- I arrived, the Aeolian-Skinner Company riences and the varied opportunities that than I was, although I loved being there ing all of these events! had added an unenclosed positive. In the city had to offer. and making friends. We had chapel fi ve Following graduation in the sum- 1943, a two-manual “Baroque” organ mornings a week and, like many of us mer of 1953, Mary and I were named was installed in the balcony, so we had Was two years the typical amount who had jobs related to the seminary, I as musicians for the fi rst Montreat the best of both worlds. of time that it took to complete the was in charge of the choir robes. I was Conference in North Carolina. We In terms of teaching, he was unique. Master of Sacred Music degree, and constantly cleaning the robes, removing accepted this invitation with the pro- During an opening conversation at the did it include fi eldwork as well? candle wax, and replacing collars. vision that, if I were drafted, I would console, he would sit facing the stop jams Mary: Yes. I especially remember having a not be able to fulfi ll my obligation to and comment on my playing; then he course from Harold Friedell on writing the conference. Sure enough, I was would leave me alone while walking up What was Union Seminary like when descants. I loved doing that and com- drafted and had to return to Alabama and down the aisles of the church, return you arrived in 1951? posed some pretty good ones as a result. to report for duty, leaving Mary alone and say, “I think you’d be better to put Morgan: Mary and I both arrived I also studied composition with Norman to complete the term. Upon my return your third fi nger on the B-fl at.” at Union the same year—the fall of Lockwood for a very short time. to Alabama, my father was diagnosed He had an incredible ear. A fellow 1951—and were, of course, overawed During my second year, I served with a serious illness for which I got a student said he called up to him dur- by the city. It was the “golden age,” both a small church in the Bronx with an month’s deferment. ing one lesson, “The vacuum cleaner for the seminary and for the city of New integrated congregation. In spite of I was in the infantry and trained at is sounding a fl at F sharp. You’ll have York in terms of church music. Reinhold the fact there were so few children Fort Jackson, South Carolina, in the to play a little louder.” Besides being a Niebuhr and Paul Tillich were both at in the area, they wanted me to start a crack platoon of the division. The only wonderful teacher, he was a fabulous their prime as professors at Union. children’s choir, so we scheduled the way that I got through the ordeal was performer and improviser. Hugh Porter was director of the rehearsals for after school. It was an to rely on my sense of humor and say Marcel Dupré came to the campus School of Sacred Music, having suc- extra trip for me, because I had to take to myself, “If only so-and-so could to play in 1948, and l listened in the ceeded Clarence and Helen Dickinson, two separate subway lines and a bus to see me now, crawling with a rifl e on back of the church while Dr. Thompson who were still around and still teaching. get to the church. my belly under live ammunition!” We demonstrated the organ for Dupré by They came on Wednesday, which was I did, however, manage to get a small were known as the top unit with an A improvising a lengthy theme and varia- known as D-Day. choir to perform some decent anthems. number-one record for performance. tions. Upon its conclusion, Dupré stood Mrs. Dickinson was quite a char- It was a learning experience for me, and up and shouted, “Prima, prima!” acter and was the fi rst woman to have I especially enjoyed the children. What do you mean by “crack”? I had wonderful experiences at DePauw received a PhD from Heidelberg Uni- When Morgan and I were married, Morgan: “Crack” refers to the dis- and made life-long friends with such versity. She was said to be able to talk one of the fathers brought some of the cipline that was used in an attempt people as Charles Heaton and Maureen the horns off of a Billy goat and that children to our wedding. It was such a to “break” (or “crack”) you, but I got and Art Carkeek. It was here that I was she had talked her way into a required thrill to have them there. through it. introduced to the A.G.O. There was a stu- course that had been previously closed As fate would have it, Frederick dent chapter, and I got my feet wet during to female students. She wrote her doc- Morgan, please tell us about your Kent, who had been in the class ahead my senior year when I served as dean. toral dissertation, in German, on Italian fi eldwork experience at Union. of me at DePauw, worked in the Third art of the Renaissance. Morgan: For two years, I was for- Army Chaplain’s Offi ce at Fort Jackson. Mary, please tell us about your col- The Dickinsons taught a course about the tunate to serve a Lutheran church in He asked me where I would like to be lege experience and study. history of sacred music, and Dr. D. taught New Rochelle, which had had a Union stationed after basic training, and I said Mary: When I graduated from high a course on oratorio solo accompaniment. person before me. We were able to per- Fort Benning. This was the closest base school, I was determined to continue Both Mary and I studied with Hugh form Messiah with outside soloists (“and to my home in Alabama and where my organ study but also piano. I went to the Porter whose style of teaching was quite I accompanied,” whispered Mary). sister and brother-in-law were stationed. University of Illinois because that was a a contrast to what I was accustomed. He For the fi rst time I had the joy and Being another serendipitous experience tradition in my family. My grandfather, was very much on-the-bench and over privilege of working with children’s and following those eight weeks of hell, my father, my mother, my mother’s your shoulder while humming and tap- choirs. Years later after going to Fourth I ended up with a plum job at Fort Ben- brothers and sister, and their spouses, as ping rhythms and penciling, and it took Church, I realized how much I missed ning. I was able to practice, took a speed- well as my sister and brother and their some time to get used to his more hands- this phase of music ministry. reading course, and enrolled in a French spouses, were all graduates, so it was a on approach. It was a tradition that the Porters course, knowing that I was going to need given that I would join the “club.” invited the entire student body to their it for my doctorate. I started out as a double major in Would you liken him to anyone more cottage in Connecticut for a retreat at piano and organ, but after two years I recent, such as Russell Saunders’s the end of each academic year. That’s Mary, where were you at this time? decided to drop the piano to a minor and style of teaching? when Mary and I became serious with Mary: I was with Morgan’s parents in really concentrate on organ. My teacher Morgan: Perhaps. He had studied one another. The following October, Andalusia. Upon Morgan’s return home was Paul Pettinga, a fi ne pedagogue and with Lynnwood Farnam, a perfectionist we became engaged and made plans after basic training, his father brought out a graduate of the Oberlin Conservatory. of the fi rst order. I have no fi rst-hand to be married in James Chapel at the a bottle of champagne for celebration.

22 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM line, then the tenor, and then the bass, just one voice at a time. So I had almost a year’s study of basic harmony with Lovelock, which complemented my undergraduate and graduate school experiences. Gerald Knight, director of the Royal School, was a gracious host to Allen Sever (another Fulbright Scholar) and me and took us on trips to Ely, York, and other cathedral cities. I also had the amazing opportunity of hearing Lessons and Carols at Salisbury and King’s College, Cambridge. We were introduced to Prince Philip during a reception for all Fulbright scholars at the English-Speaking Union. Another time, Sir William McKie, organist at West- minster Abbey, entertained Mary and me Morgan Simmons at the console of the for tea. These encounters were among the 1971 Aeolian-Skinner organ at Fourth highlights of our time in England. Needlepoint tapestry, “The Burning Presbyterian Church in the 1980s Bush” (2014), honoring the musicians of Fourth Church, which hangs in the new After being in England for a year, addition to Fourth Church in 2012 Describe your time in Columbus, you returned to Union where you Georgia, and your activities there? pursued your Doctor of Sacred Mary: After this, we moved to Colum- Music degree. (as mentioned above) who was also bus, adjacent to Fort Benning, where I Morgan: Yes, but unfortunately, we Morgan Simmons and a needlepoint working on a doctorate. Plus, I studied got a job on the post and did some organ had to shorten our time in England chair he stitched post retirement with John Huston, organist at First Pres- subbing in the area. because of my father’s illness, so we byterian Church. Morgan: During that time, we got returned four weeks earlier than had Magnifi cat, about which the chairman Also mentioned earlier, my doctoral involved in the church music life of been scheduled. of the music committee was initially dissertation centered on Latin hymnody. Columbus and were instrumental in My father died in July 1956, and we very uncertain, but she was delighted It included the study of plainsong hymns founding the Columbus Chapter of returned to Union that September that we could actually “pull off” some- being introduced to the Church of Eng- A.G.O., for which I served as its fi rst where I began my doctoral study. thing like that! land during the middle and latter part of sub-dean. I also assumed the position of minister the nineteenth century. Since I was stationed there for 18 of music at the Bound Brook Presby- Was Mary with you in that position? The dissertation was accepted by months, we also determined that, if terian Church in Bound Brook, New Morgan: Oh, yes. Mary was always Oxford University Press in New York Mary got pregnant by a certain time, Jersey, succeeding our friend, Charles there accompanying. but was rejected by the London offi ce, we’d be able to take advantage of the Heaton, who had just completed his so it was never published. Mary did all Army hospital. It worked and our son, doctorate at Union. It turned out to be So Mary, were you playing all of the typing of the 300-page document, David, was born on May 5, 1955. We call a wonderful experience since the church those oratorio accompaniments and I penned in more than a 100 musical it a historic birthday: 5555! had a long history of fi ne church music before they became published examples in four copies, no less. I was released from the Army that going back to the days of Ifor Jones, scores for organ? June and then attended summer school esteemed conductor of the Bach Choir Mary: Yes. I always loved accompany- Did you include footnotes? in New York to begin work on my doctor- Festival in Bethlehem, Pennsylvania. ing, even in high school. Morgan: Oh yes! ate at Union. Morgan: Our second and third chil- Mary: And I was pregnant at the time! Of mention on the current website of dren were born while we were in New Morgan: In addition to the dis- Please tell our readers about your Bound Brook Presbyterian Church Jersey—one between children’s choir sertation requirement, I had to write year (1955–1956) in England where is: “Many of our former directors of rehearsals on a Saturday morning, and annotated program notes for six organ you attended the Royal School of music have become of note in their the other between church services on a concerts and six choral programs. Church Music. fi eld. Ifor Jones who was here in Sunday morning. Morgan: Prior to separation from the the 1930s became the third director Now, tell us about your move to Army, I applied for a Fulbright Scholar- of the Bach Bethlehem Choir and How convenient! Evanston and your job at First ship, and the following September, Mary has edited many Bach cantatas and Mary: We had a good apartment that United Methodist Church. and I and our four-month-old son sailed anthems. Morgan Simmons was here came with the job, good train service into Morgan: After six years at the for England where I began study at the in the 1950s and went to and retired New York, and made lifelong friends. church in New Jersey, I received a joint Royal School of Church Music at Croy- from Fourth Presbyterian Church Morgan: At Union, I was studying appointment here in Evanston at First don. At that time and for many years, the in Chicago. Other noted names are during the summer with Marilyn Mason Methodist Church, which became First Royal School was housed in Addington Charles Heaton and Clifford Case, Palace, which once served as the sum- former U. S. Senator.” mer palace of the Archbishop of Can- Morgan: Thanks for doing your terbury. Mary, David, and I had gracious homework! I had not known of Senator accommodations on the second fl oor of Case’s relation to the church, which is A Precious Gift the magnifi cent edifi ce. the third oldest church in the state of Cyril V. Taylor, a very fi ne biblical and New Jersey, founded in 1688, and has from the Past musical scholar, was the warden of the missed only one service in its history. School. He had been with the BBC Radio That was when a battle was being fought Ministry, and at the RSCM, he taught during the Revolutionary War on the for the Present courses on psalmody and hymnody. church grounds. This is where I became interested in the We had a blizzard one year while we and the Future subject of my doctoral dissertation: Latin were there, but we held church with 17 in Hymnody: Its Resurgence in English the choir and 50 in the congregation. I was Supremely beautiful and blendable Usage. Subsequently, I researched the never so proud of a choir! tonal color – a Gift from the Venetian translation of Latin hymns into English Ifor Jones and E. Power Biggs had School of organbuilding, a monumental part of our and did a fair amount of research at the been contemporaries at the Royal Acad- JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH British Museum in London. emy of Music in London, and both came I had a few organ lessons with Sir Wil- to the United States in 1930. Although SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN liam Harris who, at that time, was organ- Jones was an organist, Biggs excelled in ist to the Queen at Windsor. I took the organ and Jones in choral work. Intriguing? Let us build your dream. Langlais Suite Brève to one lesson, and The Bound Brook Church offered after hearing one page, he shut the book abundant opportunities to put into prac- and said, “I will not listen to such music.” tice what I had already learned and was Then I had the audacity to think I could continuing to learn. study with Herbert Howells at the Royal We had a large children’s choir program College of Music. During our initial session of six choirs and enjoyed annual subscrip- and in no uncertain terms, he informed me tions to children’s concerts in New York that I wasn’t ready for him! City for six Saturdays each year. They He sent me to William Lovelock, profes- heard orchestral music, took boat trips, Builders of Fine Pipe Organs to the World sor at Trinity College in London. Like Van and learned about city life—a testament to Denman Thomspon, he was also a mind- the generous support of the congregation. www.ruffatti.com blowing musician. He could write out a There was a good choir library, also. melody, harmonize it by writing the alto During our fi rst year, we did the Bach Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 23 Interview

a time. I did all of my own typing, along Erzähler which means ‘Little Storytellers.’ with Mary’s assistance in proofreading. The stop is so talkative I have always said it Right at the beginning of my tenure, named itself. the organ was front-and-center: they were defi nitely going to replace the instrument. It has been retained in the new Mary: I’d like to intersperse here instrument by Quimby Pipe Organs, that it was Elam who suggested that along with the Harmonic Flute (1971 I should be on the payroll. Thus, I Aeolian-Skinner, Opus 1516) and the became a regular member of the paid French Horn (1914 Ernest M. Skinner staff as associate organist. Company, Opus 210). Morgan: Unlike any other pastoral relationship that I had prior to this, there Considering that Rev. John was a bond with Elam right from the Buchanan was such a prominent beginning. We worked together from fi gure in the Presbyterian Church 1968 to 1984. U.S.A., describe your day-to-day At one point, there were a couple of working relationship with him? disgruntled choir members who tried Morgan: John and I had a very good to get me fi red. Elam said that, even if relationship, but it acquired a new there were no choir remaining in the loft, dimension because it was my fi rst time I would still be organist and choirmaster. to work with a senior pastor who was That’s how strong his support was for me. younger than I. Even after his retirement to Bethlehem, Initially, I intuited that John felt I was Pennsylvania, we remained close friends. still “wedded” to my relationship with The back garden at the Simmons home in Evanston, the scene of annual garden One of my biggest responsibilities was Elam. It took some time to convince him parties for many years. Attached to the garage are two stained glass panels that developing the choir. Dr. Davies gave me that this was defi nitely not the case and that once graced the Blair Chapel of Fourth Presbyterian Church. the authority to hire and fi re as neces- he had my total respect, admiration, and sary, but it took me four to fi ve years to affection. He was very supportive of the United Methodist Church, and Gar- pistons, and it was quite something. create the choral sound that I carried in music ministry, bringing to the equation rett Seminary, which became Garrett- Also, the organ had 230 dead notes my head. his own accomplishment as a trumpeter Evangelical Theological Seminary. That when we went there! The choir was all paid, and as a result, and love for brass music that eventually appointment began in January 1963, and one always exchanges one set of prob- led to the establishment of a fi ne ensemble I succeeded Austin Lovelace in both of Why did you move from First United lems for another. Having never worked that continues to enhance worship. those positions. Once again, we had the Methodist, Evanston, to Fourth with a paid singer before, let alone an Elam was very much a hands-on pastor; opportunity to do excellent repertory at Presbyterian Church, Chicago? all-paid choir, I was presented with a for instance, he’d tell the young assistant First Methodist. Morgan: Essentially, I was not reap- whole bevy of challenges and potential pastors when they needed to polish their Before Alice Millar Chapel was built pointed to my position at the church in for tension in the ranks as well as dealing shoes. I missed that with John because in 1962, the church was closely associ- Evanston, not on musical grounds but with prima donnas. there were times when I thought staff ated with Northwestern. It was the site rather ministerial diffi culties. There was needed to be called to account. of many of the university choral concerts much turmoil going on in the church at Please talk about the installation of Elam also had a mind like a steel as well other musical events. the time, and I was going to be without the Aeolian-Skinner in 1971. trap, came to staff meeting with no Shortly after we arrived, the church a job. Morgan: Elam Davies did not have notes, took no notes, and yet quoted was the venue for an all Randall Thomp- One Sunday in June 1968, a distin- a good experience with the organ in his verbatim what was said and who had son concert with Randall Thompson guished gentleman appeared after the previous church in Pennsylvania. As a said it. He kept a calendar in his head, himself in attendance. On many occa- postlude and introduced himself as result, he was determined that the organ and you knew that he was on top of sions, we collaborated with the choral chairman of the music committee of was going to be an Aeolian-Skinner, everything that went on in the church. forces at Northwestern. Fourth Presbyterian Church. I knew and we engaged Robert Baker as the If he trusted you, you had his total Mary was technically not on the staff, but that Fourth Church was looking for an consultant. We also worked closely with support, yet his was a different style she did all of the organ accompanying for organist, but I also knew that it was the then president of the Aeolian-Skinner of administration as well as a different the church. We made many close friends, sort of place where one did not apply. Company, Donald Gillette. style of preaching which was very dra- both at the church and at Northwestern. He said that they were looking for a The organ was fi nally installed in the matic and frequently went off topic. By new organ and wanted to know what my fall of 1971 and was essentially crammed contrast John’s sermons were perfectly Mary, how did you deal with the opinion was. He gave to me the names of into a very tight and remote space. It crafted, informed by insatiable reading, orchestral reductions to piano that three companies that they were consid- replaced the E. M. Skinner instrument and on point—qualities that led to his were then the only available key- ering, complimented me on the service, of fi fty-nine ranks with one of 125 ranks, international prominence. board scores for these large choral and left. which made for even tighter quarters. works. Did you think that this was a That afternoon I received a call from The big problem was that Aeolian- Upon your retirement from Fourth diffi cult task at all? Elam Davies, pastor of Fourth Church, Skinner was essentially bankrupt at the Church in 1996, the following Mary: We did consult the orchestral who said that Mr. McLeod and his wife time, and they cut all kinds of corners on quote from the Chicago Tribune scores, and I could pull out things that had attended First Methodist Church the mechanics of the console, including speaks volumes. were important. Most of the time, how- that morning and liked what they heard. the combination action, which was very Quote of John Buchanan, Chicago ever, I used the accompaniments in the He then invited me to have lunch with unsatisfactory and which eventually had Tribune, March 27, 1996, “Organist vocal score in order to fi gure out what him the next day and told me that they to be completely replaced. Robert Baker Retires On a High Note.” should be highlighted. were looking for a new organist. We met played the dedicatory recital, and we had Pastor John Buchanan, while praising Morgan: One of Mary’s specialties for an interview, after which he offered an organ recital series during the rest of his [Morgan’s] ‘impeccable musicianship,’ was the Brahms Requiem, which we me the job. He said that he had pleni- our tenure. also noted one job drawback for Simmons. performed both in Evanston and later at potentiary power and was able to do this Over 27 years, Simmons had sat quietly, Fourth Church. In addition to the organ, if I was interested. I told him that the Considering that you were there as the between musical offerings, through ‘2,688 sermons and 1,700 weddings,’ a patience we added timpani and harp. offer was very enticing, but that I had an organ was being planned, what input required in few other art forms. With other scores, such as the Mozart appointment with a pastor from another did you have regarding the stoplist? Requiem, we used orchestra, although church and was not yet in a position to Morgan: I insisted that we had to the fi rst time we did the Mozart at make a commitment. have a Harmonic Flute on the Great, yet Among your many activities, you’ve Fourth Church, we used just the organ. The next evening I met with Louis I had to fi ght for it since in those days 8′ enjoyed success as a composer. What Evans, Jr., pastor of the Presbyterian stops were not in vogue! I also insisted can you say about your composing? Speaking just a bit ahead of ourselves, Church in La Jolla, California, who did that we retain the French Horn. We also Morgan: Most of my compositions what was the condition of the organ not have plenipotentiary power and who saved as much of the original E. M. Skin- can be described as “occasional” pieces. when you fi rst went to Fourth Church? was not in a position to offer me the job. ner pipework as possible. For instance, the impetus for Cityscape Morgan: It was the original 1914 The next morning, Elam called me and The very fi rst Kleine Erzähler was was the 1992 annual Festival of the Arts E. M. Skinner organ that had under- inquired where this church was. I told included in the 1914 organ, and there is at Fourth Church, “Faces of the City.” It gone some additions and changes in him, and he soon got back to me after a letter in the archives from E. M. Skin- is based on a three-note descending scale the late 1940s, but there had been no having looked up the statistics and said, ner in which he says the following: (C-B-A) which comprises the opening mechanical changes. There were no “It looks like a good church, but there’s I have invented a new stop through my notes of the popular song, “Chicago, Chi- general pistons, yet it had three master only one Fourth Church!” I told him that study over this case. I wanted to [include] cago, that toddlin’ town.” Coincidentally, pistons that controlled divisional pistons I thought he had majored in persuasion in a Flute Celeste of which I’m very fond; these same pitches are the beginning of number four, fi ve, and six but not the seminary, and the rest is history. I never [however] it takes a considerable room and Old Hundredth (sung every Sunday I set about fi nding a way to take less room. couplers. We also used one of those had a contract, never had a secretary. I wanted to make the stop softer than at church) and are incorporated in the master pistons as the general cancel usual, so I had some pipes made to a small concluding movement of the work, “The since there was none, and it was impor- What about the administration scale from the model of my Erzähler. The Magnifi cent Mile,” an allusion to the tant for silence. Needed sound could be of the music program at Fourth result is a most beautiful combination—I location of Fourth Church. think the most beautiful soft effect I have provided by the crescendo pedal! Presbyterian? ever heard. The sheer beauty of this stop Refl ections for Oboe and Organ was That fi rst year, Mary played the Morgan: I did all of that myself as gives me a very great asset and adds anoth- written for Ray Still, renowned for- Mozart Requiem without general well as all of the church publications for er to my list of original stops. I call it Kleine mer oboist of the Chicago Symphony

24 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Orchestra, and premiered by the two of people could relate. I often quoted the us in a recital at Fourth Church in 1976. maxim expounded by William Self: “No Because I am not gifted with a keen one is a soloist; everyone is a soloist,” ear like Mary, composing is an arduous superb advice for creating a unifi ed qual- task, most of which is done at the key- ity of sound. This is diffi cult for me to board. I may get a musical idea, but I talk about, and, if anything, it might be don’t commit it to paper without check- perceived to be conceited. ing it out at the piano. The sounds of the Fourth Church organ and the acoustics I don’t think that you are being con- of the building also infl uenced the color- ceited. Rather you are being honest ation of many of my compositions. and, as you feel comfortable, reveal- Prelude on a Melody of Sowerby ing of your skill in working with choirs. features the Kleine Erzhäler and Morgan: Through the years, I’ve Celeste, which Sowerby would have gone through much self-searching and heard and played. The piece builds to self-evaluation, and I’ve tried to con- full organ after a blast from the Festival quer (not necessarily “the demons”) but Trumpet, which dates from the 1971 various issues. I’ve experienced Dalcrose Aeolian-Skinner. Eurythmics, yoga, acupuncture, and On the occasion of the Fourth Church Alexander Technique. Morning Choir tour to Britain in 1990, I My sister used to say that the defi ni- composed settings of the Canticles and tion of an A-type personality is one who responses for Evensong, which the choir smacks one’s face against the automatic Needlepoint cushions and wedding kneeler in the chancel of Fourth Presbyterian sang at Bath Abbey, a service at which door because you get there before it Church dating from 1995 my mentor Cyril Taylor and his wife opens for you. Needless to say, she and were in attendance. The highlight of that I were both A-types and could recognize whose parents, Edith and Edward tour was the singing of his magnifi cent the trait in each other. Andrew, initiated the scholarship with hymn tune Abbots Leigh in his pres- the A.G.O. upon our retirement from ence and in that awesome building. Are you saying that this is something Fourth Church in 1996. It is presented you’ve had to conquer over the years? annually for students attending a P.O.E. Your hobbies include gardening and Morgan: Yes, it’s been both a bane (Pipe Organ Encounter). needlepoint. Please tell us how you and a blessing—a compulsion to mea- I’d like to add that I think the P.O.E. became interested in these won- sure up to the goals and responsibilities program is one of the best things that has derful, non-musical activities. (The that I’ve set for myself. There is a big ever happened to the Guild. photos included here of your garden dose of “driveness” in my makeup that Three of nine cushions in the upper and needlepoint are testaments to comes from my inner drive and my fam- You also developed an arts series chancel of Fourth Church honoring past and current clergy. Left of the IHS your skills and artistry.) ily background. and organ recital series during your symbol is for Elam Davies and to the Morgan: I began doing needlepoint tenure at Fourth Church. right is for John Buchanan. at the age of 18 under the guidance of Do you have something else to share Morgan: Before Elam Davies retired, one of my aunts. The gardening goes about experiencing the world at an I proposed an arts festival, which he back to age four when I was given a early age? strongly supported by designating funds the organ in church. Unfortunately, dedicated space in our yard for my own Morgan: As a child, I had the good for its inception. Robert Shaw, Maya young people are not being attracted plantings. Addiction to the plant world fortune of being exposed to the outside Angelou, Dave Brubeck, Gwendolyn to the organ and its music like in has only grown through the years. world. My mother was an incredibly Brooks, and other luminaries were fea- the “old days.” This has adversely The needlepoint includes over 30 pieces independent woman and well ahead tured on this series, which continued affected the number of those who for Fourth Church—mainly the chancel of her time. In 1940, she organized an until our retirement. are entering the profession. cushions, a cross with attendant panels 8,500-mile driving trip from Alabama Morgan: As an early teen, I thought and replicas of stained glass—plus the to Portland, Oregon, and back. There Might you comment about the future that I was going to enter the ministry, large 4′ x 4′ tapestry of The Burning Bush were seven of us—my mother, sister, of our profession? but I eventually realized that my speak- which hangs in the new building at Fourth and I, an aunt, and a friend of my Morgan: The drop in A.G.O. mem- ing voice was not of the right caliber to Church and which was created in honor of mother, and her two daughters—piled bership is alarming, yet better and better occupy the pulpit. the musicians who have served the church. into a 1938 Buick! organists and instruments are appearing We stayed with friends and relatives on the scene. Do you have any words of wisdom to Why needlepoint? along the way as well as in motor tour- pass along to our readers as well as Morgan: It is therapy: I don’t sit still ist camps (as they were called then), What do you think is the reason for to the next generation of organists well. I guess that it has had something to and this was long before the interstate the decline in A.G.O. membership? and church musicians? do with my itchy fi ngers! highway system! We saw the Grand Morgan: I think that it’s a refl ection Morgan: I wish that I had some Canyon, the World’s Fair Exposition of society: people are generally not “join- words of wisdom, but I can honestly say In a statement that you sent to me in San Francisco, with Johnny Weiss- ers” anymore. that some of these young players are just before the interview, you said the muller and Esther Williams. Addition- fabulous. I believe that the future of the following: ally, we visited the Mormon Tabernacle, Might it have something to do with the profession is in good hands if they can Carlsbad Caverns, and Yellowstone organ’s role in current-day worship? persevere with grace and commitment in I was always sensitive to the fact that I had BIG shoes to fi ll. In Isaac Newton’s Park. This was just the start of the world Morgan: Case in point: some years the challenging times in which we live. words, ‘If I have seen further than others, it opening up to me. back I attended a study program at St. was only by standing upon the shoulders of In the summer of 1949, I joined my Olaf College, and while there I attended Thank you, Morgan and Mary. You giants.’ I wouldn’t dare to presume that I’ve family in Germany where my father was a Lutheran church in Northfi eld. Sitting are the great musicians of the Mag- seen further than others, but I am acutely aware that I have a BIG debt to those who stationed. That was the fi rst year of the silent in that church was a fi ne, tracker nifi cent Mile! Q have gone before me.” Salzburg Festival, which we attended, instrument while the service was led by and we also visited Bayreuth where I had piano and guitar. This was disturbing. Steven Egler is Professor of Music the opportunity to play Wagner’s piano. I’m sorry to say that this is not an uncom- Emeritus at Central Michigan University, Because you are a giant in our fi eld, During our time at Fourth Church, we mon occurrence! Mt. Pleasant, where he taught organ for what do you have to say to those of us took the choir on three European tours: 41 years. He is also director of music and who are standing on your shoulders? Salzburg and Vienna, England, and Italy. Another common thread among organist emeritus at First Presbyterian Morgan: I’ve spoken about the fact those whom I have interviewed is Church, Mt. Pleasant, where he served that I don’t have outstanding, native How did the Fourth Presbyterian that they have all said the same for 35 years (1976–2011). He is currently musical ability. Whatever success I’ve Church Anthem Series (Hope Pub- thing: they became interested in the dean of the Saginaw Valley Chapter of had has been a combination of manage- lishing Co.) come to be? organ due to their early exposure to the American Guild of Organists. rial and musical abilities. Additionally, I Morgan: This was a result of our believe that I have a good balance of IQ friendship with George Shorney, who (Intelligence Quotient) and EQ (Emo- was at that time president of Hope tional Quotient). Publishing Co. He became a member of The Sound of Pipe My IQ is not “off the charts,” but I Fourth Church—and I don’t want this to think that my emotional quotient and my sound immodest—because of the music. Organs personality play a large part in my ability There are 16 anthems in that series: 11 M. McNeil, 191 pages to relate to people. This is particularly were composed during our years and fi ve A new technical study of the important in working with choirs. were added after our retirement. The voice is diffi cult to teach because relationships between scaling, you cannot see it, so you have to use your Who initiated the Morgan and Mary voicing, the wind system, and imagination to convey ideas. I would Simmons A.G.O. Scholarship for tuning. Search on the title at make comparisons between fabrics Young Organists? the Organ Historical Society and sound—beige chiffon or “tweedy” Morgan: John Buchanan’s older and Amazon websites. and other such comparisons—to which daughter Diane married Rick Andrew,

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 25 Cover feature

Glück Pipe Organs, director, John Hose. Too small for the New York, New York room and voiced barely to energize the Saint Patrick Catholic Church, pipes, it was from its inception frustrat- Huntington, New York ingly inadequate for liturgical use. Sparse allocation of the organ’s twenty-one ranks Roosevelt Organ No. 408 among three manuals and pedal forced In 2003, I purchased Frank Roosevelt’s the elimination of essential voices in what three-manual, thirty-six rank Organ No. likely should have been a well-appointed 408 before the wrecking ball struck two-manual instrument. Subsequent Brooklyn’s Schermerhorn Street Evan- alterations to the stoplist accomplished gelical Lutheran Church. The Roosevelt nothing, and the organ was still suffering organ, contracted for in 1888, begun mechanically after technical work was in 1889, and completed the following executed. Upon careful examination, I year, enjoyed renown while Franz Liszt’s determined that insurmountable scaling student, Hugo Troetschel, presented irregularities precluded it from forming 250 bi-weekly recitals during his 52-year an effective core for a new instrument, tenure as organist. As the Roosevelt and that the parish would accrue no ben- organ was being dismantled, a project efi t from retaining any of its mechanical was initiated for it to be reconstituted in infrastructure. its historic confi guration for Princeton I entered into a situation for which University under the aegis of the late ideas already had been presented, so as David Messineo, university organist. Dr. an architect, organist, and organbuilder, Messineo’s vision was to install it within I had to make my case with clarity as the 1916 Aeolian organ case in Proctor the last man “at bat,” and had to risk Hall, which had been designed by Ralph proposing something so different that it Adams Cram as the elegant graduate would either be rejected or embraced. dining hall of the campus. The Aeolian I proposed that the Roosevelt organ be was supplanted by a Gress-Miles organ incorporated into two new organs at The case of the gallery organ. The Apostles window, which had been obstructed in 1968, but we felt that bringing the either end of the building, controlled by partially by the previous organ, is now incorporated as a design feature. Roosevelt there, with a replica of its twin mobile consoles that emphasized original console and limited combination the elegant richness of natural materials chancel cases from the sheer walls of the system, would give students an accurate so that the organs would not be seen as building, and designed the large gallery idea of what an untouched Roosevelt utilities. A single aggressive organ blasting case to embrace the rose window. The sounded like, and more importantly, from one end of the very long room would organs’ cases complement the architec- how it would have to be played without be less effective than two more elegantly ture without distracting from liturgical modern solid-state equipment. Upon Dr. voiced instruments dividing the task. With proceedings, and the chancel cases are Messineo’s death in June 2004, the proj- no substantive literature written for an located high enough to remain in tune ect abruptly was ended, so I reserved the “antiphonal” division, I chose a modifi ed with the gallery organ. material within our company’s selection continental model. The labor is divided I am grateful to have worked with and of heritage pipework until such time as a between the two organs, but the use of for composer, conductor, organist, and suitable home could be found for it. assisted rather than mechanical action tenor Matthew Koraus, FAGO, director A decade after saving the Roosevelt would make them playable separately, of music, whose enormous talent, vision, from the landfi ll, it became obvious that it together, or simultaneously by musicians commitment, and patience helped bring would take a very special type of church, at either end of the building. two new organs to the parish. synagogue, homeowner, or school to take Countless volunteer consultants the leap of faith to historically recon- offered their strong opinions about tonal The new instruments struct a heritage cultural property that design, builders, and the merits of pipe- Roosevelt’s standard wind pressure of 1 they could not hear or see. I was left with less sounds, with a nebulous consensus 3 ⁄2 inches determined the wind pressure little choice but to market the Roosevelt that the Möller organ should be rebuilt, used for the Saint Patrick instruments. The parish’s previous Möller organ. Its as the core of a new instrument, but did supplemented by an “antiphonal” divi- The Roosevelt pipes, once cleaned narrow pipe scales, characteristic of the builder and period, are made evident by not wish to disperse it rank-by-rank, the sion, real or artifi cial. The prevailing and winded, would dictate to me the the utilitarian, open array of pipes. fate of so many antique instruments. notion that circuits and speaker cabinets tonal direction of the organ’s new stops. With the understanding that its genes could fi ll the artistic gaps with a shrug Roosevelt’s work after the fi rst few years had to carry on in a different way, I knew of the shoulders was proclaimed the deliberately followed a template from orchestras, and congregation surrounded it was unlikely that all of it could be used, path of least resistance. Swimming with which the fi rm rarely deviated, so even and coordinated by sound, the new and some contemporary tonal elements vigor against that tide, I proposed two the presumption of “what would the arrangement has been fully embraced. might be included to make it viable for complete all-pipe organs of contrasting company produce today?” was treading With a sumptuous mobile console at modern musical ministry. The goal was character, albeit constitutive elements of on thin ice. The historical material was a each end of the building, the liturgical to keep its spirit alive. a grander whole. point of departure in a new venture. and musical fl exibility, and the ability for There is always room for a pipe Visually, my mission was to design two musicians to play simultaneously, The opportunity presents itself organ, even if there is not the willing- three organ cases that acknowledged the have fostered a new understanding of Saint Patrick Catholic Church is a vast, ness. Each house of prayer holds only so modernity of the church building but the organist’s duties in the parish. lofty, reverberant building constructed in many people and will accommodate the would bear my stamp as an architectural The Gallery Great is anchored by 1962 and equipped with M. P. Möller’s appropriate number of pipes to accom- classicist. Following half a century of a 16′ Violone, which was rebuilt from Opus 9751 from the start. That gallery pany their voices. Despite the absence blank white walls, the size and depth of the Möller Pedal 16′ Principal. This organ was the unfortunate product of the of sanctuary chambers and the cries the cases, particularly those that fl ank the gives the reader a good idea of just how joint infl uence of the fi rm’s “special tonal of “no room for pipes,” I proposed the sanctuary, presented “the shock of the under-scaled the Möller instrument was. consultant,” Ernest White, and their tonal centuries-old practice of suspending the new” to some parishioners. With choirs, The Roman-mouthed Roosevelt Great

Glück Pipe Organs

3 GALLERY GREAT – Manual II 1⁄5′ Tierce 61 m 16′ Violone 61 m III–IV Plein Jeu 212 m 8′ Open Diapason 61 m 16′ Bassoon (ext 8′ Hautboy) 12 m 8′ Violoncello (ext 16′) 12 m 8′ Trumpet 61 m 8′ Concert Flute [a] 8′ Hautboy 61 m R 8′ Doppelfl öte 61 w R 8′ Vox Humana 61 m R 4′ Principal 61 m Tremulant 4′ Flauto Traverso (harm.) 61 w&m 2′ Fifteenth 61 m GALLERY CHOIR – Manual I IV Chorus Mixture 244 m 8′ Violoncello (Great) 8′ Trumpet 61 m R 8′ Dulciana 61 m R Zimbelstern 8′ Unda Maris (TC) 49 m 8′ Herald Trumpet (Choir) 8′ Gedeckt 61 w R 4′ Gemshorn (cylindrical) 61 m R GALLERY SWELL – Manual III 4′ Flûte d’Amour 61 w R 8′ Diapason 61 m R 2′ Blockfl öte 61 m 8′ Cor de Nuit 61 w R II Carillon 122 m 8′ Salicional 61 m R 8′ Corno di Bassetto 61 m 8′ Voix Céleste 61 m R Tremulant 4′ Principal 61 m R 16′ Herald Trumpet (TC, fr 8′) 4′ Flûte Harmonique 61 m R 8′ Herald Trumpet 61 m 2 2⁄3′ Nazard 61 m 8′ Tromba [b] 17 m R Detail of Chancel console 2′ Octavin (tapered, harm.) 61 m R

26 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Plan of the gallery organ, designed on a single level for tuning stability. The tuner can walk the full length of the organ through communicating doors and reach every pipe with ease.

College of Mount Saint Vincent, over- enclosure, and the 8′ Tromba is the for- The combined organs easily lead looking the Hudson River. The Great mer Swell 8′ Cornopean. At six-inch scale large choral forces, support full con- Mixture had been stolen from that organ with harmonic spotted metal resonators, gregational singing, and contain gentle, in 1969, and the Brooklyn stop will sing it was incorporated into the Saint Patrick accompanimental voices at both ends again among its siblings. Pedal as an 8′ and 4′ unit, with the top of the building to provide subtle, evoca- The Swell harbors the largest con- 17 pipes retained for its use as a power- tive, and meditative effects for life cycle centration of original tone with nine ful manual Trumpet for processions and events and introspective portions of the Roosevelt ranks. The warm 8′ Diapason, fanfares and to cap the full organ without Mass. Over the centuries, organbuild- often absent from the American Swell, standing apart. ers and composers have established supplants the ubiquitous addiction to the The Gallery Pedal is a stack of inde- particular conventions regarding which 16′ Bourdon. The new Plein Jeu lends pendent fl ue ranks, with Roosevelt’s stops and combinations of stops must clarity to the Pedal when coupled, with no seismic 16′ Open Wood Bass sitting “live” in particular divisions, and if these 2 2 4 break from its 15-19-22 composition until beneath purely tuned 10 ⁄3′, 6 ⁄5′, and 4 ⁄7′ rules are set aside, many works cannot G#33. With space and budget for only pitches in the bass to reinforce the 32′ be played as intended. I have tried to one Cornet combination, it was placed in line. The magnifi cently brassy, rolling 16′ honor those requirements in the design the Swell, where it is under expression, Trombone, with its wooden shallots and of this dual instrument. can be folded into the reeds, and can blocks and sleeved zinc resonators, is so Pipe organ building is an interdisci- Frank Roosevelt Organ No. 408 in enter into dialogue with either the Corno powerful that it triggered burglar alarms plinary craft, and every instrument, tradi- the closed Brooklyn’s Schermerhorn di Bassetto or Clarinet. The Swell reeds and summoned police during the tonal tionally the vision of the tonal director, is Street Evangelical Lutheran Church. Its damaged roof open to the sky, years are rich and warm for anthem work, a bal- fi nishing phase of the project. a group effort. In addition to our signifi - of pigeon droppings prevented the ance made possible by the more brilliant The partially unifi ed organ fl anking cant suppliers (OSI, A. R. Schopp’s Sons, salvaging of the wind chests and key manual reeds elsewhere in the organ. the sanctuary supports and encourages and Peterson Electro-Musical Products), desk, and the magnifi cent case had to The Choir division is cast with a nod congregational singing by helping to these instruments were made possible by be abandoned. toward traditional structure, without tak- maintain coordination, tempo, and pitch. the capable staff of Glück Pipe Organs: ing it too far into the neo-Classical realm. The front organ is of a lighter and gentler Albert Jensen-Moulton, general man- 16′ Double Open Diapason—gilded, The new muted undulant is completely character than the main organ because ager; and technicians Joseph di Salle, stenciled, and sand painted—had to be uncharacteristic of Roosevelt’s work; of its use in more intimate services and Dominic Inferrera, Dan Perina, the late abandoned with the magnifi cent case in both brothers preferred a second Choir its proximity to the parishioners and Peter Jensen-Moulton, and Robert Rast. Brooklyn, and sadly went down with the 8′ string of contrasting character, and clergy, yet it is still large enough to use —Sebastian Matthäus Glück building. Soaring harmonic fl utes stand the Unda Maris appeared in a mere one for the performance of a sizable segment alongside Roosevelt’s signature double- percent of their 538-instrument output. of the concert literature. Builder’s website: mouthed fl ute, as well as his wonderful Tenor C of the Dulciana is marked #400 The sparkling Great and Positiv inhabit www.gluckpipeorgans.com 8′ Trumpet with tin-rich resonators and 408 ECHO Choir DULCET G. MACK the Gospel case and the mellower Swell, schiffschen shallots. JULY 1889; this rank was originally built with its Skinner-style Flügel Horn, is in Church websites: The Great Chorus Mixture is com- as the 4′ Dulcet for Roosevelt’s 1892 four- the Epistle case. Roosevelt’s splendid stpatrickchurchhunt.org posed slightly lower than most and manual, 109-rank magnum opus No. 400 Clarinet takes up residence in the Positiv, stpatrickhuntingtonmusic.weebly.com voiced with some restraint. The original for the Chicago Auditorium Theatre, and the three 16′ Pedal stops (string, fl ute, Roosevelt tierce mixture could not be the pipes for which were in production and warm reed) keep the bottom from Photo credits: Sebastian Matthäus Glück retained as a second mixture for budget- at the same time. The division’s fl ute dropping out. The instrument enjoys its and Albert Jensen-Moulton ary reasons, and with only one mixture choir and subtle Carillon are joined by own personality, with the resources to in the division, I opted for a new quint a notably bold 8′ Corno di Bassetto. Two enhance liturgy and to acquit a respect- Cover photo: The chancel console, mixture for clarity. The Roosevelt Great commanding Trumpets, one enclosed able body of the literature. The two cases one of a pair of identical twins, and the Chancel Swell casework, one of a tierce mixture has found a new home; and one not, play from the Choir manual are widely spaced. There is directional pendant pair. The façade of this case it is being included in our fi rm’s recon- but are not necessarily of the Choir. distinction and balances must be heard displays the Chancel Pedal 8′ Principal, struction of Roosevelt Organ No. 4 of The new Herald Trumpet, voiced on six in the room, yet the acoustic brings them with the opposite case accommodating 1873, his earliest surviving effort, at The inches wind pressure, is in the expression together in the nave. the Chancel Great 8′ Open Diapason.

Saint Patrick Catholic Church, Huntington, New York

GALLERY PEDAL CHANCEL GREAT– Manual II 4′ Koppelfl öte 52 m [a] C1–B12 common with Doppelfl öte, C13– 32′ Double Diapason [c] 12 w 8′ Open Diapason 61 m (C1–G#9 Gedeckt) C61 from Flauto Traverso 16′ Open Wood Bass 32 w R 8′ Spitzfl öte 61 m 2′ Piccolo (ext 8′ Holzged) 24 m [b] Unenclosed; extension of Pedal 8′ Tromba 2 16′ Violone (Great) 4′ Principal 61 m 8′ Flügel Horn 61 m [c] Independent 10 ⁄3′ stoppered pipes play 16′ Subbass 32 w R 2′ Fifteenth (ext 8′ Open) 24 m Tremulant with 16′ Open Wood for C1–B12; breaks 16′ Lieblich Gedeckt 12 w R IV Mixture 244 m to 32′ Open Wood at C13 2 2 4 (ext Choir 8′ Gedeckt) CHANCEL PEDAL [d] 10 ⁄3′ wood + 6 ⁄5′ metal + 4 ⁄7′ metal (with 8′ Principal 32 m CHANCEL POSITIV – Manual I 16′ Contrabasso (ext Sw Viola) 12 m internal chimneys); composition changes 8′ Violoncello (Great) 8′ Rohrgedeckt 61 w&m 16′ Sub Bass (ext Pos Rohr) 12 w as it ascends the scale, with mutations 8′ Bass Flute (ext 16′) 12 w R 4′ Offenfl öte (ext Gt 8′ Spitz) 12 m 8′ Principal 32 m dropping out 8′ Gedeckt (Choir) 2′ Nachthorn (ext 8′ Rohr) 24 m 8′ Spitzfl öte (Great) m = metal 1 4′ Fifteenth 32 m R 1⁄3′ Quintfl öte 49 m 8′ Viola (Sw) w = wood 4′ Gedeckt (Choir) (top octave repeats) 8′ Rohrbordun (Positiv) R = Roosevelt 2′ Bauernfl öte 32 m 1′ Zimbelpfeife (8′ Rohr) 4′ Choral Bass (ext 8′ Princ) 12 m 32′ Harmonics [d] 38 m 8′ Clarinet 61 m R 4′ Offenfl öte (Positiv) Chancel Organ: Opus 16 (16 ranks, 1,058 16′ Trombone (maple shallots) Tremulant 16′ Waldhorn (ext Flügel Hn) 12 m pipes) 32 m R 8′ Flügel Horn (Swell) Gallery Organ: Opus 17 (46 ranks, 2,564 16′ Bassoon (Swell) CHANCEL SWELL – Manual III 4′ Clarinet (Positiv) pipes) 8′ Trumpet 32 m R 8′ Viola 61 m Dedicated September 14, 2014 8′ Bassoon (Swell) 8′ Viola Céleste (TC) 49 m Gallery: Blackinton slider chests; chancel: 4′ Clarion (ext 8′) 12 m R 8′ Holzgedeckt 61 w electric valve chests with reeds in electro- 4′ Fugara (ext 8′ Viola) 12 m pneumatic pouch chests.

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 27 Summer Institutes, Workshops, & Conferences

University of Florida Sacred Music Jenny McDevitt, Eric Wall, others. Oberlin Summer Organ Academy Haarlem Organ Improvisation Competi- Workshop Contact: 502/569–5288; June 24–30, Oberlin Conservatory of Music, tion and Summer Academy May 6–8, Gainesville, FL. www.presbymusic.org. Oberlin, OH. July 14–28, Haarlem, the Netherlands. Hymn festival, organ and carillon recital, Faculty includes James David Christie and Masterclasses, lecture recitals, and excur- choral workshops; Laura Ellis. Montreat Conferences on Worship and Jonathan William Moyer. sions to organs in Haarlem, Leiden, Alkmaar, Contact: https://arts.ufl .edu/in-the-loop/ Music Contact: https://new.oberlin.edu/offi ce/ and Groningen; Olivier Latry, Vincent Théve- events/uf-sacred-music-workshop/. June 17–22, June 24–29, Montreat Confer- summer-programs/index/organists/. naz, Lorenzo Ghielmi, Ben van Oosten, etc. ence Center, Montreat, NC. Contact: https://www.organfestival.nl. RSCM–America Gulf Coast Course RSCM Spring Course for Young People Rehearsals, seminars, workshops; choirs, June 24–July 1, Houston, TX. May 29–31, Whitby, UK. handbells, organ, visual arts, liturgies; John Hymn Society Annual Conference Intensive training for young singers; Claire Course for girls 10–18 (choristers and two Schwandt, Michael Burkhardt, Tim Sharp, July 15–19, St. Louis, MO. Innes-Hopkins. organ scholars), individual and group instruc- others. Lectures, hymn festival, masterclass; Contact: www.rscm.com/event/spring- tion; Jonathan Vaughn, Anna Teagarden. Nathaniel Gumbs, Robert Harris, Paul Vasile, course-for-young-people-2018-whitby-2/. Contact: Presbyterian Association of Musi- Contact: www.rscmgulfcoast.org. cians, www.pam.pcusa.org. others. Contact: www.thehymnsociety.org. Indiana University Sacred Music Church Music Assocation of America Baroque Performance Institute Intensive Sacred Music Colloquium Association of Disciple Musicians 2018 June 4–8, Bloomington, IN. June 17–30, Oberlin Conservatory of Music, June 25–30, Chicago, IL. National Annual Conference Continuing education enrichment for Oberlin, OH. Church Music Association of America: July 15–20, Oklahoma City, OK. church musicians, organists, choir directors, “A Celebration of Couperin and Char- instruction in chant and Catholic sacred Workshops on organ, choral, and handbell and vocalists; Janette Fishell, Walter Huff. pentier,” coaching, masterclasses, concerts; music tradition, participation in chant choirs, music. Contact: http://music.indiana.edu/precol- Oberlin Baroque Ensemble. lectures, performances; Ann Labounsky, Contact: http://www.adm-doc.org. lege/adult/sacred-music/index.shtml. www.oberlin.edu/summer-programs/bpi. Jonathan Ryan, Horst Buchholz, others. Contact: http://musicasacra.com. Indiana University Jacobs Organ Guild of Carillonneurs in North America Westminster Choir College Choral Con- Interlochen Adult Choir Camp Academy Annual Congress 2018 ducting Intensive July 15–21, Bloomington, IN. June 4–8, Springfi eld, IL. June 18–22, Princeton, NJ. June 25–30, Interlochen, MI. Vocal warm–ups, sectional rehearsals, with For the pre-college and collegiate organist Contact: www.gcna.org. Intensive study sessions, Alexander tech- public performance; Jerry Blackstone, Scott or keyboardist, the program includes daily les- nique, musical analysis; James Jordan and sons, classes, practice, and access to campus Berkshire Choral Festival Van Ornum. Meade Andrews. Contact: college.interlochen.org/adultchoir. instruments, including organs, harpsichords, June 10–17, Baltimore, MD; June 17–24, Contact: www.rider.edu/summerarts and two carillons; Janette Fishell, Christopher Saratoga Springs, NY; July 1–8, Fullerton, CA; Young, and others. July 29–August 5; Newcastle/Durham, UK. American Theatre Organ Society Annual Summer Chant Intensive Contact: http://music.indiana.edu/precol- Rehearsals, classes, lectures, concerts; Convention June 18–22, Duquesne University, Pitts- June 29–July 3, Pasadena, CA. lege/summer/jacobs-organ-academy/index. Betsy Burleigh, Joe Miller, Rob Istad, Brian shtml. Kay, others. burgh, PA. Clark Wilson, Mark Herman, Jelani Contact: berkshirechoral.org. The Justine Ward Method for teaching Eddington, others. children, Chant Intensive for Singers, Chant Contact: www.atos2018.org. Fellowship of American Baptist Musi- cians 2018 Conference Association of Anglican Musicians Intensive for Directors; Scott Turkington, Westminster Choir College High School July 15–21, Green Lake, WI. 2018 Conference Wilko Browers. Organ Institute Workshops, ensembles, and concerts. June 11–14, San Antonio, TX. Contact: musicasacra.com. July 1–14, Princeton, NJ. David Cherwien, Molly Marshall, Mary Workshops and discussions, liturgies, The Fellowship of United Methodists Lessons, organ crawls, masterclasses in McDonald. choral and organ concerts; Rt. Rev. J. Neil organ and choral training; Matthew Lewis, Contact: www.fabm.com. Alexander, Norbert Meyn, Scott Dettra. in Music and Worship Arts (FUMMWA) Music and Worship Arts Week Eric Plutz. Contact: conference.anglicanmusicians.org. Contact: www.rider.edu/summerarts. Cours d’Interprétation et Improvisation June 24–29, Lake Junaluska, NC. de Romainmôtier Mo–Ranch/PAM Worship and Music Handbells, organ, and choral workshops, Royal Canadian College of Organists July 15–22, Romainmôtier, Switzerland. Conference recitals; Mark Mummert, Alice Walker, Mark Annual Convention 2018 Classes on Jehan Alain, improvisation, June 17–22, Hunt, TX. Miller, others. July 2–5, Calgary AB, Canada. J. S. Bach, and German Romanticism. Tobias Lectures, workshops, concerts; Adam Tice, Contact: www.umfellowship.org. Workshops, recitals, exhibits, hymn Willi, Emmanuel Le Divellec, Ludger Lohm- festival. ann, Eric Lebrun, and others. Contact: www.calgaryorganfestival.ca. Contact: www.jehanalain.ch.

American Guild of Organists National Choral Artistry Convention July 16–20, Eastman School, Rochester, NY. July 2–6, Kansas City, MO. Conducting, vocal pedagogy, musicianship; Recitals, concerts, lectures, workshops, Robert Swensen, Monica Dale, others. worship. Katelyn Emerson, Christopher Hou- Contact: http://summer.esm.rochester. lihan, Kimberly Marshall, many others. edu/course/choral-artistry-conducting-vocal- Contact: www.agohq.org. pedagogy-musicianship/.

Westminster Choir College Choral Insti- Nashotah House Church Music tute at Oxford Workshop July 3–12, Oxford, UK. July 16–20, Nashotah, WI. Choral conducting lessons, masterclasses, Workshops exploring the Anglican choral and experiences; Bob Chilcott, Stephen Dar- tradition, including hymn and service playing, lington, Edward Higginbottom, etc. as well as chant; Lee Erickson, Christopher Contact: www.rider.edu/summerarts. Berry, Tedd King, etc. Contact: https://churchmusicianswork- Westminster Choir College Founda- shop.org tions in Ringing July 9–13, Princeton, NJ. Massachusetts Boys Choir Course How to build or revitalize a handbell pro- July 16–22, Groton, MA. gram; Kathleen Ebling Shaw. RSCM course, at the Groton School, Contact: www.rider.edu/summerarts. Walden Moore, others. Contact: www.mbccusa.com. National Association of Pastoral Musi- cians Annual Convention 2018 Baylor Alleluia Conference July 9–13, Baltimore, MD. July 17–20, Waco, TX. Handbell festival, exhibits, choral, organ, Conference for church music directors, and music direction clinics, recitals. plenary reading sessions, choral/orchestral Contact: www.npm.org. reading sessions; Jack Mitchener, Michael Choral Conducting Symposium Burkhardt, Elaine Hagenberg, others. July 9–13, University of Michigan, Ann Arbor. Contact: www.baylor.edu/alleluia. Masterclasses, score study, rehearsal techniques, reading sessions; René Clausen, London Organ Improvisation Course Eugene Rogers, Julie Skadsem. July 17–20, London, UK. Contact: www.music.umich.edu/special_ Improvisation lessons and workshops on programs/adult/choral.conducting.htm. historic and modern instruments. Daniel Moult, Duncan Middleton, and Gerard Brooks. Sewanee Church Music Conference Contact: https://loic.org.uk July 9–15, Monteagle, TN. Study, worship, organ and choral music; Handbell Musicians of America National Stephen Buzard, Robert Simpson. Seminar 2018 Contact: www.sewaneeconf.com. July 17–21, Grand Rapids, MI. Classes, performances, exhibits, handbell Oundle for Organists Summer School notation conference; Kalamazoo Ringers, July 9–15, Oundle, Northamptonshire, UK. Detroit Handbell Ensemble, others. Course for young organists including vital Contact: www.handbellmusicians.org. keyboard skills, liturgical skills, improvisation; Ann Elise Smoot, Margaret Phillips, Henry Eastman Summer Academy for High Fairs, others. School Organists Contact: oundlefororganists.org.uk. July 23–27, Rochester, NY.

28 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Faculty includes David Higgs, Nathan Laube, William Porter. This calendar runs from the 15th of the month Park Ridge, IL GRACE CHURCH Contact: http://summer.esm.rochester.edu/ of issue through the following month. The deadline Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK course/summer-academy-for-high-school- Bloomingdale, IL organists/. Feb. issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO Longwood Gardens Summer Organ chapter event, • •=RCCO centre event, +=new organ Academy dedication, ++= OHS event. Christopher Babcock Michael J. Batcho July 23–28, Longwood Gardens, Kennett Information cannot be accepted unless it Square, PA. specifi es artist name, date, location, and hour in Instruction, masterclasses, and perfor- Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, mances featuring organ transcriptions. Peter order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN Richard Conte, Alan Morrison, Ken Cowan, Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE and John Schwandt. responsibility for the accuracy of calendar entries. Contact: longwoodgardens.org/organ- academy. UNITED STATES Mississippi Conference on Church East of the Mississippi Dean W. Billmeyer Music and Liturgy 2018 Music Conference 15 APRIL University of Minnesota July 24–29, Canton, MS. Josiah Hamill; Woolsey Hall, Yale Uni- Workshops, reading sessions; Jason Abel, versity, New Haven, CT 7:30 pm Minneapolis 55455 • [email protected] Colin Lynch, Rev. Rita T. Powell. David Higgs; St. Ignatius Loyola Catho- Contact: www.mississippiconference.org. lic Church, New York, NY 3 pm Andrea Trovato; St. Patrick’s Cathedral, St. Andrews Bach Choral Course New York, NY 3:15 pm July 24–29, St. Andrews, UK. Harold Stover; Cathedral of St. John the GAVIN BLACK Byron L. Blackmore Choral rehearsals, masterclasses, lectures, Divine, New York, NY 5 pm Princeton Early Keyboard Center Crown of Life Lutheran Church and performances; Sam Evans, Andrew Par- Bach, Mass in B Minor; Holy Trinity Lu- rott, etc. theran, New York, NY 5 pm 732/599-0392 Sun City West, Arizona Contact: www.st-andrews.ac.uk/music. Margaret Harper; St. Thomas Church www.pekc.org 623/214-4903 Fifth Avenue, New York, NY 5:15 pm Incorporated Association of Organists Gail Archer; United Church of Canan- Annual Festival daigua, Canandaigua, NY 3 pm July 29–August 2, Peterborough, UK. Joshua Stafford; Christ Episcopal, Phil- Lectures, masterclasses, recitals; Steven adelphia, PA 4 pm THOMAS BROWN Carson Cooman Grahl, Richard Pinel, Fergus Black, others. Katelyn Emerson; Shadyside Presbyte- UNIVERSITY Contact: [email protected]. rian, Pittsburgh, PA 3 pm PRESBYTERIAN CHURCH Composer and Concert Organist Axel Flierl; Washington National Cathe- CHAPEL HILL, NORTH CAROLINA Harvard University Organ Historical Society Convention dral, Washington, DC 5:15 pm ThomasBrownMusic.com www.carsoncooman.com July 29–August 3, Rochester, NY. Ahreum Han; Holy Trinity Lutheran, Ken Cowan, Annie Laver, Nathan Laube, Lynchburg, VA 4 pm David Higgs, Alan Morrison, many others. Jason Roberts; Cathedral of St. Philip, Contact: www.organsociety.org/2018. Atlanta, GA 3:15 pm recital; 4 pm choral Evensong Your professional card ELBERT ISSELHORST RSCM Residentiary Choir for Adults Jeannine Jordan, with media artist; D D could appear here! July 30–August 5, Portsmouth, UK. Fairlawn Lutheran, Akron, OH 7 pm Sing choral services for a week under the Renée Anne Louprette; Hyde Park Professor Emeritus Contact: [email protected] direction of Silas Wollston, including vocal Community United Methodist, Cincinnati, University of Iowa–Iowa City or 608/634-6253 coaching. OH 4 pm Contact: https://www.rscm.com/learn-with- Jeremy David Tarrant; Basilica of St. us/residentiary-choir/. Adalbert, Grand Rapids, MI 3 pm Easter Lessons & Carols; Christ Church, BYU Organ Workshop Grosse Pointe Farms, MI 4:30 pm STEVEN EGLER JOHN FENSTERMAKER August 7–10, Brigham Young University, Lafayette Master Chorale; St. Boniface Central Michigan University Provo, UT. Catholic Church, Lafayette, IN 4 pm School of Music TRINITY-BY-THE-COVE Bálint Karosi; Zion Lutheran, Wausau, Organ skill–building for all levels; Don Mt. Pleasant, MI 48859 Cook, Wayne Leupold, Rebecca Parkinson, WI 3 pm [email protected] NAPLES, FLORIDA others. Grant Nill; Loyola University, Chicago, Contact: https://organ.ce.byu.edu. IL 3 pm

Musica Antica a Magnano 16 APRIL Norberto August 9–17, Magnano, Italy. Hamilton Civic Choir; St. Patrick’s Cathe- Clavichord, fortepiano, organ, harpsichord, dral, New York, NY 4 pm Susan Goodson Guinaldo musicology; Bernard Brauchli, Georges Kiss, Bálint Karosi, masterclass; Lawrence Eva Kiss, Luca Taccardi, Alberto Galazzo. University, Appleton, WI 10 am Emanuel United Church of Christ His Music Contact: www.musicaanticamagnano.com. See—Listen—Buy 17 APRIL Manchester, Michigan Marilyn Keiser; St. Mark’s Episcopal, www.GuinaldoPublications.com Norfolk Festival Chamber Choir and Louisville, KY 7:30 pm Choral Conducting Workshop Isabelle Demers; Overture Center for August 12–19, Norfolk, CT. the Arts, Madison, WI 7:30 pm A Professional Card in Rehearsals, masterclasses, and seminars STEPHEN HAMILTON for advanced singers and conductors. Simon 18 APRIL The Diapason Carrington. James Kennerley; Merrill Auditorium, For rates and digital specifi cations, recitalist–clinician–educator Contact: http://norfolk.yale.edu. Portland, ME 7:30 pm Mark Dwyer; Mechanics Hall, Worces- contact Jerome Butera www.stephenjonhamilton.com Smarano Academy 2018 ter, MA 12 noon 847/391-1045; [email protected] August 19–31, Smarano, Italy. Wesley Roberts; Trinity Episcopal, Fantasia and its historical development; Covington, KY 12 noon Joel Speerstra, Montserrat Torrent, Edoardo Bellotti, others. 19 APRIL Contact: www.smaranoacademy.com/organ. South Mecklenburg High School Choirs; David Herman St. Patrick’s Cathedral, New York, NY 4 pm RSCM Summer Course for Young Highland Consort; Cathedral Church of Trustees Distinguished Professor Emeritus of Music and University Organist People the Advent, Birmingham, AL 7:30 pm The University of Delaware Q [email protected] August 20–26, Bath, UK. Spring choral concert; Cathedral Church Course for singers age 4–24; choral train- of St. Paul, Detroit, MI 7 pm ing, musical leadership skills, services. Contact: www.rscm.com/courses/summer- 20 APRIL course-for-young-people/. Katelyn Emerson; Calvary Episcopal, Stonington, CT 7 pm Sacred Music Symposium Villanova University Pastoral Musicians; September 12–14, Tabernacle Presbyterian St. Patrick’s Cathedral, New York, NY 4 pm Church, Indianapolis, IN. Robert McCormick; St. Peter’s Episco- Lorraine Brugh, Ph.D. Workshops for organists, choral directors, pal, Morristown, NJ 7:30 pm Professor of Music and handbell conductors. James Biery, Dan David Briggs; St. James’s Episcopal, Anderson, Dan Forrest, Ruth Dwyer. Richmond, VA 7:30 pm University Organist Contact: tabpres.org/sacredmusic. Rodney Ward; Holy Trinity Lutheran, Valparaiso, Ind. Kingsport, TN 7 pm 45th Annual Convention of the Ameri- Richard Newman; Cathedral Church of valpo.edu can Institute of Organbuilders St. Paul, Detroit, MI 7:30 pm 219.464.5084 September 30–October 3, Canton, OH. Craig Cramer; St. Paul Lutheran, Co- [email protected] Contact: www.pipeorgan.org. lumbus, IN 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 21 APRIL Quire Cleveland; Lakewood Congrega- New York, NY Syracuse, NY 13203-2816 TENET; Metropolitan Museum of Art, tional Church, Lakewood, OH 8 pm www.andrewhenderson.net New York, NY 7 pm Katherine Meloan, masterclass; First (315) 471-8451 Alan Morrison; Longwood Gardens, Centenary United Methodist, Chattanooga, Kennett Square, PA 8 pm TN 10 am Lafayette Master Chorale; Immanuel Bella Voce; Buchanan Chapel, Fourth UCC, Lafayette, IN 4 pm Presbyterian, Chicago, IL 7:30 pm Richard Barrick Hoskins Brian Jones 22 APRIL 29 APRIL Director of Music & Organist Director of Music Emeritus Canticum Novum Singers; St. Luke’s Jeannine Jordan, with media artist; Nel- St. Chrysostom's Church Episcopal, Katonah, NY 3 pm son Hall, Cheshire, CT 3 pm Chicago TRINITY CHURCH Pauline & Jérôme Chabert; St. Patrick’s CONCORA, Mozart, Requiem; St. [email protected] BOSTON Cathedral, New York, NY 3:15 pm James’s Episcopal, West Hartford, CT 4 pm Steven Patchel; Cathedral of St. John Choral Evensong; St. John’s Episcopal, the Divine, New York, NY 5 pm West Hartford, CT 5 pm Christian Gautschi; St. Thomas Church Yuejian Chen; Cathedral of St. John the Fifth Avenue, New York, NY 5:15 pm Divine, New York, NY 5 pm KIM R. KASLING JAMES KIBBIE Jamila Javadova-Spitzberg; Washing- Daniel Hyde; St. Thomas Church Fifth D.M.A. The University of Michigan ton National Cathedral, Washington, DC 5:15 pm Avenue, New York, NY 5:15 pm St. John’s University Ann Arbor, MI 48109-2085 Jonathan Ryan; Grace Episcopal, The Gail Archer; Palmyra Church of the 734-764-1591 FAX: 734-763-5097 Brethren, Palmyra, PA 3 pm Collegeville, MN 56321 Plains, VA 5 pm email: [email protected] David Briggs; Duke University Chapel, Bruce Neswick, hymn festival; Christ Durham, NC 5 pm Church Christiana Hundred, Wilmington, Coro Vocati; Peachtree Road United DE 5 pm David K. Lamb, D.Mus. Methodist, Atlanta, GA 3 pm Joseph Ripka; Washington National Ca- Karen Schneider Kirner Stefan Kagl; Cathedral of St. Philip, thedral, Washington, DC 5:15 pm Director of Music Atlanta, GA 3:15 pm recital; 4 pm Choral David Henning; Cathedral of St. Philip, Director, Notre Dame Handbell Choir Trinity United Methodist Church Evensong Atlanta, GA 3:15 pm recital; 4 pm Choral Assistant Director, Notre Dame Folk Choir New Albany, Indiana Raúl Prieto Ramírez; Christ Church Ca- Evensong thedral, Nashville, TN 4 pm Ken Cowan University of Notre Dame 812/944-2229 ; St. Paul’s Lutheran, Savan- Nathan Laube; Collegedale Church, nah, GA 4 pm Collegedale, TN 7:30 pm Choral Evensong; Cathedral Church of Choral Evensong; Christ Church, Grosse the Advent, Birmingham, AL 3 pm Pointe Farms, MI 4:30 pm Quire Cleveland; Plymouth Church, • Carol Williams; First Congregational, Shaker Heights, OH 4 pm Saginaw, MI 4 pm • Hymn festival; Messiah Lutheran, Bay A.S.C.A.P. Christine Kraemer, with instruments, FELLOW, AMERICAN GUILD OF ORGANISTS City, MI 4 pm works of Messaien; St. Luke’s Episcopal, Choral Evensong; Christ Church, Grosse 345 SADDLE LAKE DRIVE Evanston, IL 3:30 pm ROSWELL-ATLANTA, GEORGIA 30076 Pointe Farms, MI 4:30 pm Choral Evensong; St. Chrysostom’s (770) 594-0949 • North Shore Chapter AGO Deans; First Episcopal, Chicago, IL 4 pm Gail Archer; St. Mark’s Episcopal, Glen Presbyterian, Evanston, IL 4 pm Ellyn, IL 4 pm Bella Voce; St. Luke’s Episcopal, Evan- ston, IL 7:30 pm 23 APRIL Handel, Messiah, Parts II & III; First Yale Repertory Chorus; Marquand Cha- Presbyterian, Evansville, IN 4 pm pel, Yale University, New Haven, CT 5 pm Professor Emeritus – University of Michigan – Ann Arbor Nathan Laube, masterclass; Colleg- 30 APRIL Professor of Organ for 67 years edale Church, Collegedale, TN 9 am Matthew Buller; First Unitarian, Worces- MarilynThe University’s longest-serving faculty memberMason Jackson Borges; Presbyterian Homes, ter, MA 7 pm Evanston, IL 1:30 pm 3 MAY 24 APRIL Choir of St. Luke in the Fields; St. Luke in A two-inch Professional Card in The Diapason Students of Vassar College; Central Syn- the Fields Episcopal, New York, NY 8 pm agogue, New York, NY 12:30 pm Florence Mustric; Trinity Lutheran, For information on rates and specifi cations, contact Jerome Butera: Isabelle Demers; St. Bridget Catholic Cleveland, OH 12:15 pm Church, Richmond, VA 7:30 pm James Kibbie, with orchestra; Cathedral [email protected] 608/634-6253 Jory Vinokour, harpsichord, with mez- of Our Lady, Queen of the Most Holy Ro- zo-soprano; St. Chrysostom’s Episcopal, sary, Toledo, OH 7 pm Chicago, IL 7:30 pm 4 MAY 25 APRIL Gabriel Benton; Woolsey Hall, Yale Uni- St. Ignatius High School Chorus; Trinity versity, New Haven, CT 7:30 pm PHILIP CROZIER LARRY PALMER Lutheran, Cleveland, OH 12:15 pm Henk de Vries; St. Paul Catholic Cathe- dral, Pittsburgh, PA 7:30 pm 26 APRIL CONCERT ORGANIST Harpsichord – Organ Ken Cowan; Emmanuel Episcopal, Raymond Nagem; Cathedral of St. John Chestertown, MD 7:30 pm ACCOMPANIST the Divine, New York, NY 7:30 pm Professor of Music, Emeritus Christopher Young; Providence United 3355 Queen Mary Road, Apt 424 Katelyn Emerson; Siesta Key Chapel, Sarasota, FL 7 pm Methodist, Charlotte, NC 7:30 pm Collin Miller; First Presbyterian, Evans- Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas 27 APRIL ville, IN 7 pm Canada Yale Schola Cantorum, Bach, St. John (514) 739-8696 Recitals — Lectures — Consultancies Passion; Woolsey Hall, Yale University, 5 MAY New Haven, CT 7:30 pm Polyhymnia; Church of St. Ignatius of An- [email protected] Renée Anne Louprette; Trinity Church, tioch, New York, NY 8 pm [email protected] + 214.350-3628 Wall Street, New York, NY 1 pm Alan Morrison; Christ Church Episco- Moon Area High School Honors Choir; St. pal, Philadelphia, PA 7 pm Patrick’s Cathedral, New York, NY 1:30 pm Tom Trenney, choral workshops; First The Salvatones; St. Patrick’s Cathedral, Congregational UCC, Hendersonville, NC New York, NY 4:30 pm 10:00 & 11:00 am Barnard-Columbia Chorus & Choir of University of Bolzano, Italy, Verdi, Messa 6 MAY A gift subscription to da Requiem; Church of the Ascension, Ezequiel Menendez; St. John’s Episco- New York, NY 8 pm pal, West Hartford, CT 12:30 pm Isabelle Demers; Zion Lutheran, Balti- Katherine Meloan; St. Patrick Catholic The Diapason more, MD 7:30 pm Church, Huntington, NY 3 pm Quire Cleveland; St. Noel Catholic Vincent Dubois; First United Methodist, The perfect gift for Church, Willoughby Hills, OH 7:30 pm Schenectady, NY 3 pm + organist colleagues + choir directors Katherine Meloan; First Centenary Unit- Katelyn Emerson; Saint Thomas Church ed Methodist, Chattanooga, TN 7:30 pm Fifth Avenue, New York, NY 5:15 pm + students + organ builders Samford University A Cappella Choir; Aaron Goen; Washington National Ca- + teachers + clergy Cathedral Church of the Advent, Birming- thedral, Washington, DC 5:15 pm ham, AL 12:30 pm Tom Trenney; First Congregational UCC, Each month your gift will keep on giving by providing the Hendersonville, NC, worship service 10:30 28 APRIL important news of the organ and church music fi eld. Know that am, recital & silent fi lm 3 pm Bach, Mass in B Minor; Woolsey Hall, Ascension Evensong, Messiaen, your gift will be just right. Yale University, New Haven, CT 7:30 pm L’Ascension; Duke University Chapel, Dur- For information, contact Kim Smaga, 847/481-6234; Dessoff Choirs; Church of St. Paul & St. ham, NC 3:30 pm [email protected]. Or visit www.thediapason.com and click Andrew, New York, NY 4 pm Georgia Boy Choir; Cathedral of St. “subscribe.” Canticum Novum Singers; St. Ignatius of Philip, Atlanta, GA 3:15 pm concert; 4 pm Antioch Episcopal, New York, NY 8 pm Choral Evensong $42 one year USA; $35 one year digital; $20 one year student Taylor Festival Choir; St. John’s Episco- Kathrine Handford; Advent Lutheran, pal, Savannah, GA 7 pm Melbourne, FL 3 pm

30 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Bradley Hunter Welch; Presbyterian 16 MAY Southminster Presbyterian Church Church, Coshocton, OH 3 pm Christopher Houlihan ; Stowe Commu- SHORT HILLS Arlington Heights, IL 60005 Bach, Easter & Ascension Oratorios; nity Church, Stowe, VT 12 noon Christ Church, Grosse Pointe Farms, MI Tigran Buniatyan; Trinity Lutheran, 4:30 pm Cleveland, OH 12:15 pm Nicholas Schmelter; Christ the Good ANDREW SCHAEFFER, M.MUS Shepherd Catholic Church, Saginaw, MI 18 MAY DEREK E. NICKELS, DMA 6 pm Anthony Newman, Stephen Hamilton, Church of the Holy Comforter First United Methodist Church Choral Evensong; St. James Episcopal Daniel Beckwith, Cleveland Kersh; Holy Edmond, Oklahoma Cathedral, Chicago, IL 4 pm Trinity Episcopal, New York, NY 7:30 pm Kenilworth, IL 60043 [email protected] (847) 251-6120 • [email protected] 7 MAY 19 MAY Recitals — Hymn Festivals Oratorio Society of New York; Carnegie Peter Richard Conte, organ, & Andrew Hall, New York, NY 8 pm Ennis (fl ugelhorn & organ); Pine Street 10 MAY Presbyterian, Harrisburg, PA 7 pm Stephen G. Schaeffer A one-inch Professional Card Katherine Handford; St. Norbert Abbey, in The Diapason Florence Mustric; Trinity Lutheran, Recitals – Consultations Cleveland, OH 12:15 pm De Pere, WI 2 pm For information on rates and specifi cations, Choral Evensong; Cathedral Church of Director of Music Emeritus 20 MAY St. Paul, Detroit, MI 4 pm Cathedral Church of the Advent contact Jerome Butera: Jean Herman Henssler; United Presby- Shin-Ae Chun, harpsichord; First Bap- Birmingham, Alabama [email protected] 608/634-6253 tist, Ann Arbor, MI 12:15 pm terian, Binghamton, NY 4 pm Simon Thomas Jacobs; Grace United 11 MAY Methodist, Hagerstown, MD 4 pm TENET; Flushing Town Hall Gallery, Wes Lockfaw, with brass; Christ Church, Jeffrey Schleff, Ed.D. Queens, NY 7 pm Easton, MD 4 pm Organist – Teacher – Consultant STEPHEN SCHNURR Marilyn Keiser; Trinity Episcopal, Ashe- Bruce Neswick; Cathedral of St. Philip, Saint Paul Catholic Church ville, NC 7 pm Atlanta, GA 3:15 pm recital; 4 pm Choral Sulphur Public Schools, Sulphur, OK • Clark Wilson, silent fi lm; Brennan Loft, Evensong United Disciples Christian Church, Richardson, TX Valparaiso, Indiana London, OH 6 pm John Sabine; St. John’s Episcopal, [email protected] Jeannine Jordan, with media artist; First Savannah, GA 5:05 pm recital; 5:30 pm Presbyterian, Saginaw, MI 7 pm Evensong Camerata del Ré, Bach arias; St. Paul’s 12 MAY ROBERT L. TENET; Flushing Town Hall Gallery, Episcopal, Delray Beach, FL 3 pm Queens, NY 7 pm Tom Trenney, hymn festival; Christ Pres- byterian, Canton, OH 6 pm SIMPSON Mark Steinbach Jean Herman Henssler, lecture-recit- Brown University al; Main Street Baptist, Binghamton, NY Douglas Cleveland, with brass; Christ Church Cathedral 10:00 am Schermerhorn Symphony Center, Nash- 1117 Texas Avenue Jakob Hamilton; Christ Church, Bra- ville, TN 3 pm Houston, Texas 77002 denton, FL 4 pm Choral Evensong; Christ Church, Grosse Quire Cleveland; Holland Theatre, Belle- Pointe Farms, MI 4:30 pm

] fontaine, OH 7:30 pm Christine Kraemer; Loyola University, Chicago, IL 3 pm Joe Utterback 13 MAY David Schrader, sonatas of Mendels- David Wagner

]] ] Jeremy Filsell; Washington National Ca- sohn; St. Chrysostom’s Episcopal, Chica- www.jazzmuze.com DMA thedral, Washington, DC 5:15 pm go, IL 3 pm www.davidwagnerorganist.com Duo MusArt Barcelona (Raúl Prieto 203 386 9992 Ramírez, organ, & Maria Teresa Sierra, 21 MAY piano); First Presbyterian, Virginia Beach, Paul Vander Weele; Presbyterian VA 4 pm Homes, Evanston, IL 1:30 pm Organ and Baroque strings concert; Holy Trinity Lutheran, Lynchburg, VA 4 pm 23 MAY Kevin Walters KARL WATSON Caroline Robinson; Cathedral of St. Gregory Zelek; Methuen Memorial Mu- Philip, Atlanta, GA 3:15 pm recital; 4 pm sic Hall, Methuen, MA 8 pm M.A., F.A.G.O. SAINT LUKE’S Choral Evensong Clarion, works of Haydn; Park Avenue Quire Cleveland; First Lutheran, Lorain, Christian, New York, NY 7:30 pm Rye, New York METUCHEN OH 3 pm Renée Louprette, Poulenc, Organ Con- Choral Evensong; Christ Church, Grosse certo; St. Ignatius Loyola Catholic Church, Pointe Farms, MI 4:30 pm New York, NY 8 pm 15 MAY Alan G Woolley PhD 26 MAY RONALD WYATT Ken Cowan; St. Mary of the Immaculate Musical Instrument Research Conception Catholic Church, Fredericks- Quire Cleveland; Cathedral of St. John the Evangelist, Cleveland, OH 7:30 pm Edinburgh Trinity Church burg, VA 7:30 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253

1814 - A Little Knight Music . . . exploring the sonatas of A Augutst Gottfried Ritter and other music with knightly P references. A two-inch Professional Card in The Diapason 1815 - Houston AGO 2016 (II) . . . more performances R from the 2016 national convention of the American For information on rates and specifi cations, contact Jerome Butera: Guild of Organists in Houston, TX. I [email protected] 608/634-6253 L 1816 - Ladies, Be Good! . . . across the centuries, women composers have shared their exceptional creativity. 2 1817 - Going On Record . . . another impromptu scan of ArtistArtist Spotlights Spotlightspotlight s some recently-received recordings showcasing the King 0 of Instruments. Contents TBA. 1 Artist Spotlights 1818 - Houston AGO 2016 (III) . . . mostly new music are available on Your professional card 8 performances from the 2016 national convention of the The Diapason American Guild of Organists in Houston, TX. 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 APRIL 2018 Q 31 Calendar

27 MAY Cherry Rhodes & Ladd Thomas; Clare- 20 MAY 2 MAY Mark Thewes & Chad Pittman; Wash- mont United Church of Christ, Claremont, Hector Olivera; Walt Disney Concert Thomas Sauer; Kathedrale, Dresden, ington National Cathedral, Washington, DC CA 4 pm Hall, Los Angeles, CA 7:30 pm Germany 8 pm 5:15 pm Choir concert; Cathedral of St. Mary of Anthony Newman; Court Street United the Assumption, San Francisco, CA 4 pm 24 MAY 4 MAY Methodist, Lynchburg, VA 3 pm Randall Sheets, with trumpet; First Andrew Lumsden; Cathedral, Ports- 29 APRIL mouth, UK 8 pm Katelyn Emerson; Cathedral of St. John, Presbyterian, Red Wing, MN 7 pm 30 MAY Stephanie Burgoyne; Grace Anglican Albuquerque, NM 3 pm Church, Brantford, ON, Canada 12:15 pm John Walker; Methuen Memorial Music Anthony & Beard Duo (Ryan Anthony, 27 MAY Hall, Methuen, MA 8 pm trumpet, & Gary Beard, organ); Our Lady Gail Archer; Cathedral of the Immacu- 6 MAY Stephen Schnurr ; St. Thomas Episco- of Lourdes Catholic Church, Sun City late Conception, Denver, CO 3 pm Greg Morris; St. Paul’s Cathedral, Lon- pal, Menasha, WI 12:15 pm West, AZ 3 pm don, UK 4:45 pm INTERNATIONAL UNITED STATES 4 MAY 7 MAY Jeremy David Tarrant; First Presbyte- West of the Mississippi Jason Lowe; Christ Church, Skipton, UK rian, Kirkwood, MO 7:30 pm 15 APRIL 11 am Annette Richards & David Yearsley, Daniel Roth; St. Joseph’s Oratory, Mon- 15 APRIL works of Bach; St. Mark’s Cathedral, Se- tréal, PQ, Canada 3 pm Lynne Davis; St. Philip’s Episcopal, attle, WA 7:30 pm 9 MAY Edward Norman, with French horn; Olivier Latry; Kulturpalast, Dresden, Beeville, TX 3 pm Ryerson United Church, Vancouver, BC, Germany 8 pm Christopher Keady; Grace Episcopal 6 MAY Benjamin Bachmann; Grace Episcopal Canada 3 pm Greg Morris; Temple Church, London, Cathedral, San Francisco, CA 4 pm UK 1:15 pm Alexander Ffi nch; Cathedral of St. Mary Cathedral, San Francisco, CA 4 pm 16 APRIL Chelsea Chen, with Orchestre Sym- of the Assumption, San Francisco, CA 4 pm 11 MAY Greg Morris; Temple Church, London, phonique de Montréal, Saint-Saëns, Sym- Christopher Young; Trinity Episcopal UK 1:15 pm phonie III; Maison Symphonique de Mon- 18 APRIL Cathedral, Portland, OR 7 pm tréal, Montréal, PQ, Canada 8 pm Katelyn Emerson; Cathedral of St. Mary 18 APRIL of the Assumption, San Francisco, CA 7 pm 12 MAY 10 MAY Christoph Schöner; Frauenkirche, Carole Terry; Stanford University, Stan- Bruce Neswick, hymn festival; First Chelsea Chen, with Orchestre Sym- ford, CA 7:30 pm Presbyterian, Spokane, WA 5 pm Dresden, Germany 8 pm phonique de Montréal, Saint-Saëns, Sym- phonie III; Maison Symphonique de Montré- 20 APRIL 13 MAY 21 APRIL al, Montréal, PQ, Canada 10:30 am, 8 pm De Angelis Vocal Ensemble; Christ Ca- Gail Archer; Our Lady of Fatima Catholic Jonathan Scott; Victoria Hall, Hanley, thedral, Garden Grove, CA 7:30 pm Church, Lafayette, LA 2:30 pm Stoke-on-Trent, UK 12 noon 11 MAY Geerten Liefting, with soprano; St. Al- Nathan Laube; Berliner Philharmoniker, 15 MAY 22 APRIL bans Cathedral, St. Albans, UK 5:30 pm Berlin, Germany 11 am Martin Jean; Highland Park Presbyte- Ken Cowan; Meyerson Symphony Cen- rian, Dallas, TX 7:30 pm Leicester Philharmonic Choir, Handel, ter, Dallas, TX 2:30 pm Samson; De Montfort Hall, Leicester, UK 12 MAY The Chenault Duo; St. Andrew’s Episco- 18 MAY 7:30 pm Scott Brothers Duo; Victoria Hall, Han- ley, Stoke-on-Trent, UK 12 noon pal, Amarillo, TX 7:30 pm Jeannine Jordan, with media artist; Tallis Scholars; Chen Centre for the Wyatt Smith, with fl ute; St. Mark’s Ca- University Christian Church, Fort Worth, Performing Arts, Vancouver, BC, Canada 14 MAY thedral, Seattle, WA 2 pm TX 7 pm 7:30 pm Karen Beaumont; Southwark Cathe- Douglas Cleveland; Chapel Hill Presby- dral, London, UK 1:10 pm terian, Gig Harbor, WA 3:30 pm 19 MAY Jackson Borges; St. Mark’s Episcopal, 22 APRIL Bruce Neswick; Trinity Lutheran, Lynn- Glendale, CA 7 pm Kit Armstrong; Berliner Philharmoniker, 16 MAY wood, WA 7 pm Berlin, Germany 11 am Silvius von Kessel; Frauenkirche, Dres- den, Germany 8 pm 25 APRIL Holger Gehring; Kreuzkirche, Dresden, 19 MAY Germany 8 pm Colin Walsh; St. Albans Cathedral, St. Albans, UK 5:30 pm 27 APRIL 23 MAY Denis Bédard; Holy Rosary Cathedral, Michael Schönheit; Kreuzkirche, Dres- Vancouver, BC, Canada 8 pm den, Germany 8 pm

29 APRIL 28 MAY Greg Morris; Westminster Abbey, Lon- Nigel Ogden; Christ Church, Skipton, don, UK 5:45 pm UK 11 am

30 APRIL 30 MAY Jonathan Holl; Reading Town Hall, Bine Katrin Bryndorf; Kathedrale, Dres- Reading, UK 1 pm den, Germany 8 pm

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32 Q THE DIAPASON Q APRIL 2018 WWW.THEDIAPASON.COM Recital Programs

PHILIP CROZIER, Stadtpfarrkirche, BWV 639, Bach; Tiento lleno de 2° tono, Ca- PETER KING, Westminster Cathedral, bot’s Leigh, Scherzo based on Land of Rest, Mödling, Austria, August 3: Air, Gavotte, banilles; Fugue in g, BWV 578, Bach. London, UK, September 27: Concert Fanta- Sicilinne based on Swing Low, Sweet Chariot, Wesley; Trio Sonata in c, BWV 526, Bach; An- sia in f-sharp, op. 36, Klicka; Prière, op. 20, Fugue and Finale based on Laudate Domi- dantino, op. 51, no. 2, Toccata, op. 53, no. 6, JILLIAN GARDNER, Fourth Presby- Franck; Triptico del buen Pastor, Guridi; Pre- num (Improvisation Symphony), Scott. Vierne; Epigrams, Kodály; Praeludium in e, terian Church, Chicago, IL, September 8: lude and Fugue in e, Mendelssohn, transcr. BuxWV 143, Buxtehude; Partite diverse sopra Prelude in E-fl at, BWV 552i, Bach; Inven- Best; Sonata on the 94th Psalm, Reubke. JOHN SHERER, Fourth Presbyterian De Lofzang van Maria, Post; Tierce en Taille tion I, Invention VIII, Invention X (School Church, Chicago, IL, September 22: A Trum- en D (Livre d’Orgue de Montréal), anonymous; of Trio Playing), Bach, transcr. Reger; Mas- CHRISTOPHE MANTOUX, Basilica of pet Minuet, Hollins; Concerto in F, Handel; Hommage, Bédard; A Mighty Fortress Is Our ter Tallis’s Testament, Howells; Mars (The the Sacred Heart, South Bend, IN, September Air, Hancock; Toccata and Fugue in F, Bux- God, op. 69, no. 10, Peeters. Planets), Holst, transcr. Sykes/Gardner; Ro- 12: Praeambulum Primi toni a 5 in d, Weck- tehude; Prelude and Trumpetings, Roberts; Église Saint-Georges, Cacouna, Québec, mance (Symphonie IV, op. 32), Vierne; Étude mann; Christ lag in Todesbanden, Tunder; In Variations on America, Ives. Canada, August 6: A Trumpet Tune, Hollins; Héroïque, Laurin. dulci jubilo, BWV 608, Herr Gott, nun schleuss Air, Gavotte, Wesley; Sonata IV in B-fl at, op. den Himmel auf, BWV 617, Herr Jesu Christ, RICHARD SPOTTS, Loyola University, 65, no. 4, Mendelssohn; Andantino, op. 51, THOMAS GOUWENS, Fourth Presby- dich zu uns wend, BWV 709, Allein Gott in Chicago, IL, September 17: Alléluia no. 1, no. 2, Vierne; Trio super Allein Gott in der terian Church, Chicago, IL, September 15: der Höh’ sei Ehr’, BWV 676, Fuga super Mei- XXIX. Dominica IV post Pentecosten, op. Höh’ sei Ehr’, BWV 664, Bach; Conradus, Ballo del granduca, Malle Sijmen, Sweelinck; ne Seele erhebet den Herrn, BWV 733, Bach; 57, no. 29, Variations, VI. Sanctissimi Nomi- Ferdinandi, Proportio Ferdinandi Ulterius Fugue in C, BuxWV 174, Buxtehude; Petite Prélude, Adagio, et Choral varié sur le thème nis Jesu, op. 55, no. 6, Alléluia no. 2, XXX. (Tablature of Jan z Lublina); Humoresque, fugue sur le Chromhorne, Dialogue sur les du Veni Creator, op. 4, Durufl é. Dominica V post Pentecosten, op. 57, no. Yon; 1, 2, 6 (Epigrams), Kodály; Tierce en Trompettes, Dialogue en trio du Cornet et de 30, Postlude Alléluiatique, L. Dominica XXII Taille en D (Livre d’Orgue de Montréal), la Tierce (Messe des Paroisses), Plein chant STEFAN PALM, Valparaiso University, post Pentecosten, op. 57, no. 50, Postlude et anonymous; Variations: Cantilena Anglica du premier Kyrie, Tierce en Taille, Dialogue Valparaiso, IN, September 22: Fantasia and Fugue Modale Libre, X. Dominica III post Fortunae, SSWV 134, Scheidt; Hommage, sur les grand jeux (Messe pour les Couvents), Fugue in g, BWV 542, Bach; Andante in F, K. Epiphaniam, op, 55, no. 10, Choral No. IV, Festive Toccata, Bédard. Couperin; Trio Sonata in E-fl at, BWV 525, 616, Mozart; Pastorale (Sonata I, op. 42), Guil- XXXIX. Dominica XIII post Pentecosten, op. Bach; Rondeau (Abdelazer), Purcell; Caril- mant; Fugue in G, BWV 577, Bach. 57, no. 39, Fantaisie sur le Te Deum et Guir- ISABELLE DEMERS, Fairmount Pres- lon-Sortie, Mulet. landes Alléluiatiques, LI. Dominica XXIII byterian Church, Cleveland Heights, OH, RAÚL PRIETO RAMÍREZ, Christ United post Pentecosten, op. 57, no. 51 (L’Orgue September 24: Allegro Vivace (Symphony V CHRISTOPHER HOULIHAN, St. Mark’s Methodist Church, Plano, TX, September 24: Mystique), Tournemire. in f, op. 42, no. 1), Widor; Jesus Christus un- Anglican Church, Arlington, TX, Septem- Toccata, Adagio, and Fugue in C, BWV 564, ser Heiland, BWV 688, Aus tiefer Not schrei ber 15: Toccata, Sowerby; Alleluias sereins Bach; Mephisto Waltz No. 1, Liszt; Tiento MARK STEINBACH, First Baptist ich zu dir, BWV 686, Bach; Harry Potter (L’Ascension), Messiaen; Passacaglia and de batalla de 8˚ tono por délasolré, Heredia; Church, Burlington, VT, September 15: Symphonic Suite, Williams; Fantasy on the Fugue in c, BWV 582, Bach; Carillon de West- Stars and Stripes Forever, Sousa; Récits de Transports de joie d’une âme devant la gloire chorale Ein feste Burg ist unser Gott, op. 27, minster (24 Pièces de Fantaisie, Troisième cromorne et de cornet, séparé en dialogue, du Christ qui est la sienne (L’Ascension), Reger; Impromptu on the Lutheran Chorale, suite, op. 54, no. 6), Scherzo (Symphony II, Clérambault; Prelude to Die Meistersinger Messiaen; Nun komm’, der Heiden Heiland, op. 69, Alkan; Symphony No. 5 in d (Reforma- op. 20), Romance (Symphony IV, op. 32), von Nürnberg, Wagner; Dizzy Fingers, Con- BuxWV 211, Buxtehude; Nun komm’, der tion), op. 107, Mendelssohn. Toccata (24 Pièces de Fantaisie, Deuxième frey; Finale (Sonata I in d, op. 42), Guilmant. Heiden Heiland, Heiller; Herr Jesu Christ, suite, op. 53, no. 6), Vierne. dich zu uns wend’, BWV 709, Prelude and JOHN FENSTERMAKER, Bower Chapel NICHOLAS SCHMELTER, Central Fugue in e, BWV 548, Pièce d’orgue, BWV at Moorings Park, Naples FL, September 13: PAUL JACOBS, Shanhai Oriental Art Cen- Michigan University, Mount Pleasant, Michi- 572, Bach; Giga in G, KV 574, Adagio in C, The Prince of Denmark’s March, Clarke; Jesu, ter, Shanghai, People’s Republic of China, gan, September 19: Heraldings, Hebble; KV 356, Mozart; Missing Absence, Lu; An- Joy of Man’s Desiring, Bach; Fughetta on Ein September 17: Toccata and Fugue in d, BWV Requiescat in Pace, Sowerby; Pièce d’orgue, dante sostenuto (Symphonie Gothique, op. feste Burg, Praetorius; Variations on Old Folks 565, Trio Sonata in E-fl at, BWV 525, Prelude BWV 572, Sinfonia (Cantata 29, BWV 29), 70), Widor; Carillon de Westminster (Pièces at Home, Buck; Offertory for Easter Day, O and Fugue in d, BWV 539, Trio Sonata in C, Prelude (Suite No. 1, BWV 1007), Bach; de fantaisie, op. 54, no. 6), Vierne. Filii et Filiae, Dandrieu; demonstration of BWV 529, Prelude and Fugue in E-fl at, BWV Méditation (Trois Improvisations), Vierne; thunder effects, nightingale, and zimbelstern; 552, Bach. Toccata, Mushel; Largo (New World Sym- JAMES WELCH, First Presbyterian Irish Air from Country Derry, Lemare. phony), Dvorák, transcr. Clough-Leighter; Church, Monterey, CA, September 9: Toccata, SIMON THOMAS JACOBS, Stetson Pageant, Sowerby. Weaver; Bist du bei mir, Allegro (Sonata in E- MARC FITZE, St. Thomas Church Fifth University, DeLand, FL, September 19: fl at), Bach; Funeral March of a Marionette, Avenue, New York, NY, September 24: Tiento Praeludium in e, Lübeck; Allein Gott in der PATRICK SCOTT, Cathedral of St. Philip, Gounod; A Song of Sunshine, Hollins; Jerusa- de batalla de quinto tono punto baxo, Caba- Höh’ sei Ehr’, BWV 662, Bach; Sonata in f, Atlanta, GA, September 24: Praise the Lord lem, Parry; Fountain Reverie, Fletcher; The Lost nilles; O Mensch, bewein dein Sünde groß, C. P. E. Bach; Hymn, Veni Redemptor (I), with Drums and Cymbals, Karg-Elert; Outer Chord, Sullivan; Jazz Legato, Anderson; Adagio BWV 622, Prelude and Fugue in C, BWV 547, Tallis; Master Tallis’s Testament, Howells; Hebrides: A fantasia on Three Traditional molto espressivo e cantabile, Nanney; Impromp- Bach; Verso de primer tono, Cabanilles; Pre- Organ Sonata, Moore; Rhosymedre (Three Celtic Melodies, Halley; Meditation on Draw tu, Vierne; The Little Red Lark, Grandfather’s lude and Fugue in c-sharp (transposed to d), Preludes Founded on Welsh Hymn Tunes), Us in the Spirit’s Tether, Hancock; Tu es Petra Wooden Leg, Clokey; Spiritual, Purvis; Will o’ BWV 849, Bach; Tiento de falsas de 1° tono, Vaughan Williams; Fantasia and Toccata in et portae inferi non praevalebunt (Esquisses the Wisp, Nevin; Prelude on St. Christopher, Cabanilles; Ich ruf zu dir, Herr Jesu Christ, d, Stanford. byzantines), Mulet; Prelude based on Ab- Wood; Postlude on Old Hundredth, Bock.

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sound INSPIRATION Check your listing in DIAPASON Student Rate Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video The Diapason 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] Resource 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Directory Don’t just tell people what you _ If changes are needed in your have for sale. Show them! listing, contact Jerome Butera Own a piece of history! 608/634-6253 The cover of the 100th Anniversary [email protected] 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 fi nish; 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 classifi ed 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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POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Morel and Associates, Organ Builders of Den- Certified appraisals—Collections of organ Consoliere Classic Series for Organ: Complete Pipe Organs of the Keweenaw by Anita ver, Colorado, is seeking an experienced pipe books, recordings, and music, for divorce, Set of Six Books. An outstanding collection com- Campbell and Jan Dalquist, contains his- organ technician to join our company to assume estate, gift, and tax purposes. Stephen L. piled from World Library Publication’s extensive tories, stoplists, and photos of some of the position of Service Manager. Please mail or Pinel, Appraiser. 629 Edison Drive, East Wind- organ library. A must for any church organist. the historic organs of the Keweenaw Pen- email résumé to: Rick Morel, 4221 Steele St., sor, NJ 08520-5205; phone: 609/448-8427; 003067, $54.00, 800/566-6150, Wlpmusic.com. insula, the northernmost tip of Michigan’s Denver, CO 80216; email: [email protected]. email: [email protected]. Upper Peninsula. Organs include an 1899 Barckhoff and an 1882 Felgemaker. The booklet Organs of Oberlin chronicles the rich history ($8.00 per copy, which includes postage) is Organist/accompanist position. Northwest Johann Sebastian Bach’s S. 562, Fugue (frag- of organs at Oberlin College, the Conserva- available from the Isle Royale and Keweenaw Covenant Church in Mt. Prospect, Illinois (Chi- ment) in C-minor, prepared with a completion is tory of Music, and the town of Oberlin, Ohio. Parks Association, 49445 US Hwy 41, Hancock, cago’s northwest suburbs) is seeking an organist featured in an occasional—and unusual—com- The hardbound, 160-page book with many Michigan 49930. For information: 800/678-6925. to play their Schantz, 24-rank, 2-manual pipe plimentary issue from Fruhauf Music Publica- illustrations is the most comprehensive study organ. This position is part-time and would tions. The letter-sized booklet PDF fi le includes of traceable organs from 1854 to 2013. The Yun Kim plays the 57-rank Dobson organ include one Sunday morning service and weekly book measures 8½″ x 11″ and features a dust notes and seven pages of music. The fi le down- at First Presbyterian Church, Battle Creek, choir rehearsal. If interested please send résumé jacket with colorful illustrations not found in the load will be featured throughout 2018, available Michigan, on a new CD from Raven. The organ and cover letter to the Director of Music at from FMPs’ home page Bulletin Board, to be book. Organs by the Skinner Organ Company, [email protected]. incorporates remaining ranks of the much rebuilt found at: www.frumuspub.net. Aeolian-Skinner, C. B. Fisk, Inc., Flentrop, 1928 E. M. Skinner op. 720, other old and new Holtkamp, Roosevelt, and many others are stops, and new mechanism. Yun Kim is organist featured. Text by Stephen Schnurr, foreword by of Christ Episcopal Church, Dayton, Ohio, and Wanted: Organists visiting Maui. Lahaina’s Organa Europae calendars featuring famous James David Christie; photographs by William a winner of regional and national AGO competi- Holy Innocents Episcopal Church invites visit- pipe organs of Europe; years 1969 to 1977. T. Van Pelt, Trevor Dodd, Halbert Gober, as well tions. Unusual works include Summerland by ing organists to play its Beckerath Positiv organ $10.00 each. 219/662-0677, [email protected]. at Sunday services. Built in 1972 by Rudolf von as rare vintage examples. $50, plus $5 ship- William Grant Still (arr. Nies-Berger); Prokofi ev: Beckerath and then-apprentice Hans-Ulrich ping. Visit www.organsofoberlin.com. Toccata, op. 11 (trans. Jean Guillou); four move- Erbslöh for Honolulu’s Lutheran Church, the 408- Anton Vodorinski was born in 1875, won the ments of English composer Iain Farrington’s Fiesta!; Australian Robert Ampt’s Concert pipe Shrankpositiv has a 54-note “split” manual, Trinity College of Music Scholarship twice, was Grant Peace, We Pray, a new choral work by 30-note pedal, 11 stops, 8 ranks, and 6 registers. appointed organist of St John’s Church, Wimble- Etude on an Australian Folk Tune Pub with No David Herman, is available as a free down- Beer; and familiar works by Bach (Toccata in C, Holy Innocents acquired the instrument in 1977 don, where he remained for fi ve years. Sound load. Luther’s text, with its 16th-century mel- BWV 566a), Vierne (Les Cloches de Hinckley and moved it to Maui where it has been played familiar? Well . . . Ketèlbey was an organist! ody, is set for SAB choir and organ and was and Clair de Lune), and Brahms (Herzlich tut by parish musicians such as Carol Monaghan Under the Vodorinski pseudonym, these three written to commemorate the 2017 Reformation mich erfreuen). Raven OAR-142 $15.98 post- and visiting artists including Angus Sinclair of pieces were published in 1911, four years before anniversary. Available from the composer at Canada and Dalibor Miklavcic of Slovenia. The paid. Raven, Box 25111, Richmond, VA 23261; publication of his “In A Monastery Garden.” [email protected]. 804/355-6386, RavenCD.com. instrument is extremely responsive and fi lls the michaelsmusicservice.com; 704/567-1066. worship space beautifully. The parish community is “exemplary in its hospitality to all visitors,” and Ed Nowak, Chicago-area composer, arranger, The Tracker—The Organ Historical Society quar- that especially includes visiting organists. For The new Nordic Journey series of CD record- and church musician, announces his new web- terly journal includes news and articles about the information: 808/661-4202; holyimaui.org. ings reveals premiere recordings of symphonic site, featuring Nowak’s original choral works, organ and its history, organ builders, exemplary organ music—much of it still unpublished—from hymn concertatos, chamber and orchestral organs, and regional surveys of instruments. Both Nordic composers, played by American organist works, organ hymn accompaniments, organ American and European organ topics are dis- PUBLICATIONS / RECORDINGS James Hicks on a variety of recently restored and piano pieces, electronic music, and psalm cussed, and most issues run 32 pages with many Swedish organs. It’s a little bit like Widor, Reger, settings. The website offers scores and recorded illustrations and photographs. Membership in the Mother’s Day Music? Check out: “A Woman and Karg-Elert, but with a Nordic twist. Check it examples that are easy to sample and can be OHS includes a subscription to The Tracker. Visit of Valor”—Seven pieces on Proverbs 31. See, out at www.proorgano.com and search for the purchased in downloaded (PDF and MP3) or the OHS Web site for subscription and member- listen, buy. www.guinaldopublications.com. term “Nordic Journey.” printed form. Visit ednowakmusic.com. ship information: www.organsociety.org.

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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]

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Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

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Wicks pipe organ, two manuals, 11 ranks, Kilgen Petit Ensemble, 2-1/2 ranks, two manu- Rieger 23-rank mechanical pipe organ for Releathering all types of pipe organ actions professionally disassembled, packed and stored als, 17 stops. Full AGO pedalboard, original ivory sale. Two 61-note manuals and 32-note AGO and mechanisms. Highest quality materi- in climate-controlled setting. Transport-ready at keys. In tune, played regularly. In a church until concave, radiating pedals. 1,221 pipes, manual als and workmanship. Reasonable rates. buyer’s expense. For specifi cations go to www. late 1980s, refi nished case, in private home and pedal couplers, and tremulant; includes 3 Columbia Organ Leathers 800/423-7003. denbighpres.org or call Bill Martin at 757/249- since. $7,500 negotiable. Contact: 225/975-6758. separate mixture stops and 2 reed stops. Gen- www.columbiaorgan.com/col. 3181 or email [email protected]. tly voiced for a chapel or home use. Compact 1 design: width: 5′-8 ⁄8″, depth 7′-3¼″, height Aeolian-Skinner opus 1480. 2 manuals, 20 7′-3½″ with separate electric blower 2′ x 2′-1″ Do you have a pipe organ that you would Iberian Chamber Organ. Housed at St. Ste- ranks, 4 divisions, enclosed and unenclosed x 2′-5″. Mechanical key and stop action, slider like to interface with an electronic or digital phen’s Episcopal Church in Oak Ridge, Ten- Great. Details: [email protected]. windchest. Asking $55,000.00. For more details organ? We can interface any digital organ or nessee, organ has tracker key and mechanical call 360/945-0425 or see OHS Organ Data Base, any organ console with any pipe organ. For more stop action. The fl ue pipe confi guration is based Rieger Orgelbau, Gaspar Schulek Residence. information e-mail [email protected] (not 30-rank Casavant–Létourneau pipe organ for on the instrument built by Francesca Antonio Comcast) or call 215/353-0286. Solha in 1778. The reed pipes, with short zinc sale with 10-year warranty: $550,000. Orgues Circa 1860 Pfeffer eight-rank organ, available conical resonators, are copied from the organ Létourneau is offering a 30-stop pipe organ rebuilt and custom fi nished. Also 1884 choir in Braga, Portugal. The compass of the organ is rebuilt to like-new condition for US$550,000. The Aeolian/Robert Morton-style maroon organ by Louis Debierre. Both are pictured on the from C2 to F6. The keyboard is divided between core will be Casavant’s Opus 1274 from 1928 leather is now available from Columbia Organ Redman website: www.redmanpipeorgans.com. C4 (middle C) and C#4, which is unique to Ibe- with electro-pneumatic wind chests; the revised Leathers! Highest quality. 800/423-7003, rian organs. Constant pressure Ventus blower. specifi cation can incorporate up to fi ve new stops www.columbiaorgan.com. Available at no cost to a suitable home. Will built by Létourneau. Installation costs, on-site Historic 1859 ROBJOHN, II+Ped, 11 ranks. help dismantle. Roger Johnson 865/200-2172, voicing, an allowance for casework in red oak, Drop dead gorgeous rosewood case, 14′-2″ tall. [email protected]. a rebuilt two-manual solid-state console, and a Lovely for chapel, large residence, or museum. ANNOUNCEMENTS ten-year warranty are included. Transportation www.bigeloworgans.com. Click on News. from Québec is not included. The organ requires 2005 Wahl pipe organ, Ann Arbor, Michigan. approximately 360 sq. ft. with 20′ ceiling for 16′ Consider a gift subscription to THE DIAPASON Exquisite cherry casework and craftsmanship. ranks. For more details, visit www.letourneauor- MISCELLANEOUS FOR SALE for all your friends who love the organ, Six-stop, two-manual tracker. Concave parallel gans.com, e-mail [email protected] or harpsichord, carillon, and church music. ′ Your gift will be remembered throughout the pedalboard. Requires 9 ceiling. $80,000 or call Andrew Forrest at 450/774-2698. Excellent used pipes, like new Austin actions best offer; would be $145,000 new. Contact half price, all sizes of re-leathered bellows and year. (And don’t forget our special bargain for [email protected]. Pictures and specs at students at $20!) Visit www.thediapason.com II/3 Kilgen Harmonic Ensemble 3-rank solid-state equipment. Milnar Organ Company, www.wahlorganbuilders.com/organs/practice/ 615/274-6400, [email protected]. Please and click “subscribe.” organ. Beautiful walnut console with full AGO Six-stopPO.shtml visit our website for information on available pedalboard; complete with blower and cabinet: inventory: www.milnarorgan.com. 99 by 37 by 100 inches tall plus console. Has Postal regulations require that mail to THE Rare Estey Grand Minuette (1930, Opus been in our residence since 1997. Owner will DIAPASON include a suite number to assure 2882): 2-manual, 3-rank, with newer Ventus help disassemble and remove from house. Consoles, pipes and numerous miscellaneous delivery. Please send all correspondence to: ′ ′ ′ blower. Unifi ed 16 string, 8 fl ut e , 4 prin- Unit updated with Peterson electronics in parts. Let us know what you are looking for. THE DIAPASON, 3030 W. Salt Creek Lane, Suite cipal, $10,000. [email protected], 1982. $2000.00. Danville, VA: 434/724-3761, E-mail [email protected] (not comcast), 201, Arlington Heights, IL 60005. 763/229-5448. [email protected]. phone 215/353-0286 or 215/788-3423.

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WWW.THEDIAPASON.COM THE DIAPASON Q APRIL 2018 Q 35 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 Michel Bouvard* Stephen Buzard Katelyn Emerson 2016 AGO National Competition Winner Available 2016-2019

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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Westminster Cathedral United Kingdom (October 2018)

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