THE DIAPASON JUNE 2018

Andover Organ Company Seventieth Anniversary Cover feature on pages 26–28 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. 6, Summer schedules, summer travel Whole No. 1303 With warmer months and the end of the choir and academic JUNE 2018 year, many of us are looking forward to summer travel. Perhaps Established in 1909 you will attend a convention, workshop, or take classes for con- Stephen Schnurr ISSN 0012-2378 tinuing education. Our April issue contained a list of many oppor- 847/954-7989; [email protected] tunities to attend conferences around the country and abroad. www.TheDiapason.com An International Monthly Devoted to the Organ, Our Here & There section contains announcements of many the Harpsichord, Carillon, and Church Music summer organ and carillon recital series. Several of these are in In this issue the Midwest: Indiana, Michigan, and Iowa, in particular. For June, we present an interview with of CONTENTS Many of our readers will take advantage of summer abroad. King’s College, Cambridge, UK, by Lorraine Brugh. This inter- FEATURES To enhance the cultural experience of , we provide one view is timely, as it has been recently announced that Cleobury An interview with Stephen Cleobury of our most extensive calendars of international concerts and will retire from King’s in 2019. (We have several other excit- by Lorraine Brugh 20 recitals ever. (This is a feature you will not fi nd in that other ing interviews slated for future months.) We also continue my Pipe Organs of La Grange, Illinois, and the magazine!) Brian Swager also provides our summer carillon series on the organs of La Grange, Illinois, with an essay on St. Architectural Edifi ces That House Them, calendar for your outdoor concert enjoyment. John Evangelical Lutheran Church, Missouri Synod. Part 5, Saint John Evangelical Lutheran Church, Missouri Synod In “Harpsichord Notes,” Larry Palmer introduces us to a by Stephen Schnurr 24 Have you visited www.thediapason.com lately? recently released recording of the works of Jean-François Dan- Be sure to visit our website regularly. There you will fi nd news drieu, which he believes will be among his favorite harpsichord NEWS & DEPARTMENTS items, often before they appear in our print edition. Calendar CDs of 2018. The performer is Marouan Mankar-Bennis. John Editor’s Notebook 3 items, some of which come to our attention after our print dead- Bishop, in “In the Wind . . .,” provides insight and advice on Here & There 3 Appointments 6 lines, will be offered there. New videos are uploaded monthly. how to prepare to sell a pipe organ, planning to make the best Carillon News 11 If you have not visited in the last year, you will need your sub- of the situation, before it becomes too late. In “On Teaching,” Harpsichord Notes by Larry Palmer 12 scriber code and email address to set up your personal password Gavin Black continues his discussion of performance. In the wind . . . by John Bishop 16 for full access to the website. After you have set up your pass- Our Here & There section contains an announcement from On Teaching by Gavin Black 18 word, you will no longer need your subscriber code to visit the Frederick Swann regarding his retirement from the Univer- website. Click on “Log In” and then go to “Not Yet Registered?” sity of Redlands, California, which awarded him an honorary REVIEWS A complete redesign of our website is underway at this time. Doctor of Music degree. The staff of The Diapason salutes Book Reviews 13 New Organ Music 14 We expect our revised and improved website to be revealed to Swann for his incredible lifelong achievements in the world of New Recordings 14 you at the end of summer. the organ and church music. Q New Handbell Music 15 SUMMER CARILLON CALENDAR 29 Here & There CALENDAR 29 RECITAL PROGRAMS 33 Events summer 2018, hosted by Christ Church, July 4, Frank Rippl, All Saints Episcopal CLASSIFIED ADVERTISING 34 Michigan City, Indiana, Wednesdays Church; 7/11, Andrew Birling, First Con- at 12:15 p.m.: June 6, George Karst; gregational Church, UCC; 7/18, Ryan Muel- 6/13, Kent Jager, with children’s choir ler, Mount Olive Lutheran Church; 7/25, THE of Queen of Angels Catholic Church, Matthew Walsh, Zion Lutheran Church. DIAPASON JUNE 2018 Chicago; 6/20, Stephen Schnurr; 6/27, August 1, 6:30 p.m., Matthew Buller, Mark Sudeith. Zion Lutheran Church; 8/8, Jared Stell- July 11, Michael Soto; 7/18, Matt Ger- macher, First English Lutheran Church; hard; 7/25, Br. Benjamin Basile, C.PP.S.; 8/9, David Bohn, St. Joseph Catholic August 1, Jeremy Kiolbassa; 8/8, Kent Church; 8/15, Mario Buchanan, with Alex- Jager; 8/15, Lee Meyer; 8/22, Derek andra Piepenbrink, English horn, First Nickels. Roosevelt Opus 506 is an instru- United Methodist Church; 8/22, Vashni ment of three manuals, 28 ranks. For Seitzer, Faith Lutheran Church; 8/23, information: [email protected]. Thursday, Mitchell Miller, First Presby-

Andover Organ Company Seventieth Anniversary Cover feature on pages 26–28 terian Church, Neenah; 8/29, Ralph and The Cathedral of St. John the Marilyn Freeman, St. Paul Lutheran Chapel, Culver Academies, Culver, Evangelist, Milwaukee, Wisconsin, Church, Neenah. For information: COVER Indiana announces recitals, Wednesdays at 12:15 www.lunchtimeorganrecital.org. Andover Organ Company, Methuen, Massachusetts, celebrates 70 years of p.m.: June 6, Will Schlueter; 6/13, James organbuilding 26 Culver Academies, Culver, Indi- Grzadzinski, with Michele Rodriguez, ana, announce carillon recitals by John soprano; 6/20, David Jonies; 6/27, Hans Gouwens, academy and caril- Uwe Hielscher. For information: Editorial Director STEPHEN SCHNURR lonneur, Saturdays at 4:00 p.m.: June 2 www.stjohncathedral.org. and Publisher [email protected] (7:30 p.m.), 6/16, 6/23, 6/30, July 7 (Joey 847/954-7989 Brink, guest recitalist), 7/14, 7/12, Sep- President RICK SCHWER tember 1, October 6. For information: [email protected] www.culver.org. 847/391-1048

Editor-at-Large ANDREW SCHAEFFER Casavant organ, Sinsinawa Mound, Sin- [email protected] sinawa, Wisconsin

Sales Director JEROME BUTERA [email protected] Sinsinawa Mound, Sinsinawa, Wis- 608/634-6253 consin, announces its summer organ con- Circulation/ First English Lutheran Church, Apple- cert series, featuring the Casavant organ, Subscriptions KIM SMAGA ton, Wisconsin, Wahl organ [email protected] designed by Lawrence Phelps, in the 847/481-6234 Queen of the Rosary Chapel, Wednes- The Lunchtime Organ Recital days at 7:00 p.m.: June 6, Mark Brampton Designer KIMBERLY PELLIKAN [email protected] Series of Appleton, Neenah, Menasha, Smith; 6/13, Michael Elsburnd; 6/20, Jeff 847/391-1024 and Kaukauna, Wisconsin, organized by Verkuilen; 6/27, Jillian Gardner. Frank Rippl, announces its 2018 series, July 4, Thomas Fielding; 7/11, Cath- Contributing Editors LARRY PALMER Harpsichord Wednesdays at 12:15, in Appleton, erine Rodland; 7/18, no concert; 7/25, unless otherwise noted: June 6, Jonathan Wolfgang Reisinger. BRIAN SWAGER Oblander, First Presbyterian Church, August 1, David Troiano; 8/8, Joan Carillon Christ Church, Michigan City, Indiana, Neenah; 6/13, Derek Nickels, St. Ber- DeVee Dixon and Alice Fiedlerova; 8/15, Roosevelt organ JOHN BISHOP nard Catholic Church; 6/20, Naomi Marijim Thoene; 8/22, Marie Rubis In the wind . . . Rowley, First United Methodist Church; Bauer; 8/29, David Jonies. For informa- The Roosevelt Organ Summer 6/27, 6:30 p.m., Don VerKuilen, Zion tion: www.sinsinawa.org. GAVIN BLACK ³ On Teaching Recital Series announces recitals for Lutheran Church. page 4

Reviewers John M. Bullard 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 Jeffrey Schleff 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 Jay Zoller 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Myron B. Patterson Subscriptions: 1 yr. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 No portion of the contents of this issue may be reproduced in any form without the Leon Nelson shipping. Other foreign subscriptions: 1 yr. $42 + $30 shipping; 2 yr. $75 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $100 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

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

³ page 3

Madonna della Strada Chapel, Goulding & Wood organ

Madonna della Strada Chapel, Loyola University, Chicago, Illinois, announces its 2018 Summer Celebrity Audrey Thomas, Shayla Van Hal, and Jihye Choi (photo credit: Lea Powers) Series. All concerts are presented on the third Sunday of the month at 3:00 The Fort Wayne National Organ Competition took place March 17 at the p.m., are free to the public, and feature First Presbyterian Church, Fort Wayne, Indiana. First place was awarded to Jihye the chapel’s three-manual Goulding & Choi, originally from South Korea and currently pursuing a performance diploma at Wood organ, Opus 47: June 17, Michael Indiana University, Bloomington. The award is $2,000 and a recital at the church dur- St. Matthew Episcopal Church, Evan- Hey; July 15, Thierry Escaich; August ing the 2018–2019 season. There was a tie for second place between two University of ston, Illinois, Casavant organ 19, Svyati Duo (organ and cello). For Kansas students, senior Audrey Thomas and second-year master’s student Shayla information: www.luc.edu/organ. Van Hal. Each received a $750 prize. Judges were Jonathan Moyer, Rhonda Sider The Chicago-Midwest Chapter Edgington, and Todd Wilson. The biennial competition was started in 1960 and is of the Organ Historical Society will The Spreckels Organ Society, the longest running national organ playing competition in the United States. For present a recital in memory of Michael Balboa Park, San Diego, California, will information: http://fi rstpresfortwayne.org/. D. Friesen, June 10, 4:00 p.m., at St. host its 31st annual International Summer Matthew Episcopal Church, Evan- Organ Festival, June 25 through Septem- ston, Illinois. Derek Nickels and Ste- ber 3. Eleven concerts will be presented phen Schnurr will perform works by on Monday evenings. Highlights include: Vincent Lübeck, , June 25, Raúl Prieto Ramírez; July 9, Walt Jan Pieterszoon Sweelinck, Francisco Strony plays all-American music; August Correa de Arauxo, Johann Sebastian 6, Rising Stars night, with Paul and Riley Bach, and Johann Gottfried Walther on Xu; 8/20, Steven Ball, preceded by a fun- the church’s 1977 Casavant Opus 3354. draiser in the Japanese Friendship Gar- For information: www.ohschicago.org. den; 8/27, Raúl Prieto Ramírez, organ, and his wife Teresa Sierra, piano. Other performers include Alessandro Pittorino, Thomas Mellan, and Chelsea Chen. For information: www.spreckelsorgan.com.

The 2018 Taylor Organ Competition: front row, left to right: Isabelle Demers, Jiaqi Shao, Pamela Decker, Meg Cutting, Lynne Davis; back row, left to right: Benjamin Kerswell, Jeremy Jelinek, Chase Loomer, Todd Wilson (photo credit: Nicole Marane)

Music Institute of Chicago Chorale The fi nal round of the 2018 Taylor Organ Competition was held April 21 at (photo credit: Elliot Mandel) the Lutheran Church of the Redeemer, Atlanta, Georgia. Five fi nalists performed for judges Lynne Davis, Isabelle Demers, and Todd Wilson. Repertoire included the The Music Institute of Chicago premier of the commissioned work, La Danza, by Pamela Decker. Chorale concludes its 31st concert First prize ($10,000) was awarded to Chase Loomer, a student at the Eastman season: June 10, a program of works by School of Music, Rochester, New York. Second prize ($5,000) was awarded to Benja- Chicago , Nichols Concert min Kerswell a student at St. Olaf College, Northfi eld, Minnesota. The other fi nal- Hall. For information: ists were Meg Cutting, Jeremy Jelinek (a member of The Diapason’s 20 Under www.musicinst.org/chorale. 30 Class of 2017), and Jiaqi Shao, all Eastman School of Music students. The triennial Taylor Organ Competition is sponsored by the Atlanta Chapter of St. Matthew’s By-the-Bridge the American Guild of through a bequest in 2006 from chapter member Episcopal Church, Iowa Falls, Iowa, Elizabeth Abbott Taylor. Preliminary round judges were Marilyn Keiser, Charles announces its summer organ recital Tompkins, and Michael Velting. Co-chairs of the 2018 competition were Raymond series, Sundays at 4:00 p.m., except as Chenault and Timothy Wissler. For information: www.taylororgancompetition.com. noted: June 14, 11:00 a.m., children’s Northfi eld United Methodist Church, concert, with James Hammann, organ, Northfi eld, Minnesota, Kney organ Barb Winkels, narrator; July 8, David at 12:15 p.m.: June 27, Martha Barth, Wagner; August 5, Brandon Spence; The 2018 Northfi eld Noontime Andrew Jacob, Matt Tykutki, St. Olaf October 14, Letizia Romiti. For informa- Organ Recital series announces its organ students, Boe Memorial Chapel, tion: [email protected]. twelfth year of programs, Wednesdays St. Olaf College (part of American Guild of Organists Pipe Organ Encounter); July 11, Richard Collman, organ, Randall Ferguson, guitar, works of Bach, North- fi eld United Methodist Church; 7/18, Catherine Rodland, Boe Memorial Cha- pel, St. Olaf College; 7/25, Noah Klein, All Saints Episcopal Church; August 1, Stephen May, First Congregational United Church of Christ; 8/8, Joanne Rodland, St. John’s Lutheran Church; Auditorium organ console, Ocean 8/15, Janean Hall and Larry Archbold, Grove, New Jersey Skinner Chapel, Carleton College. For information: [email protected]. Petty, Sam Hughes, Bard Wickkiser, Carl Loser, and Bruce Courter. The The Auditorium Organ in Ocean organ is the centerpiece of the summer Grove, New Jersey, has recently under- musical program in this historic 6,500- gone extensive tonal and mechanical seat hall, and this year will mark the renovations, highlighting its expansive 110th summer season of organ recitals. symphonic and orchestral capabili- The instrument has fi ve manuals with AUSTINORGANS.COM ties. This work, under the supervision 202 ranks. t8PPEMBOE4U)BSUGPSE$5 of John Shaw, curator, and Gordon Free recitals are presented by resi- Turk, organist, has been accomplished dent organist Gordon Turk and guest by the team of Larry Trupiano, Bynum ³ page 6

4 Q THE DIAPASON Q JUNE 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/ 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 will be choral reading sessions, evening organists on Wednesdays at 7:30 p.m., performances with guest musicians, and Appointments and Saturdays at noon, during July and presentation of a major choral selec- Simon Jacobs is appointed organist and August. Guest organists for Wednesday tion with the Indianapolis Chamber choirmaster for Grace and St. Stephen’s Epis- concerts this season include: July 4, Orchestra and the Sanctuary Choir of copal Church, Colorado Springs, Colorado. Michael Stairs; 7/18, Greg Zelek; 7/25, the church. For information: He leads the church’s music program, direct- Carol Williams; August 15, Adam Pajan. www.tabpres.org/sacredmusic. ing the Taylor Choir, St. Nicholas Choir, St. On Thursday, August 2, 7:30 p.m., Cecilia Choir, and the Compline Choir, and the MidAtlantic Opera Orchestra, Jason administers the Taylor Memorial Concert Tramm, conductor, will join Gordon Series. The Taylor Choir will be in residence Turk for a performance of two organ for a week at Norwich Cathedral, UK, in July. concertos, the Concerto in A Minor Jacobs leads worship and gives recitals on the by Enrico Bossi, and Symphony No. 1 Simon Jacobs historic 1928 Welte organ, Opus 261, of four by Alexandre Guilmant. This concert manuals, 56 ranks. is part of the Summer Stars Chamber He received a Master of Arts degree from Cambridge University, where he Music Festival. For information: was at Christ’s College, and the Master of Music degree in choral www.oceangrove.org. conducting from the Yale Institute of Sacred Music. Jacobs was previously organ scholar at and , organist at St. Thomas Episcopal Parish, Coral Gables, Florida, and director of music and organist at St. Thomas’s Episcopal Church, New Haven, Connecticut. While in Connecti- cut, he was director of the Anglican Singers and a rehearsal conductor for Yale Schola Cantorum. For part of 2017, Jacobs returned to his hometown where he began his musical career as a boy chorister, as acting assistant director of music at Truro Cathedral, UK. He is an Associate of the Royal College of Organists.

Jean-Willy Kunz is appointed artistic director of the Canadian International Organ Competition. Kunz replaces John Grew, who has been artistic director for ten years and is Church of the Gesu, Toulouse, France a co-founder of the competition. Grew has been named artistic director emeritus. Kunz Toulouse les Orgues of Toulouse, is organist-in-residence for Orchestre sym- France, will celebrate its 23rd anniver- phonique de Montréal and organ professor at sary festival, October 3–14. The festival the Conservatoire de musique de Montréal. includes forty events with the theme He studied at McGill University, where he “Sacred Organ,” not only organ recitals, earned a doctorate with John Grew, and has St. Paul Cathedral, Pittsburgh, Becker- but events that merge the organ with Jean-Willy Kunz (photo credit: been a prizewinner at a number of organ ath organ other artistic disciplines and instru- Danielle Charron) competitions, including the Canadian Inter- ments. Performers include Benjamin national Organ Competition, where in 2011 St. Paul Catholic Cathedral, Alard, Guy Bovet, Thomas Ospital, and he won third prize and the Richard-Bradshaw Audience Prize. For informa- Pittsburgh, Pennsylvania, announces many others. For information: tion: www.ciocm.org. its summer organ recital series on the www.toulouse-les-orgues.org. cathedral’s Beckerath organ, Sundays at Nicholas Schmelter is appointed 4:00 p.m.: July 8, Nick Capozzoli; 7/15, 2018–2019 artist-in-residence for St. Paul’s Douglas Starr; 7/22, Mark Pacoe; August Episcopal Church, Flint, Michigan. His 5, Joe Balistreri; 8/12, Peter Gonciarz; duties include performing three concerts as 8/19, Benjamin Cornelius Bates. For part of the new parish Music in the Heart of information: http://stpaulpgh.org. the City series and supervising the commis- sion of pieces by Moonyeen Albrecht and Edward Moroney written to highlight the four-manual, 89-rank Florence Whiting Dal- ton Memorial Pipe Organ (see Here & There, May 2018, p. 6). Schmelter earned a Master of Music degree in organ performance from Central Michigan University, Mt. Pleasant. He is director of worship and congregational Nicholas Schmelter life at First Presbyterian Church, Caro, Michigan, and is an adjunct faculty member Tabernacle Presbyterian Church, India- at Saginaw Valley State University. He has served as artist-in-residence at napolis, Indiana Trinity Episcopal Church in Bay City, Michigan, since 2007. Q

Tabernacle Presbyterian Church, King’s College Chapel, Cambridge, UK Indianapolis, Indiana, announces its (photo credit: Benjamin Sheen) Carols,” December 21–26. The days of St. Mary of the Assumption, San Fran- 2018 Sacred Music Symposium, Sep- will celebrate the 100th anniversary cisco, California; 7/15, St. Hedwig Catho- tember 12–14. Clinicians include James Valparaiso University’s Cambridge of Lessons and Carols at King’s Col- lic Church, Milwaukee; 7/29, Milwaukee Biery, Dan Forrest, Kevin McChesney, Program announces “Christmas in lege, Cambridge, UK. Programming Catholic Home, Milwaukee; August Ruth Dwyer, and Dan Andersen. There Cambridge: 100 Years of Lessons and includes lectures and worship experi- 2, with Viktor Brusubardis, cello, First ences. For details including program Presbyterian, Racine, Wisconsin; 8/15, itinerary and housing options: St. Hedwig Catholic Church, Milwau- http://bit.ly/ChristmasinCambridge. kee; September 16, St. Hedwig Catholic MANDER ORGANS Church, Milwaukee; October 7, St. Hed- wig Catholic Church, Milwaukee; 10/28, People Cathedral Basilica of the Immaculate New Mechanical Action Organs Paul Ayres’s All Creatures of Our Conception, Denver, Colorado; Novem- God and King received its American ber 22, Milwaukee Catholic Home, Mil- premiere, performed by the Carolina waukee; December 5, Cathedral of St. Master Chorale, conducted by Timo- John the Evangelist, Milwaukee. thy Koch. Performances took place April January 1, 2019, Salem Lutheran 28 at First United Methodist Church, Church, Milwaukee; 1/4, with Viktor Conway, South Carolina, and April 29 Brusubardis, cello, Grace Lutheran, Mil- at Trinity Church, Myrtle Beach, South waukee; February 10, St. Casimir Catholic Carolina. The work is scored for choir, Church, Milwaukee; March 3, St. Hedwig brass, and rhythm section (piano, bass Catholic Church, Milwaukee; April 7, St. ³ St. Peter’s Square - London E 2 7AF - guitar, and percussion). For information: Matthias Episcopal Church, Asheville, Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 www.paulayres.co.uk and North Carolina; May 17, St. Malachy Continuo Organs [e] [email protected] www.carolinamasterchorale.com. Catholic Church, New York, New York; www.mander-organs.com July 13, St. Andrew’s Presbyterian Church, Karen Beaumont plays recitals: Québec, Canada. For further information: June 24, St. Hedwig Catholic Church, http://karenbeaumontorganist.mysite.com. Imaginative Reconstructions Milwaukee, Wisconsin; July 1, Cathedral ³ page 8

6 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM Inspiring Innovation First Presbyterian Church of Logan, Utah

The variety of churches, sounds, and techniques we come across on our journey as one of the world’s largest organ builders is astounding. As you might expect from a leader in our field, we aim to keep changing the organ world and help it to evolve and innovate. It’s only by embracing innovation that we can continue to deliver on our promise of providing a sound performance that’s nothing short of excellent.

Join us in celebrating the new custom Monarke hybrid organ at First Presbyterian Church of Logan, Utah.

Johannus Hybrid Organ Solutions provided the ideal solution to the all-too- common problem of an aging, insufficient pipe organ CUSTOM MONARKE without the room or resources for expansion. The result is an appealing combination of beauty and technical excellence tailored specifically to meet the needs of First Presbyterian Church of Logan. “The depth and range of sound are second to none and with our particular needs of a hybrid instrument, we knew no one else could provide that for us.”

Organist 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 Brandon Clayton can contact a US representative at [email protected] First Presbyterian Church of Logan

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³ page 6 unpublished Berceuse (1938). Lawson Francesco Cera plays recitals and is a lecturer in music and teaches gives materclasses: July 4–6, masterclass, organ at Binghamton University and “Frescobaldi: Toccate, Capricci, Fiori is the organist of Main Street Baptist musicali,” Torrazza, Italy; 7/26, recital, Church, Binghamton. Church of S. Maria, Extremadura, Spain; 7/28, Church of S. Cecilia, Espi- nosa de Villagonzalo, Spain; October 6, Cathedral, Segovia, Spain; 10/14, Chiesa di Santa Teresa, Reggio Emilia, Italy; 10/17–18, dedication recitals for C. B. Fisk, Inc., Opus 148, Christ Church Cathedral, Cincinnati, Ohio, followed by William James Lawson masterclass, 10/19, with students of the Cincinnati Conservatory. For informa- Searle Wright, composer, classical/ tion: https://francescocera.it. theater organist, and teacher, was born April 4, 1918. On the 100th anniversary of Wright’s birth William James Lawson Frederick Swann performed a commemorative recital of Wright’s solo organ music at Main Street National President of the American Baptist Church in Binghamton, New York. Guild of Organists from 2002 until 2008, Wright grew up in Binghamton, where Swann has also ended a 75-year con- as a teenager he played the organ at the cert career playing recitals throughout Capitol Theater. He later moved to New the United States and eleven foreign York City to study classical organ with Rudy Lucente (photo credit: Evan Jones/RBY countries. Following graduation from T. Tertius Noble, while studying compo- Productions) Northwestern University, Evanston, Illi- sition at . In 1947 nois, and the School of Sacred Music at he began teaching music at the School Rudy Lucente was honored Febru- Union Theological Seminary, New York of Sacred Music at Union Theological ary 3 on his fortieth anniversary as assis- City, he served two years concurrently Philip Crozier Seminary. From 1952 to 1971 he was tant grand court organist, the longest as organist/director at the Brick Presby- director of music at St. Paul’s Chapel at continually serving assistant grand court terian Church and assistant organist at Philip Crozier plays recitals: July Columbia University. organist, for the Wanamaker Organ at St. Bartholomew’s Episcopal Church in 8, Saint-Augustin, Paris, France; 7/14, Wright returned to Binghamton in Macy’s Department Store, Philadelphia, before spending almost St. Marien-Dom, Hamburg, ; 1977 and was appointed Link Professor of Pennsylvania. He is assistant to Peter two years in the United States Army. 7/20, St. Laurentius Kirche, Tönning, Music at the State University of New York Richard Conte, the Grand Court In 1957 he was appointed organist and Germany; 7/22, Stadtkirche St. Marien, at Binghamton (now Binghamton Univer- Organist at Macy’s. Lucente presented later director of music at The Riverside Husum, Germany; 7/24, St. Laurentius sity); William Lawson was one of his fi rst the noon and 5:30 p.m. concerts on the Church in New York City, leaving at the Kirche, Langenhorn, Germany; 7/28, students there. Wright retired from the Grand Court Organ that day, as well as end of 1982 to become director of music Brigidakerk, Geldrop, Netherlands; university in 1984 and died in 2004. a program on the Wurlitzer organ in and organist at the Crystal Cathedral in 7/31, Bavo Kerk, Haarlem, Netherlands; Lawson performed eight of Wright’s Greek Hall. Ray Biswanger presented Garden Grove, California. He retired in August 4, St. Marien Kirche, Flensburg, organ works, including both his best a plaque to Lucente on behalf of the 1998 and spent three years as organist Germany; 8/5, St. Heinrich Kirche, Kiel, known, Prelude on “Brother James’s Friends of the Wanamaker Organ. in residence at the First Congregational Germany; 8/12, Notre-Dame Basilica, Air” (1958), and one of his least known, The plaque will be displayed inside the Church of Los Angeles, California. In the Montreal, Quebec, Canada. Lyric Rhapsody (1970), as well as his organ. For information: latter two positions he has been designated www.wanamakerorgan.com. Organist Emeritus and organs in each location bear his name as an honorary act. Frederick Swann retired in April During his last ten years in New York, after eleven years as university organist Swann was also chair of the organ depart- and artist teacher of organ at the Uni- ment at the Manhattan School of Music. versity of Redlands, California. He was Since 2001, he has been organ artist in awarded an honorary Doctor of Music residence at St. Margaret’s Episcopal degree at the commencement of the Church in Palm Desert, California, where College of Arts and Sciences on April he continues to play services regularly, 20. His fi nal performance took place assisting John Wright, organist/director. May 19 in the University Chapel with (See Steven Egler’s interview, “A conver- the City of Redlands Symphony Orches- sation with Frederick Swann,” November tra performing the “Organ” Symphony 2014, pp. 20–24.) of Camille Saint-Saëns. ³ page 10

Group class participants, left to right: Masterclass participants, left to right: Jacqueline Morin, Jennifer Medina, Gillian Croteau, Marshall Joos, Thomas Wesley Hall, Allie DeGraffenried, and Latham, Noah Jacobs, Connor Reed, Emily Currie. Sophie Blair, and Peter Sykes.

On April 7, the Young Organist Collaborative (YOC) of Portsmouth, New Hampshire, sponsored a group class for fi rst-year organ students and a masterclass for continuing organ students who participate in the YOC. The classes were held at Christ Episcopal Church, Exeter, New Hampshire, using the church’s 2006 Lively- Fulcher organ (43 stops, 2,621 pipes). Wesley Hall, organist at the First Baptist Church of Worcester, Masschusetts, who holds degrees from Yale University and Oberlin Conservatory, taught the group class. Peter Sykes, director of music at First Church, Cambridge, Massachusetts, and an associate professor at Boston University, taught the masterclass. The YOC, now in its 17th year, raises money to “invest in the next generation of organists.” To date, more than 100 young people from Maine, New Hampshire, and Massachusetts have taken pipe organ lessons with the fi nancial help of the organiza- tion. For information: www.stjohnsnh.org/young-organist-collaborative/.

8 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM

Here & There

³ page 8 Karolina Juodelyte (Lithuania), Christo- Music schools pher Keenan (United States), Heejin Kim (Republic of Korea), Jinhee Kim (Repub- lic of Korea), Julian Mallek (Germany), Joseph Ripka (United States), John Rob- inson (United Kingdom), Brandon Santini (United States), Thomas Sheehan (United States, a member of The Diapason’s 20 Under 30 Class of 2016), Nicole Simen- tal (United States), and Pavel Svoboda (Czech Republic). The competition will take place in Boston, Massachusetts, Sep- A rendering of the Ute and William K. tember 2–8, with the fi rst round occurring Bowes, Jr. Center for Performing Arts in Old West Church, the second round at (courtesy of Mark Cavagnero Associates) the Church of the Advent, and the fi nal round at First Lutheran Church. A win- The San Francisco Conservatory ners’ concert and reception will take place of Music, San Francisco, California, September 9 at First Lutheran Church. announces the expansion of its campus For information: www.bbioc.org. with construction of the Ute and William K. Bowes, Jr. Center for the Performing Carol Williams The 11th Mikael Tariverdiev Arts. Groundbreaking for the $185 million The Oxford Book of Funeral and Memo- International Organ Competition Bowes Center will take place this summer, rial Music for Organ Carol Williams has written two new will take place April through September with opening slated for fall of 2020. organ compositions: The Magic of Sweet 2019 in the United States, Germany, The new 12-story building, designed Organ, edited by Jullian Elloway (978- Briar, op. 21, and Quick Fix Toccata, op. and Russia. The competition is open by Mark Cavagnero Associates, will 0-19-3401-19-8, £13.50), is a collection 22. Both may be heard on her new CD, to organists born on or after January provide housing for 420 students and of practical repertoire for church organ- Music at Court, recorded on the Schantz 1, 1983. The fi rst round will take place accommodate two concert halls, a res- ists, covering a broad range of music of organ in Court Street United Methodist April 4–6 in Lawrence, Kansas; May taurant with a live performance space, medium diffi culty. Composers include Church, Lynchburg, Virginia. She is artis- 13–18 in Hamburg, Germany; and multiple classrooms, and rehearsal Bach, Brahms, Elgar, Thomas Atwood, tic director for the Virginia International August 28–31 in Moscow, Russia. Con- spaces for ensembles, practice rooms, a Handel, Schubert, Vierne, and Whitlock. Organ Festival with concerts in May and testants are free to choose the location of recording studio and technology hall, a For information: www.oup.com. June, and has instituted an organ scholar- their participation in the fi rst round. The large observation deck and garden, con- ship program at Court Street Church. For second and third rounds will occur Sep- ference facilities, a student center, and information: www.melcot.com. tember 3–9 in Kaliningrad, Russia. First several apartments for visiting artists and prize is $5,000; second prize is $3,000; faculty. The school’s curriculum includes third prize is $2,000. Additional prizes instruction in organ and harpsichord. Competitions range from $1,000 to €10,000. Deadline For information: wwwsfcm.edu. The 2018 Arthur Poister Scholar- for applications is March 1, 2019, for the ship Competition in Organ Playing United States and Germany, June 1 for announced its prizewinners April 13 at Russia. For information: Publishers St. Paul’s Episcopal Church, Syracuse, www.organcompetition.ru. New York. First prize ($3,500 and a recital invitation) was awarded to Ryan Chan; second prize ($1,000) and the Organ scholar program audience prize ($500) were presented St. Paul’s Church, K Street, Wash- to Bruce Xu; third prize ($500) went to ington, D.C., invites applications for its Tyler Boehmer. Judges were Katharine organ scholar program from August 2018 Pardee, Andrew Scanlon, and Todd Wil- until July 2019. The scholarship memori- son. For information: alizes David A. Parker, a long-time choir www.syracuseago.org. member. The apprenticeship is offered in all aspects of the Anglican Church The Boston Bach International music tradition, including choir training, Organ Competition has announced chorister development, accompaniment, its offi cial slate of competitors for 2018: improvisation, and liturgical practices. Ben Bloor (United Kingdom), Yohan There are at least three choral services Chung (Republic of Korea), Margaret weekly, with up to fi ve rehearsals. For C. Hubert H. Parry, Elegy in C Harper (United States), Adriaan Hoek further information: (Netherlands), Andreas Jud (Switzerland), www.stpauls-kst.com. To honor the centennial of the death of Charles Hubert Hastings Parry (1848–1918), the has made available a previously A High and Holy Calling unpublished organ work of Parry, pre- pared for its fi rst edition by Jonathan MorningStar Music Publishers Clinch. Permission for printing Elegy announces publication of a new book: in C was granted by Parry’s great- A High and Holy Calling: Essays of granddaughter, Catherine Russell. The Encouragement for the Church and miniature was written in March 1918 Its Musicians (90-65, $16.00), by Paul and, excluding the orchestration of his Westermeyer. This latest book from earlier song England, was the fi nal music this author offers insight and perspective he composed. The work is available applicable to anyone working in a church through a free download: http://imslp. or church music setting. This volume org/wiki/Elegie_(Parry%2C_Charles_ contains collected refl ections, essays, Hubert_Hastings). and articles previously published in jour- nals such as The Hymn and CrossAccent, along with entirely new chapters. There Recordings is a foreword by Zebulon Highben. For Gothic announces new CD releases: further information: James Kallembach: Most Sacred Body, www.morningstarmusic.com. features the title work, modeled on the structure of Buxtehude’s Membra Oxford University Press announces Jesu nostri. Each of the seven sections new music publications: The Oxford (representing members of the sacred Book of Funeral and Memorial Music for body) consists of three musical settings:

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10 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM Here & There a Biblical verse, a Latin hymn, and Carillon news a scene from Milton’s Paradise Lost. Trinity Episcopal Cathedral, San Premiered in 2016, it is performed here Jose, California, has completed a project by Boston University’s Marsh Chapel expanding its chime of 18 bells to a carillon Choir and Collegium, directed by of 24 bells. The bell tower, constructed in Scott Allen Jarrett. the late 1870s for the 1863 building, the oldest church building in San Jose, has a bell chamber 60 feet from the ground. In 1879, Meneely & Company of West Troy, New York, installed fi ve bells. Another two bells came from the same foundry in 1905. In 1976, honoring the bicentennial of the United States, Petit & Fritsen of the Netherlands installed an additional 11 bells. Fantasia: Music for Trombone & Organ Meeks, Watson & Company of Deus Meus et Omnia Georgetown, Ohio, was contracted to Fantasia: Music for Trombone & remove the 18 bells to Ohio, retuning Organ (OAR-994, $15.98), features Rehol’a Mensích Bratov—Fran- the original seven bells to match the later organist Damin Spritzer and trombonist tiskánov announces a new recording, 11. Six new bells were then added. The Donald Pinson. Recording took place Deus Meus et Omnia. Recorded by fi rst public concert took place February at St. Monica Catholic Church, Dallas, the vocal and instrumental ensemble 19, with Paul Archambeault, Janet Vong, Choral Evensong for Eastertide where the organ was completed in 2014 Franciscan Schola Bratislava, the Greg Calkins, David Anthony, and Paige by Nichols & Simpson. Selections include disc includes modern premieres of Liu performing. The carillon is played Choral Evensong for Eastertide, fea- works by Bach, Mozart, Alan Hovhaness, music by 18th-century Franciscan each Sunday following the 8:00 a.m. ser- tures an evensong service sung by the Frigyes Hidas, Ernst Schiffmann, Paul composers from Slovakia. The works vice and before the 10:30 a.m. service, choir of the Church of the Incarnation, Véronge de la Nux, Gilles Senon, Max were recorded in the Franciscan as well as for national holidays and wed- Dallas, Texas, Scott Dettra, conduc- Glauser, and Johann Immanuel Müller. Church in Bratislava. For information: dings. For information: tor, and L. Graham Schulz, organist. For information: www.ravencd.com. www.frantiskani.sk. www.trinitysj.org. The recording features Howells’s Dal- las Canticles (commissioned by Larry Palmer, then at St. Luke’s Church, Dallas), with other choral works by Friedell, Neswick, Hoiby, Sowerby, and Rorem, with organ prelude and postlude by Persichetti. W HY CHOOSE AN APOBA FIRM?

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WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 11 Harpsichord Notes By Larry Palmer

Dandrieu’s harpsichord music Hot on the heels of May’s review of a compact disc devoted to keyboard works by Haydn, June’s feature is a recording recently issued by the same company, Encelade, this time entirely devoted to harpsichord music by Jean-François Dandrieu (1682–1738). Some organists may recognize Dan- drieu’s name, especially if they play his best-known composition for our instru- ment, the Offertoire for Easter: O fi lii et fi liae, a piece that occasionally appears on the playlist for organ competitions. Searching for a large volume of Dan- drieu’s harpsichord music that I vaguely remembered as being somewhere in my music library, I came across Ernest White’s St. Mary’s Press edition of a hefty selection of organ pieces by Dandrieu in White’s spiral-bound Well-Tempered Organist series: fi fty-fi ve pages of French Baroque organ music that I had not perused since high school days. J-F Dandrieu: Pièces de Caractère (courtesy Encelade) A quick look at our composer’s biog- raphy raised my interest level. Born into French Baroque keyboard music, Mark de Clavecin, pub- an artistic Parisian family, Jean-François, Kroll, does not give Dandrieu so exalted a lished by the a child prodigy, made his fi rst known station, but he does suggest in his chapter Schola Cantorum, appearance as a harpsichordist at age on “French Masters” [published in 18th- Paris, in 1973—a fi ve, performing for King Louis XIV and Century Keyboard Music, edited by Rob- massive undertak- his court. (Shades of Mozart!) By age 18 ert L. Marshall; New York: Routledge, ing fi lling nearly he was playing the organ at the Church 2003] that there is much of interest to 200 pages. Inci- of St. Merry, made famous by the com- be noted in some fi ngerings and manual dentally, friends poser Nicolas LeBègue. Five years later, change indications found in the com- whom I queried Dandrieu was named titular organist of poser’s third (and fi nal) major publication. for information that venerable religious edifi ce. In 1721 Like quite a number of the Haydn concerning more he was appointed one of the four organ- disc’s selections, Dandrieu’s harpsichord recent Dandrieu ists of the Royal Chapel. works were completely unknown to me. editions were not Marouan Mankar-Bennis (photo courtesy Encelade) David Fuller, in a brief Dandrieu Eventually I did fi nd that hefty tome able to cite any. article for the New Grove Encyclopedia containing the composer’s three major The Dandrieu disc, in addition to an Act III (tracks 15–17), La Plaintive of Music (1980) ranked Jean-François harpsichord publications of 1724, 1728, unfamiliar repertoire, also showcases [p. 1], La Musette and Double [p. 7], Les as the third most gifted composer of his and 1734 in a single-volume twentieth- a harpsichordist and three instrument Caractères de la Guerre [Book I; p. 14]. era, after François Couperin and Jean- century edition by Pauline Aubert and makers who are equally unfamiliar. I Act IV (tracks 18–19), Le Concert des Philippe Rameau. Another authority on Brigitte François-Sappey, Trois Livres am delighted to report that Marouan Muses, Suite du Concert des Muses (Pas- Mankar-Bennis plays superbly in his fi rst sacaglia) [Book II, p. 92]. THE ORGAN HISTORICAL SOCIETY’S SIXTY-THIRD ANNUAL CONVENTION solo harpsichord recording, and builders Act V (tracks 20–24), La Lully (p. 81), Andreas Linos and Jean-François Brun, La Corelli and Double (p. 83), La Lyre the makers of the 2014 Flemish-style d’Orphée (p. 86), La Figurée (p. 87) harpsichord after Joannes Couchet [Book II]; La Tympanon (Book I, p. 46). (seventeenth century), utilized for tracks 1–17, and Ryo Yoshida, builder of the Further delights eighteenth-century French-style instru- The pieces heard on the recording total ment constructed in 1989, employed 24 individual movements, 23 of which for tracks 18–24, maintain similarly lofty are to be found in the Schola Cantorum standards. Indeed, I could go so far as edition. The entire volume contains 104 to suggest that this Encelade disc might separate movements. (Dandrieu’s Book I well turn out to be my favorite harpsi- comprises 37 individual character pieces chord recording of 2018! in fi ve suites. Book II, 31 movements in six suites. Book III, 36 works in eight suites.) A clever program I recommend many of these charming [Note: page numbers in bold type indi- pieces, most of which seem to be less tech- cate the location of the individual selec- nically diffi cult than similar movements by tions in the Schola Cantorum edition.] Couperin and Rameau. Indeed, I am dis- Monsieur Mankar-Bennis has appointed that I did not know these com- arranged his concert to form what positions earlier in my career. They would he has dubbed a “harpsichord opera” have made excellent additions to the comprising a Prologue (tracks 1–5) and French harpsichord repertoire, perhaps Five Acts. In cogent program notes immediately following Couperin’s L’art de OUR FEATURED ARTISTS he describes this creation, beginning toucher le clavecin Preludes, especially for with the one piece not found in my less technically gifted students! Oh well, as DAVID BASKEYFIELD WILMA JENSEN MALCOLM MATTHEWS CAROLINE ROBINSON Dandrieu volume, a two-minute youth- Oscar Wilde quipped, “Youth is wasted on EDOARDO BELLOTTI PETER KRASINSKI AMANDA MOLE DARYL ROBINSON ful Prelude (1705), played on the Lute the young.” I have been aware for quite IVAN BOSNAR CHRISTIAN LANE ALAN MORRISON JONATHAN RYAN (Buff) stop to suggest an antecedent some time that, ironically, by the time we KEN COWAN NATHAN LAUBE JONATHAN MOYER NICOLE SIMENTAL of the eighteenth-century harpsichord know enough to teach others, it is nearly PETER DUBOIS ANNIE LAVER SEAN O’DONNELL JOEL SPEERSTRA repertoire, followed by four selections time to retire. KATELYN EMERSON THATCHER LYMAN JONATHAN ORTLOFF BRUCE STEVENS from the composer’s Third Book (1734): I have not checked every note in the La Précieuse [Courante, p. 144], La Trois Livres compilation, but thus far DAVID HIGGS COLIN LYNCH DAVID PECKHAM MICHAEL UNGER Constante [Sarabande, p. 145], La I have found only one misprint: in the RICHARD HILLS COLIN MACKNIGHT ROBERT POOVEY JORIS VERDIN Gracieuse [Chaconne, p. 148], and Le Double of La Champêtre (page 147) FRED HOHMAN CHRISTOPHER MARKS WILLIAM PORTER BRADLEY HUNTER WELCH Badin [Menuet, p. 151]. measure three of the Reprise is missing Act I (tracks 6–10) commences with the bass clef, needed for the following JOIN THE OHS IN ROCHESTER an overture: La Magicienne, [p. 100], measure to make musical sense. Should a sequence comprising La Pastorale you fi nd other suspect notes or missing IN COLLABORATION WITH THE EASTMAN ROCHESTER ORGAN INITIATIVE FESTIVAL IN OCTOBER (excerpts), Las Bergers Rustiques and alterations, please let us know. THE 2018 CONVENTION of the Organ Historical Society will celebrate the rich array of instruments in Rochester, New York. Home Héroïques, and Le Bal Champêtre [from For ordering information and perform- to an expansive collection of organs representing diverse musical styles and performance practices, Rochester is a hub for organ Book Two; pp. 107–108], ending with er’s biography, visit www.encelade.net. Q performance and education. Convention attendees will experience an eighteenth-century Italian Baroque organ housed in La Naturèle from Book Three [p. 134]. the beautiful Memorial Art Gallery, a tour of the George Eastman Museum—home of the world’s largest residence organ—and Act II (tracks 11–14), Les Tendres Comments and questions are wel- everything in between. Visit the website below for the latest updates! Reproches (Book II, p. 104), Le Concert come. Address them to lpalmer@smu. WWW.ORGANHISTORICALSOCIETY.ORG/2018 de Oiseaux: Le Remage, Les Amours, edu or 10125 Cromwell Drive, Dallas, L’Hymen (Book I) [pp. 32–35]. Texas 75229.

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

Book Reviews even evil, and it all begins with the vox Tools and Techniques,” “Inside Base- mesmerizing power plainly transformed Vox Humana: Essays about the World humana.” The distinguished author is ball,” “A Little Laughter,” “Nostalgia,” lives and improved souls” (p. 46). of the Pipe Organ and Those Who Play known as a concert organist, conductor, “Impact,” “December,” and “Postlude.” Mardirosian’s observations on organ It, by Haig Mardirosian. Foreword by composer, writer, critic, and academic. For the most part, his observations and building are incisive. Noting that it has Craig R. Whitney. 2017, MorningStar Born in New York City of Armenian opinions resonate with experienced naturally undergone changes in the Music Publishers, St. Louis, ISBN ancestry, he served the University of organists and offer sound guidance and last half-century, he is keen to observe 978-0-944529-73-7, paperbound, 150 Tampa, Florida, as Dean of Arts and inspiration to students. the increasing loudness conspicuous in + ix pages, $17, available from www. Letters for many years. Between 2003 Not every reader, however, will feel ever-larger new organs, an observation morningstarmusic.com. and 2013 he contributed a monthly col- compelled to endorse his promotion of shared by many. He observes that organ This book is more fun to read than the umn to The American Organist entitled two American icons from the 1950s as benches, unless solidly and meticulously law allows. It is like sitting at the feet of “Commentary: Vox Humana.” These candidates for sainthood: Most Rever- constructed, can be treacherous, either a master teacher patiently sharing a life- effi cient little essays, held to 700 words, end Fulton J. Sheen, popular Roman by wobbling or by being freshly waxed time of priceless experience. His raison were pithy, anecdotal, and rich, contain- Catholic bishop and radio personality, and “an icy path to falling off the distant d’être: “to write about music and musi- ing the distilled essence of a lifetime of and Virgil Fox, celebrated organist at end.” Readers will luxuriate in his parody cians, architecture, technology, history, practical and theoretical experience. The Riverside Church in New York City. of a proud builder’s new organ report in theology, culture—in short, much of the Here they are gathered together and Both spoke fl uently, swiftly, emphati- one of the journals, bragging about its best that life can offer us.” “Here’s to the published, not in chronological order, cally, “with thoughts seemingly burning $45,000,000 limited budget, blast-proof prospect of hearing a range of voices, but conveniently arranged topically in within and erupting into verbal lava.” triple-concrete swell boxes, sky-box even contradictory voices, but it bears ten chapters: “Prelude,” “The Most Mys- Sheen’s persuasive preaching and Fox’s stadium placement with innovative remembering how beautiful singing, terious and Complex Instrument Ever unique rendition of Bach’s Come, Sweet “Ruckpedal,” “natural” winding, etc. It is bel canto, holds the power to vanquish Invented,” “Who Are We?,” Musical Death alone could melt hearts: “Such ³ page 14

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WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 13 Reviews

³ page 13 during the Advent season. (If you cannot compositions with a formal key change, minutes long; that is about average for the accordion, not the pipe organ, that he fi nd these very traditional hymn tunes in a more obscure statement of the chorale the each selection in the collection. designates “Hell’s instrument of choice.” your hymnal, you are probably not look- melody, and an arch-like treatment of In addition to “Go Down Moses,” In a previously unpublished essay from ing at one of several Lutheran hymnals dynamics with the quietest passages in the fi rst volume includes “Rise Up, April 2012, entitled “Ultimate Things,” in print.) Each selection is in the most the beginning and ending. And fi nally, Shepherd, and Follow,” “Standin’ in Mardirosian addresses death and the end common key in hymnals, with portions of Wo soll ich fliehen hin is unique the Need of Prayer,” “Lay Your Hands of life, noting that virtually from the start Chesterfield doing equal duty in the in this collection, beginning with an on Us, Lord,” and “Jesus, Jesus, What a death has been a powerful part of music. key of F if concluded midway through extended single-voice passage featuring Wonderful Child.” We organists are “the artists who work or in the key of G when played com- the contour of and preceding the state- Volume 2 includes the classics “Ev’ry at the brink of eternity.” But we can be plete. Most preludes follow a balanced ment of the uninterrupted chorale tune. Time I Feel the Spirit,” “He’s Got the aloof, shallow, jealous, picky and piddling, structure, with many chorale-based solo These collected hymn settings are Whole World in his Hands,” “Jesus audacious, outrageous, self-centered, passages (most common of which being easy or moderately easy, with very easy Walked This Lonesome Valley,” “Some- unyielding, intolerant purists. “Just about assigned the 8′ Trumpet), juxtaposed pedal passages, the more diffi cult though times I Feel Like a Motherless Child,” everything wrong with the organ comes with other passages that match the spirit manageable contained in Helmsley and and “Ezekiel’s Wheel.” down to the snobbery of those who play of each respective prelude. Predictable Nun komm, der Heiden Heiland. I hope that Joe Utterback continues it” (p. 53). Yet he is optimistic, teaching changes in modality or key center occur These preludes would be welcome hymn- to compose such heartfelt music. He us effectively to express gratitude to our in logical ways. In all, the charm of these based repertoire for beginning or advanc- is a true American treasure and writes teachers and helpers along the way. He preludes lies in their very fi ne but per- ing students, due to their freshness, brev- in such a unique style that all organists approvingly alludes to music critic Paul haps predictable melodic invention in ity, and structural soundness. Although ought to have some of his music in their Hume’s famous address at Washington tandem with limited harmonic surprises. a bit pricey (nearly a dollar per page of collections. I recommend it highly! National Cathedral to the 1982 American Blersch’s chorale settings of Chester- printed music), the organ preludes in —Jay Zoller Guild of Organists convention, ending field, Freu dich sehr, and Sieh, hier How Shall I Meet You should be met with Newcastle, Maine with the challenging assertion that our bin ich utilize clear statements of their appreciation by all, and perhaps followed music can open the doors of heaven, respective hymn tunes, recommended by robust congregational singing. What and “YOU hold the keys!” This winsome, for varying solo stops, without any sig- better way to prepare for the birth of the New Recordings clearly written book is chock-full of nifi cant melodic alteration. Settings with Babe in Bethlehem! Recommended. Alfred Hollins and Friends. Simon clever wit and humor that is never corny. the chorale stated in the soprano also can —Jeffrey Schleff Niemiński. Organ of Third Baptist All in all it is instructive, entertaining, be handled successfully on a one-manual Grand Prairie, Texas Church, St. Louis, Missouri. Regent and appealing. Highly recommended. and pedal instrument, with no voice Records, REGCD 473, available —John M. Bullard, Ph.D. crossing with which to contend. Other Five New Spirituals for Organ, Vol- from www.regent-records.co.uk. Spartanburg, South Carolina chorale settings feature hymn tunes that ume 1 and Volume 2, by Joe Utter- Hollins, Concert Overture No. 3 in F are less strictly stated, including Nun back. Jazzmuze, Inc., $15.00 each, Minor; Bond, Chorus in E-fl at; Hollins, komm, der Heiden Heiland and the available from www.jazzmuze.com. Morceau de Concert; Johnson, Elfen- New Organ Music sprightly paired settings of Wie soll ich I have been playing the music of Joe tanz; Hollins, Theme with Variations How Shall I Meet You: Seven Organ dich empfangen, the latter of which Utterback for some years, and this col- and Fugue; Wolstenholme, The Seraph’s Preludes for Advent, by Jeffrey being reminiscent of Pepping. A personal lection is among his most accessible. It Strain; Hollins, A Song of Sunshine; Blersch. 2016, Concordia Publish- favorite is the jaunty setting of Helms- is usable for both recital programs and MacMillan, Cortège Académique; ing House, St. Louis, Missouri, No. ley that features “La Majesté” from Tele- as church voluntaries. He writes well in a Lemare, From the West (In Missouri, In 97-7728, $24.00, available from mann’s Heldenmusik at the onset, in the style related to jazz and Gospel. Many of North Dakota); Wolstenholme, Le Caril- www.cph.org. middle, and at the end of this 57-measure these spirituals are blues in nature. lon; Hollins, Concert Toccata in B-fl at. Hark the Glad Sound (Chester- composition. The embroidered melody of My favorite, which I chose to include Alfred Hollins, Edwin H. Lemare, and field), Comfort, Comfort Ye My People the chorale derives its matching style and in a concert series I am playing, is “Go William Wolstenholme were all born in (Freu dich sehr), Lo! He Comes with energy (oh, those dotted rhythms!) from Down Moses.” It was especially appro- 1865. Of the three, Lemare probably Clouds Descending (Helmsley), Sav- the popular Telemann selection. priate for the mood of the concert and gained the most popularity and fame ior of the Nations, Come (Nun komm, Compositional gestures in specifi c has proven itself to be a crowd pleaser. while Hollins and Wolstenholme, both der Heiden Heiland), Jesus Came, preludes include meter changes in the I have received requests for it to be blind organists, gained popularity but not the Heavens Adoring (Sieh, Hier bin fi rst setting of Wie soll ich dich included in church services. to the same degree. Each became famous ich), O Lord, How Shall I Meet You empfangen and the attractive, asser- Beginning with a jazzy walking bass for the popular, light organ music that (Wie soll ich dich empfangen), and tive (Trumpet 8′) and off-balance tenor in the left hand, it is joined by the tune they composed and performed to large O Bride of Christ, Rejoice (Wo soll chorale statement in Chesterfield. very simply articulated in the right hand. crowds, often in the thousands, of organ ich fliehen hin). The chorale tunes for Freu dich sehr, Turning the page, the right-hand melody enthusiasts. Alas, over the years, their This collection consists of straight- Sieh, hier bin ich, and Wo soll ich becomes more syncopated and is placed organ compositions dwindled in popu- forward and serviceable short preludes, fliehen hin likewise are featured in the over large chords in the left hand, and larity and much of it went out of print. ranging from 36 to 76 measures in length. tenor voice. Strict repetition of earlier the pedal enters carrying the beat. A Today, by performing a simple online They are pleasing to play and appropriate materials closes out Freu dich sehr third repetition of the melody adds glis- search in the IMSL/Petrucci Music as short preludes, offertories, or extended and Nun komm, der Heiden Hei- sandos and builds in intensity. The fi nal Library, some of these compositions can hymn introductions, especially when land, saving a bit of time in learning new “Let my people go” almost brings tears be found online. Additionally, Wayne services incorporate these same hymns notes. The latter setting is one of only two to my eyes. This piece is three and a half Leupold Editions published multiple volumes of Lemare’s organ compositions and transcriptions. So, this recording can be considered a nostalgic retrospective and Simon Niemiński has chosen a range of compositions to exemplify what a con- cert program in the heyday of popular, Thousands of Songs light organ music might be like. Among the “friends” included on this recording ONE LICENSE are works by Frank Heddon Bond, Ber- nard Johnson, William Wolstenholme, ONE LICENSE is a premier licensing source that covers Edwin Lemare, and Ernest MacMillan. all of your congregational reprint needs.

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14 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM Reviews

Simon Niemiński performs fi ve Frank Heddon Bond was organist at of triumphant, celebratory writing. It is techniques. The inside cover gives a pieces by Hollins on this disc, the fi rst Wellingborough Congregational Church, punctuated with organ reed fanfares and thorough explanation of the overall form of which is Concert Overture No. 3, a a rather generously proportioned build- has the requisite “trio” section to provide of the piece by the arranger. Appropriate piece very much a pipe organ composi- ing with a surrounding gallery, typical of contrast before returning to a restatement for both children’s and adult choirs. tion in contrast to the orchestral char- many late nineteenth-century Protestant of the opening thematic material. acter of his fi rst two concert overtures. churches. It is conjectured that his 1913 The fi nal piece on this remarkable My Song Is Love Unknown, for 3, The piece begins with a commanding composition, Chorus in E-fl at, was written recording is Hollins’s Concert Toccata in 4, or 5 octaves of handbells with opening statement and is followed to celebrate the expansion of the church B-fl at. It is unlike the dazzling French optional oboe or other C instrument, by contrasting quieter sections using organ to include a fourth manual and a toccatas; rather, it is a rondo with episodes and optional 3, 4, 5, 6, or 7 octaves the colorful palette of the organ. The new tuba stop, which announces the open- using a perpetual motion of playful eighth of handchimes, by Cathy Moklebust. work is dedicated to Ernest MacMil- ing of this jolly composition with a joyous notes with an added touch of melodrama. Choristers Guild, CGB977, Level 2+ lan, who was a student of Hollins’s and memorable melody, which is used in Throughout this recording, Niemiński (M), $5.50. in Edinburgh, Scotland. Morceau de imitation. The piece is in ABA form with shows dazzling technique with a pol- This arrangement of English Concert and the delightful A Song of the B section providing a quieter foil to ished sense of melodic interpretation, composer John Ireland’s tune Love Sunshine are program pieces designed the energetic A section, which on repeti- tastefully performing on this large organ Unknown has been enhanced with an to have immediate audience appeal. tion has a wonderfully spirited coda. in Third Baptist Church of St. Louis, original melody by the arranger, along Theme With Variations and Fugue is a Lemare’s two-movement work, From Missouri. At all times he is in full control with a part for an optional oboe or other substantial work showing Hollins’s skill the West, is dedicated to the English of the music and the instrument. C instrument. Here is a beautifully writ- as a composer having a fi rm command organbuilder J. J. Binns and is very —Myron B. Patterson ten statement of this exquisite melody of harmonic, contrapuntal, and fugal much program music, with In Missouri Salt Lake City, Utah that incorporates minor modes along writing for the organ. No shyness is invoking Southern popular songs such as with the major, exploring text painting shown to harmonic modulation, clarity Yankee Doodle, My Old Kentucky Home, that brings the music to life. Appropriate of form, and indelible melodic writing Swannee River, and Dixie Land. In North New Handbell Music for Lent, but useful for anytime during in this piece. Dakota is leisurely, evocative, and slow, Oh, Love, How Deep, arranged for the church year. The Seraph’s Strain and Le Carillon giving an impression of the open and 3 octaves of handbells, by Bruce W. are by Hollins’s friend William Wolsten- empty landscape of that state in Decem- Tippette. Agape (a division of Hope Jesus Shall Reign, arranged for 3–6 holme, to whom the Theme With Varia- ber 1908 where Lemare was confi ned in Publishing Company), Code No. octaves of handbells with optional tions and Fugue is dedicated. These his Seattle to Chicago train, which was 2836, Level 1+ (E), $4.95. 2 octaves of handchimes, by Sandra two pieces are very much delightful the prisoner of a three-day blizzard. The solid hymntune, Deo Gracias, Eithun. Agape (a division of Hope lollipops. The former exhibits a superfl u- The opening of both movements begins can easily set the tone for the Lenten Publishing Company), Code No. ity of sentimentalism while, by contrast, with slow chords reminiscent of a train season. Opening with a simple statement 2827, Level 3 (M+), $5.25. the latter is a cheerful bonbon using the whistle, an appropriate beginning given of the melody, it then expands to full This grand, impressive setting of the chimes, although not specifi ed in the the circumstances of the piece. chords, all in quarter and half-note val- familiar hymntune Duke Street is an score but certainly appropriate, to good Hollins’s pupil, Ernest MacMillan, ues. Powerful for any time of the church ideal selection for the Easter season or effect at the beginning and end of this went on to be the dean of Canadian year, and easily learned. any festive worship or concert program. short piece. Bernard Johnson’s Elfen- musicians and a leading light in the musi- Beginning with a fanfare and moving tanz is very much a lighthearted dance, cal life of Canada, especially in Toronto. All Night, All Day, arranged for 3, 4, to a rousing middle section, the music melodic, cheerful, and full of joyous For his contributions to the musical life or 5 octaves of bells by Michael Bur- proceeds to a more lyrical verse that champagne bubbles. Niemiński uses the of Canada, he was knighted in 1935. His khardt. MorningStar Music Publish- includes mallets on suspended bells and theater organ aspects of the large First compositions are far reaching—Cortège ers, MSM-30-866, Level 2 (E+), $4.50. handchimes on the melody. The opening Baptist Church organ to great effect in Académique, composed in 1953 to cel- This simple yet lovely setting of the fanfare material closes the piece in a this piece, particularly the tremulant, ebrate the centenary of the University of African-American spiritual is given larger, rousing fi nish. which he employs tastefully in this happy Toronto, is true uplifting ceremonial organ a playful treatment throughout with —Leon Nelson Edwardian-like dance. music very much in the British tradition ring (R), damp, mallet, and martellato Vernon Hills, Illinois

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WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 15 In the wind...

Trash or treasure? almost twenty years ago. They are white My great-grandfather Cheney was a elephants, and I have no idea what we silk trader in the fi rst years of the twen- will do with them. tieth century. He and his seven brothers built a large and prosperous business with Visions of sugarplums weaving mills and a distribution center in If I have learned nothing else in nearly Manchester, Connecticut. Reproductions twenty years working with the Organ of several original Cheney Silk advertise- Clearing House, I have learned that a ments that were published in Ladies’ vintage pipe organ can be the ultimate Home Journal and The Saturday Evening white elephant. In today’s money, it Post hang on our walls today. Austin costs hundreds of thousands, even mil- Cheney died decades before I was born, lions of dollars to build a new organ, but but his wife, my great-grandmother, lived older redundant organs are routinely to be 104 years old, and was part of my given away, and seldom sell for more life until I was in my thirties. than $20,000. I have dashed the hopes She was born in 1890 (Brahms was of many widows who have approached 57 years old) and lived long enough me, asking for help to sell the organ that my two sons, her great-great- that their husbands had stored in their grandchildren, sang at her funeral. She garages. I receive a few photos by email, told stories of traveling to China with see odds-and-ends of organ pipes, feet her husband for the silk trade, around sticking up higgledy-piggledy out of Cape Horn on the last clipper ships. It cardboard boxes, and reply that I see no was our tradition that my parents would resale value. “He told me it was worth take my three siblings and me to visit hundreds of thousands of dollars,” or, her every year on Columbus Day, where “My car has been sitting outside in the we would romp through the enormous snow for thirty-fi ve years.” I have heard house (there was a playroom with a some pretty bitter comments. swing on the third fl oor) and be treated I also hear regularly from real estate to an elegant lunch at her magnifi cent developers: “We bought a church build- dining table. She grew up in Brook- ing and are converting it to condos. . . .” lyn Heights, in an age when that was They have done some research into one of the fanciest neighborhoods in the value of organs and expect to pay a New York, and her inbred accent had third of their mortgage when they sell a hilarious note to our modern ears. the organ. “Oh, and by the way, we’re Adjusting the lunch menu to suit the starting demolition next week.” That pleasure of grade-school children, we organ is worth exactly nothing, unless were served “Hamboigers,” as though Mr. Developer is prepared to pay to have they were being hawked by vendors at the organ dismantled and stored. A lot of Ebbets Field. And lunch was always good organs have been destroyed under “Poifectly grand!” After lunch, she those circumstances. would smoke her one daily cigarette. Mr. Developer might suggest that he When she reached her 100th birthday, is willing to give it away in return for a she increased that nasty habit to two suitable tax deduction. Fair enough. each day, and sure enough, she died a But he is likely imagining that an assess- few years later. ment of the organ would show a number This one’s a goner. (photo credit: John Bishop) Her house was enormous, and it approaching the cost of a new organ. The was richly decorated with huge dark IRS knows that trick. IRS Form 8283 It would be a shame. time annoying, that a church that has wood furniture, heavy draperies, and allows a taxpayer to declare the value of For anyone who loves the organ, it is gone through the lengthy process of the countless priceless ornaments that a non-cash contribution. That category unimaginable that an instrument might ordering a new organ starts thinking of would be gathered over a lifetime of covers a wide range of gifts from artwork be scrapped, but it happens, and it hap- removing the old one at the last minute. trade with China and Southeast Asia— to real estate, and a pipe organ is under pens often. The principal reason is sim- When asked how long it might take “the Orient,” as she put it. Our Colum- that blanket. The form includes a fi eld ply that there are so many instruments to sell an organ, I often respond that in bus Day lunch was served on porcelain where an appraiser enters the Fair Mar- on the market and a growing number this business, a year is like a lightning dishes with elaborate patterned edges ket Value (FMV) of the gift and signs his of reasons why instruments become bolt. If your church is planning for a and gold-leaf trim, and our (powdered!) name to it, attaching a description of the redundant. Churches close and merge new instrument, planning renovation milk was poured from a cut crystal credentials that qualify him to appraise a every day, and active churches eschew or expansion that will eliminate the decanter into matching stemware. The pipe organ. The instructions that accom- traditional artistic values in favor of existing space for the organ, or moving pantry that connected the dining room pany Form 8283 defi nes FMV as “the electronic substitutes for pipe organs or toward closing altogether, the possibil- to the kitchen was stacked with end- price a willing, knowledgeable buyer forms of worship leadership that do not ity of a future for the organ depends on less varieties of such tableware. I knew would pay a willing, knowledgeable involve anything resembling an organ. how much time is available. much of the same stuff in my grandpar- seller when neither has to buy or sell.” If If we take in four or fi ve times as many Of course, it is possible to dismantle ents’ house, and inevitably, several sets I was selling an organ to an organbuilder, new listings as we are able to sell, the an instrument and place it in storage. wound up in my childhood home and asking $900,000 because that would be backlog grows fast. Naturally, a church However, it is rare that a church or organ- later, in my own adult homes. the cost of the same organ new, I would or other institution that is searching builder would fund such a plan without Keeping in that tradition, in prepara- take some abuse and not sell the organ. for a vintage organ will choose a good having an assured future for the organ. At tion for my fi rst wedding, my fi ancée If I appraised an organ for a price instrument over a mediocre one, so the Organ Clearing House, we are often and I chose our own china pattern and approaching that of a comparable new since we already have dozens of modest offered organs for free, assuming that received a generous collection of beauti- organ, it would not take an auditor or tax and uninspiring organs built by Möller, we would bear the cost of dismantling. ful dishes that we seldom used. Today, attorney very long or very much imagi- Wicks, or other comparable builders But dismantling an organ of average size Wendy and I favor more contemporary nation to open the website of the Organ in the middle of the twentieth century, typically costs $15,000 to $20,000. It can handmade china, and while we still have Clearing House and look at the asking there is no good reason to support add- cost hundreds of thousands of dollars some of those fancy old sets, we never prices of a half-dozen available organs. ing more to our list. to dismantle a large instrument, and use them. Furthermore, our children If there are so many organs available In many cases, time is the greatest storage of any organ represents a hefty have no interest in them. There are for under $20,000, how can this one be enemy of an organ. Anyone who has monthly cost. And remember, it is much boxes of dishes in our basement, still worth $750,000? That’s when the sassy or served a church that has acquired a easier to buy or sell an organ when it is taped and labeled from when we moved aggressive appraiser is accused of fraud. new organ will know that it takes a long assembled and playable. time to conceive and execute a plan. A Occasionally, I receive a call from committee might spend a year or two someone wishing to visit our show- educating itself, researching builders, room. That is a nice thought. It would The Sound of Pipe and comparing proposals. Raising the be fun to have twenty or thirty organs necessary funds is a huge undertaking set up and playable in a big room, but Organs that takes lots of time and effort. It is the economics of such a business plan M. McNeil, 191 pages somehow amusing, while at the same are untenable. A new technical study of the relationships between scaling, voicing, the wind system, and tuning. Search on the title at the Organ Historical Society and Amazon websites.

16 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM By John Bishop

to assess whether the organ is worthy of reuse. If it is a nondescript modest organ in poor condition, it is a safe bet that it would never be purchased. In that case, it could be offered for parts, or simply discarded. Problem solved. If the organ has artistic, musical, and historical features that would merit the cost and effort of renovation and relo- cation, you can increase the possibility that it will be preserved by following a few simple steps. Accomplishing all this ahead of time will help avoid the need to scurry if the schedule gets advanced. • Make recordings. If an organ must be dismantled before it is sold, good record- ings of the instrument can be essential. of the keyboards and stop controls, Record the organ leading hymns in live pipes on windchests (especially treble worship, playing organ literature, and pipes, so their condition can be easily demonstrating various stops. Feature seen), mechanical components under good stops doing what they are intended windchests, etc. for —don’t play three chords on an Oboe Put the organ on the market as or Clarinet, play a lovely melody. early as possible. There is no need to • Gather any fi les or archives relat- wait until you are fi nished using it. It ing to the organ. Many churches keep is common to offer an instrument for records of repairs, releathering, tuning, sale, stipulating that it will be available original contracts, etc. These docu- “after Easter of 2020.” That would allow ments can be useful to those who would time for interested parties to visit and assess, move, and renovate the organ. audition the organ. Also, if prospective • Measure the organ accurately. If buyers know that you are running out of it is situated in a free-standing case, time, they’ll be inclined to offer less and measure height, width, and depth to less for the organ. If people are audi- at least the closest inch, and round up, tioning the organ a year before it must not down. If it is located in chambers, be removed, and are leaning toward measure the chambers, windchests, and buying it, they will be motivated by other large components, and measure the possibility that another party could the heights of the largest pipes. You can come in and outbid them. also draw a schematic of the internal In this business, facing the music can layout of the instrument. This is best mean saving the music. Over the years, accomplished by your organ technician, I have learned through bitter experience who would understand which measure- that we cannot save all of them. Not even Abandon hope, all ye who enter here. (photo credit: John Bishop) ments are the most important. close. But if we are smart, and if we plan • Photograph the organ, inside and ahead, we have a better chance of saving Maybe it’s not worth it. at the usher’s station, a few forgotten out. Include detailed close-up photos the good ones. Q There is a fi nite amount of money coats hanging in the narthex, choir fold- spent on organ projects in the United ers in a heap on the table, unopened States each year, and it is my point mail in the offi ce, even stuff in the of view that we should do our best to refrigerators, long past the status of sci- see that it is spent on fi ne instruments ence experiments. I imagined that there Unprecedented Natural whenever possible. The exception to must have been some mighty unhappy that rule is the church that owns what people going home from church that last might be categorized as an “ordinary Sunday at noon. Pipe Organ Sound organ” that serves well. They should The other end of that spectrum is the be encouraged to provide for major church that faces the music and forms a ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO repairs and timely renovation, taking disbursement committee. Arriving at a any opportunity to improve it. Having church to assess or dismantle an organ, H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27, said that, I have frequently advised I have seen bands of volunteers moving churches to scrap a substandard organ through a building, collecting all the in poor condition and start over. As a stuff it takes to run a church, from hym- descendant of a silk-trading family, I nals to choir robes to pianos. They are know that you cannot make a silk purse pushing wheelbarrows through the hall- out of sow’s ear. ways loaded with bottles of Elmer’s glue, § Christmas pageant costumes, copiers, and enough ancient computer equip- I have spent a lot of time in church ment to start a museum. And for crying buildings that have been closed. It is out loud, it is time we fi nally got rid of always a sad sight, and sometimes down- that rummage sale sign that has been right eerie. A few years ago, I visited behind the organ blower since 1963. one in metropolitan New Jersey, that Because of the care they have taken busy area just across the Hudson River planning the sad job of closing the place, from Manhattan. It was a huge campus, there was time to fi nd a new home for the the carcass of what was once a huge and organ, and I have been able to witness vibrant congregation with a 1,200-seat how important the organ was to the par- sanctuary featuring gorgeous woodwork, ish. They bring me family photos showing a graceful surrounding balcony, and a baptisms, weddings, and funerals with relatively new large pipe organ. There the organ forming a dignifi ed background were dozens of offi ces, classrooms, and to those special family events. It is a bit- meeting rooms, a large gymnasium, cha- tersweet but rewarding experience when pel, and two elegant function halls, one the parishioners of a former church have of which had a stage with real fl y space the opportunity to hear their beloved for changeable sets. organ playing in its new home, with wind Interestingly and perhaps irrespon- blowing through the same pipes to lead a sibly, the leadership of the parish had new congregation. given the parishioners little warning that the place was in dire straits. The build- Tips of the trade ing had been closed about four years If your church is planning a project earlier, but besides the coating of dust that will affect the placement of the over everything, it was as if they had a organ, put the organ on the top of the list. Integrated Organ Technologies last worship service, turned off the lights, The leadership might be so excited about ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP and closed the doors. The water glass was the new project that they forget about on the pulpit, orders of worship stacked the organ. First, seek professional advice

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 17 On Teaching

More on performance quite specifi c to my own circumstances As I listened to the recording of and indeed in a sense quite personal. I the concert that inspired last month’s believe that it could be of interest to oth- column, the experience gave me a few ers, and I am thinking about how to apply further things to say about performance. it to some of my work with students. This month I will discuss those matters, There is a feeling that most of us as they will constitute the fi rst part of have of something looking over us and this article. Following that, I wish to judging what we are doing. This is per- present a few ideas about performance haps a kind of externalized, collective for specifi c occasions, partly derived superego or conscience. It may feel like from some recent personal experiences. something that is connected to specifi c As has been the case with the last few people—former or current teachers, articles, I will leave you with more ques- parents, colleagues, critics, friends, tions than answers, as this is a large, neighbors, people in authority, people important, and diffi cult subject. in general—or it may well be related to ideas or feelings about the supernatural, Emotion during the act eternal, or spiritual. It may not be about of performance any of those specifi c things. This feel- Listening to the recording from my ing is not necessarily one that is always March 25 recital leads me to continue good or always bad, always inhibiting or the thread from last month about one’s always motivating. For better or worse, it own experience of the emotion, mes- is often with us. sage, or meaning of music during the I have a strong feeling of such a watch- act of performance. I cannot match what ing presence when I am performing on I hear on the recording to any detailed harpsichord, but absolutely none of it memory of when I was or was not feeling when I am performing on organ. This what, or how involved or detached I was. could sound equivalent to “I am self-con- I do remember something about scious and unsure about my harpsichord a particular moment. The ending of playing but not about my organ playing.” Samuel Scheidt’s Warum betrübst du However, I believe that is a less accurate dich is a spot that I like to stretch out way of putting it. I am conscious of the quite a bit. I remember executing that feeling of others scrutinizing or paying gesture in a much more extreme way attention, but I do not necessarily think than I had planned, because it felt right that what these non-specifi c and fi ctional to do so in the moment. It is a strangely others will experience when they listen textured passage, and the feeling of some to my harpsichord playing will not please of the chords was one that I did not them. I just feel them as being there. But want to let go of for longer than I would again, not at all when I play organ. This have expected. Others I wanted to push could all be correlated with my thinking through. The whole variation was also that my harpsichord playing is not as good a bit slower and freer overall than what as my organ playing, whatever range of I intended. Was all of that effective? I meanings “good” can take. But I honestly don’t know: I like it, but of course I am do not believe that I do feel that way. I biased. You may listen for yourself at have a very similar awareness in both the following link, where I have posted realms of what I am trying to do and why, the very end of the penultimate varia- of what proportion of the time I think tion, just to set the scene, and then the that it is relatively successful, of how it variation in question: www.gavinblack- stacks up with respect to various schools baroque.com/Scheidt.wav. of thought or approaches, of how much I have also written that I am work- feedback and of what sort I get from ing on trying to derive rhythm, some of listeners, and so on. I might be unhappy the time, from the shape of the sonority with my playing on one instrument or the rather than (or in addition to) from a pre- other on a given day, but I do not believe established beat. At the beginnings of cer- that I am a better organist than a harpsi- tain pieces, my listening confi rms that this chordist, or the other way around. was not always effective. In several cases I suspect that this dichotomy is about the openings of pieces or movements things that are irrational, symbolic, and sounded too slow or lacked momentum. I subconscious. Some of it may have to do am not sure whether the solution is to go with the “Wizard of Oz” sort of creden- back, in some cases, to simply establishing tials. My degree is in organ. I write for a beat in my head before I start or to do an organ magazine. Many of my former something like what I was trying, but to organ students are working full-time in do it better. Doing it better could mean the profession as organists. Indeed many Piano recital program, May 16, 1970 doing it in a more moderate way or dif- of my former harpsichord students are ferent way, but it could also mean doing working as organists; fewer are working seventeenth-century harpsichord, that performance. Perhaps I need to mix it in a more committed or “extreme” way. full-time as harpsichordists, if there even my recordings are mostly on harpsi- them up as much as possible, giving Sometimes ineffectiveness comes not is such a thing. I had two great organ chord, that my actual job or position organ recitals and harpsichord recitals from exaggeration but from inadequate teachers, whereas I am more or less is with an “early keyboard center,” and on successive days, for example, trying expression of an idea. I do believe that self-taught as a harpsichordist. When I so on. I would not know in that case to pretend that one of them is the other. the problem may have a greater propor- was an undergraduate I had a key to the whether some of these symbols were or As I say, this is very personal. This is tion of being about the approach itself Princeton University Chapel and often were not the reason behind the psychol- so specifi c to me that I would not expect or the execution of the approach, rather went in there alone and played the organ ogy that I observe. anyone reading to discover exactly the than just being an artifact of the concert through the night. Of course these things What I do know is that whereas this same state of affairs for herself or him- situation, as I thought that it might be are not accurate assessments of my skill overarching collective superego may self. Perhaps it will resonate in some way. when I wrote about it a month ago. level. They are superfi cial, and none of have a valuable role in society as a whole, I am just starting to digest the question Finally on this subject, I have experi- them may in fact be the source of the it feels like a defi nite impediment to my of what this says to me about work with enced what feels like a major revelation feelings that I am describing. fi nding the truest version of myself as students. Is it an insight that can lead about my stance as a performer, which If my observation about my feelings a performer. That is, both the version to fruitful evolution in what I offer as a I think was developing even during the while playing went the other way, I that I will fi nd the most satisfying and teacher? I suspect that it is, but I have to preparation for the recent organ recital, could perhaps come up with an equal the version that has the best chance of avoid imposing anything on students via and which I experienced during the list of superfi cial symbolic things that sometimes creating great performances. any sort of projection. recital itself, but which has crystallized also went the other way: that I am Since I feel that this impediment isn’t over the last few weeks. At one level, it is lucky enough to be the proprietor of a there when I am functioning as an organ- Performance for other occasions ist, the urgent task for me at this moment I have a couple of thoughts about in my life as a musician is to learn how performance for occasions. I recently I can also remove it from my harpsi- played harpsichord at two events that Visser Pipe Organ Co. chord performing. Whereas I had been were not concerts and that were driven Quality Craftsmanship, Creativity & Integrity planning to enter a period of perhaps a primarily by imperatives other than couple of years during which I planned those of the music that I was playing, New Organs–Restorations–Additions–Relocation only organ recitals, I have realized that or indeed of any music. They were All Actions & Tonal Styles • 713-503-6487 • [email protected] I have to avoid a hiatus in harpsichord both events acknowledging a particular

18 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM By Gavin Black

earlier column that I successfully avoided ever playing in any of my teachers’ studio recitals through many years of piano les- sons. I recently found the document that illustrates this column, the program from such a studio recital involving the students of Lois Lounsbery, the second of my three piano teachers. I am manifestly included in the program. I do have a memory that I was indeed physically present that day, but that I managed not actually to play—perhaps, honestly, by pretending to be injured or sick. That I may have done that is a measure of how much I did not Gavin Black’s works for the May 16, 1970, program want to perform. It is in part the memory and awareness of how I got from there person, and in one case it was around a that just as children are required to go to to here that informs my ways of working New Jersey. He can be reached by email retirement. I knew each of the people, school and do their homework—on pain with students on performance, and which at [email protected]. but not well enough to know anything of not being allowed to play with friends, I will come back to in future columns. Q Excerpts from his March 25, 2018, about their musical taste or what they perhaps, or to watch television—so, too, organ recital can be found on Gavin’s might or might not like in performance. they should be required to practice for Gavin Black is director of the Princ- YouTube channel https://www.youtube. They had each asked that I be there to their music lessons. He mentions an hour eton Early Keyboard Center, Princeton, com/user/gavinblack1957. play—neither occasion was a case of my a day of practicing before being allowed just being hired as a professional. Like- to go on to other, more enticing activities. wise neither of them knew enough about I am only summarizing, and this was a the harpsichord repertoire to request brief moment in the fi lm. I want to make any particular pieces. That was up to me. it clear that I have no idea to what extent I observed in these performances it represents his fully developed ideas. I what I wrote a few months ago about my mention it because, as anyone who has goal for performance: that it create the read this column for very long will not possibility that the experience will have be surprised to read, these sentiments been important to some of the people evoked immediate, strong disagreement who are present. The shift was that I from me. identifi ed the particular honorees as a I have a great aversion to coercing sort of primus inter pares. If anyone anyone into doing anything. If no one was going to fi nd my playing important, fi nds a way to induce children to take I most wanted it to be the honorees. music lessons, then many or most chil- What did I then do with that? I am not dren will not; many of those who do not sure. I suspect that I tried to play more would have found it extremely rewarding fervently than I normally would—or to to do so; if no one twists anyone’s arm put it more accurately, I tried to give to practice, then a lot of people will not myself permission to play as fervently practice; if you do not practice, taking as I always want to; that I played with lessons and trying to play will be more as much lucidity as I could manage; that frustrating than it should be. There are the self-consciousness that I described problems with my stance about such above abated to a considerable extent. things. In our society, organ and harpsi- It occurred to me as a consequence chord teachers do not have to confront of these two experiences that almost these questions as often as piano, violin, certainly anything that guides me as a and voice teachers do. player to make the music more expres- The same dynamic applies to perfor- sive and communicative for a particular mance. I strongly believe that perform- purpose also helps to make the music ing in front of listeners is an amazingly more effective in general. If I did suc- good learning experience for anyone ceed in enhancing the chance that either at any level or with any relationship to of the honorees felt that what they got music. I believe that abstract perform- out of my pieces was important to them, ing—concert playing in which there is then I certainly enhanced that chance nothing to hang your hat on other than for everyone else present. making the music really work—is a I believe that this concept might, great learning experience. I wish that for me and perhaps for others, help to more of my students had more oppor- bridge the gulf between “I am playing tunities to play concerts or to play in this because something about the day’s concerts. I observe that often once a schedule says that I should play it” and student has played a piece in a concert “I am playing this because I care about situation, he or she plays that piece bet- expressing what it can express. “ ter and plays better overall. I also noticed that the self-conscious- However, most students, especially ness largely went away. I believe that the those who still consider themselves reason may have been something like beginners, are scared to perform, or at this: “I know what my goal is in playing least approach performance with anxiety. this right now. I am here to offer some- Many, many students are convinced that thing to these particular people, and I they will never give concerts or even play believe that I know how to do so. This for others informally. That is sometimes performance doesn’t have to bear the part of the bargain. If you throw in that burden of showing that I am this or that I as a teacher do not want to coerce, that kind of harpsichordist, or that I under- I believe that anxiety is counterproduc- stand x or can do y.” tive, and that my role is to help create This is very personal. It may or may relaxation and ease, then we have a cer- not resonate with what anyone else has tain kind of impasse. experienced or thought. Once again, I My attempt to solve this has always am still mulling over what it might mean revolved around persuasion and coaxing. to share the fruits of these thoughts I have a strong sense that this works very with students. well most of the time. I also have ideas § about how to carry it out. Yet I am also aware that it may leave some people out, I recently viewed the movie Seymour: and that there is a set of questions about an Introduction, which is about the pianist whether this approach is letting some and renowned piano teacher Seymour people down. Bernstein. It is a fascinating fi lm, and he I have mentioned previously that I is a captivating, multifaceted, and appeal- was deeply scared of performance as a ing individual. At one point, he is discuss- child—terrifi ed, really, and rather beyond ing music lessons for children. He notes childhood, as well. I also claimed in an

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 19 Interview

An interview with Stephen Cleobury

By Lorraine Brugh

The interview took place in Mr. the two better known ones, the fi rst and Cleobury’s offi ce in Gibbs Hall at King’s the third. College, Thursday, October 31, 2017. At Then there is the Paean which is in 5:30 that afternoon he led the choir in an the same volume as Master Tallis’s Tes- Evensong for the Vigil of All Saints, with tament. They are the two pieces I know music by Byrd, Palestrina, and Tomkins. best from the collection Six Pieces for Since the time of the interview, King’s Organ. The Paean is the nearest thing College has announced that Stephen Howells got to writing a toccata. It is Cleobury will retire from King’s at the very fast moving, with a lot of sixteenth- end of the 2018–2019 academic year. note movement. The metronome mark is quite fast. I once asked him if he really Lorraine Brugh: I want our time expected us to play it that fast and he to include what you’d like to talk said he did. I don’t know many people about. I’ve thought of four areas I’d who can. And then Master Tallis’s Testa- like you to comment on and you can mant, which I think is an outstandingly add whatever you would like. Those beautiful piece, in a modal G minor, and areas are the recent Howells confer- again rising, but ending with that little ence, the choir, worship trends, and epilogue, that little envoi. personal notes. Everything to do with Howells is Just last weekend, the Herbert How- about organ management. Organ man- ells Society met here in Cambridge, at agement, while I wouldn’t say it’s a St. John’s and at King’s College. You lost art, is now not always understood. are its current president. What is its We had a wonderful example of organ mission and current activity? management by Nathan Laube who Stephen Cleobury in the Chapel of King’s College, Cambridge (photo credit: © Paul Stephen Cleobury: There are two came to play here last year. I don’t think Grover/King’s College, Cambridge) organizations, the Herbert Howells I’ve heard the organ managed better Trust and the Herbert Howells Society. than that very often. By that I mean the Both are, of course, dedicated to pre- ability to grade crescendos and diminu- serving the memory of this great man, endos perfectly and to treat the organ and the Society is a collection of people really orchestrally. who meet together for events such as I think that one of the things that has we’ve just had this past weekend. The happened is that people have become a lot Trust is a particular body that allows us more interested in authentic performance to make grants which help to support style for Baroque and Classical music. recording and performance of Howells’s And that’s absolutely fi ne; I’m completely works. These are funded from the royal- signed up for that and do my best to keep ties from Howells’s estate. up with trends in that regard. But I don’t see that it need also lead to an inability to LB: Would you commend particular manage the organ orchestrally. organ works to American organists? I think a versatile organist should be Some play the Psalm Preludes but able to do both of those things. The chal- most of us don’t go much further. lenge for playing Howells is precisely SC: I think the Psalm Preludes are that of managing the sound. wonderful. There is a tantalizing aspect The Partita, which was the big piece to those in my mind. Herbert Howells I played on Saturday, does have some was acting organist at St. John’s College quite technically demanding writing. here in Cambridge during the Second However, none of it (Howells’s music) World War. If I understand correctly, he is virtuoso writing in the sense that Stephen Cleobury conducts the Choir of King’s College, Cambridge (photo credit: used to come up at weekends and pre- you’re playing something from the great King’s College, Cambridge/Ben Ealovega) side over the Sunday services. I imagine nineteenth-century French repertoire, he might have improvised on the organ or later, Messiaen. It’s not technically way they were set, you would fi nd that LB: Do you think that the German at that time. There may be lots and lots that diffi cult. the crescendo was made by drawing the and the north German organ tradi- of psalm preludes up in the ether some- It requires one to hold in one’s head 8′ stops one by one, then the 4′ stops tion, which builds the sound verti- where, but that’s just an idle speculation. the right sort of sound world. Because one by one, whereas now people would cally, has infl uenced organists today? I can only speak of the pieces I know. organ registration, certainly in late add a 4′ to a single 8′, then a 2′, and so SC: Yes, I do. I think you can hear There are the rhapsodies, of which the nineteenth-century, early twentieth- on. That would have worked well at the Howells’s music played with too many best known is the C-sharp minor, which century English usage, was approached Royal Albert Hall. mixtures. I was talking to Jonathan I played at the end of Evensong. That’s a rather differently from the way people The nineteenth-century orchestra Clinch about this on Saturday,1 and the very forthright piece with a quiet middle naturally approach it now. This can be sounds different from a classical orchestra very interesting views he has on this. He section, which is actually the opposite of seen in the organ in the Albert Hall as it playing on period instruments; the duty of quotes Howells on that subject: almost all the psalm preludes that start used to be. Today we have general com- the organist is to refl ect different sound a. Players were not using suffi cient quietly, rise to a climax and go down again. binations and sequencers (steppers), so worlds as best as can be done on any given amount of foundation tone, and The fi rst rhapsody does more what we can be far too fancy with our regis- instrument. So that’s why I say you need to b. People were too busy fi ddling the psalm preludes do: starts quietly and trations, too fussy, because it’s so easy to hold in your head the sound world as best around with the registration that they rises to a climax and subsides again, and do, whereas in the old days mostly the as you can that Howells had in his head. lost a sense of musical pulse. I think it’s a very beautiful piece, com- pistons were pre-set so that you couldn’t Listen to recordings of the old Gloucester Pulse was very important to Howells. pletely different from the third. They are easily change them. If you look at the organ made by Herbert Sumison. When I worked at Westminster Abbey,

20 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM Stephen Cleobury conducts (photo credit: Kevin Leighton) Stephen Cleobury conducts the Choir of King’s College, Cambridge, September 22, 2012 (photo credit: King’s College, Cambridge/Ben Ealovega)

together, but you can access the 16′ reed Cambridge Music Festival, which took in the Pedal independently. place in the summer. Although classical Baroque organ It used to be described as “Evensong music on an instrument like this is a sung by the choirs of King’s and St. John’s compromise, there are lots of things you to mark the opening of the Cambridge can do to make it have integrity. Summer Festival.” That has come and gone so we’ve lost that connection, but we LB: Both of these things would help have carried on doing the annual service. with this integrity. SC: Yes, indeed. LB: I think it’s nice to show that Lorraine Brugh and Stephen Cleobury collaboration. (photo credit: Gary Brugh) LB: You were also organ scholar SC: Yes. We choose the repertoire at St. John’s. Did you overlap with carefully. Each choir is obviously slightly Howells at all? different in its style. We fi nd that if you SC: No, well not at St. John’s. His choose big repertoire like we did this year, service there was in the War, when Robin like Blest Pair of Sirens by Parry, that sort Orr was away on wartime service, just in of piece sounds better with more singers. the way Harold Darke was here at King’s Some repertoire sounds better sung by when Boris Ord was away in the Air Force. one choir or the other.

Stephen Cleobury (photo credit: King’s Col- LB: And George Guest was there LB: I was here when you sang a Las- lege Cambridge/Ben Ealovega) when you were there? sus Mass a couple weeks ago. That SC: Yes. sounds best with a small choir. his pedal lines are often independent and SC: I quite agree. care is needed to make them clear. LB: This collaboration with St. I remember one thing he pointed John’s each year—is that a result LB: Americans are fascinated with out to me is that when he writes a pedal your being an organ scholar there? the King’s College men and boys’ point, he doesn’t just put down bottom SC: No, you’re talking about the annual choir, and how they get trained. D for two pages. It is always repeated, Evensong service sung by both choirs. What do you see for their future? rhythmicized, or jumps the octave. He This had been started before I came SC: I used a phrase the other day. always wanted the pedal to be very alive. here as organ scholar at St. John’s, and I gave a speech at a charity dinner, a I take care when I play to register the has probably been going since the early fundraiser for the Friends of Cathedral pedal so that you can hear it clearly. 60s. Originally it was connected with the Music. In fact, it wasn’t my phrase, but Stephen Cleobury in a 2013 recording session (photo credit: King’s College Cam- LB: Would you like to comment on bridge/Andy Doe) the organ’s restoration? SC: We are all thrilled with it. It is long ago now, in the second half of the still recognizably the King’s organ, but it A Precious Gift 1970s (1974–1978), Howells used to speaks with a renewed vigor and clarity. come to services sometimes when we I’m particularly pleased about two new from the Past were performing his music. I recorded ranks, or actually two ranks that were some of it on the Abbey organ. Before that replaced with different ranks. One is a I arranged for him to come and hear me 4′ fl ute on the Great, which you heard for the Present play his pieces. Everyone tends to think in the second movement of the Partita. that Howells’s music is smooth and broad It is very beautiful. We also introduced and the Future and redolent of English pastoral scenes. a proper Principal 8′ in the Pedal, which In fact, he was rather a dynamic and pas- we didn’t have before. That’s given a Supremely beautiful and blendable sionate man, and was certainly very keen whole lot more clarity to the Pedal. Now tonal color – a Gift from the Venetian on rhythmic pulse and clarity of texture. you can play Bach with a proper principal School of organbuilding, a monumental part of our Those are two things that people don’t chorus. Formerly we had a Violoncello, JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH think of in connection with Howells but a Geigen, a stringy stop. It wasn’t very he really did want them. This might be good in Bach. SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN interesting for American organists. One of the big differences a British organist LB: The English organ was slow to Intriguing? Let us build your dream. fi nds when he/she goes to the United develop the independent pedal. Is States to play is that you don’t have the this a carry-over from that? stop called “Great and Pedal Combina- SC: Yes, I think it is. But David tions Coupled.” You have an independent Willcocks in the 1960s had a lot of new pedal and you have to register the pedal upperwork put in the Pedal. We have separately, which is a really good disci- had fl utes at 16′, 8′, 4′, and 2′ and a 4′ pline. Here we can get lazy because we Principal and mixture in the Pedal for have Great and Pedal Combinations Cou- quite a while now. pled. Here you can push Great Piston 3 I arranged shortly after I came to have Builders of Fine Pipe Organs to the World and you get an appropriate pedal registra- the Swell double trumpet (16′) made tion as well. In American organs you have available on the Pedal, which is very www.ruffatti.com to deal with the pedal separately. I think useful for playing Bach. You can have in Howells that is really important, since the Great and Swell choruses coupled Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 21 Interview it was actually given to me in the briefi ng notes. “We are not dealing with some kind of elite group. We are dealing with ordinary children doing extraordinary things.” And it is extraordinary what they do. They are ordinary kids, and they need to play around and be children. I suppose, if anything, what I try to do is to treat them as if they are ordinary people, not as superstars or anything, because they aren’t. But at the same time, you have to manage what they do here. They wear their Eton suits and walk through the college to the chapel. Visitors are coming in here, photographing them, for example, and we have to deal with and manage the issues that arise from that. As far as the training of them is con- cerned, we do our best to offer them as broad a musical spectrum as we can. So each boy plays the piano and an orchestral instrument. We teach them theory, they have aural training and sight-reading. We also have a professional vocal coach Stephen Cleobury (photo credit: Kevin who teaches them about singing. With Leighton) children, I think that’s best done on a rela- tively straightforward and simple level. SC: I try to place them so there is an Here I’m slouching in this chair, but I’m older boy next to a younger boy through basically telling them to stand up straight, the ranks. get their body alignment and balance in good shape, and then thinking about LB: Could you speak about what breathing and the easy production of goes into the preparation for Christ- sound, not forcing, just good basic habits. mas Eve Lessons and Carols? SC: I remember LB: The older boys model the sound being asked this question. I heard him for the younger boys? on a radio interview when I was very SC: Yes, that’s a good point. There young. He gave a typically clever answer are two aspects to the training they get. that “in a sense you are preparing all the You would have seen in the chapel boys time because every day you’re trying in Years 6, 7, and 8. We also have boys to make the choir sing as well as pos- in Years 4 and 5 back over the river at sible.” I’m not somebody who believes Stephen Cleobury at the organ of the Chapel of King’s College, Cambridge (photo King’s College School. They don’t sing in suddenly trying to up the ante a week credit: King’s College, Cambridge/Nick Rutter) in the public services. Some of the Year before. I try to do it on the basis that it’s 5s do. They get one-to-one training, what we’re doing every day. That’s not to the time. I’m looking out for publishers I occasionally do it the other way small group training, but they’re also say we don’t make obviously very special catalogues. I get a lot of material sent to around and send the men on fi rst. It’s singing along with the older ones. It’s a effort for the big occasions. me (looking around the offi ce, “a lot of quite interesting to see what the audi- mixture of specifi cally targeted instruc- I personally feel that unless you’re this stuff has been sent to me”), and I do ence does. It is not a question of a front tion on the one hand and modeling, or trying to make it really good every day, try my best to look properly at everything, row sixteen trebles with a backing group. I call it osmosis, seeping down from one you can’t suddenly click your fi ngers and because you just never know when a little All the men are an absolutely vital part generation to another. One of the things expect singers to move into another gear gem will turn up. And so I have to get all of the whole. you have to remind the older boys is that for this or that occasion. Because chil- of that organized and sorted out. And then We do services with the men only once they are role models for the younger dren, especially young children, thrive on toward the end of November we start in a week, and more than that in half-term. ones, necessarily. consistent expectation, they like to have earnest preparing the actual music. We I really enjoy those occasions because it the ground rules, whatever they are. It’s have a carol service for schools here where gives me a chance to work in detail, in LB: I saw one of the younger boys best to have ground rules, consistency. we air some of the repertoire. We are depth, with the choral scholars in a way relying on another older boy for Then from my point of view, the prepa- often asked to sing Christmas carols for a one actually can’t do when the children cues during the Evensong last Satur- ration is about planning the repertoire, concert. This enables us to prepare gradu- are there. They occupy a higher propor- day, I believe. and in a sense I am thinking about that all ally through the month of December. tion of one’s attention, naturally.

LB: Is it your innovation to commis- LB: How many of the boys and sion a new work each year? scholars go on to study music SC: Yes, it is. I started that in 1983. professionally? When I fi rst started doing it, I got some SC: Quite a few. It is diffi cult to put quite abusive letters from people asking a percentage on it, but a signifi cant what was I doing degrading this great number do. Just to mention a few of the tradition by introducing horrible, disso- organ scholars, there is Sir Andrew Davis nant modern music. in Chicago, , who is, sadly, Now I tend to get the same reaction no longer playing, and Thomas Trotter. you are describing. People are keen to That’s just three and there are a lot more. hear what it will be. I feel that’s a small J 1823 - Concerts at the Kimmel Center . . . archive performances featuring the Fred J. Cooper Memorial achievement. LB: Churches in the United States U Pipe Organ (by Dobson) in Philadelphia’s Verizon Hall. have increasing problems support- N LB: No small achievement! I wonder ing church musicians. How does the 1824 - Oberlin Revisited I . . . performances by and how you keep the quality of men and Friends of Cathedral Music support E conversation with students of the Oberlin Conservatory boys from one year to the next. church music? of Music in Ohio. SC: I remember a comment made SC: Friends of Cathedral Music exists 2 1825 - Oberlin Revisited II . . . more performances by by one of the choral scholars when he to help with funding. I think that funding students and faculty of the Oberlin Conservatory. graduated some years ago, ten or twenty is an issue for everyone. Everyone thinks 0 years ago, who said, “I really admire how the Oxbridge (Oxford and Cambridge) 1 1826 - Brass Tracks III . . . mostly American music the you peg away every day at it.” And I think colleges are rich, but they aren’t infi nitely brilliant collaborative of brass ensemble and the King of that’s what I do, I peg away at it. rich. We have to make our case for the Instruments. 8 chapel and the choir within the college as LB: Do you see the boys every day? a whole over against educational impera- SC: Almost every day. tives, just as you might expect. We didn’t talk very much about the cho- In a cathedral, the greatest call on ral scholars who, of course, are an essential funds is maintenance of the fabric. You Pipedreams is ’s weekly program dedicated to part of the Choir. They sometimes feel a can’t have a cathedral choir if the build- the artistry of the pipe organ. Host Michael Barone’s celebration of the bit neglected. We go on the concert plat- ing is falling apart. king of instruments is heard on stations nationwide and worldwide via is a proud supporter pipedreams.org. Go online to locate a broadcast station near you. form, and everyone will applaud the little It becomes a matter of priorities. In the of Pipedreams apoba.com boys, and then the volume of the applause big London choirs where they are paying SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO dies down when the men walk on. a dozen professional singers, it becomes

22 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM some will have no particular religious years; I played for his rehearsals with the belief or knowledge at all. That’s what Cambridge University Musical Society. makes us very different from a community Within the fi eld of church music I would church in America as we’ve been talking say those are the people. about. Some people think that would devalue the experience for me. I actually LB: What about your own think the complete opposite of that. composition? One of the particular problems the SC: I’m not really a composer. I think church has today is that it’s easily per- I can turn in some fairly decent arrange- ceived as being exclusive. If you don’t fi t ments. I don’t see myself as a composer a particular pattern . . . we don’t need to of original music. I have composed go into the question of gender and sexu- some pieces and people have been nice ality, but we know about all that. about them. Whereas I think, it’s a cliché, of course, One of the privileges I had when I that everyone should be made welcome, worked with the BBC singers as chief whatever their religious standpoint or life- conductor for ten years was to do a lot of style. So if someone comes to the service contemporary music, a lot of premières. I and hears “Like as the Hart” by Howells, found it fascinating to be in close contact for example, and is moved by that and with composers. I could tell you a lot spiritually nourished by that, that’s great. about composers from that angle. It’s not my concern whether they’re One thing that is true of the best going to go to the altar and receive com- composers I’ve met is that they are abso- Choristers of the Choir of King’s College, Cambridge, conducted by Stephen Cleo- munion the next day or not. Those are lutely consumed with a need, almost a bury, perform Britten’s Ceremony of Carols as part of the composer’s centenary separate issues. I’m not intending to physical need, a mental need certainly, celebrations, November 22, 2013 (photo credit: Mark Allan) sound detached about that, but I genu- to compose music. It’s something they inely feel that. absolutely have to do. expensive. So there is going to be a con- So I go to some churches in the United There’s another thing I believe in I don’t feel that kind of an urge to tinuing need for fi nancial support. States that are fabulously well-funded. strongly. There’s another side of that compose. I teach students here to do har- We get no support from central gov- They have offi ces, and the director of coin. I say to the choral scholars (since mony and counterpoint, so I know how to ernment. The money a cathedral has music has quite a large staff. it’s not necessary for the children at put the notes on the page in order to do comes from its endowments if it has any, I do understand what you describe that stage, as they haven’t developed an arrangement. I know how not to write its lands and assets, if it has any, together because I read about it. If there are their views), “well look, if you don’t parallel fi fths. with income from visitors. fewer people attending church, you have believe this, or don’t agree with it, you It’s the same with going into the musi- For instance at Ely, those shops along less money coming in. still have to behave in a professional cal profession. I remember Herbert Sum- the High Street, a lot of them belong to It’s different here; it’s different again if way. There are people in the chapel ison at Gloucester used to advise young the cathedral, and the cathedral derives you go to Scandinavia or Germany where every day for genuine religious reasons people, “If you are thinking about enter- a rent from them. That’s part of what they have had the church tax, which is to say their prayers, and they don’t ing the music profession, is it something enables the cathedral to keep going. gradually being abolished in some of want to see you behaving in a way that your innermost feelings make an impera- Many of them now charge, as we do. I these countries. The church had it rather distracts from that.” tive? If not, you’re much better going off remember in Ely fi fteen to twenty years easy when it had the compulsory tax. I do insist on what I call a proper pro- and doing something else and keeping ago, when they introduced charging, If the church loses this revenue, they’ll fessional decorum. It’s important to me music for your leisure and enjoyment.” there was a lot of heart-searching, shaking have to make it the responsibility of that the choir conducts itself properly. of heads. People said it’s awful to charge people voluntarily to support it. LB: Thank you for your time this people to go into a religious building. LB: I think that clearly shows. afternoon. One of the clergymen said to me it’s LB: What you are looking forward to Who have been your own greatest SC: I look forward to seeing you again not really about that. It’s a choice. We in future projects? How do you nour- infl uences? in the chapel. Q either charge or we have to close down. ish your own spiritual life? Does this SC: I was a boy chorister at Worcester. Here, King’s College Chapel is a private daily life nourish you? The organist there was Douglas Guest, Notes college chapel; there is no compulsion SC: Goodness . . . . Well, forthcom- who’d been an organ scholar here in the 1. Dr. Clinch presented a lecture on How- upon us to open it to the public. We choose ing events: that’s relatively easy. We late 1930s. The fi rst experience of any- ells’s piano music at the Howells Society gath- to do so. To make it safe for people to be in have our next United States tour in the thing is very formative. Then Christo- ering, October 28, 2017. there, to heat it, that costs us money. spring of 2019, a short tour. I don’t know pher Robinson came to be organist there I don’t subscribe to the argument that if we’re allowed to announce yet where and taught me to play the organ. Harry Lorraine Brugh is currently resident it’s a bad thing to charge. we are going. We’re going to Australia Bramma was there, a great teacher. director of Valparaiso University’s Study in the summer of 2019. We have plans Then in Cambridge there was George Centre in Cambridge, England. She is LB: I think you do a good job of for the UK and Ireland in 2018, and this Guest, of course, whom I worked closely professor of music and the Frederick J. separating the worship times and the December we go to Athens. with at St. John’s. I also had good con- Kruse Organ Fellow at Valparaiso Uni- times the visitors can view the chapel. We have exciting recording plans for a tact with David Willcocks during those versity, Valparaiso, Indiana. SC: That’s got to be done. Bruckner Mass, and possibly some more Rutter. And we’ve got a recording com- LB: In the United States, each parish ing out of Bernstein’s Chichester Psalms. has to fund its own musicians, and they There’s lots of that going on. don’t have land and other support. I think as far as a personal spiritual There are increasingly fewer full-time journey is concerned, as with probably musician positions. It’s a big issue in the majority of people, that barometer ranks II — 19 the United States, and our system is goes up and down. different than yours. Do you have any I know that Cardinal Hume used comment about our situation? to say at Westminster Cathedral, even

opus 133 SC: I don’t have a solution to the prob- someone like him, “it’s hard to believe all carolina north valdese, lem. I just note what I see. Sometimes of this sometimes. Some days it’s harder I look rather enviously at the level of than others.” That’s something I share funding that some of the churches have with a lot of people. in the United States. Of course there is a As to how I perform my job here, I see difference. A given parish in the United it as an enabling thing. I want to enable States, whatever the denomination, has particularly the young people in the its parish role. Those loyal parishoners choir to experience this wonderful music see it as a responsibility to see that it is through liturgy well-conducted. Presbyterian Church Waldensian properly funded. I don’t seek to infl uence them in what rneauor The Church of England is a very they should believe about it. I’m simply ou ga et n .l s .c different animal, partly because of the laying before them the opportunities, w follow o w us on m established link with the state. I think and they take from them what they want. w facebook! that, personally, one of the great things It’s really the same in terms of the about it is that it’s theoretically there for congregation. So I’m saying, here I am. everyone, of all faiths, or no faith. You I’m trying to do this music as well as I can can be baptized there, married there, today, and you’re coming to our service. and you could be buried there in the You’ll meet lots of different people, from parish in which you live. the college, the university, the town, or But there isn’t quite the same degree visitors from Australia, or Papua New 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t of community and of fi nancial responsi- Guinea, and, of course, America. Some 800 625-7473 [email protected] bility. It’s a rather subtle difference but it will be what one might call card-carrying does makes a difference. Christians, some will be lapsed Christians,

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 23 Pipe organ history

Pipe Organs of La Grange, Illinois, and the Architectural Edifi ces That House Them Part 5: Saint John Evangelical Lutheran Church, Missouri Synod Saint John Evangelical Lutheran Church, Missouri Synod, La Grange, Illinois By Stephen Schnurr

This article is a continuation of a fea- Lutheran churches in the Chicago met- ture in the August 2015, June 2016, July ropolitan area. 2017, and February 2018 issues of The In 1940, the Wicks Organ Company of Diapason. This article was delivered as Highland, Illinois, installed a new organ a lecture for the Midwinter Pipe Organ in the 1894 church, part of a $20,000 Conclave on January 19, 2015, in La remodeling project. The specifi cation Grange, Illinois. The research for this was dated April 6. The building and project provides a history of a number organ were dedicated on October 6, of pipe organs in the village, but not all. 1940. Opus 2138 was a two-manual For instance, organs in residences and organ of eleven ranks, 630 pipes. Wind theaters are not surveyed. pressure was four inches.

his church traces its fi rst meeting to 1940 Wicks Organ Company TMay 30, 1886. On September 19 of Opus 2138 that year, the congregation dedicated a GREAT (Manual I, Enclosed) building for worship and educational use 8′ Open Diapason (scale 42, 73 pipes) on a parcel of what had been farmland 8′ Claribel Flute (“regular,” 85 pipes) owned by Louis Sieling. One week later, 8′ Violoncello (scale 54, 73 pipes) the congregation was formally organized. 8′ Dulciana (scale 56, 85 pipes) 4′ Octave (scale 56, 73 pipes) The Reverend John Strieter of Imman- 4′ Flute (ext 8′ Claribel Flute) uel Lutheran Church, Proviso (now Hill- 4′ Dulcet (ext 8′ Dulciana) 2 side), commuted on Sunday afternoons 2⁄3′ Dulciana Twelfth (ext 8′ Dulciana) A view from the balcony of Saint John Evangelical Lutheran Church 2′ Dulciana Fifteenth to conduct services. Reverend Alex ′ Ulrich was called as fi rst resident pastor (ext 8 Dulciana) Accessories PEDAL Tremolo ′ in 1893, remaining until his retirement 3 ″ Great to Pedal reversible 16 Diapason (44 pipes)* Chimes (Deagan, 1 ⁄4 , 21 tubes) Balanced Swell expression shoe 16′ Subbass (56 pipes) forty-eight and a half years later. 1 blank tablet Balanced Great expression shoe 16′ Lieblich Gedeckt (44 pipes) In 1894, Saint John Church built a Balanced Crescendo shoe 8′ Principal (ext 16′ Diapason) SWELL (Manual II, Enclosed) ′ ′ new edifi ce on the present property, ′ Sforzando reversible (thumb and toe, with 8 Bass Flute (ext 16 Subbass) 16 Lieblichbourdon (97 pipes) indicator) 8′ Still Gedeckt (ext 16′ Lieb Ged) across the street from the location of 8′ Violin Diapason (scale 47, 73 pipes) ′ ′ Wind indicator 8 Violoncello (44 pipes) the fi rst services. The frame building 8 Stopped Flute 4′ Choralbass (44 pipes) (ext 16′ Lieblichbourdon) ′ ′ of Gothic infl uence cost $8,500, and ′ 4 Octavfl ote (ext 16 Subbass)* was crowned with a bell tower and bell. 8 Salicional (scale 60, 85 pipes) In 1968 and 1969, Wicks moved the 4′ Cello (ext 8′ Violoncello) 8′ Voix Celeste (TC, scale 60, 61 pipes) ′ ′ Dedication occurred on September 30. ′ ′ organ to the present church, adding sixteen 2 Super Octave (ext 8 Choralbass) 4 Violina (ext 8 Salicional) 16′ Posaune (56 pipes) In 1911, Saint John assisted in the for- 4′ Flute d’Amour ranks, naming the project Opus 4862. The ′ ′ ′ 8 Trumpet (ext 16 Posaune) mation of Immanuel Lutheran Church (ext 16 Lieblichbourdon) organ was fi rst used on Easter Day, 1969. 4′ Clarion (ext 16′ Posaune) 8′ Cornopean (“must be smooth more of Hodgkins, and Saint John’s original like Horn,” 73 pipes) Ronald Hauser, then organist of Saint John church building was moved there for the 8′ Oboe (synthetic) Church, presented a dedicatory recital on Couplers daughter congregation’s use. Services 8′ Vox Humana (“in separate box,” 61 September 28 of that year. New ranks are Great to Pedal 8 were conducted in German until 1928, pipes) marked with an asterisk below. Swell to Pedal 8 Tremolo Swell to Great 16 when alternation of German and Eng- 1 blank tablet Swell to Great 8 lish became the practice. German was 1967 Wicks Organ Company Opus Swell to Great 4 dropped in 1943. PEDAL 4862 Swell to Swell 16 16′ Sub Bass (“extra large,” 44 pipes) Swell Unison Off On April 30, 1967, ground for the ′ Swell to Swell 4 present church was broken and the 16 Lieblichbourdon (fr Swell) GREAT (Manual I) 8′ Bass Flute (ext 16′ Sub Bass) 8′ Principal (61 pipes)* cornerstone was laid, with dedication 8′ Still Gedeckt (fr Swell 16′) 8′ Concert Flute (61 pipes) Combination pistons ceremonies occurring on Founders’ Day, 8′ Cello (fr Great 8′ Violoncello) 8′ Gemshorn (61 pipes)* 5 General pistons 1 blank tablet ′ 5 Great pistons and Cancel September 26, 1968. The architect was 8 Dulciana (73 pipes) 5 Swell pistons and Cancel Harold A. Stahl, a noted architect of 4′ Octave (61 pipes)* ′ 5 Pedal pistons and Cancel Couplers 4 Koppelfl öte (61 pipes)* General Cancel Great to Pedal 4′ Dulcet (ext 8′ Dulciana) 2 Great to Pedal 4 2⁄3′ Twelfth (61 pipes)* 2′ Fifteenth (61 pipes)* In autumn 2000, the church formed THE THET Swell to Pedal DIAPASON DIAPASONDIAP Swell to Pedal 4 III Mixture (183 pipes)* a committee to investigate updates and JUNE 2018 MAY 2018 Great to Great 16 8′ Trompette (fr Sw, 8′) improvements to the 1969 organ. John Great Unison Silent Chimes (21 tubes) Behnke was selected as consultant. In Great to Great 4 Swell to Great 16 July 2001, the church authorized the SWELL (Manual II, Enclosed) Berghaus Organ Company of nearby Swell to Great 8 8′ Geigen Principal (61 pipes) Swell to Great 4 8′ Gedeckt (61 pipes) Bellwood to rebuild the organ into a Swell to Swell 16 8′ Salicional (73 pipes) three-manual instrument with a new Swell Unison Silent 8′ Voix Celeste (TC, 49 pipes) console. Some pipework was added, Waldensian Presbyterian Church Swell to Swell 4 Andover Organ Company Valdese, North Carolina Seventieth Anniversary Cover feature on pages 26–27 ′ Cover feature on pages 26–28 4 Principal (61 pipes)* with some existing pipework repaired ′ ′ Combination pistons 4 Violina (ext 8 Salicional) or replaced, beginning in autumn. 2 ′ 3 Master pistons (thumb and toe) 2⁄3 Nasat (61 pipes)* ′ Dedication ceremonies for the com- The Diapason is now available in a digital edition 3 Great pistons and Cancel 2 Blockfl öte (61 pipes)* 3 pleted organ occurred on February 1⁄5′ Terz (TG, 37 pipes)* for only $35 for 1 year, $20 for students. For all 3 Swell pistons and Cancel 3 Pedal pistons and Cancel 8′ Trompette (73 pipes)* 9, 2003. The organ now consists of subscription options, visit www.thediapason.com, General Cancel 8′ Oboe (61 pipes)* forty-three ranks, fi fty-seven stops, and click on subscribe. Pedal to Great pistons on/off 4′ Clarion (ext, 8′ Trompette)* 2,562 pipes. Manual chests are of sixty- Pedal to Swell pistons on/off Tremolo one notes. Later in 2003, Berghaus

24 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM The Berghaus Organ Company rebuild of Wicks Organ Company Opus 4862

The Berghaus console Left stopjamb Right stopjamb replaced the Great 8′ Principal and 4′ POSITIV (Manual I) Swell to Positiv reversible (thumb) Left selector board, above Manual III: ′ General Cancel (thumb) Octave with new pipes of 75% tin. 8 Gedackt (61 pipes)*** Memory Select 8′ Gemshorn (Sw) Full Organ (thumb and toe) Multi Midi 8′ Gemshorn Celeste (Sw) Up/Down (thumb) Midi Reg Off 2002–2003 Berghaus Organ Com- 4′ Principal (61 pipes)*** Restore (thumb) Midi Mem Off pany rebuild of 1969 Wicks Opus 4′ Koppelfl öte (61 pipes)*** Setter button (thumb) Midi Mem 1 2′ Hohlfl öte (61 pipes)*** Zimbelstern reversible (toe) Midi Mem 2 4862 1 Balanced Swell expression shoe 1⁄3′ Larigot (61 pipes)*** Midi Mem 3 II Sesquialtera (122 pipes)*** Balanced Crescendo shoe (16-stage indicator) Midi Mem4 GREAT (Manual II) ′ Crescendo selector 16′ Gedackt (Sw) III Scharf (1 , 183 pipes)*** Transposer 8′ Krummhorn (61 pipes)*** Zimbelstern delay (rotating dial) 8′ Principal (61 pipes)*** Zimbelstern speed (rotating dial) Reg Seq Tremulant Recall 8′ Concert Flute (61 pipes)* ′ Zimbelstern volume (rotating dial) ′ 8 Solo Trumpet (Gt) Setup 8 Gemshorn (Sw) Swell to Positiv 16 Chimes volume (rotating dial) Q 8′ Gemshorn Celeste (Sw) MIDI tuning (rotating dial) Alt ′ Swell to Positiv 8 8 Dulciana (61 pipes)* Swell to Positiv 4 99-level memory 4′ Octave (61 pipes)*** Wind (indicator light) MIDI 5 Stephen Schnurr is editor and pub- 4′ Nachthorn (61 pipes)*** MIDI 6 2 2⁄3′ Twelfth (61 pipes)** Right selector board, above Manual III: lisher of The Diapason, director of 2′ Fifteenth (61 pipes)** PEDAL Registration sequencer music for St. Paul Catholic Church, 1 ′ 2 Manual transfer III Mixture (1 ⁄3 , 183 pipes)** 32′ Resultant (Subbass at 16′ and 10 ⁄3′ Valparaiso, Indiana, and adjunct ′ Positiv to Great Auto Solo 8 Trompete (new [17] and old [56] pitches) instructor in organ for Valparaiso Uni- pipework, 73 pipes) 16′ Diapason (68 pipes)** Positiv to Swell Auto Solo 8′ Solo Trumpet (61 pipes)*** 16′ Subbass (44 pipes)* Great to Positiv Auto Solo versity. His most recent book, Organs Chimes (tenor A through soprano F, 16′ Gedackt (Sw) Great to Swell Auto Solo of Oberlin, was published in 2013 by 8′ Principal (ext 16′ Diapason) Solo to Positiv Auto Solo 21 tubes)* Swell to Great Auto Solo Chauncey Park Press (www.organso- Zimbelstern 8′ Bass Flute (ext 16′ Subbass) ′ Solo tp Solo foberlin.com). He has authored several Swell to Great 16 8 Violoncello (44 pipes)* 8′ Gedackt (fr Sw 16′) PC Pedal Great other books and journal articles, prin- Swell to Great 8 ′ PC Pedal Swell Swell to Great 4 4 Choralbass (32 pipes)* cipally on pipe organ history in the 4′ Octavfl öte (ext 16′ Subbass) PC Pedal Positiv Great Lakes region. Positiv to Great 8 ′ ′ MIDI 3 4 Cello (ext 8 Violoncello) 2′ Super Octave (ext 16′ Diapason) MIDI 4 16′ Posaune (ext Gt 8′ Trompete) Confident pedal work 8′ Trompete (fr Gt 8′ Trompete) SWELL (Manual III—Enclosed) ′ ′ comes with practice and ′ 4 Trompete (fr Gt 8 Trompete) 16 Gedackt (73 pipes)* 8′ Solo Trumpet (Gt) 8′ Geigen Principal (61 pipes)* ′ ′ Great to Pedal 8 the right shoes 8 Gedackt (ext 16 ) Swell to Pedal 8 8′ Salicional (61 pipes)* Swell to Pedal 4 8′ Voix Celeste (TC, 49 pipes)* Positiv to Pedal 8 on the 8′ Gemshorn (61 pipes)** MIDI 7 8′ Gemshorn Celeste (TC, 44 pipes)*** MIDI 8 4′ Principal (61 pipes)** pedals 4′ Rohrfl öte (61 pipes)** * 1940 Wicks pipework 2 2⁄3′ Nazard (61 pipes)** ** 1967 Wicks pipework 2′ Blockfl öte (61 pipes)** *** 2003 Berghaus pipework x Men’s & Women’s Organ Shoes 3 1⁄5′ Tierce (TG, 37 pipes)** with suede soles and heels III Plein Jeu (2′, 183 pipes)*** 8′ Trompette (73 pipes)** Accessories x Whole & Half ′ 8 General pistons (thumb and toe) 8 Oboe (61 pipes)** Sizes in 3 Widths 4′ Clarion (ext, 8′ Trompette) 5 Great pistons (thumb) 5 Swell pistons (thumb) Tremulant 5 Positiv pistons (thumb) x Quick & Easy 8′ Solo Trumpet (Gt) 5 Pedal pistons (thumb and toe) Returns Swell to Swell 16 Great to Pedal reversible (toe) Swell Unison Off Swell to Pedal reversible (toe) OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET Swell to Swell 4 Positiv to Pedal reversible (toe) MIDI 1 Swell to Great reversible (thumb) 44 Montague City Rd Email: [email protected] MIDI 2 Positiv to Great reversible (thumb) Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes

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

Andover Organ Company marks seventy years by Matthew M. Bellocchio Anniversaries invite us to refl ect upon our past and contemplate how far we have come. As 2018 marks Andover Organ Company’s seventieth anniver- sary, this article will highlight its long and rich history, from its humble beginnings to its recent achievements. Andover was founded in 1948 as a result of an Organ Institute organized by Arthur Howes, head of the organ depart- ment at the Peabody Conservatory, and held each summer on the campus of Phillips Academy in Andover, Massa- chusetts. Howes had traveled extensively in Europe and observed the developing Organ Reform Movement there. Origi- nating in Germany in the 1930s from Albert Schweitzer’s writings, the move- ment sparked an interest in early music and performance practices, as well as the building of new organs that could authentically render early music, espe- cially that of Bach. Howes started the Organ Institute to help spread the Organ Reform Movement in America. The faculty included such notable organists as Carl Weinrich (Princeton University), Christ Lutheran Church, Baltimore, Maryland, Andover Organ Company Opus 114 (photo credit: William T. Van Pelt) Ernest White (St. Mary the Virgin, New York City), and E. Power Biggs. The following year, Opus 35, a Tom Byers, a former Henry Pilcher’s 33-stop tracker designed by Leo Con- Sons Organ Company employee who stantineau and voiced by Charles Fisk, lived in nearby Lawrence, Massachusetts, was built for Mount Calvary Episcopal attended the annual institute with his wife. Church in Baltimore, where Arthur He was inspired to start an organ company Howes was organist. Fisk left Ando- that would follow the institute’s philoso- ver in 1961 to start his own company, phy. He chose the name “Andover” for C. B. Fisk, in Gloucester, Massachu- its prestigious association with the Organ setts. Andover was reincorporated with Institute and because of the advantages, Robert J. Reich and Leo Constantineau in the pre-internet days of telephone as the new owners. Reich, who became directories, of appearing near the top of the Tonal Director, revised Andover’s the alphabetical company listings. pipe scales to provide more foundation Byers chose the opening line of Psalm tone. Constantineau’s case designs gave 98, “Cantate Domino Canticum Novum” the company’s new instruments a dis- (Sing to the Lord a New Song), as the tinctive visual fl air. company motto, which still appears on Andover has been blessed with sev- Andover’s letterhead. This underscored eral dedicated individuals who each his philosophy of creating a new style of worked over fi fty years at the company. organ, one that looked and sounded dif- Reich, who joined Andover in 1956, ferently from what most American organ served as President and Tonal Director companies were producing. 1961–1997; he then worked part-time Despite its name, the company has until retiring in 2009. Donald Olson never been located in Andover! It started joined the company in 1962 and became out in the home of Tom Byers in Law- Andover’s general manager and visual rence, just north of Andover, and later designer in 1968. His elegant case moved to a two-story wooden building in designs were the hallmark of Andover’s nearby Methuen. In 1979 the company new instruments for nearly four decades. purchased a three-story brick building in He succeeded Robert Reich as President Vermont College of Fine Arts, Montpelier, Vermont, 1884 Geo. S. Hutchings Opus a former mill complex at 560 Broadway in in 1997, stepped down in 2012 and then 135 (photo credit: Len Levasseur) Lawrence, where it has been ever since. worked part-time until fully retiring in 2015. Robert C. Newton, who started Lisa Lucius, Kevin Mathieu, Fay Mor- for them to evict the string stops and Leadership and people at Andover in 1963 and headed the lock, Jonathan Ross, Craig Seaman, and replace them with mixtures and muta- Rather than having a single leader Old Organ Department for many years, David Zarges. Appropriately, more than tions. Andover’s new instruments came dictate the company’s course, Andover’s retired in 2016. half of Andover’s employees are church to be characterized by strong Principal many talented employees have each con- Andover’s current President, Benjamin musicians or organists. choruses with bright mixtures, colorful tributed to the company’s development. Mague, joined Andover in 1975. He holds Andover has been the parent for neo-Baroque style fl utes and muta- The company has always been owned a Bachelor of Arts degree in music from many other New England tracker organ tions, and reeds that emphasized cho- and run by its principal employees who, Colby College and a Master of Music companies, having employed over its rus over color. serving as its shareholders and board of degree in organ from the University of Wis- seventy years many talented individu- In the 1980s, as Andover began directors, make decisions collegially. consin. He served as Andover’s mechanical als who later founded their own com- more frequently to work on signifi cant Charles Fisk joined the company designer and later as shop foreman before panies. These include Philip Beaudry, nineteenth-century American organs, in 1955 as Tom Byers’s junior partner. becoming President in 2012. Timothy Fink, Charles Fisk, Timothy a gradual transition occurred. This was Robert J. Reich, a Yale-trained electrical John Morlock, Andover’s Tonal Direc- Hawkes, Richard Hedgebeth, Fritz solidifi ed in 1999 when John Morlock, engineer, was hired in 1956, and Leo tor since 1999, joined the company in Noack, Bradley Rule, J. C. Taylor, and who had started in Andover’s Old Organ Constantineau, a woodworking teacher 1976, working principally in the Old Organ David Wallace. Department, succeeded Robert Reich as and professional draftsman, in 1957. In Department. Don Glover, Andover’s in- Tonal Director. 1958, Byers left the company, and Fisk house reed voicer, came to Andover in Tonal style Today, Andover’s tonal style may became the owner. Walter Hawkes, 2004 from the Reuter Organ Company. Tonally, the early Andover organs best be described as “American” and is who had worked for Holtkamp, was Michael Eaton, Andover’s visual were inspired by the Organ Reform grounded primarily in the best practices hired as shop foreman. Later that year, designer, joined the company in 1991. Movement. At the time of Andover’s of the nineteenth-century New Eng- Andover signed a new organ contract He also heads a maintenance team and founding, few American companies land builders, in particular the Boston with Redeemer Lutheran Church in serves as Treasurer and Clerk for Ando- were repairing old tracker organs; fi rm of E. & G. G. Hook. Their organs, Lawrence, Massachusetts. The contract ver’s board of directors. most just electrifi ed or replaced them. especially those from the fi rm’s “golden did not specify the type of action. But the Andover’s present team of dedicated Andover was the fi rst to deliberately period” (1850s to 1870s), are admired result, premiered on Palm Sunday 1959, and talented people collectively possess retain and renovate nineteenth- for their remarkably successful blend was the fi rst new mechanical-action over 350 years of organbuilding experi- century trackers. But, adhering to the of warmth and brilliance. Their pipe organ built by an American fi rm in the ence. Other current employees are Ryan Organ Reform philosophy, Byers and scales and voicing techniques worked postwar era. That instrument, Opus 28, Bartosiewicz, Matthew Bellocchio, Eric his early successors often “improved” extremely well in the dry acoustics of is still in use. Dolch, Anne Doré, Andrew Hagberg, those organs tonally. It was not unusual many American churches.

26 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM George’s Primitive Methodist Church (now Bethesda Missionary Church) in Methuen, Massachusetts. Other notable re-trackerizations: • First Presbyterian Church, Waynes- boro, Virginia (1893 Woodberry & Har- ris/AOC 1986); • St. John’s Episcopal Cathedral, Providence, Rhode Island (1851 E. & G. G. Hook/AOC 1989); • Westminster Preservation Trust, Baltimore, Maryland (1882 Johnson & Son/AOC 1991); • Sage Chapel, Northfi eld, Massachu- setts (1898 Hook & Hastings/AOC 1996); • Unitarian Society, Peterboro, New Hampshire (1867 E. & G. G. Hook/ AOC 2003); Christ Lutheran Church, Baltimore, • Christ Episcopal Church, Charlot- Maryland, keydesk (photo credit: William T. tesville, Virginia (1869 E. & G. G. Hook/ Van Pelt) AOC 2012). The slider and pallet windchests used in most nineteenth-century organs were generally trouble free for many years. However, when heating systems were introduced into churches in the early twentieth century, problems developed. The solid wood chest tops (tables), just below the sliders, were made from a thin, wide plank of air-dried lumber. With con- stant heating the wooden tables dried out and cracked, allowing air to leak from one pipe hole to the next, resulting in “runs.” Andover was the fi rst American com- pany to replace a cracked, solid-wood table with a marine-grade plywood one. The routed bleed channels between the table’s wind holes were then care- St. John’s Seminary, Brighton, Massachusetts, 1902 Hook & Hastings Opus 1833 1898 James Treat Opus 3, St. George’s fully replicated and the entire table (photo credit: William T. Van Pelt) Primitive Methodist Church (now Bethes- graphited, like the original. This type of da Missionary Church), Methuen, Massa- table replacement is now standard in the chusetts (photo credit: Matthew M. Bellocchio) industry. The fi rst organ to receive this treatment, in 1965, was the 1897 George that are now standard in the industry. W. Reed, at the Baptist Church in Opus 25, a two-manual built in 1958 Winchendon, Massachusetts. Sadly, the for the Rice Institute (now University) organ burned with the building in 1985. in Houston, was an electro-pneumatic One of Andover’s most signifi cant instrument utilizing slider chests with recent projects was the 2016 restoration pneumatic pallets, one of the fi rst exam- of the wind system and key action in the ples of this pallet type. This was decades 1892 Woodberry & Harris Opus 100 at before the adoption of the “Blackinton- St. Mary–St. Catherine of Sienna Parish style” pneumatic pallet. in Charlestown, Massachusetts. With In 1961, Andover carried out the fi rst three manuals, 36 stops, and 41 ranks, historically sympathetic restoration of a it is the largest and most signifi cant nineteenth-century American organ: the nineteenth-century organ remaining 1-manual, 1865 E. & G. G. Hook Opus in original unaltered condition in the 358 at the Congregational Church in greater Boston area. Orwell, Vermont (Andover Opus R-1.) The instrument’s action is entirely Other signifi cant Andover (AOC) res- mechanical and incredibly complex. The Left to right: Andover’s Don Glover, John Morlock, and Benjamin Mague, with dedi- torations include: three-manual, reversed detached console catory recitalist Bruce Stevens at Christ Episcopal Church, Charlottesville, Virginia • First Presbyterian Church, New- sits in the center of the gallery, while the (photo credit: William T. Van Pelt) buryport, Massachusetts (1866 E. & pipes and windchests are in cases at either G. G. Hook/AOC 1974); side of a large stained-glass window. Four When designing a new organ or and Southeast—from northern Maine to • First Parish Church, Bridgewater, levels of trackers descend from the keys reworking an existing instrument, we South Carolina, from western New York Massachusetts (1852 E. & G. G. Hook/ to squares beneath the fl oor, then under basically use the same scaling proportions to the islands off eastern Massachusetts. AOC 1977); the console towards the rear window, between the various stops of the chorus These instruments range in size from • South Parish Congregational then turn off at right angles towards the that the Hooks used. We have found that small one-manual trackers in country Church, Augusta, Maine (1866 E. & sides, then turn off again at right angles doing so results in a principal chorus that churches to the world-famous Great G. G. Hook/AOC 1982); towards the rear, then to squares which is nicely balanced between fundamental Organ (IV/116) in the Methuen Memorial • Church on the Hill, Lenox, Mas- send them up to the rollerboards below weight and harmonic development. Music Hall; and range in age from a few sachusetts (1869 William A. Johnson/ the chests. The organ’s four divisions Within this framework, adjustments years to a historic 1762 Snetzler organ. AOC 2001); have a total of 17 sets of wooden trackers, are made to refl ect or, in some cases, We service all types of organ mecha- • Old Whaling Church, Edgartown, totaling nearly a mile in length! A Barker compensate for the acoustical proper- nisms—from traditional tracker action to Massachusetts (1850 Simmons & Fisher/ machine lightens the touch of the Great ties found in each room. Each instru- modern solid-state relays and combina- AOC 2004); and the manuals coupled to it. ment needs to work and sound well in tion actions. Each spring and fall, we • Centre Street Methodist Church, The two large reservoirs were stripped its “home” and be able to perform its schedule extended maintenance tours to Nantucket, Massachusetts (1831 Thomas and releathered in place. All four layers tasks capably and effectively. Andover visit multiple instruments in a geograph- Appleton/AOC 2008); of trackers were disassembled, labeled, organs are designed to lead and support ical area. This enables our customers to • St. Peter’s Catholic Church, Haver- and brought to the shop for replication. congregational hymn singing, as well as share the travel expenses. straw, New York (1898 Geo. Jardine & Because of the organ’s historic signifi - interpret a wide range of organ literature. Many customers treat us like old Son/AOC 2011); cance, all the new trackers were made friends. Occasionally, a church secretary • St. Anna’s Chapel, Newburyport, of the same materials as the originals Maintenance or organist will call us and merely say, Massachusetts (1863 William Stevens/ but using modern machinery. Andover From the very beginning, organ “This is so-and-so at First Parish Church,” AOC 2013). customized a miniature CNC router to maintenance was an important part of not realizing that we have over three Utilizing its expertise gained from notch the cloth-wrapped tracker ends the company’s work. It created name rec- dozen tuning customers with that name! restoring old tracker organs and build- and built a spinning machine to whip ognition, established relationships with ing new ones, in 1963 Andover was the threaded wire ends with red linen churches and organists, and provided a Andover Organ fi rsts the fi rst company in the world to re- thread, just like the originals. The Barker consistent revenue stream. Today, Ando- As the leader in the mid-twentieth trackerize an old tracker organ that machine was carefully releathered. ver maintains over 300 organs annually century tracker organ revival in America, had been electrifi ed. The instrument “Now she runs like a Bentley,” said one throughout the Northeast, Mid-Atlantic, Andover pioneered many innovations was the 1898 James Treat Opus 3 at St. of the instrument’s many admirers.

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 27 Cover feature

Rebuilding for reliability A conservative restoration is the logical decision for an exemplary work by an important builder or a small organ in a rural church with modest musical requirements. But sometimes it is neces- sary to strike a balance between preserv- ing the original fabric and updating it to suit modern needs. An organ that has already endured several unsympathetic rebuilds, or an aging instrument with unreliable mechanisms and limited tonal resources, in an active church or institu- tion with an ambitious music program might be better served by a sympathetic rebuilding. This was the case with two of Andover’s most signifi cant rebuilds. The 1876 E. & G. G. Hook & Hastings Opus 828 at St. Joseph Cathedral in Buf- falo, New York, was built as a showpiece for the 1876 “Centennial Exposition” in 1892 Woodberry & Harris Opus 100, St. 1892 Woodberry & Harris Opus 100, St. Philadelphia and purchased afterwards Mary–St. Catherine of Sienna Catholic Mary–St. Catherine of Sienna Catholic by the cathedral. Major changes were Church, Charlestown, Massachusetts Church, Charlestown, Massachusetts (photo credit: F. Lee Eiseman) (photo credit: William T. Van Pelt) made to the organ by Tellers-Kent Organ Company in 1925 and by Schlicker Trinity United Church of Christ, York, Organ Company in 1976. By 1996, the In contrast to the Buffalo cathedral Massachusetts (1874 Joel Butler). Pennsylvania, Andover Organ Company organ was virtually unplayable during the organ, the 1902 Hook & Hastings Thirteen years later, in 1979, during its Opus 102 (photo credit: Donald H. Olson) winter months and a decision of whether Opus 1833 at St. John’s Seminary in rebuilding of the 1884 Geo. S. Hutch- to replace it or rebuild it was imminent. Brighton, Massachusetts, was a modest ings Opus 135 at the Vermont College In Raleigh, the modern clear glass In 1998, the cathedral decided that “the two-manual, 18-rank instrument. After of Fine Arts in Montpelier, Vermont, window was front and center, at the top of organ need not be replaced, but rather nearly a century of use and constant win- Andover carefully stripped a coating of the space where the organ would go. We completely rehabilitated.” At the same ter heating, the windchests and actions green paint from all the façade pipes, designed the organ case to frame the win- time, the organ’s tonal palette needed developed serious problems. The origi- documented the original designs and dow’s central orb and cross. The polished expanding to better serve the musical nal console was replaced in 1946. When colors underneath, and repainted the tin façade pipes match the brightness needs of the cathedral and to enable it the replacement console failed in 2004, a pipes in their original colors and stencil- from the window. The organ also serves for use in concerts and recitals. one-manual tracker was put in its place ing—another fi rst. as a reredos for the altar, which stands in A team from Andover dismantled the to serve as a temporary instrument until Andover’s Opus 102 (1992) at Trin- front of it. Looking from top to bottom, organ in July 1999, loaded it into two the chapel organ could be rebuilt. ity United Church of Christ in York, one sees the window, the organ, and the moving vans, and transported it back to Our lengthy experience with Hook & Pennsylvania, was the fi rst new Ameri- altar—light, music, action. The church was Lawrence, where eighteen employees Hastings organs taught us that their early can organ in the modern era to feature very pleased with the result, as were we. labored for more than a year to clean, electro-pneumatic actions were cumber- painted façade pipes with nineteenth- In the 1820 Federal Period meeting- repair, and expand the instrument. In some, slow, and diffi cult to repair. There- century style colored bandings. The house in Wayland, there was an elegant undertaking this immense job, Andover fore, in our 2014–2015 rebuilding of the upper façade fl ats of this organ contained Palladian window in the center of the sought to retain and restore as much of organ, we reused the pipes, windchests, another fi rst: “frosted tin” pipes, which back wall of the rear gallery. Because the original as possible. The entire organ and most of the original parts as the basis feature the natural, unplaned fi nish of of the semi-elliptical curve of the gal- was cleaned, and the black walnut case of an expanded instrument with a new the cast tin sheets. This gives them the lery’s rear wall, the only apparent organ stripped of coats of dark varnish and electric action. light color of tin, but with a dull, non- placement with such a fl oor plan was in restored to its original fi nish. The façade We built a new, solid white oak con- refl ective fi nish. the center. Thus, all the previous organs pipes were stripped and repainted in sole in the style of the Hook & Hastings In recent years, Andover has worked had blocked the window. Andover’s their original designs with colors that original, with a lyre music rack and ellip- with historic painted decoration con- design put the detached console in the harmonized with the cathedral’s interior. tically curved stop terraces. To meet the servator Marylou Davis to create new center, by the railing, and divided the All the original chests and pipework demands of a twenty-fi rst century music painted-pipe decorations in histori- organ into two cases that frame, rather were rebuilt and repaired. The manu- program, this reproduction console has cally inspired styles. The most notable than cover, the Palladian window. The als were expanded to 61 notes and the state-of-the-art components, including example of this collaboration is the choir members sit in the space between pedals to 32. The two original reservoirs a record/playback module. The façade 82-rank Andover Opus 114 (2007) at the console and cases and benefi t from were releathered and two new ones con- pipes were stripped and repainted with Christ Lutheran Church in Baltimore. the natural backlighting provided by the structed. The Choir is now unenclosed, a new decorative treatment that harmo- This was the fi rst twenty-fi rst century window. Again, everyone was pleased as it originally was, the Swell box is nizes with the Italian Renaissance-style American organ façade to combine with the results. back to its original size, and the Solo is case and chapel. As a crowning fl our- polychromed and monochrome Seventy years after its humble begin- restored to its original position. ish, the cross surmounting the case was texture-stenciled pipes, frosted tin nings, Andover has much to celebrate: Many of the missing original pipes painted in faux lapis lazuli. pipes, and numerous hand-carved pipe 118 new organs and 533 rebuilds/resto- were replaced with pipes salvaged from Most of the organ was crammed shades, grilles, fi nials, and skirtings in rations. Andover’s wide-ranging work in the Hook 1877 Cincinnati Music Hall within the small case, with Swell above the casework. building, rebuilding, restoring, and main- organ, Opus 869. Other compatible Great and the wooden Pedal 16′ Open Opus 114 is also Andover’s fi rst dual- taining pipe organs is well-recognized, Hook organs were visited to develop Diapason pipes at each side. Behind action, double organ. The 13-rank, elec- and best summarized by its mission state- pipe scales appropriate for the addi- the Swell, in an unfi nished gallery, were tric-action gallery organ can be played ment: “Preserving the Past; Enhancing tions to the cathedral organ, which were the organ’s large reservoir and Pedal 16′ from its own console or from the front the Present; Inspiring the Future.” voiced in the Hook style. The organ is Bourdon. We moved the Pedal Open organ’s three-manual mechanical-action now far closer to its original sound than Diapason pipes to the rear gallery and console. Likewise, the entire front organ Matthew M. Bellocchio, a Project Man- it has been since the 1923 electrifi cation added a Pedal 32′-16′-8′ Trombone and can be played from the two-manual ager and designer at Andover Organ since and rebuilding. 8′-4′ Principal there. Judicious additions gallery console through couplers and 2003, is a Fellow and past President of the American Institute of Organbuilders. A new fl oating Celestial Division on to the Swell expanded its resources. general pistons. The organ’s four match- a slider windchest was added. This divi- There was suffi cient space inside the ing cases (two in chancel, two in gal- www.andoverorgan.com sion was based on contemporary E. & case behind the Great chest to add a lery) perfectly suit the church’s Gothic Cover pictures, clockwise from upper G. G. Hook solo divisions, as typifi ed by seven-stop unenclosed Choir division. architecture and fool many people into right: the organs in the Cincinnati Music Hall The end result of these tonal changes thinking that they were reused from a Church of the Nativity, Raleigh, North and Mechanics Hall, Worcester. There and additions is an instrument of 40 stops, 19th-century organ. Carolina, Andover Organ Company is an 8′ Philomela copied from the 1863 34 ranks, and 1,994 pipes that is more Andover has never been afraid to fi t Opus 115 (photo credit: Matthew M. Bellocchio) Hook at Church of the Immaculate Con- versatile and appropriate for its expanded an organ around a prominent window. Mount Calvary Church, Baltimore, Mary- ception in Boston, an original Hook 4′ role. It still sounds very much like a Hook This refl ects our design philosophy land, Andover-Flentrop Opus 35 (photo Hohlpfeife, a 2′ Harmonic Piccolo, a Cor & Hastings organ, but one from an earlier that an organ should look as if it has credit: Steven A. Dieck) St. Joseph Cathedral, Buffalo, New York, Anglais, and a few more modern stops and better period of the fi rm’s output. always been part of its environment. 1876 E. & G. G. Hook & Hastings Opus stops such as a French Horn, Dolcan And in most churches, the window was 828 (photo credit: William T. Van Pelt) Gamba with Gamba Céleste, Spitzfl öte Façade fi rsts there long before the organ. Fighting First Parish Church, Wayland, Massa- and Spitzfl öte Céleste. The company’s work with historic the window can sometimes be a losing chusetts, Andover Organ Company Thomas Murray played the rededica- organs gradually led to pipe façade res- battle. Opus 115 (2007) at Church of the Opus 118 (photo credit: Len Levasseur) tory recital on June 11, 2001. The St. torations as well. In 1967, Andover was Nativity in Raleigh, North Carolina, and Christ Lutheran Church, Baltimore, Joseph Cathedral organ will be featured the fi rst American company to make Opus 118 (2014) at First Parish Church Maryland, Andover Organ Company Opus 114 (photo credit: William T. Van Pelt) in a recital by Nathan Laube during the restorative paint repairs to a painted in Wayland, Massachusetts, illustrate Center: St. John’s Seminary, Brighton, American Guild of Organists Northeast and stenciled pipe façade, at the First Andover’s creative approach in dealing Massachusetts, 1902 Hook & Hastings Regional Convention, July 1–4, 2019. Congregational Church in Georgetown, with windows. Opus 1833 (photo credit: William T. Van Pelt)

28 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM 2018 Summer Carillon Concert Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN By Brian Swager Ottawa, Ontario Peace Tower Carillon Park Ridge, IL GRACE CHURCH Ames, Iowa July & August, weekdays at 11 am Pickle Piano / Johannus Midwest Andrea McCrady, Carillonneur NEW YORK Iowa State University, Tuesdays at 7 pm July 1, Andrea McCrady Bloomingdale, IL June 26, Mark Konewko July 10, Devon Hansen July 24, Ray McLellan July 17, Luc Rombouts August 28, Ellen Dickinson July 24, Hylke Banning Bloomfi eld Hills, Michigan July 31, Steven Karp Christopher Babcock Michael J. Batcho Kirk in the Hills Presbyterian Church August 14, Laura Ellis Sundays at 10 am & noon Rochester, Michigan Director of Music June 17, Dennis Curry Oakland University, Elliott Tower St. Andrew’s by the Sea, June 24, carillon students Fridays at 6 pm CATHEDRAL OF ST. JOHN July 8, Roy Kroezen Hyannis Port June 29, Dennis Curry MILWAUKEE July 15, Joey Brink July 13, Roy Kroezen July 22, Philippe Beullens July 20, Joey Brink July 29, Andy Zhang July 27, Philippe Beullens August 12, open tower August 3, Andy Zhang August 19, carillon students Dean W. Billmeyer August 26, open tower St. Paul, Minnesota September 2, Dennis Curry House of Hope Presbyterian Church Sundays at 4 pm University of Minnesota Chicago, Illinois July 4, Dave Johnson St. Chrysostom’s Episcopal Church July 8, Sue Bergren Minneapolis 55455 • [email protected] Sundays at 4 pm July 15, Hunter Chase June 3, Brandon Blazo July 22, Kim Schafer June 10, Hunter Chase July 29, Laura Ellis June 17, Helen Hawley August 5, Dave Johnson GAVIN BLACK Byron L. Blackmore University of Chicago, Rockefeller Chapel Spokane, Washington Sundays at 5 pm Cathedral of St John the Evangelist Princeton Early Keyboard Center Crown of Life Lutheran Church June 24, Sue Bergren July 4, 9 pm, Wesley Arai July 1, Carol Anne Taylor 732/599-0392 Sun City West, Arizona July 8, Eddy Mariën Valley Forge, Pennsylvania www.pekc.org 623/214-4903 July 15, Joanna Stroz Washington Memorial Chapel July 22, Laura Ellis Wednesdays at 7:30 pm July 29, Margaret Pan July 4, Doug Gefvert August 5, Bob van der Linde July 11, Geert D’hollander August 12, Steven Karp July 18, Philippe Beullens THOMAS BROWN August 19, Joey Brink July 25, Joanna Stroz Carson Cooman August 1, Hylke Banning UNIVERSITY Culver, Indiana August 8, Doug Gefvert with Irish Thun- PRESBYTERIAN CHURCH Composer and Concert Organist Culver Academies, Saturdays at 4 pm der Pipes & Drums CHAPEL HILL, NORTH CAROLINA June 2, 7:30 pm, June 16, 23, 30, John August 15, Cast in Bronze ThomasBrownMusic.com www.carsoncooman.com Gouwens August 22, Thomas Gurin July 7, Joey Brink August 29, Robin Austin July 14, 21, September 1, October 6, John Gouwens Victoria, British Columbia Netherlands Centennial Carillon Your professional card Denver, Colorado Sundays at 3 pm DELBERT DISSELHORST University of Denver, Williams Carillon July 8, 15, 22, 29, August 12, 19, 26, could appear here! Sundays at 7 pm Rosemary Laing June 24, Roy Kroezen Professor Emeritus Contact: [email protected] July 8, Carol Jickling Lens University of Iowa–Iowa City or 608/634-6253 July 22, Jeremy Chesman August 5, Hunter Chase Calendar August 19, Margaret Pan Gainesville, Florida This calendar runs from the 15th of the month STEVEN EGLER University of Florida, Century Tower of issue through the following month. The deadline JOHN FENSTERMAKER Central Michigan University Sundays at 3 pm is the fi rst of the preceding month (Jan. 1 for June 17, July 22, carillon students Feb. issue). All events are assumed to be organ School of Music TRINITY-BY-THE-COVE August 26, Laura Ellis recitals unless otherwise indicated and are grouped Mt. Pleasant, MI 48859 within each date north-south and east-west. •=AGO [email protected] NAPLES, FLORIDA Glencoe, Illinois chapter event, • •=RCCO centre event, +=new organ Chicago Botanic Garden, Mondays at 7 pm June 4, Brandon Blazo dedication, ++= OHS event. June 11, Hunter Chase Information cannot be accepted unless it Norberto June 18, Helen Hawley specifi es artist name, date, location, and hour in June 25, Sue Bergren writing. Multiple listings should be in chronological July 2, Carol Anne Taylor order; please do not send duplicate listings. Susan Goodson Guinaldo July 9, Eddy Mariën THE DIAPASON regrets that it cannot assume His Music July 16, Joanna Stroz responsibility for the accuracy of calendar entries. Emanuel United Church of Christ July 23, Laura Ellis Manchester, Michigan See—Listen—Buy July 30, Margaret Pan www.GuinaldoPublications.com August 6, Bob van der Linde UNITED STATES August 13, Steven Karp East of the Mississippi August 20, Wylie Crawford August 27, Joey Brink A Professional Card in September 3, Jim Fackenthal 15 JUNE TEPHEN AMILTON Katelyn Emerson; Cathedral of Christ The Diapason S H Kennett Square, Pennsylvania the King, Lexington, KY 7:30 pm recitalist–clinician–educator Longwood Gardens, Sundays at 2 pm For rates and digital specifi cations, June 10, Julie Zhu 17 JUNE contact Jerome Butera www.stephenjonhamilton.com June 24, Julia Littleton Michal Markuszewski; Washington Na- 847/391-1045; [email protected] July 8, Robin Austin tional Cathedral, Washington, DC 5:15 pm July 15, Geert D’hollander Steven Ball, silent fi lm; Court Street August 5, Doug Gefvert United Methodist, Lynchburg, VA 3 pm August 19, Thomas Gurin Michael Hey; Loyola University, Chica- September 9, Lisa Lonie & Janet Tebbel go, IL 3 pm September 23, Margaret Pan David Herman 18 JUNE Minneapolis, Minnesota • James David Christie; St. Thomas Trustees Distinguished Professor Emeritus of Music and University Organist Central Lutheran Church Church Fifth Avenue, New York, NY 6 pm Sundays at 11:30 am The University of Delaware Q [email protected] July 8, Sue Bergren 20 JUNE July 15, Hunter Chase Boston Organ Studio students; Methuen July 22, Kim Schafer Memorial Music Hall, Methuen, MA 8 pm July 29, Laura Ellis Stephen Schnurr; Christ Church, Michi- gan City, IN 12:15 pm Naperville, Illinois David Jonies; Cathedral of St. John the Naperville Millennium Carillon Evangelist, Milwaukee, WI 12:10pm Tuesdays at 7 pm Naomi Rowley; First United Methodist, June 5, Brandon Blazo Appleton, WI 12:15 pm Lorraine Brugh, Ph.D. June 12, Hunter Chase Jeff Verkuilen; Sinsinawa Mound, Sin- Professor of Music June 19, Helen Hawley sinawa, WI 7 pm June 26, Sue Bergren University Organist July 10, Eddy Mariën 23 JUNE July 17, Joanna Stroz Joshua Stafford, silent fi lm; Kimmel Valparaiso, Ind. July 24, Laura Ellis Center, Philadelphia, PA 12 noon valpo.edu July 31, Margaret Pan August 7, Bob van der Linde 24 JUNE 219.464.5084 August 14, Steven Karp Tyler Boehmer; Washington National [email protected] August 21, Sue Bergren & Tim Sleep Cathedral, Washington, DC 5:15 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Carol Williams; Court Street United 25 JULY New York, NY Syracuse, NY 13203-2816 Methodist, Lynchburg, VA 3 pm Clara Gerdes; Methuen Memorial Music www.andrewhenderson.net Karen Beaumont; St. Hedwig Catholic Hall, Methuen, MA 8 pm (315) 471-8451 Church, Milwaukee, WI 2 pm Carol Williams; Auditorium, Ocean Bálint Karosi; Zion Lutheran, Wausau, Grove, NJ 7:30 pm WI, 3 pm Br. Benjamin Basile; Christ Church, Michigan City, IN 12:15 pm Richard Barrick Hoskins 25 JUNE Nicholas Schmelter, with piano; St. Brian Jones Brian Schoettler; Presbyterian Homes, John the Evangelist Catholic Cathedral, Director of Music & Organist Evanston, IL 1:30 pm Milwaukee, WI 12 noon Director of Music Emeritus Matthew Walsh; Zion Lutheran, Apple- St. Chrysostom's Church ton, WI 12:15 pm TRINITY CHURCH 27 JUNE Chicago Eric Plutz; Methuen Memorial Music Wolfgang Reisinger; Sinsinawa Mound, [email protected] BOSTON Hall, Methuen, MA 8 pm Sinsinawa, WI 7 pm Justin Wallace; Shadyside Presbyte- rian, Pittsburgh, PA 7 pm 28 JULY ++ William Porter; Anabel Taylor Chapel, Robert Huw Morgan ; Cathedral of St. Cornell University, Ithaca, NY 2:35 pm & KIM R. KASLING JAMES KIBBIE Philip, Atlanta, GA 7:30 pm 3:35 pm Mark Sudeith; Christ Church, Michigan D.M.A. The University of Michigan ++ Jonathan Ryan; Sage Chapel, Cor- City, IN 12:15 pm nell University, Ithaca, NY 5 pm St. John’s University Ann Arbor, MI 48109-2085 Hans Uwe Hielscher; Cathedral of 734-764-1591 FAX: 734-763-5097 St. John the Evangelist, Milwaukee, WI 29 JULY Collegeville, MN 56321 12:10 pm email: [email protected] ++ Joris Verdin, with chamber instru- Don VerKuilen; Zion Lutheran, Apple- ments; Kilbourn Hall, University of Roches- ton, WI 6:30 pm ter, Rochester, NY 1:20 pm Jillian Gardner; Sinsinawa Mound, Sin- ++ Daryl Robinson; Church of the As- David K. Lamb, D.Mus. sinawa, WI 7 pm cension, Rochester, NY 3:05 pm & 4:05 pm Karen Schneider Kirner ++ David Higgs; Christ Episcopal, Roch- Director of Music 1 JULY ester, NY 8:10 pm Director, Notre Dame Handbell Choir Trinity United Methodist Church • Patriotic concert; Trinity Episcopal, Bay Karen Beaumont; Milwaukee Catholic City, MI 4 pm Home, Milwaukee, WI 2 pm Assistant Director, Notre Dame Folk Choir New Albany, Indiana University of Notre Dame 812/944-2229 4 JULY 30 JULY Samantha Koch; Methuen Memorial ++ Katelyn Emerson; Twelve Corners Music Hall, Methuen, MA 8 pm Presbyterian, Rochester, NY 9:40 am & Michael Stairs; Auditorium, Ocean 10:55 am Grove, NJ 7:30 pm ++ Amanda Mole; Lutheran Church of Frank Rippl; All Saints Episcopal, Apple- the Incarnate Word, Rochester, NY 9:40 A.S.C.A.P. ton, WI 12:15 pm am & 10:55 am FELLOW, AMERICAN GUILD OF ORGANISTS Thomas Fielding; Sinsinawa Mound, ++ Wilma Jensen; Asbury First United Methodist, Rochester, NY 3:10 pm 345 SADDLE LAKE DRIVE Sinsinawa, WI 7 pm ++ Robert Poovey; Episcopal Church of ROSWELL-ATLANTA, GEORGIA 30076 (770) 594-0949 6 JULY St. Luke & St. Simon Cyrene, Rochester, Gloria Dei Cantores; Church of the Trans- NY 4:35 pm fi guration, Orleans, MA 7:30 pm ++ Ken Cowan & Bradley Hunter Nicholas Schmelter, with piano; First Welch; St. Paul’s Episcopal, Rochester, NY 8:10 pm United Methodist, Alpena, MI 6 pm Yumiko Tatsuda; First Presbyterian, 31 JULY Evansville, IN 7 pm ++ Peter DuBois; First Presbyterian, Professor Emeritus – University of Michigan – Ann Arbor Caledonia, NY 9:40 am & 11:15 am 7 JULY Professor of Organ for 67 years ++ Malcolm Matthews; Leicester Evan- Gloria Dei Cantores; Church of the Trans- MarilynThe University’s longest-serving faculty memberMason gelical Presbyterian, Leicester, NY 9:50 am fi guration, Orleans, MA 7:30 pm & 11:05 am ++ Ivan Bosnar; St. Agnes Catholic 8 JULY Church, Avon, NY 2:40 pm & 3:50 pm ++ A two-inch Professional Card in The Diapason Nicholas Capozzoli; St. Paul Catholic ++ Bruce Stevens; Avon United Method- Cathedral, Pittsburgh, PA 4 pm ist, Avon, NY 2:40 pm & 3:50 pm ++ Annie Laver; Downtown United Pres- For information on rates and specifi cations, contact Jerome Butera: 11 JULY byterian, Rochester, NY 8:10 pm Amanda Mole; Methuen Memorial Mu- [email protected] 608/634-6253 sic Hall, Methuen, MA 8 pm UNITED STATES Michael Soto; Christ Church, Michigan West of the Mississippi City, IN 12:15 pm Andrew Birling; First Congregational UCC, Appleton, WI 12:15 pm 15 JUNE Catherine Rodland; Sinsinawa Mound, Mina Choi; Christ Episcopal, Tacoma, PHILIP CROZIER LARRY PALMER Sinsinawa, WI 7 pm WA 12:10 pm 16 JUNE 15 JULY CONCERT ORGANIST Harpsichord – Organ Bach Aria Soloists and Kansas City Cho- Douglas Starr; St. Paul Catholic Cathe- rale; St. Paul’s Episcopal, Kansas City, MO ACCOMPANIST dral, Pittsburgh, PA 4 pm 7:30 pm Professor of Music, Emeritus Martin Baker, conductor; Duke Univer- 3355 Queen Mary Road, Apt 424 John Walko; Legion of Honor Museum, sity Chapel, Durham, NC 11 am worship San Francisco, CA 4 pm service; 4 pm Evensong Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Karen Beaumont; St. Hedwig Catholic 17 JUNE Canada Church, Milwaukee, WI 2 pm Christoph Tietze; Cathedral of St. Mary (514) 739-8696 Recitals — Lectures — Consultancies Thierry Escaich; Loyola University, Chi- of the Assumption, San Francisco, CA 4 pm cago, IL 3 pm [email protected] 18 JUNE [email protected] + 214.350-3628 17 JULY Jonathan Dimmock; St. Michael & All David Hurd; Riverside Church, New Angels Episcopal, Corona del Mar, CA 8 pm York, NY 7 pm 23 JUNE 18 JULY Jonathan Dimmock; Legion of Honor Carson Cooman; Methuen Memorial Museum, San Francisco, CA 4 pm Music Hall, Methuen, MA 8 pm A gift subscription to Gregory Zelek; Auditorium, Ocean 24 JUNE Grove, NJ 7:30 pm Philip Smith; Cathedral of St. Mary of Brian Wentzel; Trinity Lutheran, Cleve- the Assumption, San Francisco, CA 4 pm land, OH 12:15 pm The Diapason Choral concert; Christ Church, Grosse 25 JUNE Pointe Farms, MI 7 pm Raúl Prieto Ramírez; Balboa Park, San The perfect gift for Matt Gerhard; Christ Church, Michigan Diego, CA 7:30 pm + organist colleagues + choir directors City, IN 12:15 pm Ryan Mueller; Mount Olive Lutheran, 27 JUNE Martha Barth, Andrew Jacob, Matt + students + organ builders Appleton, WI 12:15 pm Tykutki; St. Olaf College, Northfi eld, MN 12:15 pm + teachers + clergy 22 JULY Mark Pacoe; St. Paul Catholic Cathedral, Each month your gift will keep on giving by providing the 30 JUNE Pittsburgh, PA 4 pm Jonathan Dimmock; Legion of Honor important news of the organ and church music fi eld. Know that Museum, San Francisco, CA 4 pm your gift will be just right. 23 JULY Renée Anne Louprette; St. Philip the For information, contact Kim Smaga, 847/481-6234; 1 JULY Apostle Catholic Church, Saddle Brook, Karen Beaumont; Cathedral of St. Mary [email protected]. Or visit www.thediapason.com and click NJ 8 pm of the Assumption, San Francisco, CA 4 pm “subscribe.” 24 JULY 2 JULY $42 one year USA; $35 one year digital; $20 one year student Ken Cowan, masterclass; Longwood • Kansas City Chorale; Helzberg Hall, Gardens, Kennett Square, PA 9 am Kansas City, MO 8:30 pm

30 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 3 JULY 29 JULY Southminster Presbyterian Church • Christopher Houlihan; Country Club Roland Voit; Cathedral of St. Mary of the Christian Church, Kansas City, MO 9:30 am Assumption, San Francisco, CA 4 pm SHORT HILLS Arlington Heights, IL 60005 • James Higdon; Bales Recital Hall, Uni- versity of Kansas, Lawrence, KS 10 am & INTERNATIONAL 11:30 am NDREW CHAEFFER US • Katelyn Emerson & Thomas Dahl; EREK ICKELS A S , M.M Central United Methodist, Kansas City, MO 15 JUNE D E. N , DMA 11 am Thomas Berning; Jakobikirche, Frei- Church of the Holy Comforter First United Methodist Church • Bach Vespers; Visitation Catholic berg, Germany 12 noon Edmond, Oklahoma Church, Kansas City, MO 3:30 pm Pieter van Dijk, with violin; Stadtkirche, Kenilworth, IL 60043 • Douglas Cleveland; Village Presbyte- Langhennersdorf, Germany 7:30 pm [email protected] rian, Prairie Village, KS 7 pm & 8:30 pm Craig Cramer; St. Willibald, - (847) 251-6120 • [email protected] Recitals — Hymn Festivals Laim, Germany 8 pm • Vincent Dubois; St. Michael & All Angels Episcopal, Mission, KS 7 pm & 8:30 pm 16 JUNE • Compline, Kantorei of Kansas City; Cathedral of the Immaculate Conception, Rossini, Stabat Mater; Dom, Altenberg, Stephen G. Schaeffer A one-inch Professional Card Kansas City, MO 10 pm Germany 4 pm in The Diapason Albrecht Koch, with Windsbacher Kna- Recitals – Consultations benchor; Dom St. Marien, Freiberg, Ger- 4 JULY many 5 pm Director of Music Emeritus For information on rates and specifi cations, • Chelsea Chen; Helzberg Hall, Kansas Marcel Verheggen; Basilika, Tongeren, Cathedral Church of the Advent contact Jerome Butera: City, MO 3 pm Belgium 4 pm • Tom Trenney, hymn festival; Helzberg Umberto Pineschi; S. Bartolomeo, Pis- Birmingham, Alabama [email protected] 608/634-6253 Hall, Kansas City, MO 4 pm toia, Italy 6 pm • Dave Wickerham; Music Hall, Kansas Ekaterina Kofanova, with soprano & City, MO 8:30 pm violin; Peterskirche, Basel, Switzerland 7:30 pm Jeffrey Schleff, Ed.D. 5 JULY Michael Rhodes & Ashley Mellor; Organist – Teacher – Consultant STEPHEN SCHNURR • Diane Meredith Belcher; William Jew- Victoria Hall, Hanley, Stoke-on-Trent, UK ell College, Liberty MO 10 am 12 noon Saint Paul Catholic Church • Benjamin Sheen; St. Andrew’s Episco- Christopher Maxim; St. Margaret’s Sulphur Public Schools, Sulphur, OK pal, Kansas City, MO 1:30 pm Blackheath, London, UK 7:30 pm United Disciples Christian Church, Richardson, TX Valparaiso, Indiana • Te Deum Choral Ensemble; Village [email protected] Presbyterian, Prairie Village, KS 1:30 pm 17 JUNE • Todd Wilson; Community of Christ Darko Pleli & Marta Babic; Jesuiten- Temple, Independence, MO 7:30 pm kirche, Vienna, Austria 6:20 pm Carmen Jauch, with alphorns; ROBERT L. 6 JULY Klosterkirche, Alpirsbach, Germany • Nicole Keller; Unity Temple on the Pla- 11:15 am Mark Steinbach za, Kansas City, MO 9 am Klaus Geitner; Dom, Altenberg, Ger- SIMPSON • Cardinalis Vocal Ensemble; St. Mary’s many 11:45 am Christ Church Cathedral Brown University Episcopal, Kansas City, MO 11 am Craig Cramer; Klosterkirche, Fürsten- 1117 Texas Avenue • Hector Olivera; Cathedral of the Immac- feldbruck, Germany 12:10 pm Houston, Texas 77002 ulate Conception, Kansas City, MO 1 pm Erika Budday; Weltkulturerbe Kloster, • Jennifer Pascual; Grace & Holy Trin- Maulbronn, Germany 6 pm

ity Episcopal Cathedral, Kansas City, MO Michael Dierks; Willibrordi-Dom, Wesel, ] 1 pm Germany 6 pm • Damin Spritzer; Grand Avenue Temple Carsten Klomp, Bach, Orgelmesse; Au- Joe Utterback United Methodist, Kansas City, MO 2:30 pm reliuskirche, Calw-Hirsau, Germany 7 pm David Wagner • Marie Rubis Bauer; Westport Presby- Peter Crompton; Royal Hospital School, www.jazzmuze.com]] ] DMA Ipswich, UK 4 pm terian, Kansas City, MO 2:30 pm www.davidwagnerorganist.com • Kimberly Marshall & Thierry Escaich; Richard Gowers; Westminster Abbey, Helzberg Hall, Kansas City, MO 8 pm London, UK 5:45 pm 203 386 9992

7 JULY 18 JUNE Jonathan Dimmock; Legion of Honor John Halsey; Reading Town Hall, Read- Museum, San Francisco, CA 4 pm ing, UK 1 pm Martin Ellis; Royal Hospital School, Ips- Kevin Walters KARL WATSON 8 JULY wich, UK 1:30 pm David Wagner; St. Matthew’s By-the- Gerard Brooks; Church Church, Spital- M.A., F.A.G.O. Bridge Episcopal, Iowa Falls, IA 4 pm fi eds, London, UK 7:30 pm SAINT LUKE’S Christoph Tietze; Cathedral of St. Mary Rye, New York of the Assumption, San Francisco, CA 4 pm 19 JUNE METUCHEN Josef Still; Dom, Trier, Germany 8 pm 9 JULY Wyatt Smith; Grosvenor Chapel, Lon- Walt Strony; Balboa Park, San Diego, don, UK 1:10 pm CA 7:30 pm Ex Cathedra; Cathedral, Birmingham, UK 7:30 pm Alan G Woolley PhD RONALD WYATT 11 JULY Stephanie Burgoyne; St. Paul’s Anglican Musical Instrument Research Cathedral, London, ON, Canada 12:15 pm Richard Collman, with guitar; Northfi eld Edinburgh Trinity Church United Methodist, Northfi eld, MN 12:15 pm 20 JUNE [email protected] Galveston Michael Hoppe; Kathedrale, Dresden, 14 JULY Germany 8 pm Jonathan Dimmock; Legion of Honor Hansjörg Fräulin & Adelbert Heiz- Museum, San Francisco, CA 4 pm mann, with trumpet; St. Pankratius, Buch- holz, Germany 8 pm IAPASON A one-inch Professional Card 15 JULY Benjamin Righetti; St. Michael & All An- D Student Rate in The Diapason Kevin Kim, with violin; Cathedral of St. gels, West Croydon, London, UK 1:10 pm $20 one year Mary of the Assumption, San Francisco, CA ; Westminster Cathedral, For information on rates and specifi cations, 4 pm London, UK 7:30 pm 847/954-7989 Ex Cathedra; Cathedral, Birmingham, WOW! contact Jerome Butera: 16 JULY UK 7:30 pm [email protected] [email protected] 608/634-6253 Adam Brakel; Spreckels Organ Pavilion, Nicholas Schmelter; Yorkminster Park San Diego, CA 7:30 pm Baptist, Toronto, ON, Canada 12:30 pm 18 JULY 21 JUNE Catherine Rodland; St. Olaf College, Benjamin Righetti; St. Margaret Loth- A two-inch Professional Card in The Diapason Northfi eld, MN 12:15 pm bury, London, UK 1:10 pm 20 JULY 23 JUNE For information on rates and specifi cations, contact Jerome Butera: Justin Brueggeman; Christ Episcopal, Lucie Guerra Žáková & Markéta [email protected] 608/634-6253 Tacoma, WA 12:10 pm Schley-Reindlová, organ & harpsichord; Stadtpfarrkirche St. Martin, Bamberg, Ger- 21 JULY many 4 pm David Hegarty; Legion of Honor Muse- Christophe Mantoux; Marktkirche, Han- um, San Francisco, CA 4 pm nover, Germany 6 pm ArtistArtist Spotlights Spotlightspotlight s Katrien Mannaert; Basilika, Tongeren, 22 JULY Belgium 4 pm Paul Fejko; Cathedral of St. Mary of the Greg Morris; Temple Church, London, Artist Spotlights Assumption, San Francisco, CA 4 pm UK 1:15 pm are available on Anthony Halliday; St. Alphage, Edg- Your professional card 23 JULY ware, UK 7:30 pm The Diapason Bradley Hunter Welch; Spreckels Organ website and could appear here! Pavilion, San Diego, CA 7:30 pm 24 JUNE e-mail newsletter. Konstantin Reymaier; Jesuitenkirche, Contact: [email protected] 25 JULY Vienna, Austria 6:20 pm Contact Jerome Noah Klein; All Saints Episcopal, North- Franz Günthner; Dom, Altenberg, Ger- Butera for rates or 608/634-6253 fi eld, MN 12:15 pm many 11:45 am and specifi cations. Christopher Hauser; Klosterkirche, 28 JULY Fürstenfeldbruck, Germany 12:10 pm 608/634-6253 John Walko; Legion of Honor Museum, Moritz Backhaus; St. Thomae, Soest, [email protected] San Francisco, CA 4 pm Germany 5 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2018 Q 31 Calendar

Arno Hartmann; Christuskirche, Bo- Joshua Hales; Westminster Abbey, Lon- Andrew Benson-Wilson; Christ’s Cha- Karl Ludwig Kreutz; Friedenskirche, chum, Germany 6 pm don, UK 5:45 pm pel Dulwich, London, UK 7:45 pm Potsdam, Germany 7:30 pm Heinz-Peter Kortmann, with brass; Thomas Ospital; Kreuzkirche, Dresden, Pfarrkirche St. Cyriakus, Krefeld-Hüls, Ger- 2 JULY 9 JULY Germany 8 pm many 6 pm Johannes Lang, children’s concerts; Manuel Braun; St. Justinius, Frankfurt, Angelo Castaldo; St. Michael & All An- Ansgar Schlei, with choir; Willibrordi- Friedenskirche, Potsdam, Germany 8:30 Germany 11 pm gels, West Croydon, London, UK 1:10 pm Dom, Wesel, Germany 6 pm am, 9:30 am, 10:30 am David Cassan; St-Sulpice, Paris, France Douglas Lawrence; Ruhr-Universität, 10 JULY 19 JULY 4 pm Bochum, Germany 1:15 pm Yuko Tokuda; Salesian Church, Pistoia, Hans Leitner; Dom St. Petri, , Martin Welzel; Methodist Central Hall, Italy 9 pm Germany 7 pm Westminster, London, UK 3 pm 3 JULY Bart Jacobs, with Ensemble Psalentes; Heribert Metzger; Dom, Altenberg, Ger- Matthew Jorysz; Westminster Abbey, Christian Drengk; Friedenskirche, Pots- St. Michael & St. Gudula Cathedral, Brus- many 8 pm London, UK 5:45 pm dam, Germany 7:30 pm sels, Belgium 8 pm Richard Hills; St. John the Evangelist Craig Cramer; Basilika, Tongeren, Bel- David Hardie; St. George’s, Hanover Upper Norwood, London, UK 7:30 pm 26 JUNE gium 8 pm Square, London, UK 1:10 pm Natalia Letyuk; St. George’s, Hanover 20 JULY Square, London, UK 1:10 pm 4 JULY 11 JULY Marijim Thoene; St. Mary’s Basilica, Jan Esra Kuhl & Johannes Lang; Frie- Karol Mossakowski; Erlöserkirche, Gdansk, Poland 7 pm 27 JUNE denskirche, Potsdam, Germany 7:30 pm Potsdam, Germany 7:30 pm Philip Crozier; St. Laurentius Kirche, Stefan Kagl; Kreuzkirche, Dresden, Ger- Andreas Jost; Frauenkirche, Dresden, Jean-Baptiste Dupont; Kathedrale, Tönning, Germany 7 pm many 8 pm Germany 8 pm Dresden, Germany 8 pm Paul Goussot, with Choralschola St. Al- Anthony Matthews; St. Michael & All An- Richard Brasier; St. Michael & All An- David Price; St. Michael & All Angels, oisius; Abtei, Marienstatt, Germany 8 pm gels, West Croydon, London, UK 1:10 pm gels, West Croydon, London, UK 1:10 pm West Croydon, London, UK 1:10 pm Franz Hauk; Münster, Herford, Germany Greg Morris; Temple Church, London, 9 pm UK 1:15 pm 5 JULY 12 JULY Samuel Bristow; Holy Trinity, Sloane Tobias Gravenhorst, with saxophone; Thomas Schmitz; Dom St. Petri, Bre- 21 JULY Square, London, UK 5:30 pm Dom St. Petri, Bremen, Germany 7 pm men, Germany 7 pm Denny Wilke; Dom, Merseburg, Ger- Helmut Hauskeller, with panfl ute; Kilian- Ansgar Wallenhorst; Abteikirche, Brau- many 5 pm 30 JUNE Kirche, Bedheim, Germany 7:30 pm weiler/Köln, Germany 8 pm David Jonies; St. Martin Church, Adam Pajan; Dom, Altenberg, Germany Johannes Häußler, with trumpet; Kilian- Anne Horsch; Jesuitenkirche St. Mi- Deggendorf, Germany 7:30 pm Kirche, Bedheim, Germany 5 pm 8 pm Malte Blass; Basilika, Tongeren, Bel- Martin Hertel chael, München, Germany 8 pm Naoko Asano; S. Maria del Carmine, ; St. Justinius, Frankfurt, Stephan Rommelspacher gium 4 pm Germany 5 pm ; Dom, Alten- Pistoia, Italy 9 pm berg, Germany 8 pm Michael Rhodes; Victoria Hall, Hanley, Frank Bettenhausen; Dom, Merseburg, Franz Lörch; Notre-Dame des Neiges, Stoke-on-Trent, UK 12 noon Germany 5 pm Greg Morris; Temple Church, London, Alpe d’Huez, France 8:45 pm UK 6:30 pm Ulfert Smidt; Marktkirche, Hannover, Angelo Castaldo; St. Margaret Loth- 22 JULY Germany 6 pm bury, London, UK 1:10 pm 6 JULY Daniel Gottfried; Jesuitenkirche, Vien- Douglas Lawrence; Christuskirche, Bo- na, Austria 6:20 pm chum, Germany 7 pm David Price; Cathedral, Portsmouth, UK 13 JULY 8 pm Sebastian Freitag; Dom, Altenberg, Luc Ponet; Basilika, Tongeren, Belgium Yuko Tokuda; Church of Serra Pistoiese, Germany 11:45 am 4 pm Pistoia, Italy 6 pm Kåre Nordstoga; Jakobikirche, Herford, Johannes Geffert; Bloomsbury Central 7 JULY Thorsten Maus; St. Martin, Leutkirch, Germany 6 pm Baptist, London, UK 4 pm 14 JULY Philip Crozier; Stadtkirche St. Marien, Germany 11:15 am Heinrich Wimmer; Stadtpfarrkirche St. Filip Blokken; Basilika, Tongeren, Bel- Husum, Germany 8 pm 1 JULY Martin, Bamberg, Germany 5:30 pm Inge Beck; Evangelische Stadtkirche, gium 4 pm Stefan Kagl; Münster, Herford, Germany Erzsebet Windhager-Gered; Jesuiten- Karlsruhe, Germany 8:30 pm kirche, Vienna, Austria 6:20 pm Christopher Muhley; St. Alphage, Edg- 6 pm ware, UK 7:30 pm Kurt Ison; Christuskirche, Bochum, Ger- Gereon Krahforst; St. Paul’s Cathedral, Helmuth Schröder; Dom, Altenberg, London, UK 4:45 pm Germany 4:30 pm many 7 pm Manuel Braun, with trumpet; St. Justin- 8 JULY Natalia Ryabkova, with Brenzhaus Or- Hannes Marek; Jesuitenkirche, Vienna, chester Stuttgart; Stiftskirche, Tübingen, 24 JULY ius, Frankfurt, Germany 5 pm Marijim Thoene; Holy Trinity Cathedral, Markus Bieringer, with Kantatenchor Austria 6:20 pm Germany 8 pm Carmen Jauch, with choir; Klosterkirche, Philip Crozier; St. Marien-Dom, Ham- Drohiczyn, Poland 7 pm Durmersheim; Augustinerkirche, Landau/ Philip Crozier; St. Laurentius Kirche, Pfalz, Germany 6 pm Alpirsbach, Germany 11:15 am burg, Germany 8 pm Elisa Teglia; Cathedral, Pistoia, Italy 5 pm Rolf Müller, with brass; Dom, Altenberg, Br. Andreas Warler; Basilika, Tongeren, Langenhorn, Germany 8 pm Christophe Mantoux; Basilique Notre Germany 11:45 am Belgium 4 pm Luc Ponet, with Ensemble Utopia; St. Dame d’Espérance de Charleville-Mézières, Ansgar Schlei, with orchestra; Willibror- Graham Powell; St. John the Evangelist, Michael & St. Gudula Cathedral, Brussels, France 6 pm di-Dom, Wesel, Germany 6 pm East Dulwich, London, UK 11 am Belgium 8 pm Jean-Pierre Maudet; Farnborough Ab- Philip Crozier; Saint-Augustin, Paris, Christian Praestholm; St. Michael’s William Hormass; St. Lawrence Jewry, bey, Farnborough, UK 3 pm France 5 pm Highgate, London, UK 6 pm London, UK 1 pm Christian Vorbeck; St. Paul’s Cathedral, Benjamin Cunningham; Westminster Vincent Dubois; Buckfast Abbey, Dev- London, UK 4:45 pm Abbey, London, UK 5:45 pm on, UK 7:30 pm 25 JULY Christian Iwan; St. Mikaelis Kirche, 15 JULY Hamburg, Germany 7 pm Johannes Zeinler; Jesuitenkirche, Vi- Kent Tritle; Erlöserkirche, München- enna, Austria 6:20 pm Schwabing, Germany 7 pm Ruth Forsbach; Dom, Altenberg, Ger- Antonio Di Dedda; Erlöserkirche, Pots- many 11:45 am dam, Germany 7:30 pm Iain Quinn; St. Paul’s Cathedral, London, Min Woo; Evangelische Kirche, Wald- UK 4:45 pm kirch, Germany 8 pm Sebastian Thomson; Westminster Ab- Frédéric Blanc; Frauenkirche, Dresden, bey, London, UK 5:45 pm Germany 8 pm Paul Rosomon; Chingford Parish 16 JULY Church, Chingford, London, UK 1:10 pm Kurt Ison; Ruhr-Universität, Bochum, Joe Matthews; St. Michael & All Angels, Germany 1:15 pm West Croydon, London, UK 1:10 pm Kay Johannsen; Peterskirche, Basel, Isabelle Demers; Westminster Cathe- Switzerland 7:30 pm dral, London, UK 7:30 pm Pipe Organ Builders Since 1915 17 JULY 26 JULY 11561 Edmonston Rd. Ute Gremmel-Geuchen; St. Michael & Torsten Wille; Marienkirche, Reutlingen, Beltsville, MD 20705 St. Gudula Cathedral, Brussels, Belgium Germany 11 am 801-756-5777 800/952-PIPE 8 pm Christopher Wrench; Dom St. Petri, www.bigeloworgans.com Jacques Kauffmann; Notre-Dame des Bremen, Germany 7 pm Neiges, Alpe d’Huez, France 8:45 pm Rolf Müller; Dom, Altenberg, Germany Ben Lewis Smith; Grosvenor Chapel, 8 pm Member Firm: The Associated Pipe Organ Builders of America The Organ Clearing House London, UK 1:10 pm Jean-Paul Imbert, with violin and mez- RANDALL DYER zo-soprano; Notre-Dame des Neiges, Alpe PO Box 290786 18 JULY d’Huez, France 8:45 pm & ASSOCIATES, INC. Charlestown, MA 02129 Christoph Schoener; St. Mikaelis Francesco Cera; S. Maria, Extremadu- PIPE ORGANS OF QUALITY AND DISTINCTION Kirche, Hamburg, Germany 7 pm ra, Spain 8 pm BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Ph: 617.688.9290

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

Lionel Rogg; St. Margaret Lothbury, THOMAS GOUWENS, Fourth Presby- detta Qui la dira, Gabrieli; Grand Dialogue Greensleeves, Wright; There Is a Happy Land, London, UK 1:10 pm terian Church, Chicago, IL, November 17: in C, Marchand; Fantasy and Fugue in g, Shearing; Litanies, JA 119, Alain; Choral II Improvisation sur le Te Deum, Tournemire; BWV 542, Bach; Chaconne (First Suite for in b, FWV 39, Franck; Prélude et fugue sur le 27 JULY Cortège et Litanie, op. 19, no. 2, Dupré; Stèle Military Band, op. 28, no. 1), Holst, transcr. nom d’Alain, op. 7, Durufl é. Raúl Prieto Ramírez; Münster, Kon- stanz, Germany 8 pm pour un enfant défunt (Triptyque, op. 58, no. Lay; Scherzo (A Midsummer Night’s Dream), Wilfried Kaets; Münster, Herford, Ger- 3), Impromptu (Pièces de Fantaisie, Troisième Mendelssohn, transcr. Warren; Intermezzo on NICHOLAS SCHMELTER, Christ the many 9 pm suite, op. 54, no. 2), Toccata (Pièces de Fan- an Irish Air (Four Intermezzi, op. 189), Stan- Good Shepherd Catholic Parish, Saginaw, MI, taisie, Deuxième suite, op. 53, no. 6), Vierne; ford; Two-Part Contention, Brubeck, transcr. October 15: Toccata, Mushel; Comes Autumn 28 JULY Méditation, Durufl é; Carillon-Sortie, Mulet. Kraybill; Adagio, Finale (Symphony No. 3 in Time, Sowerby; Country Gardens, The Sussex Ansgar Schlei, with soprano and or- c, op. 78), Saint-Saëns, transcr. Scott. Mummers’ Carol, Granger; Prelude and Fugue chestra; Willibrordi-Dom, Wesel, Germany SARAH HAWBECKER, Cathedral of St. in G, BWV 541, Sinfonia (Cantata 29, BWV 6 pm Philip, Atlanta, GA, November 26: Hymne COLIN MACKNIGHT, St. Thomas 29), Prelude (Suite No. 1, BWV 1007), Bach; Douglas Lawrence; St. Laurentius, Er- witte, Germany 7:30 pm d’action de grâces Te Deum (Trois Paraphras- Church Fifth Avenue, New York, NY, No- Romanza, op. 17, no. 3, Parker; Concert Fanta- Johan Van den Broek; Augustinerkirche, es Grégoriennes, op. 5), Langlais; Fantasia vember 5: Praeludium in e, BuxWV 142, Bux- sia on a Welsh March, Best. Würzburg, Germany 7:30 pm and Fugue in c, BWV 537, Bach; Pastorale, tehude; Fantasy Chorale, Cziner; Fantasia in Martin Neu; Ss. Peter & Paul, Reutlin- op. 19, Franck; Passacaglia (Sonata VIII in e, f, K. 594, Mozart; Fantasia and Fugue in g, BENJAMIN SHEEN, St. Thomas Church gen, Germany 8 pm op. 132), Rheinberger. BWV 542, Bach. Fifth Avenue, New York, NY, November 26: Ingo Bredenbach; Stiftskirche, Tübin- Nun danket alle Gott, BWV 657, Jesus Chris- gen, Germany 8 pm MICHAEL HEY, St. Catherine of Siena AMANDA MOLE, United Presbyte- tus, unser Heiland, BWV 666, Jesus Chris- Dan Hemelaer; Basilika, Tongeren, Bel- Parish, Trumbull, CT, November 12: Fugue rian Church, Binghamton, NY, November tus, unser Heiland, BWV 665, Nun komm, gium 4 pm Philip Crozier; Brigidakerk, Geldrop, in G, BWV 577, Bach; Pomp and Circum- 3: Toccata, Adagio, and Fugue in C, BWV der Heiden Heiland, BWV 659, Trio super Netherlands 4:15 pm stance No. 2, Elgar; The Dancing Pipes, Dove, 564, Bach; Adagio (Symphonie III, op. 28), Nun komm, der Heiden Heiland, BWV 660, Francesco Cera; S. Cecilia, Espinosa de Scherzo Symphonique, Cochereau, arr. Fil- Vierne; Toccata, Kanon, and Basso ostinato Nun komm, der Heiden Heiland, BWV 661, Villagonzalo, Spain 9 pm sell; Doctor Gradus ad Parnassum, The Snow (Neun Stücke für die Orgel, op. 129), Reger; Schmücke dich, o liebe Seele, BWV 654, Pre- András Gábor Virágh; Bloomsbury is Dancing, Golliwogg’s Cakewalk (Children’s The Revd Mustard his Installation Prelude, lude and Fugue in G, BWV 541, Bach. Central Baptist, London, UK 4 pm Corner), Debussy, transcr. Hey. Muhly; Praeludium in g, BuxWV 149, Bux- tehude; Variations sur un thème de Clément JOHN SHERER, Fourth Presbyterian 29 JULY CHRISTOPHER HOULIHAN, St. Mat- Jannequin, AWV 99, Alain; Allegro vivace Church, Chicago, IL, November 24: Pag- Wolfgang Capek; Jesuitenkirche, Vien- na, Austria 6:20 pm thew’s Lutheran Church, Hanover, PA, No- (Symphonie V, op. 42, no. 1), Widor. eant, Sowerby; Sinfonia (Cantata 29, BWV Erika Budday; Weltkulturerbe Kloster, vember 19: Andantino (String Quartet, op. 29), Bach, transcr. Wolf; Idyl, Purvis; Grande Maulbronn, Germany 11 am 10), Debussy, transcr. Guilmant; Marche ORGANIZED RHYTHM (CLIVE pièce symphonique, op. 17, Franck; Pavane, Hans Andre Stamm, with fl ute; Dom, Al- héroïque, Brewer; Suite, op. 5, Durufl é; Pass- DRISKILL-SMITH, organ, JOSEPH Fauré, transcr. Bird; Prelude and Fugue in g, tenberg, Germany 11:45 am caglia and Fugue in c, BWV 582, Bach; Car- GRAMLEY, percussion), Cathedral Church op. 7, no. 3, Dupré. Christopher Hauser; Klosterkirche, illon de Westminster (24 Pièces de Fantaisie, of St. Paul, Detroit, MI, November 3: Fanfare Fürstenfeldbruck, Germany 12:10 pm Troisième suite, op. 54, no. 6), Toccata (24 for the Common Man, Hoe-Down, Copland; JOSHUA STAFFORD, Westminster Paolo Springhetti; Kilian-Kirche, Bed- Pièces de Fantaisie, Deuxième suite, op. 53, Haskalah, Susman; Variations on America, United Church, Winnipeg, MB, Canada, heim, Germany 5 pm Heinrich Wimmer; Münster, Herford, no. 6), Vierne. Ives; Meditation, Creston; Mars, the Bringer November 12: Comes Autumn Time, Sow- Germany 6 pm of War, Venus, the Bringer of Peace, Jupiter, erby; Sonata Eroïca, op. 94, Jongen; Sym- David Jonies; St. Nikola Church, Pas- JEANNINE JORDAN, Advent Lutheran the Bringer of Jollity (The Planets), Holst; phony No. 8, op. 88, Dvorák; Prelude to sau, Germany 7:30 pm Church, Melbourne, FL, November 12: Pluto (The Planets), Eddins. Hansel and Gretel, Humperdinck; Rondo Bogdan Narloch; Evangelische Stadt- Blithely Breezing Along, Paulus; Voluntary, Capriccio, Lemare. kirche, Karlsruhe, Germany 8:30 pm Selby; Voluntary, Linley; Toccata, Barnes; RAÚL PRIETO RAMÍREZ, Florida Gerard Brooks; Methodist Central Hall, Prelude, Foote; Festival Voluntary, Carr; Soft International University, Miami, FL, No- NATHAN TAYLOR, Bethesda-by-the-Sea Westminster, London, UK 3 pm Voluntary, Emilio; Concert Variations on The vember 12: Prelude and Fugue in D, BWV Episcopal Church, Palm Beach, FL, Novem- Vidas Pinkevicius & Ausra Motuzaite- Pinkeviciene; St. Paul’s Cathedral, London, Star-Spangled Banner, op. 23, Buck. 532, Bach; Mephisto Waltz No. 1, Liszt, arr. ber 5: Fanfare, Mathias; Berceuse (24 Pièces UK 4:45 pm Ramírez; Suite, op. 5, Durufl é; Tiento de en style libre), Adagio (Symphonie III, op. Simon Morley; Westminster Abbey, Lon- CHRISTINE KRAEMER, Presbyterian batalla de 8˚ tono pour delasolré, Heredia; 28), Vierne; Chorale in a, Franck. don, UK 5:45 pm Homes, Evanston, IL, November 27: Over- Prelude (Die Meistersinger von Nurnberg), ture No. 2, Greene; Partita on Slane, Pinkham; Wagner, arr. Ramírez. PAUL THOMAS, St. Thomas Church Fifth 31 JULY Choral, Vierne; Concerto in d after Vivaldi, Avenue, New York, NY, November 19: Toccata Stéphane Mottoul; St. Michael & St. Bach; Sonata III in G, op. 88, Rheinberger. STEPHEN SCHAEFFER, First Reformed in F, BuxWV 156, Buxtehude; Mein junges Gudula Cathedral, Brussels, Belgium 8 pm United Church of Christ, Lexington, NC, No- Leben hat ein End, Sweelinck; Aus tiefer Not, Philip Crozier; Bavokerk, Haarlem, Netherlands 8:15 pm JAN KRAYBILL, Fourth Presbyterian vember 5: Praeludium in C, Böhm; Sheep schrei ich zu dir, BWV 686, An Wasserfl üssen Willem Hörmann; Grosvenor Chapel, Church, Chicago, IL, November 17: Varia- May Safely Graze, Fugue in G, BWV 577, Babylon, BWV 653b, Bach; Partita Nun komm, London, UK 1:10 pm tions de Concert, op. 1, Bonnet; Canzon Bach; New Britain, Phillips; Carol-Prelude on der Heiden Heiland, op. 8, no. 1, Distler.

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Morel and Associates, Organ Builders of Den- ChicAGO Centenary Anthology, by Alan J. The Tracker—The Organ Historical Society Organs of Oberlin chronicles the rich history of ver, Colorado, is seeking an experienced pipe Hommerding, Paul M. French, Richard Proulx, et quarterly journal includes news and articles organs at Oberlin College, the Conservatory of organ technician to join our company to assume al. This joint effort of the Chicago Chapter of the about the organ and its history, organ builders, Music, and the town of Oberlin, Ohio. The hard- the position of Service Manager. Please mail or American Guild of Organists and World Library exemplary organs, and regional surveys of bound, 160-page book with many illustrations email résumé to: Rick Morel, 4221 Steele St., Publications presents specially commissioned instruments. Both American and European organ is the most comprehensive study of traceable Denver, CO 80216; email: [email protected]. organ works by Chicago composers, as well topics are discussed, and most issues run 32 organs from 1854 to 2013. The book measures ″ ″ as rare or unpublished pieces by earlier organ- pages with many illustrations and photographs. 8½ x 11 and features a dust jacket with color- ists from the city including Leo Sowerby. Also ful illustrations not found in the book. Organs by Wanted: Organists visiting Maui. Lahaina’s Membership in the OHS includes a subscrip- the Skinner Organ Company, Aeolian-Skinner, Holy Innocents Episcopal Church invites visit- includes a jubilant Bailado Brasileiro by Richard tion to The Tracker. Visit the OHS Web site for C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, ing organists to play its Beckerath Positiv organ Proulx, the AGO’s 2006 Composer of the Year! subscription and membership information: www. at Sunday services. Built in 1972 by Rudolf von 003074, $25.00, 800/566-6150, Wlpmusic.com. organsociety.org. and many others are featured. Text by Stephen Beckerath and then-apprentice Hans-Ulrich Schnurr, foreword by James David Christie; Erbslöh for Honolulu’s Lutheran Church, the 408- photographs by William T. Van Pelt, Trevor New from Fruhauf Music Publications: Johann pipe Shrankpositiv has a 54-note “split” manual, The OHS Catalog is online with more than 5,000 Dodd, Halbert Gober, as well as rare vintage Sebastian Bach’s Fanatasia and Fugue (frag- 30-note pedal, 11 stops, 8 ranks, and 6 registers. classical and theater organ CDs, books, sheet examples. $50, plus $5 shipping. Visit www. ment) in C-minor, S. 562, is featured in two paired Holy Innocents acquired the instrument in 1977 music, and DVD/VHS videos. Visit www.ohscata- organsofoberlin.com. complimentary online publications. Presented and moved it to Maui where it has been played log.org. To add your name to the OHS Catalog in letter-sized PDF booklets that include notes, by parish musicians such as Carol Monaghan mailing list, send email to catalog@organsociety. music scores and appendices, the fantasia’s Pipe Organs of the Keweenaw by Anita and visiting artists including Angus Sinclair of org or mail to Organ Historical Society, 330 N. Campbell and Jan Dalquist, contains his- Canada and Dalibor Miklavcic of Slovenia. The notation has been clarifi ed in a performance edi- Spring Mill Rd., Villanova, PA 19085. tories, stoplists, and photos of some of instrument is extremely responsive and fi lls the tion, and the fugue fragment includes a specula- the historic organs of the Keweenaw Pen- worship space beautifully. The parish community tive realization. Visit www.frumuspub.net and insula, the northernmost tip of Michigan’s is “exemplary in its hospitality to all visitors,” and scroll down to the Bulletin Board to access both The new Nordic Journey series of CD record- Upper Peninsula. Organs include an 1899 that especially includes visiting organists. For fi les for download. ings reveals premiere recordings of symphonic information: 808/661-4202; holyimaui.org. Barckhoff and an 1882 Felgemaker. The booklet organ music—much of it still unpublished—from ($8.00 per copy, which includes postage) is Organa Europae calendars featuring famous Nordic composers, played by American organist available from the Isle Royale and Keweenaw PUBLICATIONS / RECORDINGS pipe organs of Europe; years 1969 to 1977. James Hicks on a variety of recently restored Parks Association, 49445 US Hwy 41, Hancock, $10.00 each. 219/662-0677, [email protected]. Swedish organs. It’s a little bit like Widor, Reger Michigan 49930. For information: 800/678-6925. and Karg-Elert, but with a Nordic twist. Check it Certified appraisals—Collections of organ out at www.proorgano.com and search for the books, recordings, and music, for divorce, Rheinberger Organ Sonatas, Vol. 5, a new term “Nordic Journey.” Grant Peace, We Pray, a new choral work by David estate, gift, and tax purposes. Stephen L. Raven CD. Bruce Stevens plays three 19th-cen- Herman, is available as a free download. Luther’s Pinel, Appraiser. 629 Edison Drive, East Wind- tury American organs. Sonatas No. 7 in F minor, text, with its 16th-century melody, is set for SAB sor, NJ 08520-5205; phone: 609/448-8427; op. 127; No. 9 in B minor, op. 142; No. 13 in E-fl at, Ed Nowak, Chicago-area composer, arranger, choir and organ and was written to commemorate email: [email protected]. op. 161. The organs are: 1860 E. & G. G. Hook 3m, and church musician, announces his new web- the 2017 Reformation anniversary. Available from op. 288, St. John’s Church, Bangor, Maine; 1898 site, featuring Nowak’s original choral works, the composer at [email protected]. Everybody Loves A March! Military and state Geo. Jardine & Son, op. 1248, St. Peter’s Church, hymn concertatos, chamber and orchestral marches, marching bands, wedding processions, Haverstraw, New York; 1868 E. & G. G. Hook 3m, works, organ hymn accompaniments, organ and stylistic orchestral music. I offer more than two op. 472, Christ Episcopal Church, Charlottesville, and piano pieces, electronic music, and psalm PIPE ORGANS FOR SALE dozen of them including Elgar’s Funeral March, Virginia, relocated in 2012 by Andover Organ settings. The website offers scores and recorded Berlioz’s Hungarian March, and Schubert’s Co. to the organ’s fi fth location. Raven OAR-993 examples that are easy to sample and can be Aeolian-Skinner opus 1480. 2 manuals, 20 Military Marches. michaelsmusicservice.com $15.98 postpaid. 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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]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

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]

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

34 Q THE DIAPASON Q JUNE 2018 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

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

26-rank Casavant pipe organ for sale. Orgues 1976 Flentrop: mechanical action, 2 manuals, JC Taylor 2001 tracker pipe organ. Two man- Do you have a pipe organ that you would Létourneau is offering a 22-stop Casavant 13 stops, 16 ranks, 3 couplers. Case dimen- uals, fi fteen ranks, solo stop in pedal. Picture like to interface with an electronic or digital Frères pipe organ (Opus 2295 from 1955) for sions: 7′-2″ wide X 3′-3″ deep X 8′-6″ high. and disposition at stjamesgreenbay.org. Mint organ? We can interface any digital organ or sale. This electro-pneumatic instrument is cur- Instrument on moveable platform 10″ high; condition. Price negotiable. More information at any organ console with any pipe organ. For more rently in storage at the Létourneau shops and detachable platform section for pedalboard & 920/435-1430. information e-mail [email protected] (not is available for purchase in “as is” condition for bench 7′-2″ X 2′-7″. Asking $70,000. Purchaser Comcast) or call 215/353-0286. USD $45,000 with its original three-manual con- responsible for removal and relocation. Avail- George Hutchings, rebuilt by Philip Beaudry. sole. Likewise, Létourneau would be pleased to able after January 1, 2019. Contact Todd Wilson: 2 manuals, 29 stops, tracker action, detached Aeolian/Robert Morton-style maroon provide a proposal to rebuild this instrument, [email protected] or 216/774-0421. taking into account any desired changes to the console, good condition, Boston, MA. No sale leather is now available from Columbia Organ stoplist as well as installation costs, voicing, price, new owner is responsible for removal Leathers! Highest quality. 800/423-7003, casework as required, and rebuilding the three- 2005 Wahl pipe organ, Ann Arbor, Michigan. and relocation. Contact John Bishop, the Organ www.columbiaorgan.com. manual console with a new solid-state switch- Exquisite cherry casework and craftsmanship. Clearing House, [email protected]. ing system. The organ requires approximately Six-stop, two-manual tracker. Concave parallel ANNOUNCEMENTS 360 sq. ft. with 15′ ceilings. For more details, pedalboard. Requires 9′ ceiling. $80,000 or MISCELLANEOUS FOR SALE visit www.letourneauorgans.com, email info@ best offer; would be $145,000 new. Contact letourneauorgans.com or call Andrew Forrest at [email protected]. Pictures and specs at THE DIAPASON E-Newsletters are e-mailed 450/774-2698. Deagan tubular tower chime, pre-1936, 15 monthly to subscribers who sign up to receive www.wahlorganbuilders.com/organs/practice/ note, E3 chromatic to G4, except omitting F#4. them. Don’t miss the latest news, featured artists, Six-stopPO.shtml Old action bases and actions available; no frame, and classifi ed ads—all with photos—some before Iberian Chamber Organ. Housed at St. Ste- nor additional equipment. Asking $19,000. Prefer they appear in print! Visit www.TheDiapason. pick-up, located Southwest Ohio. Can ship at com and click on Subscribe to our newsletter. For phen’s Episcopal Church in Oak Ridge, Ten- Rieger 23-rank mechanical pipe organ for nessee, organ has tracker key and mechanical additional charge; rebuilding services avail- assistance, contact Stephen Schnurr, 847/954- sale. Two 61-note manuals and 32-note AGO 7989, [email protected]. stop action. The fl ue pipe confi guration is based able. Contact [email protected], or call concave, radiating pedals. 1,221 pipes, manual on the instrument built by Francesca Antonio 937/378-2355. and pedal couplers, and tremulant; includes 3 Solha in 1778. The reed pipes, with short zinc separate mixture stops and 2 reed stops. Gen- THE DIAPASON’S new digital subscription conical resonators, are copied from the organ makes the perfect gift for your friends who in Braga, Portugal. The compass of the organ is tly voiced for a chapel or home use. Compact Consoles, pipes and numerous miscellaneous ′ 1 ″ ′ ″ love the organ, church music, harpsichord, from C2 to F6. The keyboard is divided between design: width: 5 -8 ⁄8 , depth 7 -3¼ , height parts. Let us know what you are looking for. SOLD ′ ″ ′ ′ ″ and carillon. It’s only $35/year. Even a better C4 (middle C) and C#4, which is unique to Ibe- 7 -3½ with separate electric blower 2 x 2 -1 E-mail [email protected] (not comcast), x 2′-5″. Mechanical key and stop action, slider phone 215/353-0286 or 215/788-3423. bargain for your student, $20/year. Visit www. rian organs. Constant pressure Ventus blower. thediapason.com and click on Subscribe. Available at no cost to a suitable home. Will windchest. Asking $55,000.00. For more details help dismantle. Roger Johnson 865/200-2172, call 360/945-0425 or see OHS Organ Data Base, SERVICES / SUPPLIES [email protected]. Rieger Orgelbau, Gaspar Schulek Residence. Postal regulations require that mail to THE Releathering all types of pipe organ actions DIAPASON include a suite number to assure Circa 1860 Pfeffer eight-rank organ, available Historic 1859 ROBJOHN, II+Ped, 11 ranks. Drop and mechanisms. Highest quality materi- delivery. Please send all correspondence to: ′ ″ rebuilt and custom fi nished. Also 1884 choir dead gorgeous rosewood case, 14 -2 tall. Lovely als and workmanship. Reasonable rates. THE DIAPASON, 3030 W. Salt Creek Lane, organ by Louis Debierre. Both are pictured on the for chapel, large residence, or museum. www. Columbia Organ Leathers 800/423-7003. Suite 201, Arlington Heights, IL 60005. Redman website: www.redmanpipeorgans.com. bigeloworgans.com. Click on News. www.columbiaorgan.com/col.

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3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

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WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 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

Stefan Engels* Thierry Escaich*László Fassang* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Westminster Cathedral United Kingdom (October 2018)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Alan Morrison Saint Thomas Church New York City (March 2019) New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth* Jonathan Ryan Notre-Dame Cathedral Paris (April 2020) Celebrating Our 97th *=Artists based outside Season! the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young