THE DIAPASON JANUARY, 2010
photo credit: Michael Vogl, Regensburg Cathedral Church of St. Peter Regensburg, Germany Cover feature on pages 28–29
Jan 2010 Cover.indd 1 12/14/09 7:25:20 AM Jan 2010 pp. 2-18.indd 2 12/14/09 7:27:04 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 1, Whole No. 1202 JANUARY, 2010 Gavin Black: On Teaching the fi fties to hear Myra Hess, Burt Lan- Established in 1909 ISSN 0012-2378 I’ve been enjoying Gavin Black’s col- caster walked right past my wife and me, An International Monthly Devoted to the Organ, umn “On Teaching” in The Diapason. big deal! the Harpsichord, Carillon, and Church Music Although I don’t have organ students, And Bovard Auditorium (I am a USC I’m learning a lot from the articles. Be- alumnus, grad school, as well as UCLA sides being an organist, I’m also a piano grad)—what memories! I remember the technician. The article about tuning original console well, and Mr. Lewis has CONTENTS Editor & Publisher JEROME BUTERA [email protected] systems (September) is, by far, the best it all correct. This was a major loss, which 847/391-1045 description of tuning and tuning systems should not have happened, and I am not FEATURES that I’ve ever read! I’m going to save this alone in my opinion. It was a powerful Poulenc and Durufl é ‘premieres’ in Woolsey Hall Associate Editor JOYCE ROBINSON issue in case I have to give a talk about and impressive instrument. at Yale University and the Polignac organ [email protected] tuning history to the piano studio class at And Poly-Technic High School: My by Ronald Ebrecht 19 847/391-1044 the university where I work (I’ll give you dad was on the science faculty, and I full credit). was in the organ class for three years. Three wonderful organs Contributing Editors LARRY PALMER I was fascinated by the experiment On graduation night in February 1938, in Le Marche, Italy Harpsichord by Bill Halsey 22 mentioned, where one tone at A-440 is I played a solo: Cyril Jenkins’s “Dawn.” JAMES MCCRAY played through the left channel of head- I was able to use that wonderful solo la- Organbuilders and research: Choral Music phones, and one tone at A-442 is played bial reed, very convincing at least above Two points of view through the right channel. I would think middle C, extremely powerful. The grille by Francesco Ruffatti and Judit Angster 24 BRIAN SWAGER that one would hear beats, but I’ll have shown in the article picture hides the Carillon to try this sometime! The description of choir and swell, all the rest was on the NEWS & DEPARTMENTS the physics behind this makes sense. other side. I have rambled all through JOHN BISHOP I’ve always been interested in key that organ so often, and once stayed up Editor’s Notebook 3 In the wind . . . characteristics associated with well tem- in the Solo while someone played on the Letters to the Editor 3 peraments, and I have to say that I’m Tuba. In the 1960s, one Holy Week my Here & There 3, 4, 5, 6, 8, 10 GAVIN BLACK On Teaching actually distracted by the beating and family and I were in the auditorium and Appointments 8 varying sizes of the intervals (especially I played the organ for the last time. Poly- Nunc Dimittis 8 Reviewers John L. Speller half-steps) in well temperaments when Technic High School is now Los Angeles Looking Back 12 Charles Huddleston Heaton played on organ or piano. This may be Trade Tech College. The automatic play- In the wind . . . by John Bishop 12 John Collins from my constant exposure to equal tem- er was on the right side stage steps. Yes, On Teaching by Gavin Black 13 Steven Young perament as a piano tuner. I do agree Mr. Lewis is right again: that luminous Sarah Mahler Kraaz that harpsichords sound great in well console was a real pain. Half the time REVIEWS temperaments. many of the lights were burned out and Music for Voices and Organ 15 THE DIAPASON (ISSN 0012-2378) is published monthly One thing that puzzles me, and I fi nd you had to memorize which ones. by Scranton Gillette Communications, Inc., 3030 W. Salt fascinating, is that I still experience “key And Barker Brothers: Often after Book Reviews 16 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. New Recordings 17 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 color” when playing an organ or piano school I would go there to hear the or- New Organ Music 17 MSG RLY. E-mail:
JANUARY, 2010 3
Jan 2010 pp. 2-18.indd 3 12/14/09 7:27:34 AM Emmanuel Church, Chestertown, Nicholas Bideler; 3/21, Eugene Lavery. Paukert; May 24, Richard Pilliner. For Brass; 5/19, Paul Skevington; 5/30, Na- Maryland, continues its music series: For information: information: tional Men’s Chorus; June 6, Paul Skev- January 6, Epiphany Evensong; 1/29,
The Choir of the Church of the Good Shepherd, Lexington, Kentucky
The Choir of the Church of the sistant organist at the American Cathe- Good Shepherd, Lexington, Ken- dral, Paris, France) served as auxiliary Leipzig fi nalists and jury: Jürgen Wolf, Enjott Schneider, Domenico Tagliente, tucky, sang a six-day residency in Ely accompanist and organist. In addition to Samuel Liegéon, Baptiste-Florian Marle-Ouvrard, Stefano Barberino, Stefan En- Cathedral, Cambridgeshire, England, singing daily services and enjoying some gels, Thierry Escaich, Lionel Rogg in July 2009. Organist/choirmaster John sightseeing, the choir participated in a Linker led the group of trebles and workshop with Paul Trepte, director of The Leipzig International Organ géon (Paris) third prize (€1,500). The adults, and assistant organist Stephanie music at Ely Cathedral. For informa- Improvisation Competition took jury included Stefan Engels (Leipzig), Sonne served as principal accompanist tion:
The Choir of Our Lady of Mt. Carmel Church, Chicago, with Paul French, conduc- James Kibbie with current and former students tor, and organists Stephen Alltop, David Jonies, and Jay Peterson
James Kibbie and six of his current John Beresford, Diana Saum, Joe Balis- Our Lady of Mt. Carmel Church, church’s E. M. Skinner (1929) and Viss- and former students at the University treri, Richard Newman, and John Wool- Chicago, presented an organ spectacu- er-Rowland (1987) organs. The Choir of of Michigan recreated Mendelssohn’s all- sey, together with students from Calvin lar October 2, celebrating the 200th Our Lady of Mt. Carmel Church, Paul Bach recital of 1840 in a performance at College and Professors Norma de Waal anniversary of the birth of Felix Men- French, conductor, sang four choruses Calvin College in Grand Rapids, Michi- Malefyt and Larry Visser (Calvin Col- delssohn. Chicago organists Stephen from two of Mendelssohn’s oratorios. Jay gan on November 6. Shown in photo (l lege) and James Kibbie (University of Alltop, David Jonies, and Jay Peterson Peterson accompanied the choir. to r) are performers Andrew Herbruck, Michigan). performed the six organ sonatas on the
4 THE DIAPASON
Jan 2010 pp. 2-18.indd 4 12/14/09 7:27:55 AM evening concert, along with UA music music series: January 31, Gary Garletts; Baptiste Robin, St. Paul United Meth- church’s 1949 Möller pipe organ was re- faculty and University Singers. February 19, Peter Brown; 2/26, Murray odist Church, Lincoln. For information: built and restored in 2009 and includes a Saturday workshops include a choral Forman; March 5, Donna Burkholder;
Tong-Soon Kwak David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Organist Organist/Choral Conductor/ Organist/Pianist/ Organist Organist/Pianist/Harpsichordist Professor of Organ Oratorio Accompanist Recording Artist 2004 NYACOP Winner Associate Professor of Organ College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Associate Professor of Organ Grieg Academy of Music Yonsei University First United Methodist Church Oulu Polytechnic School of Church Music Bergen, Norway Artistic Director Columbus, Indiana Organ and Violin Southwestern Baptist Torch International Organ Academy with Manfred Grasbeck Theological Seminary Seoul, Korea Helsinki, Finland Fort Worth, Texas
Scott Montgomery David F. Oliver Larry Palmer Gregory Peterson Stephen Roberts Organist/Presenter Organist/Lecturer/Recording Artist Harpsichordist/Organist Organist Organist/Harpsichordist/Lecturer 2006 NYACOP Winner College Organist Professor of Harpsichord and Organ College Organist and Instructor of Organ Director of Music Ministries/Organist Director of Music Ministries Meadows School of the Arts Assistant Professor of Music Western CT State University Holy Cross Catholic Church Dr. Martin Luther King Jr. Southern Methodist University Luther College Director of Music Champaign, Illinois International Chapel Dallas, Texas Decorah, Iowa St. Peter Church Morehouse College Danbury, Connecticut Atlanta, Georgia
Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Artis Wodehouse Duo Majoya Organist/Harpsichordist/ Organist/Recording Artist/ Organist Pianist/Harmoniumist/ Organists/Pianists/ Accompanist Lecturer/Conductor Organist of Notre Dame de Miséricorde Reed Organist/Recording Artist Lecturers/Recording Artists Organist and Choirmaster Organist and Choirmaster President of the concert association Director of Music Marnie Giesbrecht Episcopal Church of the Advent The UNESCO Heritage “Automne Musical de Marchienne” The Unitarian Joachim Segger Spartanburg, South Carolina Imperial Cathedral of St. Mary Piano & Organ Instructor Universalist Congregation Professors of Music Speyer, Germany Charleroi, Belgium Montclair, New Jersey U of Alberta, King’s U Edmonton, AB, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
JANUARY, 2010 5
Jan 2010 pp. 2-18.indd 5 12/14/09 7:28:12 AM petition will consist of a pre-selection service, the AGO national council, in co- October 8 and 9; 1,500 public school process and then three rounds on the operation with the Associated Pipe Or- fi fth-grade students attended the pro- Goll organ of the Music University and gan Builders of America, has created a grams, presented by Ronald Ebrecht, the Cavaillé-Coll organ in the Church permanently endowed scholarship in his director of music, and Brian Parks, of St. Bernhard in Mainz-Bretzenheim. name. Annual earnings from the schol- guest artist. Since 1996, First Church It is open to organists of any nationality arship fund will support an award to be has hosted more than 30,000 students born after January 1, 1975. The closing given to a student attending an AGO for musical programs. The Introductory date for applications is February 28, Pipe Organ Encounter (Technical). Concerts are funded in part by the Wa- 2010. Competition director is Eduard terbury Women’s Club, which also as- Wollitz. For information:
Charles Lang, Christa Rakich, Andrea LeBlanc, and Susan Ferré
Charles Lang, gamba, Christa Ra- Trio Sonata, BWV 529, arranged for two kich, organ, Andrea LeBlanc, traverso harpsichords. Successive concerts at St. fl ute, and Susan Ferré, harpsichord, Barnabas Episcopal Church in Berlin were participants in the Big Moose featured sonatas for gamba and fl ute, Bach Festival, sponsored by Music in and the Concerto for Two Harpsichords, the Great North Woods, September BWV 1061a. The festival concluded with 5–7. Concerts took place in Berlin and the Goldberg Variations, performed in Gorham, New Hampshire. The festival the historic Randolph Church to a capac- opened at Chapel Arts in Gorham with ity crowd. The fi nal concert was followed multiple keyboards—organ, clavichord, by a Service of Compline. and harpsichord, featuring the C-major
David Pickering (faculty), Diana Chou, Elaine Guo, Shuling Haitao, Bella Chou, Shay- la DeLong. Not pictured: Jack Ergo (faculty), Kylie McGill, and Matthew McGill
The Department of Music at tan area. While in Kansas City, students Graceland University sponsored its and faculty visited Kent Swafford, piano third annual keyboard camp August 10– technician at the University of Missouri- 14 in Lamoni, Iowa. Seven participants, Kansas City Conservatory of Music, who all of whom reside in Iowa, attended the gave a lecture and demonstration of the camp, which featured Graceland faculty piano’s inner workings for students. The Jack Ergo (piano) and David Pickering group then proceeded to the Communi- (organ). All participants studied both ty of Christ International Headquarters organ and piano during their week in in Independence, Missouri, where they residence. Classroom sessions taught by attended one of the daily afternoon or- faculty introduced students to the organ, gan recitals at the Community of Christ organ registration, practice techniques, Temple (Casavant, IV/102). Jan Kraybill the piano music of Frédéric Chopin, and led tours of both the Temple’s Casavant hymn playing. Professors Ergo and Pick- organ and the Auditorium’s 1959 Aeo- ering also played a joint recital featuring lian-Skinner (IV/113) organ. music of Bach, Bridge, Chopin, Debussy, The keyboard camp concluded with a and Gawthrop. recital by students performing works on Students also had the opportunity to both organ and piano. The fourth Grace- participate in masterclass sessions on both land University Keyboard Camp will take organ and piano, in addition to taking a place August 9–13, 2010. fi eld trip to the Kansas City metropoli-
6 THE DIAPASON
Jan 2010 pp. 2-18.indd 6 12/14/09 7:28:30 AM Anything Goes?
Not really. Good fashion choices aren’t random and neither is proper organ design. Allen Organ Company’s Tonal Director, Randy Miller, spends months on each stop list, meticulously selecting and scaling samples so that they complement and balance one another, creating cohesive ensembles. Randy believes that Allen customers deserve instruments designed to exacting ideals and well-defined tonal philosophies. We agree.
Creating a world-class instrument is a demanding process. Randy Miller, Allen Organ Company and thousands of Allen owners think it’s worth the effort. You will, too, when you hear the results of our work.
Fashion and organ design might not have a lot in common, but a mix ‘n match approach doesn’t produce the best results in either one.
www.allenorgan.com 150 Locust Street, P. O. Box 36, Macungie, PA 18062-0036 USA Phone: 610-966-2202 • Fax: 610-965-3098 • E-mail: [email protected] an organist who has made a specialty of titled “Dulcet Tones,” the CD is on the The organ was built in 1912 by Georg historic performance practice. Raven label (OAR-950). Stahlhuth (1830–1913) and his son Edu- He has won prizes at international Mitchener, associate professor of or- ard Stahlhuth (1862–1916). Thomas Jann performance competitions, including gan at Oberlin College Conservatory of restored the instrument in 2001, after First Prize at the Sixteenth International Music, became familiar with the two Tan- various rebuilds. The organ comprises Johann Sebastian Bach Competition nenberg organs in Winston-Salem while four manuals and 94 ranks. The CD fea- in Leipzig, First Prize and Prize of the growing up nearby, and in his previous tures a new organ work by Karl Jenkins, Audience at the Dublin International faculty position as associate professor of The Madness of Morion, commissioned Organ Competition, First Prize at the organ at the University of North Carolina by the Spreckels Organ Society, along Arthur Poister Organ Competition, and School of the Arts and Salem College. At with works by Philip Glass, Ponchielli, First Prize and Prize of the Audience at least two editions of the work have been Fats Waller, and more. For information: the Miami International Organ Competi- published, one in 1992 and another from
,4KEJCTF Jerald Hamilton Jerald Hamilton died November 1, 2009, in Albuquerque, New Mexico. 6 =(5(0$1< Born March 19, 1927, in Wichita, Kan- 5HFLWDOV ² :RUNVKRSV ² 0DVWHU&ODVVHV sas, he was a graduate of the University of Kansas, Lawrence, and served on the )KXGOGCECNNCPFYGŎNNOCMGUQOGOWUKE faculties of Washburn University of To- peka, Kansas; Ohio University, Athens; the University of Texas, Austin; and the University of Illinois at Urbana-Cham- paign, from which he retired in 1988 as #PPKXGTUCT[6QWT Professor Emeritus of Music. In 1942 he began a long career in 5HFLWDOV7DLORUHGWR 8 THE DIAPASON Jan 2010 pp. 2-18.indd 8 12/14/09 7:28:56 AM Albuquerque, from which he retired in Richard Bond, and more. Performers ing from the Choir and Swell; Odell is 1993 as Organist-Choirmaster Emeritus. include Douglas Cleveland, Julia Brown, fabricating replacements. Work will be Post-graduate study was at the Royal J. Melvin Butler, Carole Terry, Bruce ongoing for the next several years as time School of Church Music, Croydon, Eng- Stevens, and others in live performances and funds permit. land, and the School of Sacred Music on 24 pipe organs built between 1871 Repair work at West Point Cadet Cha- of Union Theological Seminary in New and 2000. Includes a 36-page booklet pel commenced in May 2009. The Nave York City. Organ study in the U.S. was with photographs and stoplists; $34.95; and Transept Great divisions, which had with Susie Ballinger Newman, Laurel OHS members: $31.95. For information: been offl ine since lightning strikes took Everette Anderson, and Catharine Cro- RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595 10 THE DIAPASON Jan 2010 pp. 2-18.indd 10 12/14/09 7:29:35 AM “Virtues and Faults Seen in the Vari- Looking Back ous ‘Classic’ Designs,” by J. B. Jamison People: Alfred Brinkler, Winslow Cheney, Clarence Dickinson, Virgil Fox, 10 years ago in the January 2000 Porter Heaps, Hugh McAmis, Cora issue of THE DIAPASON Conn Moorhead, Sydney H. Nicholson, Cover, Dobson Pipe Organ Builders, Renee Nizan, Hugh Porter, Günther Ra- Valparaiso University min, Mario Salvador Aaron David Miller appointed as- Organs by Aeolian-Skinner, Bartholo- sociate organist and assistant director may, Estey, Kilgen, Kimball, Möller, of music, Fourth Presbyterian Church, Wicks Chicago Stephen Roberts appointed direc- tor of music and organist, St. Peter RC Church, Danbury, CT Russell Stinson appointed to Jose- In the wind . . . phine Emily Brown Professorship of by John Bishop Music, Lyon College, Batesville, AR Mark Zwilling appointed director of music ministries, Cathedral of Hope, Fisk organ, Parish of the Epiphany, Winchester, Massachusetts Dallas, TX George Baker rejoined Karen McFar- Take a look at the website of this Thailand. My host had run a Thai res- lane Artists after an absence of 20 years wonderful parish, 12 THE DIAPASON Jan 2010 pp. 2-18.indd 12 12/14/09 7:35:07 AM texts ensure that we start from the same demanding, and demeaning as Pépin’s. recipe—that our extemporizing comes Dupré and his peers did not practice from the same source. But for heaven’s scales and arpeggios as if their lives de- sake, don’t be afraid to add some garlic pended on it. They practiced scales and and salt and pepper to taste. arpeggios because they felt their lives did § depend on it. Stern teachers stood over them ready to strike if a note was missed. More than twenty years ago I took on Modern educational theorists preach the care of a large three-manual tracker against such authoritarian techniques, organ built in the 1960s by one of our fi ne quite correctly looking out for the feel- Massachusetts organbuilders. Without ings of the student. While it’s easy to ar- saying which organ and which builder, gue that especially gifted students should I’ll say that it’s a well-known example of be challenged, it’s equally true that rigor- the American Classic Revival, with a tra- ous, even violent teaching methods leave ditional architectural Werkprinzip form scars on the psyche that exceed the value with towers and fi elds of façade pipes of the lessons. and an unornamented plywood case. It While Marcel Dupré was a genera- is considered an important example of tion older than Jacques Pépin, both were that style of Euromerican organbuilding products of a rigorous, demanding, old- and it shows up in several of the standard world educational system. Both were pipe organ picture books. taught independently as apprentices rath- Not long after I got to know the or- er than in large classes. Both were fully gan, I ran into the fellow whose shop immersed and versed in ancient pedagog- built it. During our conversation about ical traditions and both were able to use the instrument, I confessed that I had that intense pedagogy as a springboard trouble tuning the Positiv Krummhorn. for meaningful innovation. Pépin’s lilting It was a thin-sounding buzzy little thing contemporary recipes are exciting and and many of the pipes were unstable in fresh in a way similar to the bold harmo- both speech and pitch. He replied, “I nies, beautiful melodies, and deep mystic hate that . . . Krummhorn.” symbolism of Dupré’s masterpieces. Aha. So every stop in every respected Neither Dupré nor Pépin could have organ is not a masterpiece. So it’s okay achieved such breadth and depth of in- for an organbuilder to say that he’s disap- fl uence without the rigor of their educa- pointed in some feature of an instrument tions, however demanding or daunting. he built. Does that mean that it would be § okay when assessing an older instrument to recommend the replacement of an Ingredients in a recipe are the blue- unsuccessful stop? Or should the organ print, the roadmap to be translated by the be respectfully and dutifully preserved cook, through the utensils and heat sourc- in its original condition? es, into the magic that is delicious food. What’s that onion doing in my oatmeal? Notes on a score—those squiggles and Now just because I remember this symbols—are the recipe, the blueprint, one conversation about this one organ the format to be translated by the mu- stop doesn’t mean I’m ready to justify sician, through the instrument, into the the replacement of any stop that I think magic that is audible music. is less than great. And I’m not saying that The chef learns the basics, the tech- this opens the door for us to look for con- niques, the theories, and the chemistry. venient justifi cation to do what we want Once he knows those basics and can without good artistic and academic con- reliably prepare and present traditional sideration. But I do think that insisting dishes, he’s more free to experiment be- on authenticity solely for the purpose of cause he knows the rules. authenticity is not the best way to serve The musician learns the techniques, *)-PZR6W the future of our instrument. the historical priorities, and the lan- § guage of the art. Once he can reliably prepare and present the great master- :[\K`\UKLY[OLN\PKHUJLVM;PTV[O`6SZLUHY[PZ[MHJ\S[`PU6YNHU Classic French cuisine includes some works, he’s more free to experiment, of the world’s best recipes and some of the to innovate, and to challenge himself 4HZ[LY*SHZZLZ^P[OPU[LYUH[PVUHSS`YLUV^ULKN\LZ[HY[PZ[Z most rigid attitudes about food. Jacques and his audience. How’s that for a lot of Pépin was trained as a chef in post-World lines and squiggles? Q 7HY[ULYZOPW^P[O:HSLT*VSSLNLPUJS\KPUNYLN\SHY War II France. He immigrated to the THZ[LYJSHZZLZ^P[O)HYIHYH3PZ[LY:PUR 4PJOHLS9V[ORVWM United States in 1959 to work for Pierre PU[LYPTKLHU Franey in the celebrated Manhattan res- taurant Le Pavillon, that esteemed and *V\YZLZPUZHJYLKT\ZPJPTWYV]PZH[PVU infl uential establishment that grew out On Teaching VYNHUOPZ[VY`HUKSP[LYH[\YLHUKVYNHUWLKHNVN` of the restaurant of the same name at by Gavin Black the 1939 New York World’s Fair. It was .LULYV\ZZJOVSHYZOPWZHUKNYHK\H[L[LHJOPUNHZZPZ[HU[ZOPWZ Le Pavillon that brought the grand tradi- tion of French cuisine to America, and Repertoire, part 3: Mailbag Jacques Pépin, along with Julia Child This month’s column is devoted to and other gastronomic luminaries, who answering a few questions from readers, 2010 on campus auditions: 4LYP[ZJOVSHYZOPWJVUZPKLYH[PVU 7YVMLZZPVUHS(Y[PZ[*LY[PÄJH[L created the revolution that remade the arising out of the two recent columns 4HZ[LYVM4\ZPJ complicated and rigid tradition to be ac- about repertoire. The questions all have 1HU -LI -LI cessible and understandable to American to do with one basic point—namely, how )HJOLSVYVM4\ZPJ (WYPS 4H` palates and amateur cooks. it can be possible for students to work *VSSLNL(Y[Z+PWSVTH In his memoir The Apprentice (Hough- effectively on pieces that are “too hard.” The University of North Carolina School of the Arts is an equal opportunity campus of the UNC system. 9LZPKLU[PHS/PNO:JOVVS ton Miffl in Company), Pépin writes of These questions have led me to believe the autocratic, authoritarian tyrants who that I should discuss this further, espe- were his mentors, and professional kitch- cially since I also consider it a very im- ens in which teen-aged apprentices were portant point. I will revisit certain things the butt of cruel jokes, subject to severe that I have already said, looking at them punishments for mistakes. It was not from somewhat different angles, and add okay to substitute lime for lemon. a few new ideas. As I read and re-read Pépin’s words, I’m reminded of the stories I’ve read of What is too hard? French musical pedagogy of early- and I begin by quoting at length from mid-twentieth-century France. Marcel a set of questions sent to me by Don Dupré’s life as a student was as rigorous, Stoner, a reader from Pennsylvania who studied organ in college and has taught The Organ Clearing House PO Box 290786 Charlestown, MA 02129 Ph: 617.688.9290 www.organclearinghouse.com Dance 0 Design & Production 0Drama 0 Filmmaking 0 Music 1533 S. Main Street Winston-Salem, NC 27127-2188 336-770-3290 [email protected] www.uncsa.edu JANUARY, 2010 13 Jan 2010 pp. 2-18.indd 13 12/14/09 7:35:31 AM It can, as a matter of teaching technique, chosen, there should also not be an as- their own repertoire cannot be based on learning technique, and practicing strat- sumption, even as a starting point, that it the teacher’s abdicating the responsibility egy, be done successfully with any piece. will not be chosen. to know both exactly where that student However, as Don Stoner suggests in In fact, if a student has a strong desire is in the learning process and as much as the last line quoted above, part of the to work on a piece that is a stretch for that is humanly possible about the student’s issue is psychological. This is true most student, then the teacher can use that as a abilities and aptitudes. This knowledge fundamentally with respect to the root sort of bargaining chip: you may certainly can be used either to help the student of this whole discussion: the reason for work on this piece, but only as long as you choose pieces to work on that will seem letting students work on whatever mu- practice it well, in the ways that I suggest, appropriate in a traditional way—neither sic they most want to work on is that the patiently, systematically, etc. too easy nor too hard, adding something mind of the student will then become The other psychological dimension to the student’s technical and musi- more focused and better able to work ef- that I want to discuss is fear. Fear is a cal learning without being overwhelm- fi ciently. I believe this because I have ob- natural response to the prospect of doing ing—or to help the student navigate the served it over and over again in myself, in something very diffi cult. At a minimum, treacherous but fruitful waters of a very colleagues, and in students. I think that fear of failure, in and of itself, comes challenging piece. If Professor Roan had this effect can often be at work even in into play. On top of that, there is fear of not known me very well—I had studied people who believe that it doesn’t apply disappointing the teacher, fear of disap- with him off and on for several years at to them—that is, who believe that they proval from others—the teacher, fellow that point—he would not have been able have the pure willpower to make them- students, others in the fi eld, a kind of to agree without discussion that it was a selves work regardless of their feelings imaginary, externalized “superego,” one’s good thing for me to work on The Art of about what they are working on. parents, and of course one’s self. There is the Fugue, and he certainly would not high school and middle school music for also the fear, specifi cally, of being thought have been able to help me with the pro- many years. From his perspective as an Temperamental and psychological hubristic, arrogant, self-important, or just cess as much as he did. experienced teacher, he has provided in- issues plain cluelessly unrealistic in your claims If anything, it is more important that teresting feedback on different matters However, there certainly are some about what you can or can’t accomplish. the teacher be prepared—equipped over the past couple of years, and in this psychological or temperamental points These fears are all natural and more or with knowledge of the student and of instance his questions bring up essential- that run counter to this. The main one less universal. However, acting on them, the music, and in a frame of mind to pay ly everything that I want to address here. is that if a student is working, even very in particular by limiting the scope or very close attention—when a student is He wrote as follows: effi ciently and effectively, on a piece ambition of what pieces one works on, working on a “too hard” piece. Although that is very challenging—“too hard”— seems to me to be a terrible loss. In dis- such a piece approached properly can Thanks once again for your articles in for that student, then the student has cussing with a student the pros and cons be at least as effective a teaching tool as The Diapason. I would like to ask you to have patience. It will clearly take of tackling a big diffi cult piece, a teacher several easier or shorter pieces, it is also several questions that I was thinking about, many times as long to learn a piece that should, I believe, encourage the student true that it carries with it more danger. especially in the paragraphs about the is- sue: What is too hard? . . . Here goes! is lengthy and diffi cult than to learn a to think clearly about his or her motiva- If the student approaches it the wrong Should a teacher fi rst access what the piece that is short and (relatively) easy. tion, temperament, style of working, and way, it can turn into a waste of time or technical and theory abilities a student A student who asks to work on such a so on. The student should know as clearly a source of discouragement, or, worse, a has at the keyboard? For example: You get (long, diffi cult) piece must think care- as possible what it would feel like to dig framework for developing bad technical a student that wants to play the famous fully about whether he or she has the in and work on a very challenging piece, habits. There is nothing intrinsic to a lon- Bach Toccata and Fugue in D minor. But patience to defer the gratifi cation of hav- and make a free decision about whether ger or harder piece that will make these he doesn’t have the “fi nger power” (for lack ing completed the whole piece, perhaps that is or is not something that he or she pitfalls actually manifest themselves, of a better way to describe it) to negoti- not even to be able to predict how long wants to do. But the teacher should also but they can do so if the piece is not ap- ate the manual runs, the pedal work, and so on. It would, I think, be like throwing it will take. If this student gets pleasure try very hard to help the student ignore proached the right way. The teacher’s job someone in 10 feet of water and tell him out of playing pieces for people along any voice of fear, any voice suggesting is to make sure that this doesn’t happen. to swim!! While I think that we need to let the way, then he or she will have to think that working on a harder rather than an The more that a teacher knows about the people play music they enjoy, they need to about whether it is all right to do less of easier piece is scary or risky. strengths, weaknesses, and habits of the have certain amount of technical ability to that for the time being—that is, to be In fact, helping our students to free student, the better he or she can accom- be able to “make it through” to the end of learning fewer pieces in a given space themselves from fear is probably the plish this. the piece. Would you in this case say to a of time and thus have fewer, or no, new most important thing that we can do as As a matter of hour-by-hour practic- student “I appreciate your enthusiasm, but pieces to perform during that time. (I teachers. I have one anecdote to relate ing, week-by-week learning, or the over- I think that we need to start with a smaller prelude and fugue (little 8) and then build am talking now about this as a source of on that subject. At my fi rst organ lesson all pedagogic usefulness of any number up to this larger selection”? Do you think pleasure, satisfaction, or motivation, not in the spring semester of 1985—which of months or years of study, the act of that all organ students are ready to “make as a practical requirement. Of course was my second year as a graduate stu- working on short easy pieces is identical the decision” that “I can play this piece no some students are in a position where dent—I placed on the music desk of the to the act of working on a longer or more matter what anyone thinks”? they need pieces for practical purposes, Fisk organ at Westminster Choir Col- diffi cult piece. A long, diffi cult piece is say for church or to meet the require- lege the Helmut Walcha organ edition several shorter, easier pieces. It is up to The essence of the matter is this: if it ments of a structured academic pro- of The Art of the Fugue. When Professor the student to be willing to treat it that is true—as I believe—that it is impor- gram. If so, then of course those needs Eugene Roan arrived for the lesson, he way and up to the teacher to use all of tant to encourage students to work on may intervene temporarily and defl ect just sat down in a nearby chair, nodded his or her teaching expertise to show the music that they really like and want to the student from simply studying what and smiled. He was telling me that, yes, student how to do so. work on, then it must be OK to let those he or she wants to study.) it was OK for me to work on that (very) The technique for doing this is con- students (some of the time at least) work If a student comes to a teacher want- long, (excruciatingly) diffi cult piece for ceptually simple. The long piece must be on music that is harder than what we as ing to work on a very diffi cult piece, one my upcoming degree recital. There was broken into shorter bits, and those bits teachers might consider prudent. It also that is exciting and interesting to that stu- essentially nothing in the record of what then must be made easier by practicing must mean, again some of the time, be- dent, then the teacher should discuss the I had done prior to that day to suggest them slowly, by separating hands and ing willing to throw out any sense that it temperamental and psychological issues that I could handle this project. His im- feet as much as necessary, and by do- is necessary to work on pieces in some involved. That is, the teacher should re- mediate, concise, friendly agreement ing enough analysis to render the piece particular order. In general, it seems to mind the student that this will be a long that I could and should do it not only well known to the student. For exam- call for taking a somewhat improvisatory project, will require patient and well-or- led to my lifelong involvement with that ple—an extreme example—if a student approach to the business of using rep- ganized work, and will involve postpon- piece, it also signaled to me that I really who might naturally be working on a few ertoire as material for making technical ing the satisfaction of having completed was an organist, and that I could really Orgelbüchlein pieces or short preludes progress. In order for any of this to work, and learned a piece. It is by no means aspire to do what I wanted to do. and fugues wants to learn the Bach F- it is necessary to discover a way to use necessary to end up working on that major Toccata and Fugue, that piece can any piece—regardless of its degree of piece. However, it is necessary (where The role of the teacher be broken up into many pieces, none of diffi culty—as the material for teaching “necessary” means “much better for the This brings us to the next question. which is (initially) any harder than, say, and learning at any stage. The essence of learning process”) that the student be It is always important, essential in fact, Ich ruf zu dir. The fi rst of these might this, in turn, is the ability to break each genuinely happy with whatever piece(s) that a teacher know as much as possible be the right hand part of the opening piece down into simple components and he or she end up working on. And while about the “technical and theory abilities canon. The next might be the left hand to fi gure out how to use those compo- there need not be an assumption that a student has” as Don Stoner aptly puts part from the same section, noticing very nents as appropriate teaching materials. the longer or more diffi cult piece will be it. The notion of letting students choose explicitly the relationship between this MANDER ORGANS Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- New Mechanical Action Organs pletion and dedication of their new pipe organ. This instrument features a 5-manual console and 93 ranks of pipes in 9 Exquisite divisions. The complete Continuo Organs specification is available St. Peter’s Square at www.pipe-organ.com London E 2 7AF • England [t] 011 44 20 7739 4747 for this and other pro- [f] 011 44 20 7729 4718 jects. [email protected] A.E. Schlueter Pipe Organ Co. www.mander-organs.com P.O. Box 838, Lithonia, GA 30058 Imaginative Reconstructions 800-836-2726 www.pipe-organ.com 14 THE DIAPASON Jan 2010 pp. 2-18.indd 14 12/14/09 7:35:52 AM line and the right hand part. The third In The New Church Anthem Book singing, and then the melody is sung Leaning on the Everlasting Arms, arr. “piece” might be any dozen measures of edited by Lionel Dakers and published by the men, with the women singing Joel Raney. SATB and piano, Hope the pedal part from the middle of the toc- by Oxford University Press (www.oup. countermelodies that comment on the Publishing Co., C 5546, $2.05 (M). cata section. (I say that to make the point com/us), 33 of the 100 anthems are text. The keyboard part is easy, often This rousing gospel setting has an that a long piece that is being learned pa- suitable for this period, compared to with sustained chords. Simple but ef- optional performance CD (C 5546C) tiently does not have to be worked on in only fi ve for Advent, three for Christ- fective music. for those choirs seeking that kind of ac- order from beginning to end.) The next mas/Epiphany, and six for Pentecost. companiment, although the piano part might be, say, the alto voice of the fugue The book is an update of the edition The Garden of Gethsemane, Vicki on the score has an effective gospel style for the fi rst two pages, and so on. published in 1933. Both publications Tucker Courtney. SATB and piano that rolls along in 9/8 meter. Syncopa- In this way, a long diffi cult piece can be had as their purpose “to choose and with optional fl ute and harp, Hope tion, effective rests (quick stops), three built up, and it is the key to avoiding the assemble one hundred approved an- Publishing Co., C 5571, $1.95 (M). modulations, and a loud, climactic end- “throwing someone in 10 feet of water” thems old and new.” The hardcover This is a full score that includes the mu- ing will offer great contrast to a sedate problem. Of course, this is really just ev- book is expensive but a worthwhile in- sic for the fl ute and harp; a separate fl ute Lenten church service. The choir parts eryday good practicing, but applied very vestment in quality literature that will part is on the back cover, but a separate are on two staves, often in parallel thirds. seriously. In fact, the discipline of work- serve any church choir, with composers harp part must be ordered (C 5571P). A fun setting. ing on an extremely challenging piece can from Palestrina to Rutter, and is highly The choral parts are on two staves and help to teach overall good practice habits. recommended as a purchase that will have frequent unison phrases. The lega- In Times Like These, John Carter. The easier the piece, the more tempting it serve the church for many years. to music is expressive, with fl owing fl ute SATB and keyboard, Beckenhorst is just to play it over any number of times The musical works reviewed below lines and strummed harp chords. This is Press, BP 1839, $1.75 (M-). in a row until it gets more or less learned. are not from that book, but are recent a lovely setting of a J. Paul Williams text. Mary Kay Beall’s text states, “In times If it is obvious that this casual approach publications by various publishers. With All will enjoy this work, which will be re- like this these, the love of God sustains will not work with a given piece, then the Ash Wednesday on February 17, it is not peated for years to come. me.” Carter’s setting presents the choral student—who in this scenario is highly too early to begin choosing music for this parts on two staves, using syllabic chords motivated to play the piece: after all, it period. Easter in 2010 is April 4; next Out of the Depths (De Profundis), with some areas in unison. The keyboard was chosen specifi cally and only because month’s column will feature music for Robert Kyr. SATB unaccompanied, part has pulsating eighth notes in the the student really wanted to work on it— that special day, the most important Sun- Ione Press of ECS Publishing, No. right hand, above left hand chords. The will be highly motivated to practice in a day in the life of the church. 5802, $1.85 (D-). music is slow with the main theme devel- way that does work. The setting uses dark harmonies, oped as it moves through the text, yet the I will leave the subject of repertoire I Want Jesus to Walk with Me, arr. contrapuntal lines, and a low tessitura, theme is always easy to discern. for a while after this month, though hap- Nansi Carroll. SAB, solo, assembly especially for the altos. It has a dra- py to answer further questions individu- and piano, GIA Publications, Inc., matic character, with frequent dynamic Psalm 121, Walter Pelz. SATB and ally by e-mail. Sometime in the future I G-6281, $1.75 (M-). changes as Psalm 130 slowly unfolds. keyboard with optional high voice will write a fairly long series of columns The familiar refrain is sung several There is a strong independence of each solo, MorningStar Music Publishers, going step by step, in considerable detail, times and is printed on the back cover vocal line. An advanced choir will be MSM-50-8116, $1.70 (M). through the process of learning a specifi c for duplication for the assembly. Only needed for performance of this sophis- The serene music is slow; it opens piece. As part of that series I will address two of the three verses use full SAB ticated music. with a solo and is generally through- particular individual practice strategies for students with different levels of ex- perience. I welcome suggestions for ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD what piece I should use for that project, DOBSON CASAVANT FRERES though of course I will not be able to use them all. Q Gavin Black can be reached at Music for voices BOODY TAYLOR and organ APOBA by James McCray Lent and Passiontide Get the Best Then saith one of his disciples, Judas Iscariot, Simon’s son, which should be- From the Best. DYER R. tray him. Why was not this ointment sold for three hundred pence, and given to the poor? —John 12:4 Then Lent and Passiontide tend to span a wide gamut of emotions. Beginning on Ash Wednesday and ending on Rest Assured. GARLAND FISK Holy Saturday, this period includes the “temptation in the wilderness,” which early on was associated with Lent. At fi rst, Lent was a period of varying du- ration that later came to be called the FRITTS “forty days” and adopted by the Latin church in the seventh century. Other signifi cant events include the Palm Sun- Whether your new organ is to be day entry into Jerusalem, the trial, and the crucifi xion. In short, this period is small or large, electric an important time in Christianity. or mechanical action, APOBA members are GOULDING & WOOD proven, ethical firms. And we’ll be here tomorrow and for generations of tomorrows to meet your needs. QUIMBY QUIMBY REDMAN SCHANTZ SCHOENSTEIN & HENDRICKSON To receive information about pipe organs and recognized pipe organ builders AP write or call toll free 1-800-473-5270 or on the web @ www.apoba.com PASIO Associated RICHARDS-FOWKES Pipe Organ Builders of America BA P.O. Box 155 • Chicago Ridge, Illinois 60415 OTT OTT PARSONS NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP JANUARY, 2010 15 Jan 2010 pp. 2-18.indd 15 12/14/09 12:28:38 PM composed. The choral parts are on the point of distraction.” Furthermore, music from England and many sub- two staves in a syllabic setting of the Book Reviews this fi ne musical culture was not un- scribed to The Gentleman’s Magazine, text. The harmonies wander around rivaled in other parts of Mexico such which also contained some songs and and employ chromatic alterations with as Puebla. Moving north and west to dances. The Virginia Gazette regularly wide dynamic shifts. The keyboard part Music of the Colonial and Revolu- California, Narciso Durán (1776–1840) carried advertisements for slaves whose is not diffi cult. tionary Era, by John Ogasapian. established a school at the Mission San profi ciencies included the ability to play (American History through Music, José, where he taught the Native Ameri- one or more musical instruments. Three The Power of the Cross, arr. Jack No. 3, David J. Brinkman, series edi- cans to copy music for other missions churches in Virginia—Hungar’s Church Schrader. SATB and piano, Hope tor.) Westport, CT & London: Green- and compiled a volume of music for the in Northampton County, Petsworth Publishing Co., C 5558, $2.10 (M). wood Press, ISBN: 0-313-32435-2. mission. By the 1840s, there were two Church in Gloucester County, and Bru- The text and music by Keith Getty 251+xii pp., $57.95, organs in Santa Barbara. Isolated as they ton Parish Church in Williamsburg— and Stuart Townend make this anthem 16 THE DIAPASON Jan 2010 pp. 2-18.indd 16 12/14/09 7:36:24 AM music for St. Peter’s Church and Christ nian Academy of Philadelphia. By this ideal in a recital when a gentle melodi- Domine, Dona Nobis Pacem, of six and a Church, where he was a vestryman. He time, there were a number of profes- ous selection is needed. half minutes’ duration. Gentle and quiet and William Young directed the chil- sional organ builders in North America, All of this music was once published in music, it would make a most effective dren’s choir. Hopkinson, who claimed to including the Moravians John Clemm the USA and played in recital and church service voluntary. This CD is fi rst-rate be the fi rst musical composer born in the and David Tannenberg in Philadelphia, service. Every composition will not ap- in every respect. United States, was one of the signers of and John Geib in New York. Henry Pratt peal to all, but each is well played by Mr. the Declaration of Independence. (1771–1841) was at work in Winchester, Flood, who has done us a considerable Alla Rumba! Organist Scott Ben- In what is now Fairmount Park in Phil- New Hampshire, and Josiah Leavitt favor by presenting it to a new audi- nett with brass sextet and timpani, adelphia, there was a strange group of elsewhere in New England. John Selby ence. I thought the three pieces by Aloÿs Grace Episcopal Church, Charles- monastics named the Mystical Brethren (1741–1804) arrived as organist of the Claussmann, Sortie Brève, Pastorale, ton, South Carolina; Reuter organ, of the Wissahickon. Their leader, Johann King’s Chapel in 1771, and his brother and Marche de Fête, were very attrac- 68 ranks. Pro Organo CD 7172, Kelpius (1763–1708), compiled a hym- William Selby followed him to America tive. Arbutus by Paul Bliss is a cute brief JANUARY, 2010 17 Jan 2010 pp. 2-18.indd 17 12/14/09 7:36:46 AM ers today, particularly for his preludes in for sprightly feet. The chorale fantasia mended for his tireless work in making director. Most of the descants lie com- E minor, Bruhns was also a highly skilled continues all the characteristics of the the rich treasury of the North German fortably within the soprano range, but violinist who, according to undoubtedly form developed by Scheidemann in its keyboard repertoire available to us in the Adeste fideles descant might sit reliable contemporary accounts, accom- 143 bars, including a fl orid ornamenta- these excellently prepared and clearly a bit high for older voices. Notably, the panied his violin playing at the organ by tion of the cantus fi rmus in the RH in printed editions. edition provides trumpet parts for both a bass line played with great dexterity on a trio-like setting, built-up arpeggiated —John Collins B-fl at and C trumpets, saving time for the pedals. None of his organ works were chords being echoed immediately, met- Sussex, England directors during this busy season of the printed in his lifetime, and no autograph rical changes and pseudo-polyphonic year. The brass parts are as accessible as manuscripts have survived, but his small writing in the central section, and cross- the descants and can be performed by canon survived in a virtually unbroken ing of hands on two manuals. As Though the Whole Creation Cried, advanced high school students as well as transmission in both manuscripts of the The short Praeludium in G minor Volume 2, Michael Burkhardt. Morn- professionals. The alternate harmoniza- 18th century and printed editions from is taken from a manuscript of ca. 1730 ingStar Music, MSM-10-606, $29.95. tions are colorful without being overly the 19th through to the 20th centuries. compiled by Johannes Ringk, which also This second volume of alternative chromatic or dissonant and may be used This new edition is based on the pri- includes pieces by Central and North hymn settings offers 50 unique but un- even if one does not have the resources mary sources as regards the transmit- German composers; Harald Vogel has pretentious settings of 42 hymns, many of a brass quartet. ted note values and beaming with the suggested that it could be by Arnold from some of the newest hymnals. The implications for articulation, time sig- Brunckhorst. It is a pleasant piece en- arrangements are most accessible, pre- The Coral Ridge Festival Hymn Col- natures, bar lengths, voice-leading, and tirely in 4/4 that does not reach the senting few technical challenges. One lection, Volume 1, Samuel Metzger. the distribution of the hands and pedals; heights of the authentic praeludia, with of the most welcome aspects of this vol- MorningStar Music MSM-10-211, notes intended for the pedals are usually one pedal solo and one fugue of typical ume is that it presents hymns from many $28.00. placed on a third stave, but occasion- repeated notes. The short Adagio of one countries, including Sweden, Spain, Samuel Metzger’s fi rst volume of al- ally indicated by “ped” on the lower of page has a RH solo over accompaniment and Korea, allowing church musicians ternate harmonizations is a delightful two staves. Of inestimable value is the and pedals, both of which rarely move to broaden the repertoire of their con- addition to the growing body of alter- facsimile of the Praeludium in E mi- faster than quarter notes, and is found in gregations. Other, better-known hymns nate hymn-tune settings. Writing for the nor; in addition to showing the edito- the Husum organ book of 1758 compiled have associations with Catholic, Episco- services at the Coral Ridge Presbyterian rial work required to transcribe from by one Bendix Zinck, who was a native pal, and Lutheran liturgical traditions. Church, Metzger offers some dramatic German letter notation, it gives us the of Schwabstadt where Bruhns was born. Several of these settings might make and stunning arrangements of fi fteen of opportunity to look at the same kind of Possibly just a short section from a much wonderful additions to a service com- the best-loved hymns of the Christian source as contemporary players would longer work, or maybe a transcription of memorating World Communion, allow- Church. Each setting begins with an have used. The preface, in German and a recitative from an instrumental work, ing musicians to offer music in various introduction, often featuring trompettes English, provides us with full details of this type of writing of chains of suspen- languages or from foreign countries. The en chamade; a standard version (as found Bruhns’s life according to Mattheson, sions does occur in the shorter Praeludi- wealth of material is complemented by in a hymnal); a brief modulating inter- the transmission of the pieces, and brief um in E minor. three indices to aid in worship planning, lude (in nearly every instance), though notes on the two ascribed works, a Prae- The volume also includes some lucid allowing access by season, topic, and re- some are a bit lengthier than others; and ludium in G minor and a short Adagio. notes in German and English on nota- sources. Not being familiar with the fi rst a concluding stanza, often with an op- Of the three praeludia included in this tion and playing techniques, as well as volume, I cannot comment or compare, tional “Amen.” edition, two—one in E minor, the other on organs of the period and their tun- but if it is anything like this one, it, too, Although the suggested registrations in G—are to be found in the Möller MS ing (Bruhns includes D#, A#, E# and must be a treasure. refl ect the stoplist of the church’s Ruf- compiled by Johann Christoph Bach, in A♭ in his writing), and a specifi cation, fatti organ, they can be easily adapted to which they are the sole works in letter albeit incomplete and with a scribal er- Festive Hymn Settings for Congre- any instrument. In addition, Metzger in- tablature. The remaining praeludium, ror, of an instrument actually played by gational Singing, Set 3: Advent & cludes in each setting a descant that can in E minor, is taken from the Schmahl Bruhns with the conjectured specifi ca- Christmas, arranged for Congrega- be sung along with the fi nal verse. Each organ tablature now located in Cracow, tion. Particularly helpful is the discus- tion, Brass Quartet, and Organ, with one is very accessible and is designed which comprises a rich collection of sion of the transference of the violin- opt. Soprano Descant and Tuba, for quick learning, most often just being North German organ music. The Cho- playing techniques of the Lübeck school James Biery. MorningStar Music sung on a neutral vowel. Having used rale Fantasia on Nun komm der Heiden to the organ as seen in the Praeludium Publishers, MSM-20-752, $35.00. several of these, I can recommend them Heiland is taken from a manuscript in E minor’s passage marked Harpeggio, This recent set of hymn settings fea- heartily. These settings will add brilliance compiled by Walther in staff notation; and also in the Praeludium in G major, tures fi ve favorite Christmas carols and inspiration to any festival or ordinary the ornate and rich abundance of orna- where slurs are placed over two notes beautifully arranged for brass and organ. Sunday morning worship. ment signs found in the Agricola MS are instead of four, as described by Scheidt These settings, using the tunes Adeste —Steven Young regarded as a spurious addition. in his Tabulatura Nova of 1624. Brief Fideles, Mendelssohn, Regent Bridgewater State College The three authentic praeludia show notes on the ornaments of the period Square, St. Louis, and Stille Nacht, Bridgewater, Massachusetts how much Bruhns absorbed from Bux- are included (there are none of the tra- will be a welcome addition to any church tehude of the Froberger tradition of ditional North German symbols in any service during the Advent/Christmas alternating between free forms and of the North German sources, only the season. James Biery’s arrangements are The Marilyn Mason Music Library, fugal interludes, here with extensive abbreviation “tr”). The notes have many well suited to the texts. In most cases, the Volume 4: A Collection of Commis- use of the pedals, including the open- helpful annotations to encourage further brass and organ can be used separately, sioned Works for Organ. Morning- ing solo leading to oscillating dominant exploration. There is a full critical com- together, or in alternation, with the ex- Star Music Publishers MSM-10-993, octaves beneath off-the-beat quarter- mentary providing details of all sources ception of “Angels, from the Realms of $28.00. note chords in the second E-minor, and and divergences from them, but this is Glory,” where the composer states that Gerald Custer, Kevin Hildebrand, double-pedaling is frequently called for in German only. brass and organ must be used together. John McCreary, Emma Lou Diemer, in the G-major. Echo effects are specifi - To those who are not acquainted with Each setting features an introduc- Alice Jordan, and Geoffrey Stanton cally called for in the smaller E-minor these highly expressive and moving tion, a standard harmonization of the contributed works to this continuing praeludium. The fugue subjects include works, they will more than repay the ef- tune, and a reharmonized setting of the series of organ works in honor of Mari- plentiful use of repeated notes, and the fort put in, but they do demand a fl uent fi nal stanza. There are no interludes or lyn Mason. This substantial volume in- falling chromatic fourth is exploited in manual and pedal technique; some pas- modulations. The descants are written cludes Canonic Variations on Divinum the fi rst fugue in the fi rst E-minor prae- sages will test even experienced players. on separate pages and have no texts; mysterium (McCreary), Partita on “In ludium. Lively gigue-like subjects call Harald Vogel is to be thanked and com- syllables are left to the discretion of the dulci jubilo” (Hildebrand), Partita on “Holy, Holy, Holy” (Stanton), Pastorale (Custer), Two Pieces for Organ (Jor- dan), and Variations on “Endless Song” (Diemer). As one would expect from an Log On and take the tour! anthology, great variety and different compositional styles are in evidence. A certain technical unevenness also seems apparent, although one has to be careful ANNUAL AND ONE-TIME COPYRIGHT in making comparisons. To this reviewer, the settings by PERMISSIONS WITH THE Diemer, McCreary, and Hildebrand seem most successful in their construc- CLICK OF A MOUSE tion and overall effect. Diemer displays the harmonic and rhythmic originality one has come to expect from her works, as well as a deft handling of transitional material in “Endless Song.” McCreary uses Bachian counterpoint à la the Gold- berg Variations in his canonic treatments of Divinum mysterium. Hildebrand’s setting of In dulci jubilo pays homage to Buxtehude in the use of trio textures, a bicinium, and echo effects from rapid manual changes. Besides the compe- tence of the writing, these settings also maintain the integrity (i.e., character) of the original tune. Some of the other • EASY—online permission and reporting pieces are weakened by awkward hand • ECONOMICAL—based on average weekend attendance crossings, overly thick textures (the re- • THOROUGH—your favorite songs sult of extensive double-pedal passages), and strained harmonic shifts. Many of • CONVENIENT—includes a growing list of publishers these settings could be used for recitals; some, or parts thereof, for service music. Recommended with reservations. —Sarah Mahler Kraaz LOG ON TODAY! WWW.ONELICENSE.NET Ripon College Ripon, Wisconsin 18 THE DIAPASON Jan 2010 pp. 2-18.indd 18 12/14/09 7:37:06 AM Poulenc and Durufl é ‘premieres’ in Woolsey Hall at Yale University and the Polignac organ Ronald Ebrecht aurice Durufl é altered his organ rate music room incorporated into the Orage X 3. Do away with the 32 foot stop and take Mworks many times from when he main house on her property. The two- Tirasse GO it out of the organ: 500 frs X composed them in his youth to the end story atelier was also reconstructed, with Tirasse Récit 4. Move the Bourdon 16′ wood pipes to of his life. My intent to know the origi- an apartment on the upper level and a Anches Récit permit the placement of a three-rank cor- 1 Anches GO net on the main chest: 1,500 frs nal led me to strip away these layers. I large music room with the rebuilt organ Copula 5. Redo the lead windlines that are oxi- now perform from my restored early ver- provided on the ground fl oor. In these Trémolo dized: 4,000 frs sions in which I include Durufl é’s later two spaces many concerts were given, X X 6. Give the expression boxes maximum note corrections. Durufl é’s changes to and the musical and artistic elite of the Nadia Boulanger, known in the USA opening—redo the mechanism: 1,000 frs X the Scherzo, opus 2 and Prélude, Ada- age gathered: Cocteau, Colbert, Dupré, as “the famous French organist,” gave X X 7. Move the Basson 16′ of manual I to gio et choral varié sur le thème du “Veni Fauré, Proust, Stravinsky, etc. Prominent the premiere of the Copland Organ the Pédale: 4,000 frs X Creator,” opus 4 are quite extensive. In- organists often gave recitals, but Durufl é Symphony, written for her, with the New X 8. Replace the Basson 16′ on G.O. with a formed listeners are often surprised to seems not to have been among them, York Philharmonic on January 11, 1925. Plein jeu of 4 ranks, which will brighten the main manual: 4,500 frs X hear the original published scores. and only had access to the instrument to The Princesse was also quite an accom- 9. Redo the voicing of the organ to make practice the day before the premiere of plished organist, and continued to play stops more distinct: 7,000 frs The Polignac organ the concerto. and study major works of Bach in her X 10. Repair the mechanism of the Pédale, In the process of researching these Jesse Eschbach in “A Compendium of London exile during World War II. The which has frequent ciphers: 1,500 frs X fi rst editions and my book, I studied the Known Stoplists by Aristide Cavaillé-Coll Poulenc Organ Concerto was originally 11. Modify the Bourdon 8′ and Flûte earliest version of the Poulenc Organ 1838–1898” (Aristide Cavaillé-Coll, Vol. intended to be performed by the Prin- douce stops of the G.O. which must serve Concerto and the instrument where it 1; Paderborn: Verlag Peter Ewars, 2003, cesse. Durufl é was Mlle. Boulanger’s as bass for the Cornet, by giving them chimneys: 800 frs was premiered by Maurice Durufl é, the p. 557) omits the Grand orgue Bourdon very natural suggestion: she knew him 2 12. Make new pipes for: Nasard 2 ⁄3′, Dou- Cavaillé-Coll house organ of the Prin- 16. However, as Eschbach remarks in from having judged him in the organ 3 blette 2′, Tierce 1 ⁄5′: 6,000 frs cesse de Polignac, who commissioned a footnote, it is included in René Des- contests he won in 1929 and 1930, and 13. Make a new chest for these three stops the work—the last in her distinguished plat, “L’Orgue de salon dans la région from his teaching of harmony at the (Nasard, Doublette, Tierce): 2,800 frs 2 collection of commissions. She was a ca- parisienne depuis un siècle,” L’Orgue 83 Conservatoire Americain at Fontaine- = 48,600 frs X pable organist and patroness of the arts, (April-September 1957): 79–90.4 Simi- bleau, which she directed. who also commissioned Poulenc’s Con- larly, Carolyn Shuster-Fournier in “Les The organ was again rebuilt in 1933 On it she makes annotations mentioned in certo for Two Pianos. Poulenc, with no Orgues de Salon d’Aristide Cavaillé-Coll before Durufl é played for the premiere her letter and marked X.8 The total for the skills as an organist, sought advice from Paris,” L’Orgue: Cahiers et Mémoires, of the concerto under the baton of Na- work to be done equals the 11,500 francs the Princesse’s house concert director, 1997, p. 95, omits it in the specifi cation dia Boulanger.5 The Princesse wrote to she agrees to pay for those items on the Nadia Boulanger, regarding the solo part. but mentions it in a footnote. I will prove Nadia Boulanger from Italy October 23, invoice she accepts. This offers much to Her interest in early music is revealed in Desplat correct. The Bourdon 16 was 1933, authorizing the work to be done to consider, as much by what she decides to the concerto’s reminiscence of two Ger- present in all versions of the organ. her organ to cost 11,500 francs.6 These al- do as by what she declines—changes that man Baroque pieces: Buxtehude’s and terations made by Victor Gonzalez, when would have given the organ a neo-Classic Bach’s Fantasias in G Minor. Princesse de Polignac, Cavaillé-Coll, Rudolf von Beckerath was in his employ, sound. How fortunate that the effi cient From manuscript sources, I have 1892, 56-note manuals, 30-note pedal are as follows: make the expression boxes person who typed the estimate provides reconstructed the specifi cation of the open more fully, repair the pedal mecha- precisions that allow one to establish Grand orgue expressif Cavaillé-Coll as it was for the premiere, Bourdon 16 nism, and most importantly, add a Plein the original and modifi ed specifi cations. December 16, 1938. Most perform- Montre 8 jeu 4 ranks to the Grand orgue in the The estimate references the addition of ers reference the sound of the organ in Flûte harmonique 8 place of the Basson 16, which is trans- a 3-rank Cornet (by moving the Bourdon the 1961 recording of the concerto as Bourdon 8 ferred to the Pédale.7 Also enumerated at 16′ pipes and modifying the Bourdon 8′ performed by Durufl é on the newly re- Prestant 4 a cost of 500 francs is removal of the 32′ and Flûte douce), and completing it with stored organ of Saint-Étienne-du-Mont; Flûte douce 4 stop. Though it is possible that one may pipes and a new chest. however, there was no west-end organ Basson 16 have been added in 1904, given the size We thus know that originally there in this church when the concerto was Trompette 8 and reduced height of the space where were both 16′ and 8′ Bourdons on the premiered, nor when Poulenc consulted Clairon 4 the organ was re-installed and the fact Grand orgue and that there was no Cor- with him for the registrations in the pub- Récit expressif that no one who saw the organ remarked net, even though Durufl é suggests Cor- lished score, because it was removed in Flûte traversière 8 upon such an addition, I think it most un- nets on both the Récit and Positif in his spring 1939. Two newspaper articles, Gambe 8 likely. This expense was probably for the concerto registrations. It is clear that it one with a photo showing the pipes be- Voix céleste 8 removal of the Orage mechanism. was the Baroque-minded Mlle. Bou- ing removed, chronicle this planned Flûte octaviante 4 The Princesse encloses the typed esti- langer who wanted the Cornet, not the rebuild: Anonymous, “Les Orgues de Octavin 2 mate from Gonzalez: Princesse herself.9 More importantly, we St-Étienne-du-Mont,” Le Petit Journal, Plein jeu can establish what the balance was be- Paris (28 April 1939), and Stephane Fau- Basson-Hautbois 8 WORK TO BE DONE tween this organ and the small orches- Clarinette 8 I—The most urgent gier, “On transforme les orgues de Saint- 1. Take the pipes out, clean them, repair tra. Some have thought of the work as Étienne du Mont,” Le Journal, Paris (3 Pédale them and clean the organ: 11,000 frs a chamber piece, but the Princesse’s in- March 1939). Soubasse 16 2. Take apart the bass windchests and strument was certainly very powerful rel- During the previous summer, with Flûte 8 modify them to have more wind for the ative to the smaller cubic volume of the Felix Raugel and Marcel Dupré, Du- pipes: 4,000 frs space where it was re-installed in 1904. rufl é prepared a proposed specifi cation to rebuild the organ.3 The neo-Classic sounds he imagined from the 1938 speci- fi cation (or those of the quite different 1956 specifi cation of the organ once re- stored after the war), were not available to the performer on the Polignac organ at the time of the private premiere, nor the Mutin of the public one (see below). The Polignac concert room allowed only a small orchestra, which, combined with its Romantic Cavaillé-Coll organ, certainly produced a melded ensemble quite apart from the ‘oil and water’ ef- fects of Durufl é’s famous recording. Unfortunately the manuscript does not give the registrations initially used, leaving the problem that the published registrations would not have been pos- sible on the two organs where it was fi rst played. On these the effect was certainly more blended with the orchestra, and more importantly, the timbre of these in- struments was decidedly Romantic. Winnaretta Singer originally commis- sioned her Cavaillé-Coll in 1892 for the balcony of the atelier of her residence on the corner of what was then the Avenue Henri Martin and is now the Avenue Georges Mandel and the rue Cortam- bert. After her divorce from her fi rst husband, the Prince de Scey-Montbé- liard, she married the Prince Edmond de Polignac, thirty years her senior, in 1893. When Polignac died in 1901, she took down the house leaving the atelier, and built a grand mansion with a sepa- JANUARY, 2010 19 Jan 2010 pp. 19-21.indd 19 12/14/09 7:38:10 AM Ronald Ebrecht acknowledging applause (photo credit: Martin E. Gordon) Poulenc Requiem, Opus 9, with Yale Camerata (photo credit: Martin E. Gordon) Thus, the Organ Concerto is not like the Flûte harmonique 8 de Monsieur Maurice Durufl é.” (The this time.11 Of note, there is no request Concert Champêtre where the orchestra Bourdon 8 registration was established with the as- for sixteen-foot manual reeds. The sug- overwhelms the harpsichord, but rather Praestant 4 sistance of Maurice Durufl é.) The follow- gestions of mixtures on secondary and 2 the reverse. Durufl é had to exercise care Nasard 2 ⁄3 ing specifi cation is derived from Durufl é’s tertiary divisions and for super-couplers Doublette 2 in registration not to swamp the orches- Fourniture III suggested registrations for the Concerto. to the main division are curious, as these tra. Performers with large orchestras in Basson 16 It produces an organ that is interesting to were normally not commonly available large halls can therefore use more organ Trompette 8 compare with those at his disposal for the in France at that time. Also of particu- to achieve the appropriate balance. Clairon 4 fi rst two performances, as well as that of lar interest is the Dulciane in the Positif, Saint-Étienne-du-Mont at the time of the which he did not have on any organ he Princesse de Polignac, Cavaillé-Coll, 56- Positif expressif fi rst recording: the specifi cation as below knew or designed, but he also suggested note manuals, 30-note pedal, as modifi ed Principal 8 concurs with none of these three. Normal in the “Sicilienne” of Suite, opus 5. in 1933 Salicional 8 type is used for stops inferred from gener- The Princesse wished to perpetuate Cor de nuit 8 Grand orgue expressif Flûte douce 4 ic suggestions, viz: fonds. Italics indicates her artistic and philanthropic activities Bourdon 16 Flageolet 2 specifi c stop names. by establishing the Fondation Singer- Montre 8 Carillon III Polignac in 1928. The fi rst president was Flûte harmonique 8 Cromorne 8 Grand orgue expressif Raymond Poincaré, former President of Bourdon 8 Montre 16 France. After the Princesse’s death in Prestant 4 Récit expressif Bourdon 16 London during the war (November 26, Flûte douce 4 Diapason 8 Montre 8 Flûte 8 1943), she left her organ to the singer Ma- Plein jeu IV Flûte traversière 8 rie-Blanche, la comtesse Jean de Polig- Trompette 8 Viola de gambe 8 Bourdon 8 Clairon 4 Voix céleste 8 Gambe 8 nac, niece of Edmond. Marie-Blanche Flûte octaviante 4 Octave 4 was not an organist, and the organ re- Récit expressif Octavin 2 Flûte 4 mained in the house until she donated Flûte traversière 8 Plein jeu IV Mixture it to the Séminaire du Merville, where it Gambe 8 Trompette harmonique 8 Trompette 8 was reinstalled by Victor Gonzalez with Voix céleste 8 Basson-Hautbois 8 Clairon 4 a revised specifi cation and electric pedal Flûte octaviante 4 Soprano 4 Positif/G.O. 8 Récit/G.O. 8 chest. Carolyn Shuster-Fournier pub- Octavin 2 lishes its present disposition in her excel- Plein jeu III Pédale Positif/G.O. 4 12 Basson-Hautbois 8 Contrebasse 16 Récit/G.O. 4 lent book. Though the organ is no lon- Clarinette 8 Soubasse 16 ger extant in the Paris house, the spaces Basse 8 Positif expressif are still used regularly for performances Pédale Violoncelle 8 Montre 8 sponsored by the foundation. Soubasse 16 Bourdon 8 Flûte 8 Flûte 8 Flûte 4 Bourdon 8 The Woolsey Hall performance Basson 16 Tuba Magna 16 Gambe 8 Dulciane 8 The New Haven Symphony Orches- tra, founded in 1894, is the fourth old- Tirasse GO Tirasse GO Octave 4 Tirasse Récit Tirasse P Flûte 4 est in America. Since the completion of Anches Récit Tirasse R Nazard Yale’s splendid Woolsey Hall in 1901, Anches GO Forte Péd Mixture the NHSO has performed on that stage, Copula FF Péd Cornet beneath one of the grandest of all organ Trémolo Positif/Récit Clarinette 8 façades in an ample, embracing acoustic. Machine GO Trompette 8 The orchestra programs an occasional P/GO Clairon 4 Six months after the private premiere Récit/P. organ concerto, featuring the 200-rank was the fi rst public performance, June 21, R/GO E. M. Skinner organ. When I was asked Anches GO 1939 on the Mutin in the Salle Gaveau. Anches R Récit expressif to perform, nothing seemed more ap- Récit/R 16 Quintaton 16 propriate than the Poulenc with my Salle Gaveau, Mutin, III/36, 56/3010 Montre 8 new registrations, which I premiered Grand orgue Poulenc dedicates his score to the Gambe 8 two years before at the Forbidden City Bourdon 16 “Princesse Edmond de Polignac” and Flûte 8 Concert Hall in Beijing. Given the Pou- credits Durufl é for the registrations: “La Cor de nuit 8 lenc/Durufl é connection, some of Duru- Montre 8 Voix céleste Gambe 8 registration a été établie avec le concours Octave 4 fl é’s music was de rigueur. I invited the Flûte 4 Yale Camerata, directed by Marguerite Octavin 2 Brooks, to perform the Requiem, opus 9, Cornet and I arranged with the Association Du- Mixture rufl é to include the American premiere Hautbois 8 of the orchestrated “Sicilienne.” Trompette 8 As far as we know, Durufl é orches- Clairon 4 trated only two of his organ works: the Pédale Scherzo, opus 2, published as Andante Bourdon 32 and Scherzo, opus 8, and the “Sicili- Montre 16 enne,” from Suite opus 5 (b), which is Bourdon 16 unpublished. Durufl é’s adaptation of Montre 8 these scores is quite similar in approach. Flûte 8 I have long theorized that harmonic and Bourdon 8 stylistic links join the Scherzo and “Sicili- Octave 4 enne.” I add to that argument another: Bombarde 16 Trompette 8 Durufl é orchestrated them alike. Clairon 4 The Andante and Scherzo, and “Si- AHIGHER L EVEL of E XCELLENCE Grand orgue/Péd. cilienne” together with the Trois Danses, Positif/Péd. opus 3, comprise the entire solo orches- Récit/Péd. tral oeuvre of Durufl é. William Bough- Great musicians need extraordinary instruments ton, the new conductor of the New Since these Poulenc Concerto regis- Haven Symphony Orchestra, shares my to deliver magnificent performances. tration suggestions follow those of Duru- passion for them. Eventually the NHSO fl é for his own works so closely, readers will present the complete orchestral P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com seeking more background are referred to pieces over the next few seasons, but my discussion of the organs he knew at in Boughton’s October 18, 2007 début 20 THE DIAPASON Jan 2010 pp. 19-21.indd 20 12/14/09 7:38:36 AM Reception by patroness Ruth Lapides, with Wesleyan organ students (photo credit: Martin E. Gordon) Woolsey Hall (photo credit: Martin E. Gordon) concert with the orchestra it seemed ap- tral in timbre than neo-Classic ones, 10. Rés. Vm. 923 (1) p. 38. give lectures and masterclasses. I continue to propriate to begin with a premiere of the and the foundations are smoother. The 11. See “Ties that Bind” in Ebrecht, Mau- give many performances, especially of the or- unpublished “Sicilienne.” Though pre- solo lines therefore arose from the or- rice Durufl é, pp. 156–180. gan integral from my reconstruction. sented several years ago at the American gan-plus-orchestra texture sounding like 12. “Les Orgues de Salon d’Aristide Cathedral in Paris, it has not been pro- orchestral instruments. Even informed Cavaillé-Coll,” Cahiers et Memoires, #57- Ronald Ebrecht, an international per- 58, 1997, p. 99. former for more than three decades, has been grammed by a regular orchestra. Though audience listeners thought they were 13. Her excellent Polignac biography, Mu- his instrumentation of the largest version hearing orchestral wind instrument so- heard in concert on four continents. His arti- sic’s Modern Muse, University of Rochester cles have been published on three continents, of the Requiem and of his Trois Danses los. At other points, to bring out the or- Press, 2003, is being translated into French in collaboration with Dennis Collins. The book including two forthcoming in Russian and for orchestra has the punch and verve of gan more, I made other adjustments. For the present article, which was requested for the most energetic orchestral composi- instance, the multiple mixture plenums is projected for release next year by Les Press- es du réel, Dijon, under the title Une muse de the Bulletin de l’Association Maurice et Ma- tions of Dukas or Ravel, the gentle, in- suggested in the score are not as snappy rie-Madeleine Durufl é, where it appeared in timate and lilting “Sicilienne” required a as reed choruses, and Durufl é did not la musique moderne—Une vie de Winnaretta Singer, princesse de Polignac (1865–1943). a French version in December 2008. He con- quite different approach. have access to them. In Woolsey at mea- tinues work on his next book on the Cavaillé- Maestro Boughton began the pro- sure 325 I used the Great mixtures, but While preparing my edition of the collective Coll project for Saint Peter’s, Rome, to be gram with Fauré’s orchestral suite Pel- answered with the Swell chorus reeds. biography, Maurice Durufl é, 1902–1986, The published in 2011. leas et Melisande. Much of Fauré’s music After intermission, to accompany the Last Impressionist, Scarecrow Press, 2002, As University Organist at Wesleyan Uni- gained a hearing only in the salons of cul- procession of the choir onto the stage, a I was privileged to have access to pertinent versity, he has taught for more than twenty tivated aristocrats like the Princesse Ed- select group of Yale Camerata men sang archives in France, including those of the As- years. Ebrecht has commissioned works mond de Polignac, to whom this piece is the Gregorian Introit. Thus began a mar- sociation Maurice et Marie-Madeleine Duru- from composers such as William Albright, dedicated. Fauré’s haunting “Sicilienne” velous rendition of the Requiem, opus 9. fl é, the Bibliothèque Nationale, the Fondation Xiaoyong Chen, Raul de Zaldo Fabila, David Singer-Polignac, and the private library of the Hurd, Christian Wolff and Wesleyan compos- set the scene for that of Durufl é—not I am very grateful to the Yale Institute Prince de Polignac, where I was invaluably as- ers Anthony Braxton, Neely Bruce, Jay Hog- just in genre and atmosphere, but it also of Sacred Music (Martin Jean, direc- sisted by Sylvia Kahan, the curator. Many oth- gard, Ron Kuivila and Alvin Lucier. Many are prepared the audience with the familiar tor) for their substantial support of this er individuals also aided my study, especially available from major publishers. His latest Fauré work to appreciate the unknown concert. To introduce the audience to Eliane Chevalier. My curiosity about Durufl é performances of the Poulenc Concerto were one that followed. Organists in the au- the program, musicologist and Polignac has since led me to write several articles, and at Minsk Philharmonic Hall on November 5. dience were given much to think about biographer Sylvia Kahan gave a pre-con- from hearing the orchestrated version of cert lecture.13 All were gratifi ed to read the second movement of the Suite. For the review by David J. Baker in the New instance, a clarinet plays the triplets in Haven Register, which appeared on Oc- the accompaniment in the fi nal da capo tober 21. Q of the A theme. At the organ, this is of- ten played faster than is possible for a Notes clarinet. One also could note solo lines 1. See Ronald Ebrecht, Maurice Durufl é, given to a single stop on the organ that 1902–1986, The Last Impressionist, Scare- crow Press, 2002. In the chapter “Ties that are shared between instruments quite Bind,” I explain some ideas about the early different in timbre in the orchestrated versions. See also Ronald Ebrecht, “Under- version. Closing the fi rst half of the pro- standing Maurice Durufl é, 1902–1986,” The gram, I played the Poulenc. Diapason, August 2007, and a forthcoming Readers may be interested in a synop- article in Russian from a lecture delivered in sis of what is unique about my re-edition Moscow at the Second International Organ of the registrations and how I adapted it Symposium. to this large symphonic organ. As an ex- 2. I have discovered no note changes in the manuscript. ample, phrases in the concerto pass from 3. Ebrecht, Maurice Durufl é, p. 173. fi rst violins to second violins when they 4. The Eschbach version has a slight dif- are repeated. Since this organ has mul- ference in nomenclature, calling the Grand- tiple possibilities—with two clarinets, Orgue Expressif 4′ fl ute “Flûte à Cheminée.” several solo fl utes, two French horns, 5. Although his colleague and friend Mlle etc.—I followed the orchestration and Boulanger was an intimate of the Princesse, it registered repeated phrases on similar was not Durufl é’s habit to frequent mundane solo stops in alternate locations. Since salons. This seems to have been his only con- tact with the American heiress who was for the timbres suggested by Durufl é in other composers an important patroness. the score were not available to him in 6. “Chère Nadia—Je reçois à l’instant votre the fi rst two performances nor to me on lettre au sujet de l’orgue. Je suis d’avis de this instrument, I applied the pattern of commencer de suite les travaux 1, 2, et 3 que Durufl é’s revisions of registrations in his vous proposez: suppression du 32 p., ouver- organ works. In these, as an example, ture des boîtes, reparation du mec. pédale - Flûte harmonique later becomes Flûte, mais si vous croyez que le plein-jeu de 4 r au then even later in some cases Cornet. Gd-orgue serait d’un bon effet, je suis toute disposée à ajouter à 1, 2, et 3 : 1o le transfert Neither the Princesse’s Cavaillé-Coll de basson 16 du G.o. à la pédale, et 2do rem- nor the Salle Gaveau Mutin had a Cor- placement au Gd-O par un plein jeu de 4 r, ce net. The Princesse had a solo fl ute, a qui reviendrait en tout à 11,500f.” Clarinette, a Basson-Hautbois, and a 7. From Marcel Dupré’s annotated manu- Trompette. In the Poulenc, I therefore script of specifi cations of organs visited by used a few beautiful solo fl ute registra- him: Bibliothèque Nationale, Paris, Mus NLa tions rather than synthesizing a poor cor- 94, 217, 218, 219. net with the available stops where it was 8. We are grateful to the Fondation Singer- Polignac and to Marie-Odile Andrade, Direc- suggested, except in the left-hand entry tor of Publications, for permission to print this at measure 142, where I used alternating invoice. French horns instead of a cornet. Simi- 9. Readers may be interested to examine larly, I used the two exquisite orchestral the Juilliard doctoral dissertation of John W. clarinets for the clarinet lines and did not W. Sherer, “The Organ Concerto by Francis try to produce a buzzy Baroque-sound- Poulenc,” New York, 1999. The author ex- ing one. For some other solo lines, I used plores registration questions that arise from various oboe stops. those indicated, which would be the more interesting compared with the specifi cations In general the effect made the organ of the original organs. He also discusses tempi more blended into the orchestra because and many other performance traditions that the Woolsey solo stops are more orches- have evolved. JANUARY, 2010 21 Jan 2010 pp. 19-21.indd 21 12/14/09 7:38:56 AM Three wonderful organs in Le Marche, Italy Bill Halsey n a recent trip to Pesaro, in the re- Serra Sant’Abbondio, Monastero Chiesa di San Francesco, Cagli Ogion of Le Marche in Italy, where della Fonte Avellana Late 16th century, attributed to I went to work as an accompanist with Morettini 1855 Baldassare Malamini singers and visit some historic organs, I saw a number of Callido organs, both at Stoplist as it appears on the stop knobs: Principale Sant’Agostino in Pesaro and elsewhere, V.U. PB Voce Humana but I was also curious about organs Vla PS Flauto in XII outside of the classical period, both Vc VIII XQuinta the very early (sixteenth century) and Ci XII XNona Tr XV VigecimaII the late (nineteenth century) ones. My Ott XIX VigecimaVI contact in Pesaro, Giuliana Maccaroni, Dec XXII the organist at Cristo Re, had given me Tromba XXVI Keyboard, 4 octaves, C1–C5, fi rst octave a list of interesting Marchigian organs, Bom XXIX short, 45 keys one of which was a Morettini (1855) at Trombone CB Pedals 1 short octave, 9 pedals, C1–C2 the Monastero della Fonte Avellana in Serra Sant’Abbondio. During research Notes: on the Internet, I found that there was a Principali Bassi to D3 Principali Soprani from D#3 Santa Maria Assunta, Duomo of Cagli later Morettini from 1889 at the Duomo Organo Morettini, 1889 of Cagli, in the same area, and also in Notes on ripieno stops: Cagli, at the church of San Francesco, VIII and XII throughout Great an organ from the last decades of the XV to C4, C#4 breaks back an octave Fl Arm sixteenth century, attributed to Baldas- XIX to F3, F#3 breaks backs one octave, Principale 16′ sare Malamini. 1855 Morettini organ, Monastero della C#5 breaks back two octaves Viola I arranged a trip to see all three of Fonte Avellana, Serra Sant’Abbondio XXII breaks back at C#3 and G#4 Principale these instruments. The Internet is an XVI breaks back at F#3, F#4, F#5 on appel: XXIX breaks back at C#3, C#4, C#5 Ottava 4′ amazing resource, but it still takes a rolling suitcase containing the rest of my Pieno I little persistence to track down all the equipment—Rohde microphone, phan- Notes on solo stops: Pieno II necessary telephone numbers. The par- tom power unit, electricity converter, V(ox) U(mana) starts at D#3 Tromba roco (parish priest) at the Cagli cathedral and organ books and shoes. V(io)la to D3, a string stop, 4′ readily and graciously granted me an ap- The monastery has a little gift shop near V(iolon)c(ello) to D3, reed Choir pointment at the cathedral, but he also the parking lot, for the summer visitors. C(orno)i(nglese) from D#3, 16′, reed Fl dolce told me that San Francesco was closed It was open—more or less—during the Tr(aversiere) from D#3, soft fl ute Ottavino 4′ Ott(ava) from D#3, 4′, soft fl ute Salicionale and not under the control of the diocese, winter, and I asked the man there where 2 Dec(ima) from D#3, 2 ⁄3′ soft fl ute Clarino 4′ but rather of the city government, which to go for my appointment. He pointed me Bom(bardino), ends at D3, 4′, reed had been restoring it. After several failed to the church, and said “Ring the bell and attempts to call the city, I fi nally fi gured ask the porter.” As we walked downhill Notes on the pedal stops: Pedal out that the offi ces were only open in the to the church, I couldn’t help thinking of Trombone, doesn’t work, presumably a reed Basso 8′ morning; I got through and they trans- Brother Melitone in La forza del destino: on the pedal Violone 16′ ferred me to the uffi cio cultura (cultural “Siete voi il portier? E ben goffo costui— C(ontra)Basso, pedal 16′ fl ute offi ce), where a very nice lady explained se appersi, parmi . . .” “Are you the por- Couplers: GR to P, CH to GR, Appel, un- that, yes, I could visit San Francesco, but ter? This guy’s really stupid! If I opened, 52-note keyboard, C1–G5, lowest octave short known, GR octave doubler 18-note pedalboard, C1–G#2, fi rst octave short she wasn’t sure that the organ was play- it seems to me . . .” But the brother who Ripieno lever Two keyboards, C1–G5 able—it might have been completely opened was anything but a Brother Meli- Divided at D3, D#3 Pedalboard C1–D2 dismounted for the restoration. tone. He was a friendly, somewhat ath- letic-looking young guy with tennis shoes Serra Sant’Abbondio, on. He led us down a series of corridors ganist had brought in order to play Bach. dants gave up the organ business and Monastero della Fonte Avellana to the church, where the organ sits in the One of them sat down on the bench, and spent all the family’s money in South The Fonte Avellana monastery is a fa- left transept. It immediately surprised said, looking at all the controls, “Look, it’s America. But during their heyday, they mous and very old institution; it is men- me how much it looked like a Callido. Air Force One.” were quite prominent. They beat out tioned by Dante. The monastery is up a Same narrow bench, two rows of stop Then it was time to turn the Morettini Cavaillé-Coll for the contract to build an winding road in the foothills of the Appe- knobs, tira tutti, and a narrow stand for on. They looked at each other. “Where’s organ for the pope. nines. The buildings don’t look particu- music, so that even one normal size score the key?” I thought, “Oh no, I’ve come all I played a fugue by Galliera and—just larly old, just very solid, made of massive often falls off. this way, and I can’t play the organ.” But to show it could be done—Bach’s Pas- great stone that blends in with the hills. I noticed a normal-size console next to eventually the key for the power switch sacaglia in C Minor. On a subsequent I was carrying a Tascam Portastudio 424 the Morettini, and asked what it was for. was found. When I fi rst heard the organ, trip to Serra Sant’Abbondio, I went over MKII in a giant artists’ briefcase, and my The brothers (another young man had again I was surprised. Callido’s organs, the stoplist carefully, even though it has wife, Jane, who takes notes and works joined us by now) started laughing. They toward the end of his career, in the be- also been published in Organi storici the recording equipment, was pulling a said it was an electronic organ their or- ginning of the nineteenth century, have delle Marche. Like a Callido organ, the a very Romantic lush sound. This organ upper partial ripieno stops (sometimes was clean and dry like a Renaissance or- also called the male stops) break back gan. Of course, there was no reason for by an octave for the high notes. the organ to sound like anything else but The organ is divided, like most Italian a traditional Italian organ. The French organs, but some bass solo stops, like the organ renaissance hadn’t happened by Bombardino, a reed, are 4′, while the so- 1855, and Callidos in Le Marche are prano solo reeds, like the Corno Inglese, concentrated along the coast. I found are 16′. An esthetic seems in play here out later that Morettini was a Perugian where extremes are to be avoided, so company fi rst founded by Angelo Moret- that, playing a solo on either the soprano tini and then taken over after his death or bass reed, you end up in the same by his son Nicola. This organ was from tenor register, which is (from a certain a time when they were building organs point of view) a better register for solo together. By 1889, Angelo had died and melodies than either extreme high notes Nicola was running the fi rm, and it ap- or extreme low notes. Among the female pears that eventually one of his descen- (solo) stops, there is a very interesting Visit Us Online: Organmaster Shoes www.organmastershoes.com The Right Shoe On The Pedals! Fast Service · Ship Worldwide Women’s Mary Jane x Whole & Half Sizes Size 4-11, $50* x 3 Widths (N, M, W) x Genuine Leather Black Navy Men’s Classic Oxford White Bone Our Suede Leather Soles Gold Silver help you feel what pedal Size 6.5-13, $58* your foot is touching! Size 14-16, $95* *plus postage Call To Order FREE catalog: (413) 773-0066, 9-5pm, Mon-Fri 44 Montague City Rd., Greenfield, MA 01301 USA 22 THE DIAPASON Jan 2010 pp. 22-23.indd 22 12/14/09 7:39:45 AM Malamini organ, Chiesa di San Francesco, Cagli trio of soft fl utes, 8′ traversière, octave played for in Brooklyn. It seemed like and tenth. the whole town had come out, but there 1889 Morettini organ, Duomo, Cagli After I had fi nished playing, the monks were still plenty of people hanging out invited Jane and me for lunch—a deli- in the town square. Eventually, however, some of his stop combinations are very The author wishes to express thanks to all cious meal of sausage and polenta—and we went up to the organ loft. unusual. I can’t say the two Romantic or- the church offi cials, city offi cials, priests and conversation. There were about eight There had been many changes in or- gans I played on in Le Marche (the one the brothers of Serra Sant’Abbondio who monks, of varying ages. gan building since 1855, obviously, and at the Cagli cathedral and later on the graciously opened their doors and their or- the fi rm of Morettini had not been left Mascioni reworking of Callido in Fermo) gans to an unknown American. Cagli, Chiesa di San Francesco behind. The French organ renaissance really had the right stops to play him, but Bill Halsey was born in Seattle, where he The next morning we drove to Ca- was in full swing by then, and I wasn’t the cathedral in Cagli came close enough studied piano and composition from an ear- gli. I had an appointment at the Uffi cio surprised to see a two-manual organ with that I thought I had a new insight into ly age. He fell in love with the organ after Cultura at 9 am to be taken to see San a French-style console and an appel for the Davidian esthetic. hearing a Corrette suite played on the Mon- Francesco, and then one at 2 pm to see the ripieno and solo stops on the Great. These three organs—all quite differ- treal Beckerath, and began organ lessons in the cathedral. Cagli is a charming town There was no expression pedal however, ent from one another, but all equally his teens. While a student at the Sorbonne, set on a hill overlooking a wooded shal- and no Rückpositiv, just two manuals on connected to the artistic and religious he had the good fortune to gain access to low river. Towards the uphill side of the the same windchest. I played the Gal- circumstances of their construction, all the two-manual unmodifi ed tracker-action town is a very interesting rocca (fortress), liera fugue again, a Padre Davide El- quite modest affairs by American or Cavaillé-Coll organ at Saint Bernard de where the walls bend outwards, I think as evation, and the Cantilène from Vierne’s even French standards—taught me that la Chapelle, in a northern arrondissement a defense against cannon balls. There is Third Symphony, in honor of the French the value of an organ is not measured by of Paris. This fueled his interest in historic organs, and after spending fi fteen years also a 19th-century theater that has stage infl uence. Those are obviously in very bigness, number of pipes or fl amboy- serving in organist positions at St. John machinery from Verdi’s era. His favorite different styles, but my wife said they all ance of individual stops, it is measured Cantius, St. Peter Claver, Church of the As- director worked there, and it is still used worked on the organ, though in different by the quality of the individual parts and sumption, and the Basilica of Our Lady of for trial runs of many theater produc- ways. Padre Davide from Bergamo was a the harmony of the whole. This is why, Perpetual Help, all in Brooklyn, New York, tions. The cultural offi cer had a young slightly older contemporary of Donizetti when playing music on these organs, he took a permanent leave of absence to ex- lady accompany us with a ring of keys for who wrote some very fl amboyant organ one never notices what is absent, only plore historic organs, fi rst in France, and San Francesco, but she still wasn’t sure pieces. It’s easy to dismiss him; however, what is there. Q later in Italy. the organ was playable. The Malamini organ is in a back choir loft (cantoria), and its case is amazing for Custom builder of pipe, combination the use of trompe l’oeil. The pipes seem to be surrounded by classical marble and all-digital organs columns, but it’s all illusion and painted wood. After some searching, I found the switch for the blower and had one of the most amazing experiences I’ve had in a church. It wasn’t just the organ—that was amazing enough—but also the expe- rience of playing late 16th-century music on it, surrounded by the artistic trea- Wicks sures in the church, the combinations of trompe l’oeil with painting and bas relief, etc. I played Merulo and various other Organ Company pieces. The Merulo was almost an exact contemporary of the organ. The tuning of that type of organ makes Merulo sound interesting and anything with modula- tion—I played some 18th-century music too—sound rather terrible. Merulo and 1100 5th St. Frescobaldi usually sound boring on an organ tuned in equal temperament; even though intellectually I knew that the old Highland IL 62249 just intonation made certain minor (or major) triads sound like different chords, rather than all the same chords up or down the scale, it was still a revelation to hear it on an actual organ. 877-654-2191 Cagli, Duomo After lunch, we went to the cathe- dral, but had to delay things somewhat because they were having a funeral. And Opus 3047 www.wicks.com not just any funeral—it reminded me of Basilica of St. Mary Minneapolis, MN the policeman or fi reman funerals I’d JANUARY, 2010 23 Jan 2010 pp. 22-23.indd 23 12/14/09 7:40:10 AM Organbuilders and research: Two points of view Francesco Ruffatti and Judit Angster The organbuilder’s viewpoint Investing in research is foreign to most organbuilders. The pipe organ is a tradi- tional instrument, for which it is natural to think that everything has already been invented. Research is therefore perceived by most as something that has no value, since no advancements can be made. The possible exception to this involves the console systems and controls, where conservative attitudes in many cases have been overwhelmed by the very practi- cal need of many organists to have tools on hand that can facilitate their perfor- mances. But what about sound, and the very principles that control the ancient art of voicing? In such areas, one will fi nd that every single pipe voicer thinks that his way is the way it should be done, and procedures cannot be improved upon from his normal practices. Pipe with open-toe (left) and with Voicing is largely a matter of taste, controlled-toe opening (usually referred and subjective preferences are the only to as “closed toe”) governing factors. Very often, an organ- builder is chosen because of the sound to control the volume of sound that the that his instruments produce, meaning pipe produces. On the other hand, with essentially the stylistic approach to sound the technique called “closed-toe voicing” that he takes. Why would he then be in- the volume control in the pipe sound is terested in research in this fi eld? Why achieved by means of adjusting the di- change something that already works? ameter of the pipe toe opening. My entire career has been guided by It is the opinion of many that the differ- two principles: anything can be improved ence between the two techniques merely upon, and an organbuilder never ceases represents a choice in the method for to learn. The combination of these two controlling the sound volume of pipes and beliefs has determined my personal de- that there are few and marginal effects on sire to take part in scientifi c research the quality of sound. If the volume can be programs. For almost a decade, Fratelli well equalized by closing the pipe toes, Ruffatti has participated in joint Euro- why choose to avoid such practice? Even pean projects aimed at fi nding ways to the fi rst, partial results of the investiga- improve the art of organbuilding. Such tion are proving that such an assumption projects have determined the need to is an oversimplifi cation. The two methods conduct a great deal of fundamental re- produce different tonal results, which can search, which has been carried out over be detected and measured. the years by a number of notable institu- An experimental session was called in tions, among which are the Fraunhofer April 2009 at the Fraunhofer Institute Institut für Bauphysik (IBP) in Stuttgart, in Stuttgart. The participants spent two Germany, the University of Edinburgh, The impressive anechoic room of the Fraunhofer Institute (IBP) in Stuttgart solid days investigating a number of metal the University of Prague, the University pipes specially built for the experiment. of Budapest, and the Steinbeis Transfer The research took place in a very sophisti- Center of Applied Acoustics in Stutt- cated structure: a huge anechoic room of gart. The Fraunhofer IBP in particular almost 2,000 cubic meters in volume. The has been the constant guide and the test “fl oor,” a steel grille placed at mid- main force behind fundamental and ap- height (20 feet from fl oor level), housed plied research. the several people involved in the experi- The programs have been encour- ments, plus all of the needed equipment: aged and co-sponsored by the European sophisticated pressure sensors (along with Commission in Brussels. A small group a less sophisticated old-fashioned wind of organbuilders,1 coming from differ- gauge), computers, sound pressure detec- ent European countries, participates tors, state-of-the-art microphones, etc. in the research investment and actively The group of researchers included cooperates with the scientists. Astonish- Dr. Judit Angster, head of the Research ing results have been obtained over the Group of Musical Acoustics and Photo- years, ranging from more effi cient and acoustics of the Fraunhofer IBP; Prof. silent wind systems, to effi cient ways to Andras Miklos, director of the Steinbeis evaluate room acoustics and to better Transfer Center of Applied Acoustics adapt pipe organs to different acoustical and a world-famous researcher in the environments. Recently, a revolutionary fi eld; Johannes Kirschmann, voicer and wind system has been invented, a monu- restorer of the fi rm Mühleisen of Le- mental advancement over the traditional onberg, Germany; Francesco Ruffatti, winding methods, which allows the or- tonal director and head voicer of Fratelli ganbuilder to simply avoid the use of Ruffatti of Padova, Italy; and Thomas reservoirs, schwimmers or related equip- Trommer and Maria Cabanes Sempere, ment, while at the same time obtaining scientists at the Fraunhofer IBP. unprecedented stability and effi ciency in During this intensive session, two the wind supply of pipe organs. sets of pipes, one of Principal scale and The research currently under way one of Open Flute scale, were analyzed. deals with sound. The aim of this two- Each set was made of four identical year process is to fi nd better ways to The research team, back, left to right: Johannes Kirschmann, Judit Angster, pipes, two of them voiced with the open- reduce or eliminate problems that exist Francesco Ruffatti, Andras Miklos; front, left to right: Thomas Trommer, Maria toe and two with a controlled-toe open- both in the fi eld of “scaling,” or pipe di- Cabanes Sempere ing. To reduce the risk of subjectivity, mensioning, and in “voicing,” meaning each voicer worked on and prepared one the process by which the pipes are given the production of the needed fundamen- scientifi c methods, with the purpose of open- and one closed-toe pipe. The same their proper sound character. At fi rst tal. Other interesting examples under re- supplying new knowledge that the voic- procedure was repeated at three differ- sight, one may think that a project of this search are fi nding practical ways to make ers will then use at their discretion and ent wind pressures, ranging from 70 mm nature is aimed at “standardizing” organ the transition between stopped and open according to their personal taste. water column, just slightly less than 3 sound by promoting uniform procedures pipes, or the transition between wooden One of the steps that has been ana- inches, to about 170 mm, or slightly less for all. This is not at all the case. The and metal pipes within one single rank, lyzed concerns the investigation of the than 7 inches. Pipes were voiced with idea is to provide scientifi c, undisputable as tonally undetectable as possible. differences between the practices of no nicking at the languids, but further knowledge, which can be used by each In such a research program, the sub- open-toe and closed-toe voicing. Open- investigations were carried out also with organbuilder to better reach his individ- ject of voicing techniques could not be toe voicing is a technique by which fl ue nicked languids in different confi gura- ual tonal ideals. Examples are the appli- avoided. Once again, the objective was pipes are voiced with their toe hole com- tions. All pipes in each set and for each cation of scientifi c principles to calculate not that of teaching new ways to voic- pletely open, thus achieving continuity trial were voiced to equal, instrumentally an effi cient shape for large wooden pipes ers with decades of experience, but to between the size of the toeboard hole measured sound volume. that will make them prompt in their at- fi nd out scientifi c evidence in a fi eld that and that of the pipe foot. With this tech- The wind pressure was measured not tack despite their size, while ensuring has never been properly analyzed with nique, the pipe toe opening is not used only inside the windchest but also in- 24 THE DIAPASON Jan 2010 pp. 24-27.indd 24 12/14/09 7:41:02 AM Wind pressure is being measured inside the pipe feet as each pipe is played Storing recorded sound data in the computer Measuring sound pressure levels on the test pipes Francesco Ruffatti (left) and Johannes Kirschmann perform fi nal voicing touchups before sound recording. Notes Muhleisen; Strasbourg, France 1. The current European research project Schumacher; Baelen, Belgium is FP7-SME-2007-1, Research for SMEs, In- Blancafort; Collbató, Spain novative Methods and Tools for the Sound Ofi cina e Escola de Organaria; Esmoriz (Por- Design of Organ Pipes, INNOSOUND to), Portugal 222104. The group includes organbuilders: Organ Work Manufacture; Pécs, Hungary Mühleisen; Leonberg, Germany Boogaard; Rijssen, the Netherlands. Klais; Bonn, Germany 2. The toes in the closed-toe pipes were Fratelli Ruffatti; Padova, Italy closed, on average, to about half diameter. Flentrop; Zaandam, the Netherlands The measurement of wind pressure inside the Celebrate! Join us as we celebrate the addition of the String/Solo division on the Àve-manual Ruffatti organ at First Presbyterian Church, Naples, Florida. The most sophisticated equipment is being used to record the sound Thursday, January 21, 2010 side the pipe toes of both the open- and under equal conditions, the “wind noise,” just following the Region IV 2010 Midwinter Conference closed-toe pipes.2 The sound of each pipe a natural component of the pipe sound was also recorded simultaneously but that the voicer normally tends to reduce of the American Guild of Organists separately at both radiating points, i.e., at or eliminate, was by far more noticeable the mouth and at the top of the resonator. in closed toe pipes. This is not at all an In addition, the “mouth tone”3 was also irrelevant difference: in practical terms, Special presentation by Francesco Ruffatti recorded from each pipe at each step. it means that pipes voiced with closed Tour of the organ A huge quantity of data was collected, or partially opened toes will require Concert by Hector Olivera which is currently being analyzed. Dur- a heavier presence of “nicks” at the ing the test session, however, several languids in order to control the wind For more information, visit our new website interesting phenomena could already noise, and this in turn will determine www.ruffatti.com be observed. To everyone’s surprise, it signifi cant modifi cations to the structure was noted that the wind pressure inside of their sound. the pipe foot in open-toe pipes showed The fi nal results will be presented, an average pressure drop of 10% or less with scientifi c data and measurements, from the original pressure inside the to the project participants in the near fu- windchest, while in the closed-toe pipes, ture. These are occasions where the vari- even though these were still fairly open, ous organbuilders share experiences and the pressure drop was about 40 to 50%. learn from the scientists, an invaluable Builders of Fine Pipe Organs to the World A further immediate difference was de- help to modern organbuilding. Via Facciolati, 166 • Padova, Italy 35127 39-049-750-666 • [email protected] tected in open- versus closed-toe pipes: —Francesco Ruffatti JANUARY, 2010 25 Jan 2010 pp. 24-27.indd 25 12/14/09 7:41:20 AM projects recognize that the quality and the effectiveness of their work can be considerably enhanced by adopting sci- entifi c and technological innovations into their craft. In the current pipe project, before starting applied research, it was neces- sary to carry out fundamental research to reach a better understanding of the physics of fl ue pipes in organs. Further- more, some special tools had to be de- veloped, including special software for the analysis of pipe attack and stationary sound. The measurements were carried out in the anechoic room of the Fraun- hofer IBP, where an acoustic-free fi eld could be achieved. Here the pipe sound can be detected without any acoustical infl uence from the surrounding space. The pipes were positioned on a func- tioning model windchest. All the other parts of the wind system, like reservoir and blower, were set outside of the room The “mouth tone” of a pipe is being so that the sound detection would not be recorded. Sound-absorbent material is disturbed by any noises (Figure 1). The inserted inside the pipe body to prevent sound of individual pipes was detected the development of the sound column. by changing parameters one at the time, Figure 1. Setup for the measurement of stationary spectra and attack transient in order to evaluate the physical effect pipe toe was carried out by inserting a pres- of single voicing steps. The evaluation sure sensor through a hole made for the pur- pose at equal position for all pipes at the back of the experimental results is currently of the pipe toe. being carried out with the help of the 3. The mouth tone is the “noise” produced above-mentioned special software. at the mouth before it develops into sound. The selected fl ue pipes that are the Sound absorbent material is inserted inside object of the research are being analyzed the resonator, thus preventing the formation from the standpoint of the physical fea- of the sound column. The pipe is activated tures of their steady sound spectrum and and the resulting “noise” is then recorded. of the analyzed onset of the sound. A The “noise” here described must not be mis- taken with the “wind noise” produced by the stationary spectrum of a fl ue pipe can be pipe when it sounds normally, which is a nor- seen in Figure 2. This spectrum shows mal component of the sound spectrum. the most important properties of the sound of fl ue pipes, some of which are Since 1968, Francesco Ruffatti has been listed as follows: a partner, along with his brother Piero, of 1. A series of harmonic partials. As Fratelli Ruffatti—Ruffatti Brothers Fam- is well known from the elements of the ily of Artisans—of Padova, Italy. The fi rm is Fourier theory in mathematics, any pe- involved in the restoration of historic organs and the construction of new pipe organs, and riodic signal has a lined spectrum with has worked for decades in Italy and many several harmonic partials and mostly a other countries, including the United States, complicated spectral envelope. Canada, South Korea, Japan, Australia, Mex- 2. A second series of smaller and wider ico, and Sweden. peaks, which are not harmonically relat- Francesco Ruffatti holds the position of ton- ed, but slightly stretched in frequency— al designer with the company. He supervises these peaks are at the frequencies where the design of construction parameters of the the sound will be amplifi ed by the pipe pipe stops and their voicing. He is involved Figure 2. Typical stationary spectrum of a fl ue pipe detected at the labium directly in the study, cataloguing, and resto- body (acoustically called pipe resonator). ration of voicing, and researching the tem- 3. A frequency-dependent base line— perament of the pipework of ancient organs this is the characteristic noise spectrum undergoing restoration. of the air fl owing out of the fl ue. He has co-authored several publications An example of attack transient of an and has written articles in this area of exper- organ pipe of the Diapason family can tise for both Italian and American journals, be seen in Figure 3. Three phases can including “Gaetano Callido, Organbuilder in be subjectively distinguished in the at- Venice,” THE DIAPASON, December 1998, and 1 “The Historical Italian Organ—Tradition and tack of fl ue pipes. These parts cannot be Development,” THE DIAPASON, June 2001. He entirely separated in time because they has also participated as a speaker at numerous overlap quite broadly. Therefore, it is conferences. A two-term past president of the better to refer to them as three compo- Association of Italian Organbuilders, Fran- nents, which start almost simultaneously, cesco Ruffatti is currently teaching restoration but develop at different rates. These practices and the theory and practice of fl ue three components can be characterized and reed voicing at the school for organbuild- as follows: ers of the Lombardy region in Crema, Italy. Fratelli Ruffatti is a member of both the • Forerunner. This is the sound Association of Italian Organbuilders and the heard fi rst. It is very diffi cult to describe. International Society of Organbuilders. It may have a pitch, but sometimes no pitch can be assigned to it. Several differ- ent terms are used for this component, The scientist’s viewpoint such as chiff, ping, hiss, cough, etc. Organ building is a traditional craft, • Appearance of a pitch. The sec- which entails a valuable body of knowl- ond component in the attack usually has edge passed from generation to gen- a pitch close to the pitch of a higher har- eration and which therefore should be monic partial. This component is very preserved. Nevertheless, innovative de- important for certain stops. For example, sign methods and technologies can be for several diapason stops the second or applied in the daily practice of this craft the third harmonic can be heard preced- in order to optimize the design and pro- ing the fundamental. duction of organs, without endangering • Onset of the fundamental. The Figure 3. Analyzed attack transient of a Diapason pipe the valuable traditions inherent to their third parameter of the attack is the rise fabrication. The organbuilding fi rms that time of the fundamental. For stops of the The three parts of the attack can be time function of the noise between the are taking part in the European research fl ute family, this rise time is very short, clearly detected in Figure 3. The forerun- partials can be observed. whereas it is very slow for stops of the ner appears in every partial, implying its One of the many tasks of the proj- string family. As the fundamental grows, broadband nature (chiff). Then the par- ect is the investigation of the advan- certain components of the attack simul- tials start to grow; the fastest component tages and disadvantages of the voicing THE WANAMAKER ORGAN taneously become weaker. is the sixth one. After a while, the second methods with an open-toe and with a The presence of the fi rst two compo- will be the strongest; it dominates the at- controlled-toe opening. In doing so, an Listen to it worldwide nents is not compulsory in the attack. tack in the 35–40 milliseconds domain. aspect that has been analyzed from a Moreover, the voicer can seriously infl u- The fundamental slowly overtakes the scientifi c viewpoint deals with the radi- over the Internet! ence the attack by producing, according second, which becomes slightly weaker ated sound power (“volume of sound”) to his taste, a faster or slower speed, a as the fundamental rises. as a physical parameter. Hourlong streamcasts more or less pronounced forerunner, It can be assumed that the presented The values of the pressure and fl ow brighter or more fundamental sound, etc. characteristics of the attack in fl ue pipes are indifferent from a physical point of are featured at 5pm ET It is worth mentioning that sometimes are related to the basic physical proper- view, since the same sound power can be one or more partials are quite strong at ties of the pipes. These relations will be achieved by the first Sunday of the beginning of the attack, but become investigated also in the case of voicing • large foot pressure and small fl ue weaker in a later phase of the develop- with open and closed toe. In Figure 4 an- area (voicing by open toe) each month at wrti.org ment of sound. The measurements show other three-dimensional representation or by that the perception of the attack can be of an analyzed onset (attack transient) of • small foot pressure and large fl ue assigned to measurable properties. a fl ue pipe is shown. In this case also the area (voicing by closed toe). 26 THE DIAPASON Jan 2010 pp. 24-27.indd 26 12/14/09 7:41:40 AM Air fl ow 1 Figure 4. A three-dimensional representation of an analyzed onset (attack transient) of a fl ue pipe, where the time function of the noise between the partials can also be observed Figure 5. Sound spectra of the stationary sound of two identical fl ute pipes voiced by closed-toe and by open-toe methods The sound power depends on the air and tangible results to the day-by-day volume, which is proportional to the work of the organbuilders involved in fl ue area and to the square root of the the research. wind pressure in the toe. The pressure —Judit Angster in the foot is constant in the case of an open toe; consequently there is only one Notes Air fl ow 2 parameter, the fl ue area, which can be 1. A. Miklos, J. Angster, “Properties of the varied by the voicer. By closed-toe voic- Sound of Flue Organ Pipes.” Acta Acustica ing, the wind pressure in the foot can be united with Acustica, Vol. 86, 2000, pp. 611– changed, e.g., in this case two param- 622. eters can be set: the wind pressure and The OHS Catalog the fl ue area. Judit Angster comes from the famous Hun- garian organbuilder family Angster. She holds SHEET MUSIC ¡ BOOKS ¡ RECORDINGS There is one more difference that a Diploma and PhD in physics. Since 1986, must be mentioned. In a closed-toe pipe, she has been engaged primarily in pipe organ a cross-sectional jump in the fl ow occurs research. Since 1992, she has been working at the foot hole through which fl ow noises for the Fraunhofer Institute (IBP) in Stutt- can be generated. As the measurement gart, Germany, as head of the “Research Three Sound Reasons why results show in Figure 5, the noise level Group of Musical Acoustics,” where, among in the pipe sound is lower in the case of other things, important European research YOU projects were carried out in close cooperation should buy from voicing with an open pipe foot. with organ building companies. From 1994 The above are only a few and partial until 2003, she taught classes in acoustics for examples of the thorough investigation master craftsman courses (the highest level of The OHS Online Catalog: that is being carried out to evaluate the education and training) for organ building at different aspects and characteristics the Federal College of Organ Building in Lud- of the open-toe and closed-toe voicing wigsburg, and intensive advanced training 1. Choose from a Huge Selection. methods. Their infl uence on the attack courses for pipe organ and church acoustics at Over 5,000 pipe-organ related books, CDs, DVDs transients will also be investigated. the Fraunhofer Institute (regular workshops for further education of organ experts). She A great advancement in the research also lectures in acoustics at the University of and Sheet Music titles. No one offers more. process has come from technology that Stuttgart and at the University of Music and allows one to see the air fl ow pattern at Fine Arts in Stuttgart. 2. Save with Low Prices Every Day. the pipe mouth. A plexiglass “window” Dr. Angster is President of the Technical was created in the pipe, and air mixed Committee of Musical Acoustics of the Ger- Plus, special OHS members-only discounts on with smoke was utilized to activate the man Society of Acoustics (DEGA) and a mem- pipe. By means of sophisticated equip- ber of the Executive Board Council of the Ger- many items. Join now at www.organsociety.org. ment, involving a laser light source and a man Society of Acoustics (DEGA). She is the author of 115 publications in scientifi c/techni- 3. Support Pipe Organ Preservation. high-speed camera, it has been possible cal journals, conference proceedings, etc., ten to fi lm the movement of the air fl ow (see patents, one book, 113 invited papers for con- Every purchase supports the on-going programs illustrations). The process is the work of ferences, congresses and at different institutes scientists Hubert Ausserlechner, Fraun- and societies. and services of the Organ Historical Society. hofer Institute for Building Physics (IBP), Stuttgart, and Margit Liehmann, Common reference projects for cooperation Order Online: Fraunhofer Institute for Chemical Tech- for both authors—European CRAFT (Co- nology (ICT), Pfi nztal. operative Research Action For Technology) In addition to the subject above, projects within the framework of Brite-Euram www.ohscatalog.org the research program has already pro- III program: 1. “Development and Modernization of the duced excellent results in examining Wind Supply Systems of Pipe Organs“ (BRST- wooden pipes, open and stopped, of CT98-5247) Organ Historical Society different shapes, with the aim of sci- 2. “Advanced Computer Designed Open entifi cally calculating the best shape Wind Systems for Pipe Organs” (G1ST- We are the Pipe Organ People from the standpoint of the effi ciency CT2001-50139) of their air column. In addition, spe- 3. “Development of an innovative organ cifi c research will be aimed at fi nding pipe design method” (G1ST-CT-2002-50267) Organ Historical Society effi cient solutions for the tonal transi- 4. “Innovative Design Method for Matching the Pipe Organ to the Acoustics of the Room” P. O. Box 26811 s Richmond, VA 23261 tions between stopped and open pipes, (COOP-CT-2005-017712) Open Monday-Friday 9:30am - 5:00pm ET or between pipes of different shapes 5. “Innovative Methods and Tools for the Telephone (804)353-9226 and materials within the same rank. Sound Design of Organ Pipes” (FP7-SME- E-mail: [email protected] This is not an easy task, but a very ex- 2007-1, Research for SMEs – 222104) (cur- citing one, which can bring immediate rent project) JANUARY, 2010 27 Jan 2010 pp. 24-27.indd 27 12/14/09 7:41:59 AM Cover feature Rieger-Orgelbau, Schwarzach, Austria Cathedral Church of St. Peter, Regensburg, Germany, 2009 It was an exceptional privilege for us to have been commissioned to build the new main organ for the Cathedral Church of St. Peter in Regensburg, Ger- many, especially bearing in mind that, in its 800-year history, this cathedral never possessed such an instrument. No less daunting, however, were the challenges of building an instrument of adequate size in a space of such signifi cance for art and cultural history, an instrument that does justice to prevailing musical requirements and expectations, and si- multaneously takes into consideration the architectural sensitivities of the mag- nifi cent Gothic building. This is emphasized by the fact that it eventually took 25 years from the incep- tion of this unique project to its actual realization. What was needed was an ex- ceptional constellation of persons with the magnanimity for working together to The electric console mutually fi nd the optimal solution, de- spite differing opinions and priorities. tonal tradition, a complete case of solid Naturally, the fi rst aspect is always the oak is hidden behind the pipe façade. question, often leading to controversial debate, on the tonal architecture of an As small as possible organ. What should a cathedral organ This organ is as small as possible, and sound like in the 21st century? One must simultaneously as large as necessary. say that there is no single correct answer With a height of 60 feet, a width of 25 to this question. And, if the question can feet and a depth of 8.2 to 13.4 feet, this be answered at all, it certainly cannot be instrument has majestic proportions. done in a few sentences. This subject is Nevertheless, in the visual space of the far too caught up in ideology for that. cathedral, the organ appears to be made Accordingly, together with the mem- of fi ligree. The specifi c, curved and ta- bers of the international organ com- pering layout conveys to the viewer the mittee, we posed a somewhat different impression of an organ case of modest question: what should the new organ depth but, simultaneously, one incor- be able to do and what would be the porating movement. This impression is appropriate musical expectations for strengthened further by fan-shaped el- the instrument? In so doing, it soon ements that open stepwise to form the became clear that one would need a optical basis for the greater part of the multifaceted, versatile instrument that façade pipes, in addition to defi ning the would accommodate our ways of listen- view of the case from below. ing to music today, both for liturgical use Elevator to the left of the façade The separate tonal divisions of the and concert practice. It is simply a fact organ are arranged in fi ve stories, one that, nowadays—and this distinguishes above the other, with the mechanical us from previous centuries—we do not console situated in the middle, both for just want to hear the currently contem- aural reasons and the technical require- porary style of music, but enjoy listening ments of the key action. The middle of to a wider repertoire of good music from the lowest level is devoted to the Solo the past. Organ, which is fl anked on both sides by The tonal considerations taken into the windchests of the Pedal Organ. The account for this organ are mirrored, we second level, directly above the Solo, trust, in the choice and combination of houses the enclosed Positiv Organ and stops, their scaling and voicing, as well as is followed by the third level with the their allocation to the different divisions console. The Great Organ (Hauptwerk) of the organ. Each of the three large is positioned above the console, with the manual divisions is based on a 16-foot Swell Organ situated in the top story. On foundation, broadened by a large num- looking closely, one can recognize this ber of variously colored 8-foot stops, an arrangement of the tonal divisions in the appropriate superstructure of mutation organ façade. registers, and numerous reed stops of The fi rst of the organ’s two indepen- varied timbres. dent wind systems is positioned above The dynamic breadth of the in- the roof of the Swell Organ (right at the strument is increased by the balance top), with the second being positioned achieved between the stops with their behind the Solo Organ (right at the bot- individual characteristics and the enclo- tom). Separately from one another, the sure of the “small Great Organ” (i.e., the two wind systems provide stable yet nat- Positiv) in a swell box. The Solo division ural “breath-like” wind to the upper and complements this musical structure by lower divisions of the organ respectively. adding a tonal crown of distinctive solo The organ possesses two independent voices and a powerful ensemble of reed consoles: the main console integrated stops. All this is underpinned by a sono- into the structure of the organ, and a rous Pedal division, rich in fundamental general console placed in the sanctuary tone, which gives the organ a calm, sup- of the church. The two are function- porting foundation. ally identical and both can be used for Three requirements were set for the playing the existing Choir Organ (30/II). exterior appearance of the organ: it had The main console is provided with pure to be in a “modern” style, “as small as mechanical key action and mechani- possible,” and, for spatial reasons, was cal couplers, whereas the complete key not to stand on the fl oor nor on a gallery, and stop actions, and also the control of but be “suspended” from the vaulting! the organ’s swell boxes from the general These requirements led, after various console, are purely electrical. The inno- planning phases, to the design that has vative REA (Rieger Electronic Assistant) now fi nally been constructed. system, developed recently by us, is used for this. Modern We expressly did not attempt to in- The suspended organ clude elements from the building in the As is known, this is not the fi rst hang- design, but instead aligned the organ’s ing organ. However, with its 80 stops and design to the architecture by creating a weight of 37 tons, it is surely the largest structural form emphasizing verticality of its kind. To achieve this, it was neces- and radiating lightness. As is easy to see, sary to introduce a steel suspension struc- this meant avoiding visible casework as ture into the loft of the cathedral. To this far as possible. Despite this, following Installing the façade pipes structure are attached the four steel ca- 28 THE DIAPASON Jan 2010 pp. 28-30.indd 28 12/14/09 7:43:03 AM View of the front pipes from the scaffolding raised” to the console comfortably in two SWELL (III) C–c4 minutes by the Panorama elevator while 16′ Bourdon 16′ Salicional enjoying the unique view of the impos- ′ ing cathedral nave. 8Diapason 8′ Cor de nuit The elevator’s 2.6 x 2.6 foot glass cabin 8′ Flûte harm. is normally parked directly next to the 8′ Viole de Gambe console and is therefore hidden from 8′ Voix céleste view. Only when in use is a door on the 4′ Prestant side of the organ opened, to enable the 4′ Flûte oct. cabin to move horizontally about 6.5 4′ Viole 2 ′ feet on a telescopic arm, out of the or- 2⁄3 Nazard harm. 2′ Octavin gan case, before descending 49 feet to 3 1⁄5′ Tierce harm. the fl oor, without any support except the 1 1⁄3′ Plein Jeu V cable on which it hangs. 16′ Basson In building this unique organ, we have 8′ Trompette harm. moved a step beyond our previous tonal, 8′ Hautbois creative, and technical traditions. We 8′ Voix humaine trust that the exceptional goals we set 4′ Clairon harm. ourselves have been met, namely, creat- Tremulant ing an organ that will be convincing for SOLO (IV) C–c4 generations to come, and that will, in a 16′ Chamade certain sense, indicate the way forward; 8′ Chamade Fan-shaped elements of the Positiv façade and that its sound and its visual appear- 4′ Chamade ance will delight many listeners and visi- 8′ Flûte harm. tors and inspire many musicians. 8′ Grand Cornet V This is the wish of all the employees 8′ Clarinette of the Rieger fi rm, who spent countless 8′ Tuba episcopalis hours creating this instrument. Campane —Wendelin Eberle PEDAL C–g1 Rieger-Orgelbau 32′ Principalbass 16′ Principal Photo credit: Michael Vogl 16′ Violon 16′ Subbass 2 ′ Rieger-Orgelbau GmbH 10 ⁄3 Quinte 8′ Octave Hofsteigstrasse 120 ′ A-6858 Schwarzach, Austria 8Cello 8′ Gedackt Tel: +43 5572 58132-0 4′ Choralbass 2 Fax: +43 5572 58132-6 2⁄3′ Mixtur II–IV [email protected] 32′ Bombarde www.rieger-orgelbau.com 16′ Posaune 16′ Fagott 8′ Trompete GREAT (I) C–c4 4′ Schalmey 16′ Principal 16′ Bourdon Mechanical Couplers 8′ Principal II/I, III/I, IV/I, III/II, IV/II, 8′ Bourdon I/P, II/P, III/P, IV/P 8′ Doppelfl öte 8′ Gambe Electric Couplers 1 5⁄3′ Großquinte II/I, III/I, IV/I, III/II, IV/II, IV/III 4′ Octave III/I 16′, III/I 4′, III/II 16′ 4′ Spitzfl öte III/II 4′, III/P 4′ 1 3⁄5′ Großterz Sub and super in each division 2 2⁄3′ Quinte 3 free couplers 2′ Superoctave 2 2⁄3′ Mixtur major IV–VI Accessories 1′ Mixtur minor V Rieger combination system: 8′ Cornet V 20 users with 1000 combinations each with 3 16′ Trompete inserts each 8′ Trompete Archive for 250 tracks with 250 combinations 4′ Trompete each 4 adjustable Crescendi POSITIV (II) (expressive) C–c4 Sequencer 16′ Quintatön Free couplers 8′ Principal Copy functions 8′ Holzgedackt Repeat functions 8′ Flûte harm. Division cancel 8′ Salicional General cancel 8′ Unda maris Sostenuto 4′ Octave 4′ Rohrfl öte Consoles 2 2⁄3′ Nasat Main console (mechanical) 2′ Octave General console (electric) 2′ Waldfl öte 3 The steel suspension structure 1⁄5′ Terz Additional features 1 1⁄3′ Larigot Rieger tuning system bles, each 1.18 inches thick, from which feet above the fl oor, presented a further 1′ Siffl öte Rieger replay system 1 the organ is suspended, notably without technical challenge. Given the heritage 1⁄3′ Scharff V Connection of the Choir Organ 1 ⁄2′ Cymbel IV Divided Pedal at the general console also being attached to the wall. Attaching considerations, you have probably already ′ the organ case to the cathedral walls was guessed it correctly: there is no such ac- 16 Bassklarinette Wind pressures: 8′ Trompete Great 110 mm not allowed by the heritage authorities, cess possibility from the cathedral. After 8′ Krummhorn Positiv 95 mm who insisted that the historical structure considering the different options, we fi - Glockenspiel Swell 100 mm of the cathedral should not be changed. nally decided to plan for an elevator in- Tremulant Solo 90/130 mm Access to the organ’s main console, 49 side the organ. Now, the organist can “be Pedal 105 mm JANUARY, 2010 29 Jan 2010 pp. 28-30.indd 29 12/14/09 7:43:23 AM New Organs on their way to and from Springfi eld. GREAT 8′ Open Diapason During the middle part of last century, 8′ Gamba Gratian Organ Builders installed an 18- 8′ Melodia rank, electro-pneumatic pipe organ in 8′ Dulciana the sanctuary that has served the church 4′ Octave well. Within the past 10 years the church 4′ Flute Harmonic 2 ′ remodeled the front of the church and at 2⁄3 Twelfth that time an 8′ Pedal Principal compris- 2′ Fifteenth ing 32 notes was added as a façade. Mixture III 8′ Trumpet As is the case with many churches Tremolo whose instruments are used regularly but Chimes (25 tubes) receive little or no major maintenance, Zimbelstern First Presbyterian found that resources would best be spent on a major overhaul SWELL rather than on small, stop-gap measures. 16′ Bourdon 8′ Violin Diapason The church elected to have Fabry, Inc. ′ completely rebuild the organ. While the 8 Quint 8′ Gedeckt initial plan was to save the windchests, 8′ Salicional this proved to be impossible. 8′ Vox Celeste (TC) The organ encompasses two chambers 8′ Aeoline that sit at right angles to each other at 4′ Principal the front corner of the sanctuary. Both 4′ Flute d’Amour 2 ′ of these chambers were packed to the 2⁄3 Nazard 2′ Flute gills with pipework and chestwork. It ′ was decided to remove everything and 8 Oboe Tremolo place it in a more logical manner. As it Chimes turned out, new chests were constructed and this allowed the elimination of all PEDAL but the necessary offset chests. In all, 32′ Lieblich Gedeckt the following was completed: complete 16′ Subbass replacement of the relays, both console 16′ Lieblich Gedeckt 8′ Flute and chamber, a rebuilt console with a Pe- ′ terson ICS-4000 system, new chests with 8 Dolce 8′ Principal Peterson electric pipe valves, new tuners 4′ Choral Bass on washed pipework, releathered reser- 4′ Flute voirs with reconfi gured curtain valves, Mixture III three additional reservoirs, a new blower 16′ Trumpet and new chamber lighting. 8′ Trumpet Fabry, Inc. would like to thank Julie 8′ Oboe Kasa, music director; Janis Klockenga, Chimes secretary; and the Rev. Phillip Black- Great to Great 16, UO, 4 burn, pastor, for their cooperation and Swell to Great 16, 8, 4 patience with all the facets of this very Pedal to Great Fabry, Inc., Antioch, Illinois tinction of being named before Abraham involved project. Fabry employees that MIDI to Great First Presbyterian Church, Lincoln became president. While old worked on this project included David Swell to Swell 16,UO, 4 Lincoln, Illinois Route 66 continues to weave through G. Fabry, David J. Fabry, Philip A. Spres- MIDI to Swell Nestled in the geographic center of downtown, I-55 now bypasses the town sart, Steven Ellis, and Clem Wirfs. Illinois, Lincoln enjoys having the dis- as new development draws travelers —Phil Spressart Great to Pedal 8, 4 Swell to Pedal 8, 4 MIDI to Pedal has built and rebuilt many organs. Ma- 4′ Principal 73 pipes jor rebuilds and new organs include 4′ Nachthorn 73 pipes 2 2⁄3′ Nasat 61 pipes the Cathedral-Basilica of St. James, ′ Brooklyn, NY; Church of Our Lady of 2 Octave (ext) 2′ Nachthorn (ext) Grace, Hoboken, NJ; Church of the 3 1⁄5′ Terz 61 pipes Heavenly Rest, NYC; Second Presbyte- 2′ Plein Jeu IV 244 pipes rian Church, NYC; Blessed Sacrament 16′ Basson (1–12 half length) 73 pipes Church, NYC; Union Congregational 8′ Trompette 73 pipes Church, Upper Montclair, NJ (chapel 8′ Hautbois (ext) organ); Nativity Lutheran Church, East 4′ Clairon (ext) Brunswick, NJ; Newark Abbey, Newark, Tremulant NJ; Emmanuel Lutheran Church, New Swell to Swell 16, UO, 4 Great to Swell Brunswick, NJ; St. Anne Church, Roch- Antiphonal to Swell ester, NY; St. Henry’s Church, Bayonne, NJ; St. Vincent’s Church, Bayonne, NJ; ANTIPHONAL Mount Carmel Church, Bayonne, NJ; 16′ Festival Trumpet prepared for Grace Lutheran Church, River Edge, 8′ Festival Trumpet prepared for NJ; and Larchmont Avenue Presbyterian 4′ Festival Trumpet prepared for Church, Larchmont, NY. The assistance of John A. Stokes, Lou- PEDAL 32′ Resultant (from Subbass 16 and is Scarpa, David Fedor and Paul-Martin Swell Gedeckt 8) Maki is gratefully acknowledged by the 16′ Subbass 56 pipes builder. The organ at St. Francis Episco- 16′ Rohrgedeckt (Great, ext) pal Church has two manuals and pedal, 16′ Viola (Swell) 18 voices, 24 ranks, and 1519 pipes. 8′ Principal (Great) Photo credit: Helen Neafsey 8′ Bourdon (ext) 8′ Rohrfl öte (Great) GREAT (expressive) 8′ Viola (Swell) 1 16′ Viola (Swell) 5⁄3′ Quint (Great) 8′ Principal 61 pipes 4′ Choral Bass (Great) 8′ Rohrfl öte 61 pipes 4′ Bourdon (ext) 8′ Viola (Swell) 32′ Bombarde (Sw ext, 1–12 electronic) 8′ Viola Celeste TC (Swell) 16′ Bombarde (Swell, ext) Konzelman Pipe Organs, control systems. Later, while in the army, 4′ Octave 61 pipes 16′ Basson (Swell) Hoboken, New Jersey he taught a course in radar at Fort Bliss, 4′ Koppelfl öte 61 pipes 8′ Trompette (Swell) St. Francis Episcopal Church, Texas. This background in electronics 2′ Super Octave 61 pipes 8′ Hautbois (Swell) 1 ′ ′ Stamford, Connecticut became valuable later on as more and 1⁄3 Mixture IV 244 pipes 4 Krummhorn (Great) 8′ Trompette (Swell) Great to Pedal 8, 4 James Konzelman fi rst became inter- more electronic circuitry was introduced 8′ Hautbois (Swell) Swell to Pedal 8, 4 ested in organ building in the mid 1960s into the pipe organ. 8′ Krummhorn 61 pipes Antiphonal to Pedal after a friend loaned him The Contem- In 1972, Konzelman went to work for Tremulant porary American Organ by William H. the Church Organ Company, Edison, Chimes prepared for Solid-State capture combination action with 25 Barnes. He made minor repairs in his New Jersey, where he studied voicing Great to Great 16, UO, 4 levels of memory, 12 general pistons, 8 pistons home parish of St. Henry’s, Bayonne, and tuning techniques with Russell W. Swell to Great 16, 8, 4 per division, general pistons and pedal pistons New Jersey, and helped several organ- VanCamp. When VanCamp retired in Antiphonal to Great are duplicated by toe pistons. Reversibles for: Great to Pedal, Swell to Pedal, Swell to Great, ist friends with minor repairs on their 1974, Konzelman became the tonal di- SWELL (expressive) Tutti. Set and General Cancel, and Scope pis- church pipe organs. In the late 1960s rector, designing and voicing many or- 16′ Viola 73 pipes tons. Crescendo pedal with one standard and Konzelman worked for Westinghouse gans for that fi rm until the establishment 8′ Gedeckt 61 pipes three settable crescendos. Two-manual and Aerospace, Baltimore, Maryland, trou- of his own company in 1977. 8′ Viola (ext) pedal drawknob console with bone naturals, bleshooting radar guidance and missile Since 1977, Konzelman Pipe Organs 8′ Viola Celeste TC 49 pipes ebony sharps, and tracker touch. 30 THE DIAPASON Jan 2010 pp. 28-30.indd 30 12/14/09 7:43:44 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH 30 JANUARY Pickle Piano & Church Organs This calendar runs from the 15th of the month of Boys’ & Girls’ Choir Festival & Choral Even- NEW YORK issue through the following month. The deadline is song; St. James’ Church, New York, NY 3 pm Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Charles Tompkins; Old Salem Visitor Center, issue). All events are assumed to be organ recitals Winston-Salem, NC 12 noon unless otherwise indicated and are grouped within Stephen Hamilton, church music repertoire each date north-south and east-west. •=AGO chap- Christopher Babcock class; First Presbyterian, Lake Wales, FL 10 am WILLIAM AYLESWORTH ter event, • •=RCCO centre event, +=new organ Stephen Tharp; Moody Concert Hall, Univer- dedication, ++= OHS event. sity of Alabama, Tuscaloosa, AL 10 am master- St. Andrew’s by the Sea, Information cannot be accepted unless it speci- class, 11:30 am lecture, 4:30 pm concert D. M. fi es artist name, date, location, and hour in writ- St. Olaf Choir; Fourth Presbyterian, Chicago, Hyannis Port ing. Multiple listings should be in chronological order; IL 4 pm please do not send duplicate listings. THE DIAPA- EVANSTON, ILLINOIS St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for 31 JANUARY the accuracy of calendar entries. Rob Richards, with cartoonist, children’s con- cert; Portland City Hall, Portland, ME 2 pm Choral Evensong; All Saints, Worcester, MA UNITED STATES 5 pm East of the Mississippi David Lang; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm Gary Garletts; Holy Trinity Lutheran, Lan- 15 JANUARY caster, PA 4 pm Joan McConnell; Fourth Presbyterian, Chi- Christopher Houlihan; Christ Church, Pen- cago, IL 12:10 pm sacola, FL 3 pm Paul Jacobs; St. John’s Episcopal Cathedral, Jacksonville, FL 3:30 pm 17 JANUARY Stephen Hamilton; First Presbyterian, Lake Woo-sug Kang; St. Thomas Church Fifth Av- Wales, FL 4 pm enue, New York, NY 5:15 pm Dean W. Billmeyer Nathan Laube; First Presbyterian, Pompano Robert McCormick ; Washington National Ca- Beach, FL 4 pm thedral, Washington, DC 5:15 pm Anthony & Beard (Ryan Anthony, trumpet University of Minnesota Washington Symphonic Brass; St. Luke Cath- and Gary Beard, organ); Hyde Park Community olic Church, McLean, VA 4 pm United Methodist, Cincinnati, OH 4 pm Minneapolis 55455 • [email protected] Robert Wisniewski, Weldon Adams, Doro- Derek Nickels; St. Mary of the Lake Catholic thy Riley, Vierne Symphonies III, IV; St. Joseph Church, Gary, IN 3 pm Cathedral, Columbus, OH 3 pm Olivier Latry; St. Andrew Lutheran, Franklin Vox3 Vocal Music Collective; Madonna della (Nashville), TN 4:30 pm Strada Chapel, Loyola University, Chicago, IL David Higgs; Arnold T. Olson Chapel, Trinity Byron L. Blackmore THOMAS BROWN 3 pm International University, Deerfi eld, IL 3 pm UNIVERSITY Crown of Life Lutheran Church 19 JANUARY 2 FEBRUARY PRESBYTERIAN CHURCH Daniel Fenn; Church of St. Louis, King of Heinrich Christensen, with violin; King’s Cha- Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA France, St. Paul, MN 12:35 pm pel, Boston, MA 12:15 pm 623/214-4903 ThomasBrownMusic.com Harry Huff, masterclass; Memorial Church, 20 JANUARY Harvard University, Cambridge, MA 12:15 pm, Monteverdi, Vespers of 1610; Church of St. recital 7:30 pm Ignatius Loyola, New York, NY 8 pm Christopher Wallace; Church of St. Louis, Todd Fickley; St. Luke Catholic Church, King of France, St. Paul, MN 12:35 pm David Chalmers McLean, VA 1 pm DELBERT DISSELHORST Janette Fishell; First Congregational, Sara- 3 FEBUARY Concert Organist sota, FL 11 am Eric Riley; Camp Hill Presbyterian, Camp Hill, GLORIÆ DEI CANTORES Professor Emeritus PA 12:15 pm University of Iowa–Iowa City 21 JANUARY Karen Beaumont; Milwaukee Catholic Home, Orleans, MA David Shuler; St. Luke in the Fields, New Milwaukee, WI 1 pm York, NY 8 pm Hector Olivera; First Presbyterian, Naples, 5 FEBRUARY FL 2 pm Mark King; St. John’s Episcopal, Hagerstown, STEVEN EGLER MD 7:30 pm OHN ENSTERMAKER David Pickering; First Presbyterian, Athens, Central Michigan University J F GA 7:30 pm Marilyn Keiser; St. Paul’s Episcopal, Winston- Salem, NC 7:30 pm First Presbyterian Church TRINITY-BY-THE-COVE 22 JANUARY Olivier Latry, with Mississippi Symphony Or- Mt. Pleasant, Michigan 48858 Peter Richard Conte; Faith Presbyterian, chestra; Galloway Memorial United Methodist, SOLO Shelly-Egler Cape Coral, FL 7:30 pm Jackson, MS 7:30 pm RECITALS Flute and Organ Duo NAPLES, FLORIDA Todd Wilson; Cleveland Institute of Music, 23 JANUARY Cleveland, OH 8 pm Gerre Hancock David Jonies, fi gured bass workshop; Holy ; St. Paul’s Episcopal, India- napolis, IN 7:30 pm Organist / Pianist Name Cathedral, Chicago, IL 10:30 am, 1 pm JAMES HAMMANN 6 FEBRUARY 24 JANUARY Michael Gailit Hymn festival; Christ & St. Stephen’s Episco- DMA-AAGO Barry Turley; Church of the Advent, Boston, www.gailit.at pal, New York, NY 5 pm MA 4:30 pm, Evensong 5 pm offi [email protected] University of New Orleans Marilyn Keiser, masterclass; St. Paul’s Epis- Super Bell XVIII; First Church of Christ, copal, Winston-Salem, NC 10 am Konservatorium Wien University Chapel of the Holy Comforter Wethersfi eld, CT 4 pm Tom Trenney, recital/silent fi lm accompani- University of Music, Vienna Jessica French; St. Thomas Church Fifth Av- ment; St. Andrews–Covenant Presbyterian, enue, New York, NY 5:15 pm Wilmington, NC 7:30 pm Gail Archer; Christ Episcopal, New Bruns- Paul Leddington-Wright, hymn festival; Glen- wick, NJ 4 pm view Community Church, Glenview, IL 4 pm ANDREW HENDERSON, DMA Daniel Sullivan; Grace Church, Newark, NJ WILL HEADLEE 4 pm 7 FEBRUARY 1650 James Street Madison Avenue Presbyterian Church Countertop Quartet & Illuminare; Episcopal William Ness; Wesley United Methodist, New York, NY Church of the Redeemer, Bethesda, MD 5 pm Worcester, MA 12:30 pm Syracuse, NY 13203-2816 David Arcus; Duke University Chapel, Dur- Choral Evensong for Candlemas; Cathedral of (315) 471-8451 www.andrewhenderson.net ham, NC 5 pm the Incarnation, Garden City, NY 4 pm Mark Jones; Porter Center for the Performing Gail Archer; Church of the Transfi guration, Arts, Brevard, NC 3 pm New York, NY 4 pm Joseph Ripka & Paul Thornock, Vierne Sym- Abigail Rockwood; St. Thomas Church Fifth MICHELE JOHNS phonies V, VI; St. Joseph Cathedral, Columbus, Avenue, New York, NY 5:15 pm Harry H. Huber OH 3 pm Mark Jones; Episcopal Church of Bethesda D. Mus. A.Mus.D Peter Richard Conte; Ball State University, by the Sea, Palm Beach, FL 3:30 pm Organ — Harpsichord Muncie, IN 3 pm Nathan Laube; Forrest Burdette United Meth- Kansas Wesleyan University, Emeritus odist, Hurricane, WV 3 pm University Methodist Church The University of Michigan 26 JANUARY Douglas Reed; First Presbyterian, Evansville SALINA, KANSAS School of Music Stephen Hamilton; Columbia University, New IN 4:30 pm, Choral Evensong 5 pm York, NY 6 pm Choral Evensong; Christ Church Grosse Gail Archer; All Souls Unitarian, New York, Pointe, Grosse Pointe Farms, MI 4:30 pm NY 8 pm Hymn Festival; Cathedral of St. Paul, St. Paul, LORRAINE BRUGH, Ph.D. Andrew Hackett; Church of St. Louis, King of MN 3 pm France, St. Paul, MN 12:35 pm A two-inch 8 FEBRUARY Associate Professor Professional Card 28 JANUARY Choral concert; Trinity Wall Street, New York, University Organist William Ness; First Baptist, Worcester, MA NY 7:30 pm 12:30 pm in The Diapason 9 FEBRUARY Valparaiso University 29 JANUARY Huw Lewis, masterclass; Central Synagogue, Valparaiso, IN For information on rates and Tom Sheehan; Emmanuel Church, Chester- New York, NY 10 am; recital 12:30 pm www.valpo.edu specifi cations, contact: town, MD 7:30 pm Michael Barone; Church of St. Louis, King of Stephen Schaeffer, with Ambassador Brass France, St. Paul, MN 12:35 pm Jerome Butera Quintet; Cathedral Church of the Advent, Bir- 219-464-5084 [email protected] mingham, AL 12:30 pm 10 FEBRUARY [email protected] John W.W. Sherer; Fourth Presbyterian, Chi- Renée Anne Louprette; Church of St. Igna- 847/391-1045 cago, IL 12:10 pm tius Loyola, New York, NY 7 pm JANUARY, 2010 31 Jan 2010 pp. 31-35.indd 31 12/14/09 7:47:53 AM Choral concert; Church of St. Ignatius Loyola, 25 FEBRUARY New York, NY 8 pm Gail Archer; Holy Trinity Lutheran, New York, Brian Jones KIM R. KASLING NY 7:30 pm D.M.A. 12 FEBRUARY Director of Music Emeritus Joan Lippincott; Christ Church, Rochester, 26 FEBRUARY St. John’s Univeristy Stephen Hamilton, Dupré, Le Chemin de la RINITY HURCH NY 8 pm T C Peter Richard Conte; Edenton Street United Croix; Cathedral of St. Peter and St. Paul, Provi- BOSTON Collegeville, MN 56321 Methodist, Raleigh, NC 7:30 pm dence, RI 8 pm Clay Christiansen; Holy Trinity Lutheran, Ak- Murray Forman; Holy Trinity Lutheran, Lan- ron, OH 8 pm caster, PA 12:30 pm Nathan Laube; Holy Redeemer Catholic Janet Hamilton; St. Mary’s Catholic Church, Church, Burton, MI 7:30 pm Lanesville, IN 12 noon JAMES KIBBIE John W.W. Sherer; Fourth Presbyterian, Chi- The University of Michigan 14 FEBRUARY cago, IL 12:10 pm Ann Arbor, MI 48109-2085 Nancy Cooper; St. Thomas Church Fifth Av- ORGAN CONSULTANT enue, New York, NY 5:15 pm 27 FEBRUARY 734-764-1591 FAX: 734-763-5097 Stefan Engels; First Presbyterian, New York, Nicole Marane, with narrator; Peachtree Road www.gabrielkney.com United Methodist, Atlanta, GA 10 am email: [email protected] NY 7 pm Mark King; St. David’s Episcopal, Baltimore, MD 5 pm 28 FEBRUARY Phillip Brisson; Shadyside Presbyterian, Robert Richter; Church of the Advent, Bos- Pittsburgh, PA 4 pm ton, MA 4:30 pm, Evensong at 5 pm David K. Lamb, D.Mus. Choral Evensong; All Saints, Worcester, MA Anne Timpane; Washington National Cathe- 5 pm Director of Music/Organist Richard Litterst dral, Washington, DC 5:15 pm Spirituals concert; First Church of Christ, Todd Wilson; All Saints Lutheran, Worthing- First United Methodist Church Wethersfi eld, CT 4 pm In Memoriam ton, OH 4 pm Columbus, Indiana CONCORA, Bach motets; Immanuel Congre- Nathan Laube; St. Paul’s Episcopal, Flint, MI February 4, 1926–August 9, 2009 gational, Hartford, CT 4 pm 812/372-2851 3:30 pm Ryan Jackson; Cathedral of the Incarnation, Celtic Evensong; Christ Church Grosse Pointe, Garden City, NY 4 pm Grosse Pointe Farms, MI 4:30 pm B. Andrew Mills; St. Thomas Church Fifth Av- Richard Webster, hymn festival; St. Lorenz enue, New York, NY 5:15 pm David Lowry BETTY LOUISE LUMBY Lutheran, Frankenmuth, MI 4 pm Scott Dettra; St. Stephen’s Episcopal, Mill- Craig Cramer; Reith Recital Hall, Goshen Col- burn, NJ 4 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO lege, Goshen, IN 4 pm Gail Archer; United Church of Christ, Read- 1512 BLANDING STREET, COLUMBIA, SC 29201 William Aylesworth, John Bryant, Merlin UNIVERSITY OF MONTEVALLO ing, PA 3 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Lehman, Don Mead, Kirstin Synnestvedt, Katherine Hunt; Cathedral of Mary Our Christopher Urban, & Gary Wendt; First Pres- ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Queen, Baltimore, MD 5:30 pm byterian, Arlington Heights, IL 4 pm Cathedral Choir; St. Joseph Cathedral, Colum- VocalEssence; Ordway Center for the Per- bus, OH 3 pm forming Arts, St. Paul, MN 4 pm Christopher Houlihan; Hyde Park Commu- nity United Methodist, Cincinnati, OH 4 pm 15 FEBRUARY Bradley Hunter Welch; Central College Pres- Stefan Engels, class; First Presbyterian, New byterian, Westerville, OH 4 pm James R. Metzler York, NY 10:30 am Todd Wilson; Emerson Concert Hall, Emory University, Atlanta, GA 4 pm PARK CONGREGATIONAL CHURCH 17 FEBRUARY Lakeshore Chamber Singers; Christ Church GRAND RAPIDS, MICHIGAN David Simms; North Christian Church, Co- Grosse Pointe, Grosse Pointe Farms, MI 4:30 lumbus, IN 12 noon pm •Anita Werling, with Western Illinois Univer- 19 FEBRUARY sity AGO chapter members; Faith Presbyterian, Stephen Tharp, with narrator, Dupré, Stations Monmouth, IL 3 pm of the Cross; Cathedral of St. Joseph, Hartford, Marijim Thoene; St. Patrick’s Church, New LEON NELSON CT 7:30 pm Orleans, LA 3 pm A.S.C.A.P. Peter Brown; Holy Trinity Lutheran, Lancast- FELLOW, AMERICAN GUILD OF ORGANISTS University Organist er, PA 12:30 pm UNITED STATES 345 SADDLE LAKE DRIVE North Park University West of the Mississippi ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois 20 FEBRUARY (770) 594-0949 Davis Wortman; St. James’ Church, New York, NY 3 pm Paul Jacobs, masterclass; John Knox Pres- 15 JANUARY byterian, Greenville, SC 10:30 am Stephen Hamilton, with Austin Symphony, Hector Olivera; Spivey Hall, Clayton State Barber, Toccata Festiva; Long Center for the OUGLAS EILL Arts, Austin, TX 8 pm D O’N BEDE JAMES PARRY University, Morrow, GA 7 pm Gail Archer; Trinity Episcopal, Reno, NV 12 University of Michigan Men’s Glee Club; West- Cathedral of the Madeleine noon LL AINTS HURCH minster Presbyterian, Dayton, OH 7 pm Salt Lake City, Utah A S ’ C Joseph Adam, Handel, organ concertos; Ben- aroya Hall, Seattle, WA 8 pm [email protected] LAS VEGAS, NEVADA 21 FEBRUARY 801/671-8657 Donald Meineke; All Saints, Worcester, MA 16 JANUARY 5 pm Stephen Hamilton, with Austin Symphony, Katherine Meloan; St. Thomas Church Fifth Barber, Toccata Festiva; Long Center for the Avenue, New York, NY 5:15 pm MARILYN MASON Arts, Austin, TX 8 pm Lenten Handbell Vespers; Bryn Mawr Presby- Joseph Adam, Handel, organ concertos; Ben- CHAIRMAN, DEPARTMENT OF ORGAN terian, Bryn Mawr, PA 4 pm aroya Hall, Seattle, WA 8 pm UNIVERSITY OF MICHIGAN Donald Sutherland , with Brass Roots Quin- Westminster Choir; St. Margaret’s Episcopal, ANN ARBOR tet; Griswold Hall, Peabody Conservatory, Bal- Palm Desert, CA 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it timore, MD 4 pm with awesome technique and a thrilling command of its daring writing.” Choral Evensong; Episcopal Church of the Re- 17 JANUARY The American Organist, 1980 deemer, Bethesda, MD 5 pm Aaron David Miller; St. Mark’s Episcopal Ca- Choir of St. John’s Huntingdon; Cathedral of thedral, Minneapolis, MN 5 pm Mary Our Queen, Baltimore, MD 6:30 pm Bruce Neswick; St. Mark’s Cathedral, Shreve- Procession for Lent; Church of St. John the port, LA 4 pm SYLVIE POIRIER Evangelist, Severna Park, MD 7 pm Mercury Baroque; Christ the King Lutheran, LARRY PALMER Michael Radulescu; Duke University Chapel, Houston, TX 6 pm Durham, NC 5 pm Evensong; St. John’s Cathedral, Denver, CO Professor of PHILIP CROZIER Paul Jacobs; John Knox Presbyterian, Green- 3:30 pm ORGAN DUO ville, SC 4 pm Gail Archer; St. Mary’s Cathedral, San Fran- Harpsichord and Organ Choral Evensong; Christ Church Grosse cisco, CA 4 pm 3355 Queen Mary Road, Apt 424 Pointe, Grosse Pointe Farms, MI 4:30 pm Joseph Adam, Handel, organ concertos; Ben- Stefan Engels; Wabash College Chapel, Meadows School of the Arts Montreal, H3V 1A5, P. Quebec aroya Hall, Seattle, WA 2 pm Crawfordsville, IN 3 pm Paul Jacobs; Davies Symphony Hall, San Choral Vespers; Neu Chapel, University of SOUTHERN METHODIST UNIVERSITY Canada Francisco, CA 6 pm Evansville, Evansville, IN 5 pm Allison Luedecke, with oboe; All Saints’ Epis- (514) 739-8696 Alan Hommerding; Madonna della Strada Dallas, Texas 75275 copal, Beverly Hills, CA 5 pm Fax: (514) 739-4752 Chapel, Loyola University, Chicago, IL 3 pm Frederick Swann; Sidney Harman Hall, Christopher Cohan Center, San Luis Obispo, Musical Heritage Society recordings [email protected] 22 FEBRUARY CA 3 pm John Scott; Cincinnati Museum Center, Cin- Carol Williams; Spreckels Organ Pavilion, cinnati, OH 7:30 pm Balboa Park, San Diego, CA 2 pm Michael Stefanek; Elliott Chapel, Presbyte- Craig Cramer; All Souls Episcopal, San Di- rian Homes, Evanston, IL 1:30 pm ego, CA 4 pm Arthur LaMirande J. Melvin Butler; Lutheran Church of Hono- LaMirande must be complimented upon investi- 23 FEBRUARY lulu, Honolulu, HI 7:30 pm gating music that few of his fellow organists have Heinrich Christensen; King’s Chapel, Bos- had the foresight to examine and to bring before the ton, MA 12:15 pm 22 JANUARY public.—American Record Guide Swedish Radio Choir; Fourth Presbyterian, Cameron Carpenter; All Saints Episcopal, Chicago, IL 8 pm Fort Worth, TX 7:30 pm L’organiste traversa son programme entier avec Laura Edman; Church of St. Louis, King of une authorité, une solidité technique et une fraîcheur France, St. Paul, MN 12:35 pm 24 JANUARY de registration qui, loin de faiblir en fi n d’exercice, Bradley Hunter Welch; St. Mary’s Catholic accompagnèrent les deux rappels d’ailleurs accordé 24 FEBRUARY Church, Amarillo, TX 2 pm sans la moindre hésitation.—La Presse, Montréal Christophe Mantoux; Church of St. Ignatius Garrett Collins; St. Mary’s Cathedral, San Loyola, New York, NY 7:30 pm Francisco, CA 3:30 pm 461 Fort Washington Avenue, Suite 33 Swedish Radio Choir; St. Peter in Chains Ca- •Lynette McGee; Irvine Valley College Per- New York, NY 10033 thedral, Cincinnati, OH 7:30 pm forming Arts Center, Irvine, CA 4 pm 212/928-1050 [email protected] Mitch Rorick & Chris Lynch; St. Paul’s Lu- •Robert Tall; St. Gregory’s Episcopal, Long theran, Columbus, IN 12 noon Beach, CA 4 pm 32 THE DIAPASON Jan 2010 pp. 31-35.indd 32 12/14/09 7:48:21 AM Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Ken Cowan; Walt Disney Concert Hall, Los 13 FEBRUARY Angeles, CA 7:30 pm Christophe Mantoux, masterclass; Plymouth Stephen G. Schaeffer Carol Williams; Spreckels Organ Pavilion, Congregational, Seattle, WA 10 am DOUGLAS REED Balboa Park, San Diego, CA 2 pm Otto Krämer, silent fi lm accompaniment; Recitals – Consultations Royce Hall, UCLA, Los Angeles, CA 2 pm 29 JANUARY UNIVERSITY OF EVANSVILLE Cathedral Church of the Advent Mary Preston; Boston Avenue United Meth- 14 FEBRUARY EVANSVILLE, INDIANA Birmingham, Alabama odist, Tulsa, OK 6 pm James David Christie; Church of the Trans- www.AdventBirmingham.org Carol Williams; Texas Christian University, fi guration, Dallas, TX 3 pm and 7 pm Fort Worth, TX 7:30 pm Gerre Hancock; Bates Recital Hall, University Stephen Tappe; St. John’s Cathedral, Den- of Texas, Austin, TX 4 pm ver, CO 7:30 pm Hans Hielscher; All Saints’ Episcopal, Las Stephen Tappe Bruce Neswick; Holy Spirit Episcopal, Mis- Vegas, NV 7:30 pm ROBERT L. soula, MT 7:30 pm Christophe Mantoux; Plymouth Congrega- Organist and Director of Music Michael Unger; Pinnacle Presbyterian, Scott- tional, Seattle, WA 7 pm SIMPSON Saint John's Cathedral sdale, AZ 7:30 pm Karen Christianson ; St. Mary’s Cathedral, Christ Church Cathedral James David Christie; Trinity Episcopal, San Francisco, CA 3:30 pm Denver, Colorado Portland, OR 7:30 pm 1117 Texas Avenue Evensong; St. James’ Episcopal, Los Angeles, Houston, Texas 77002 www.sjcathedral.org CA 4:30 pm 31 JANUARY Christopher Houlihan; St. James’ Episcopal, Houston Chamber Choir, school choral festi- Los Angeles, CA 6 pm val; South Main Baptist, Houston, TX 4 pm Carol Williams; Spreckels Organ Pavilion, Dong-ill Shin; Coker United Methodist, San Balboa Park, San Diego, CA 2 pm Antonio, TX 3 pm Beal Thomas Bach, Cantata No. 82; St. John’s Cathedral, Joe Utterback 15 FEBRUARY Mount Calvary Church Denver, CO 10:15 am Gail Archer; Grace and Holy Trinity Cathe- COMMISSIONS & CONCERTS Shari Porter Shull, with trumpet; Thomsen Baltimore dral, Kansas City, MO 8 pm Chapel, St. Mark’s Cathedral, Seattle, WA 2 pm [email protected] 732 . 747 . 5227 Choral Evensong; Christ Church, Episcopal, Tacoma, WA 5 pm 17 FEBRUARY Hymn Fest; Trinity Episcopal, Santa Barbara, Hans Hielscher; All Saints’ Episcopal, Las CA 3:30 pm Vegas, NV 7:30 pm All Saints’ Choir; All Saints’ Episcopal, Las Ve- David Wagner 1 FEBRUARY gas, NV 7 pm DMA Kevin Walters Marie-Claire Alain, masterclass; Parker Cha- pel, Trinity University, San Antonio, TX 7 pm 20 FEBRUARY Madonna University M.A., F.A.G.O. Mozart, Requiem; St. John the Divine Episco- Livonia, Michigan 5 FEBRUARY pal, Houston, TX 7:30 pm [email protected] Rye, New York Martin Jean; University of Kansas, Lawrence, KS 7:30 pm 21 FEBRUARY Choral Evensong; All Saints’ Episcopal, Bev- Ken Cowan; Cathedral Church of St. Paul, erly Hills, CA 7:30 pm Des Moines, IA 4 pm Gerre Hancock, Choral Evensong; St. Mark’s 7 FEBRUARY Episcopal, San Antonio, TX 4 pm KARL WATSON Cherie Wescott David Pickering, lecture-recital; Cathedral of Concerts • Masterclasses • Coaching Isabelle Demers; The Neighborhood Church, St. Raphael, Dubuque, IA 2 pm Palos Verdes Estates, CA 4 pm SAINT LUKE’S •Ahreum Han; First Presbyterian, Lincoln, NE 405/942-3958 Nathan Laube; St. Martin’s Episcopal, Davis, 3 pm ETUCHEN e-mail: [email protected] Bach, Cantata 54; Christ the King Lutheran, CA 7 pm M Houston, TX 6 pm Namhee Han & S. Wayne Foster; First Con- Kraig Scott; Grace Lutheran, Tacoma, WA gregational, Los Angeles, CA 4 pm 3 pm Evensong; All Saints Episcopal, Pasadena, +Douglas Cleveland, Melvin Butler, Joseph CA 5 pm Davis Wortman Adam, Carole Terry, others; Edmonds United Carol Williams; Spreckels Organ Pavilion, RONALD WYATT Methodist, Edmonds, WA 3 pm Balboa Park, San Diego, CA 2 pm Garrett Collins; St. Mary’s Cathedral, San Robert Plimpton, with percussion; First Unit- St. James’ Church Trinity Church Francisco, CA 3:30 pm ed Methodist, San Diego, CA 4 pm Frederick Swann; St, Margaret’s Episcopal, New York Galveston Palm Desert, CA 4 pm 26 FEBRUARY Carol Williams; Spreckels Organ Pavilion, Gerre Hancock; Edythe Bates Old Recital Balboa Park, San Diego, CA 2 pm Hall, Rice University, Houston, TX 7 pm Andrew Henderson; St. John’s Cathedral, Charles Dodsley Walker, FAGO 9 FEBRUARY Denver, CO 7:30 pm Olivier Latry; University Christian Church, Artist-in-Residence Founder/Conductor David Pickering; Doc Rando Recital Hall, Fort Worth, TX 3 pm Saint Luke’s Parish Canterbury Choral Society University of Nevada, Las Vegas, NV 7:30 pm 1864 Post Road 2 East 90th Street 11 FEBRUARY Bach, Mass in b; All Saints’ Episcopal, Beverly Darien, CT 06820 New York, NY 10128 Olivier Latry; Cathedral of Christ the Light, Hills, CA 8 pm (917) 628-7650 (212) 222-9458 Oakland, CA 7 pm 27 FEBRUARY 12 FEBRUARY Andrew Henderson; First Congregational, Paul Jacobs; Memorial Drive Presbyterian, Boulder, CO 7:30 pm Houston, TX 7 pm David Pickering, workshop; Doc Rando Re- William Webber, C.A.G.O. Elodie Raimond; St. Luke’s Episcopal, San cital Hall, University of Nevada, Las Vegas, NV Organist, First Christian Church, Danville, KY Francisco, CA 7 pm 10 am Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: http://users.cnjnet.com/williamwebber $BUIFESBMPG4U+PIO "MCVRVFSRVF /FX.FYJDP XXXTUKPIOTBCRPSH www.organconsulting.ca RUDOLF ZUIDERVELD *BJO2VJOO .BYJOF5IFWFOPU Illinois College, Jacksonville %JSFDUPSPG$BUIFESBM "DUJOH%JSFDUPSPG .VTJD0SHBOJTU $BUIFESBM.VTJD First Presbyterian Church, POTBCCBUJDBM 0SHBOJTU Springfi eld DAVID SPICER First Church of Christ Wethersfi eld, Connecticut House Organist The Bushnell Memorial Hartford JANUARY, 2010 33 Jan 2010 pp. 31-35.indd 33 12/14/09 7:48:37 AM Alison Luedecke, with Millennia Consort; Dong-ill Shin; Christ United Methodist, Plano, Houston Chamber Choir; The Rothko Chapel, 9 FEBRUARY Torrey Pines Christian Church, San Diego, CA TX 7 pm Houston, TX 8 pm James O’Donnell; St. Botolph without Ald- 5 pm Paul Jacobs, with orchestra; Segerstrom Hall, gate, London, UK 7 pm 21 FEBRUARY Orange County Performing Arts Center, Costa 14 FEBRUARY Carol Williams; Spreckels Organ Pavilion, Mesa, CA 8 pm 13 FEBRUARY Carol Williams; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 2 pm Alexander Ffi nch; Westminster Cathedral, Balboa Park, San Diego, CA 2 pm 26 FEBRUARY London, UK 4:45 pm 24 FEBRUARY Houston Chamber Choir; The Rothko Chapel, 19 FEBRUARY Maury Castro; St. Olaf College, Northfi eld, 15 FEBRUARY Gail Archer, masterclass; St. Olaf Church, MN 8:15 pm Houston, TX 8 pm Robin Jackson & Maureen McAllister; Minneapolis, MN 10 am Paul Jacobs, with orchestra; Segerstrom Hall, Paul Jacobs, with orchestra; Segerstrom Hall, Solihull School, Solihull, West Midlands, UK Bradley Hunter Welch; First United Method- Orange County Performing Arts Center, Costa Orange County Performing Arts Center, Costa ist, Waxahachie, TX 7:30 pm Mesa, CA 8 pm Mesa, CA 8 pm 7:30 pm 20 FEBRUARY 25 FEBRUARY 27 FEBRUARY 20 FEBRUARY Gail Archer; St. Olaf Church, Minneapolis, Clive Driskill-Smith; St. Mark’s Episcopal, St. Ken Cowan; Recital Hall, Texas A&M Interna- Robert Quinney; Westminster Cathedral, MN 7 pm Louis, MO 7:30 pm tional University, Laredo, TX 4 pm London, UK 4:45 pm Collegium Vocale, works of Charpentier; Sec- James O’Donnell; All Saints Episcopal, Fort Robert Bates; St. Philip Presbyterian, Hous- Christopher Houlihan; Westminster United ond Presbyterian, St. Louis, MO 4 pm Worth, TX 7:30 pm ton, TX 6 pm Church, Winnipeg, MB, Canada 2:30 pm Organized Rhythm (Clive Driskill-Smith, or- gan and Joseph Gramley, percussion); Univer- 22 FEBRUARY James O’Donnell; St. Thomas Anglican ORGAN BUILDERS sity of Denver (Hamilton Recital Hall), Denver, Church, St. Catharine’s, ON, Canada 7:30 pm CO 3 pm Bradley Hunter Welch; First Congregational, 27 FEBRUARY Los Angeles, CA 4 pm L. W. BLACKINTON Paul Dean; Westminster Cathedral, London, THE NOACK ORGAN CO., INC. James Welch, works of Bach; Mission Church, and associates, inc. MAIN AND SCHOOL STREETS UK 4:45 pm GEORGETOWN, MA 01833 Santa Clara University, Santa Clara, CA 2 pm www.noackorgan.com 380 FRONT ST. EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America 28 FEBRUARY Mary Preston; Meyerson Symphony Center, Dallas, TX 12:30 pm Organ Recitals martin ott pipe organ company INTERNATIONAL inc. ALEXANDER ANDERSON, Paisley Abbey, Paisley, Scotland, June 16: Dialogue 7408 Somerset Ave. St. Louis, MO 63105 sur les Grands Jeux, Duo sur les Tièrces, 314-504-0366 Phone 16 JANUARY En taille à 4, Fugue à 5, Récit (Pange Lin- 314-569-3879 Fax Martin Baker; Westminster Cathedral, Lon- Martin Ott [email protected] gua), de Grigny; Komm, heiliger Geist, BWV Orgelbaumeister www.ottpipeorgan.com don, UK 4:45 pm 651, An Wasserfl üssen Babylon, BWV 653b, Christ, unser Herr, zum Jordan kam, BWV 19 JANUARY 684, Toccata and Fugue in F, BWV 540, NEW INSTRUMENTS Martin Ellis; Temple Church, London, UK Bach; Le Banquet Celeste, Messiaen; Fan- MAINTENANCE 1:15 pm tasia on the Chorale Ad nos ad salutarem RESTORATIONS Parkey undam, Liszt. 974 AUTUMN DRIVE OrganBuilders 22 JANUARY ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs David Pether, Poulenc, Organ Concerto; BR. BENJAMIN BASILE, C.PP.S., ABR 847-395-1919 Reading Town Hall, Reading, UK 1 pm with David Plebanski, narrator, First F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 Suite 150-285 Fax 770-368-3209 Congregational Church, Michigan City, www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com 23 JANUARY IN, June 30: March Pontifi cale, Gou- Tim Wakerell; Westminster Cathedral, Lon- nod, arr. Schehl; Andante Pastorale, don, UK 4:45 pm Stephens; The Battle of Trenton (A Sonata Dedicated to General Washington), Hewitt; Pipe Organ Craftsmen & Builders 26 JANUARY Intermezzo on an Irish Air, Stanford; Fan- tasy and Fugue in a, BWV 561, Bach. Hupalo GF David Humphreys; Temple Church, London, 1785 Timothy Drive, Unit 4 UK 1:15 pm & San Leandro, CA 94577 JAMES RUSSELL BROWN, Holy Name Repasky Tel: 510 483 6905 Cathedral, July 4: Prelude and Fugue in b, www.hupalorepasky.com 28 JANUARY BWV 544, Schmücke dich, o liebe Seele, BWV Denis Bédard; Holy Rosary Cathedral, Van- 654, Bach; Jesus Christus, unser Heiland, couver, BC, Canada 8 pm Tunder; Annum per Annum, Pärt; America, the Beautiful, Hampton; Toccata and Fugue sound INSPIRATION 30 JANUARY in d/D, op. 59, Reger. Small Choirs Festival; The Drive Methodist Acoustical Design & Testing • Organ Consultation & Church, Ilford, UK 3 pm JEEYOON CHOI, ROBERT GANT, Inspection • Organ Maintenance & Tuning • Sound & Video Jonathan Hope; Westminster Cathedral, Lon- LEE KOHLENBERG, EDWARD NOR- System Design, Evaluation & Training don, UK 4:45 pm MAN, organ, and JULIA HARLOW, harp- sichord, First (Scots) Presbyterian Church, www.riedelassociates.com • (414) 771-8966 3 FEBRUARY email: [email protected] Charleston, SC, June 1: Kyrie, Gott Vater in 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Paul Derrett; Ripon Cathedral, Ripon, UK Ewigkeit, BWV 669, Christe, aller Welt Trost, 1:15 pm BWV 673, Kyrie, Gott heiliger Geist, BWV 671, Dies sind die heiligen zehn Gebot, BWV Advertise in 6 FEBRUARY 678, Wir glauben all an einen Gott, BWV 680, _ Peter Stevens; Westminster Cathedral, Lon- Vater unser im Himmelreich, BWV 682, Aus A. David Moore, Inc. The Diapason don, UK 4:45 pm tiefer Not schrei ich zu dir, BWV 686, Duetto TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] A gift subscription to ATOS ExperienceAmerican Theatre Organ Society THE DIAPASON Preserving a unique art form. The perfect gift for organist colleagues, students, teachers, choir Concerts, education, silent film, preservation, directors, and clergy. fellowship and more. www.atos.org Each month your gift will keep on giving by providing the important news Jim Merry, Executive Secretary, [email protected] of the organ and church music fi eld. Send in the form below with your P.O. Box 5327, Fullerton, CA 92838 check and know that your gift will be just right. For information, contact editor Jerome Butera, 847/391-1045; $35 one year USA ($45 foreign) THE DIAPASON 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025 For (Name) ______Street ______City ______State ______Zip ______ From: ______ 34 THE DIAPASON Jan 2011 pp. 31-35.indd 34 12/15/10 9:15:20 AM MARILLYN FREEMAN, with Ralph MATTHIEU LATREILLE, with Fran- Fantasy and Fugue on the chorale “Ad nos, Leben hat ein End, Sweelinck; Concerto in Freeman, piano, St. Paul Lutheran Church, cine Nguyen-Savaria, soprano, St. James ad salutarem undam,” Liszt. a, BWV 593, Bach; Adagio (Symphony No. Neenah, WI, August 26: Prelude and Fugue United Church, Montreal, QC, Canada, 3, op. 28), Vierne; Fiat Lux, Dubois; Post- in G, BWV 541, Bach; Air with Variations, August 25: Prelude and Fugue in D, BWV GREGORY PETERSON, Shrine of Our lude pour l’offi ce de complies, Alain; Toc- Sowerby; Parabel, Ideale (Poesien Pieces, 532, Bach; Schmücke dich, o liebe Seele, Lady of Guadalupe, La Crosse, WI, June cata (Suite pour orgue), Bédard. op. 35), Karg-Elert; Fanfares, Lament, op. 122, no. 5, Es ist ein’ Ros’ entsprungen, 21: Pièce d’Orgue, BWV 572, Von Gott Epilogue (Suite Breve), Phillips. op. 122, no. 8, Brahms; Je vous salue, Ma- will ich nicht lassen, BWV 658, Bach; Veni KIRSTIN SYNNESTVEDT, Sinsinawa rie, Prière, Latreille; Sonata No. 1, op. 65, Créator, de Grigny; Toccata in d, BuxWV Mound, Sinsinawa, WI, August 12: Now Thank We All Our God (Cantata 79), CHRISTOPHER HOULIHAN, Ca- Mendelssohn. 155, Buxtehude; Aria, Manz; Prelude and Fugue in g, op. 7, no. 3, Dupré. Bach, arr. Fox; Adagio Cantabile, Bach; thedral of St. Michael the Archangel, Partita über: Nun lasst uns Gott dem Her- Springfi eld, MA, September 26: March on ARTHUR P. LAWRENCE, Cathedral ren, Lübeck; Toccata and Fugue in d, Handel’s ‘Lift Up Your Heads,’ op. 15, Guil- of St. Patrick, New York, NY, June 14: Fan- DAVID PICKERING, Graceland University, Lamoni, IA, September 11: Bach; Amazing Grace, White; Sonata in A, mant; Fantasy and Fugue in g, BWV 542, taisie and Fugue in B-fl at, Boëly; Chant de Mendelssohn; Epiphania Domini (L’Orgue paix, op. 40, no. 3, Mon âme cherche une Herzlich tut mich verlangen, BWV 727, Bach; Romance (Symphony No. 4, op. 32), Bach; Pièce héroïque, Franck; Adagio in Mystique, op. 55), Tournemire. Vierne; Toccata, Sowerby; Con moto maes- fi n paisible, op. 40, no. 7, Langlais; Choral No. 3 in a, Franck. E, Bridge; Sonate I, Hindemith; Wondrous toso (Sonata No. 3, op. 65), Mendelssohn; Love, Schmidt; Giocoso (O Jerusalem), STEPHEN THARP, Stadtkirche, Karls- Suite, op. 5, Durufl é. Gawthrop; The Peace may be exchanged ruhe, Germany, July 26: Praeludium und ALISON LUEDECKE, with Susan (Rubrics), Locklair. Fuge Es-Dur, BWV 552, Allein Gott, in CALVERT JOHNSON, organ and Barrett, oboe (“Millennia Too!”), St. Bar- der Höh’ sei Ehr’, BWV 664, Bach; Ouver- ture zum Oratorium Paulus, op. 36, Men- harpsichord, with Laura Baker, Andrea tholomew’s Episcopal Church, Poway, CHRISTA RAKICH & SUSAN FER- Love, Ruth Reveal, sopranos, David CA, April 26: Summer Carol, Hirten; Par- delssohn, arr. Best; Rorate Coeli, Domine RÉ, organ and harpsichord, The Church Jesu, Attende Domine (Zwölf Choralvor- Kuehn, trumpet, and Liesl McWhorter, tita No. 1 in C, Hertel; Whispering Winds, of Christ at Dartmouth College, Septem- violin, Agnes Scott College, Atlanta, GA, Naples; Sonata in d, Loeillet; Concerto in spielen), Demessieux; Vers l’Esperance ber 13: Prelude and Fugue in C, BWV 545, (Trois Poèmes), Escaich; Adagio, Finale September 20: Prima Sonata di Tromba, et a, BWV 593, Bach; Ornament of Grace, Bach; Tiento de medio registro de tiple de organo insieme detta del Colloreto, Sonata Sanders; Sonata No. 4, Handel; Festival (Orgelsymphonie Nr. 8 H-Dur, op. 42, no. Decimo Tono, Correa de Arauxo; A Solis 4), Widor. No. 2, detta del Gonzaga, Fantini; Obra Piece, Phillips. Ortus, de Grigny; Sei gegrüsset, Jesu gütig, de 8º tono alto: Ensalada, Heredia; Toc- BWV 768, Concerto in C for two harpsi- DONALD VERKUILEN, First English cata quinta (Il secondo libro di Toccate), ALISON J. LUEDECKE, Trinity Epis- chords, BWV 1061, Bach. Canzona Quarta, Frescobaldi; Sonata No. copal Church, Reno, NV, May 8: Festival Lutheran Church, Appleton, WI, August 5: Prelude and Fugue in D, BuxWV 139, Bux- 3, detta del Niccolini, Sonata No. 4, detta Piece, Phillips; Concerto in a, BWV 593, JOYCE ROBINSON & ANDREW Bach; Irish Jig for the Feet, Bennett; Final tehude; Christe, Recit de Chromhorne, del Saracinelli, Fantini; Occhi, del pianto SCHAEFFER, with Kiersten Hoiland, Couplet, Sanctus Dominus Deus Sabaoth mio (Madrigali), Luzzaschi; Capriccio (Symphonie I), Vierne. violin, St. Luke’s Lutheran Church, Park (Messe Propre Pour Les Couvents), Cou- cromatico, Merula; Ricercate Quarto tono Ridge, IL, June 7: Arrival of the Queen of perin; Berceuse, op. 31, no. 19, Vierne; con tre fughe, et inganni (Libro primo), MELISSA MOLL, First English Lu- Sheba, Handel; Prelude and Fugue in C, Choral in a, Franck. Trabaci; Cromatica, Soncino; Sonata ‘La theran Church, Appleton, WI, June 24: Böhm; Meditation, Dupont; Allemande Gardana,’ Marini; Sonata No. 5, detta Prelude and Fugue in D, BWV 532, Bach; (Sonata for Violin and Organ, op. 166), WESLEY R. WARREN, St. James dell’ Adimari, Sonata No. 6, detta del Mo- Psalm Prelude, Phillips; Overture, Sara- Rheinberger; O.K. Chorale (Toot Suite, United Church, Montreal, QC, Canada, rone, Fantini; Ave verum corpus, Ego fl os bande, Rhythmic Trumpet, Voluntary (Ba- S.212ŵ), P.D.Q. Bach; Sonata No. 1, op. June 23: Prelude and Fugue in e, Bruhns; campi, Assandra; Tiento de Medio Reg- roques), Bingham. 65, Mendelssohn; Variations on a Noël, Ach wie nichtig, ach wie fl üchtig, Böhm; istro de Tiple del décimo tono (Facultad Dupré. Prélude et fugue en sol majeur, BWV 541, orgánica), Correa de Arauxo; Bergamasca ANNA MYEONG, Holy Cross Lutheran Bach; Variations on a Timeless Theme, (Fiori musicali), Frescobaldi; Sonata No. Church, Wichita, KS, June 18: Fiat Lux, STEPHEN A. STEELY, Sinsinawa Fleming; Te lucis ante terminum, Lucis 7, detta del Vitelli, Sonata No. 8, detta del Dubois; Cortège et Litanie, Dupré; Cinq Mound, Sinsinawa, WI, August 26: Creator optime, Placere Christe servulis Nero, Fantini. versets sur le Victimae Paschali, Escaich; Chaconne in g, Couperin; Mein junges (Le Tombeau de Titelouze, op. 38), Dupré. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, Visit The Diapason website: www.TheDiapason.com CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. 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JANUARY, 2010 35 Jan 2010 pp. 31-35.indd 35 12/14/09 7:49:12 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 35. PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS RECORDINGS RECORDINGS RECORDINGS FOR SALE Harpsichord Technique: A Guide to Expres- Transcriptions are popular again! Consider Historic Organ Surveys on CD: recorded Pipe organ. $4,900. Two manuals, 11 ranks. sivity, Second Edition, by Nancy Metzger. playing Elgar’s Coronation March, Mendels- during national conventions of the Organ His- Over 500 beautiful pipes. 248/471-1515; cell Book, organ, harpsichord CDs at author’s sohn’s Overture to A Midsummer Night’s torical Society. Each set includes photographs, 586/202-9960. website, best prices. www.rcip.com/ Dream, or Wagner’s Tannhäuser’s Pilgrim- stoplists, and histories. As many organists as musicadulce. age. The Lone Ranger rides again in our new- organs and repertoire from the usual to the est for 2010, Rossini’s William Tell Overture. unknown, Arne to Zundel, often in exceptional Oldest extant Aeolian, Opus #871, 1899. michaelsmusicservice.com; 704/567-1066. performances on beautiful organs. Each set Professionally moved by Meloni & Farrier from includes many hymns sung by 200–400 musi- Vanderbilt/Fabbri mansion in NYC in 2001. This Aging of Organ Leather by Harley Piltingsrud cians. Historic Organs of Indiana, 31 organs organ is in perfect condition, needing restoration tells how to test and select organ leathers for lon- Refl ections: 1947–1997, The Organ Depart- on 4 CDs, $34.95. Historic Organs of Louisville only. Please call Anthony Meloni at 914/843- gevity of 60 years or more. Treats other aspects ment, School of Music, The University of Michi- (western Kentucky/eastern Indiana), 32 organs 4766 for details. Organ specs may be viewed at of leather production and the history of testing for gan, edited by Marilyn Mason & Margarete on 4 CDs, $29.95. Historic Organs of Maine, www.meloniandfarrier.com. longevity. New 48-page edition in 1994, $9.95 + Thomsen; dedicated to the memory of Albert 39 organs on 4 CDs, $29.95. Historic Organs $4.50 shipping for entire order (within USA). Or- Stanley, Earl V. Moore, and Palmer Christian. of Baltimore, 30 organs on 4 CDs, $29.95. der online at www.ohscatalog.org. Includes an informal history-memoir of the organ Historic Organs of Milwaukee, 25 organs in 8-rank Wangerin near Detroit is seeking a good department with papers by 12 current and former Wisconsin on 2 CDs, $19.98. Historic Organs home. I am in good condition and will bring joy faculty and students; 11 scholarly articles; remi- of New Orleans, 17 organs in the Bayous to to my new owner. Owner is asking $3,500 and CD Recording, “In memoriam Mark Buxton niscences and testimonials by graduates of the Natchez on 2 CDs, $19.98. Historic Organs of buyer to remove. For information please contact (1961–1996).” Recorded at Église Notre-Dame department; 12 appendices, and a CD record- San Francisco, 20 organs on 2 CDs, $19.98. 248/356-0896 or [email protected]. de France in Leicester Square, London, between ing, “Marilyn Mason in Recital,” recorded at the Add $4.50 shipping in U.S. per entire order 1987 and 1996. Works of Callahan, Widor, National Shrine of the Immaculate Conception from OHS, Box 26811, Richmond, VA 23261, Grunewald, Salome, Ropartz, and Boëllmann, in Washington, DC. $50 from The University of by telephone with Visa or MasterCard 804/353- 25-rank David Dyer pipe organ, modifi ed by along with Buxton’s improvisations. $15 post- Michigan, Prof. Marilyn Mason, School of Music, 9226; FAX 804/353-9266. Brantley Duddy, in good condition. $15,000 or paid: Sandy Buxton, 10 Beachview Crescent, To- Ann Arbor, MI 48109-2085. best offer, buyer to remove. 410/287-2482 or ronto ON M4E 2L3 Canada. 416/699-5387, FAX [email protected]. 416/964-2492; e-mail [email protected]. Request a free sample issue of The Diapason PIANOFORTE FOR SALE for a student, friend, or colleague. Write to the Aeolian-Skinner Opus 1232, 3 manuals, 38 Historic Organs of Seattle: A Young Yet Vi- Editor, The Diapason, 3030 W. Salt Creek Lane, Brown and Allen/Boston square grand piano- stops, built in 1952. This organ was found to brant History, the latest release from OHS, is a Suite 201, Arlington Heights, IL 60005; or e-mail: forte. 73 keys. Very good condition. Best offer. be in absolute pristine and original condition, a four-disc set recorded at the 2008 OHS national [email protected]. Nelson, 847/367-5102 or 312/304-5287. little dusty, needing only the usual releathering, convention, held in the Seattle, Washington console upgrade (or restoration), and retrofi t- area. Nearly fi ve hours of music feature historic ting. Please contact Anthony Meloni, exclu- organs by Aeolian-Skinner, Casavant, Hook & The OHS Catalog is online at www.ohscatalog. PIPE ORGANS sive agent for the seller, at 914/843-4766 or at Hastings, and Hutchings-Votey, Kilgen, Tallman, org. More than 5,000 organ and theatre organ [email protected] for details. Woodberry, Hinners, Cole & Woodberry, plus in- CDs, books, sheet music, DVDs and VHS vid- FOR SALE struments by Flentrop, C. B. Fisk, and Rosales, eos are listed for browsing and easy ordering. and Pacifi c Northwest organbuilders Paul Fritts, Use a link for adding your address to the OHS Barckhoff 12-rank tracker, two manual, large Portative organ: Designed for small choral or Martin Pasi, John Brombaugh, Richard Bond, Catalog mailing list. Organ Historical Soci- façade, great sound—original installation and baroque ensembles. Four stops: 8′, 4′, 2′, and and many more! Renowned organists Douglas ety, Box 26811, Richmond, VA 23261. E-mail: functional. Formerly U.C.C. denomination. 1-1/3′, with the last two divided into bass and Cleveland, Julia Brown, J. Melvin Butler, Carol [email protected]. Located in N.E. Pennsylvania. Make offer. treble registers and an adjustable point of di- Terry, Bruce Stevens, and others are featured 330/821-3875. vision (b24/c25 or c25/c#26). Adjustable pitch in live performances on 24 pipe organs built be- Check out classifi ed ads—with photos— between A=440 Hz and A=415 Hz. Quarter- tween 1871 and 2000. Includes a 36-page book- on our website! Visit www.TheDiapason. sawn white oak case. Available immediately. let with photographs and stoplists. $34.95, OHS com; under SPOTLIGHTS, click on Classi- 2 manuals, detached console, pedals, 3 ranks, For more information, contact Létourneau Pipe members: $31.95. For more info or to order: fi ed Advertisements. unifi ed. 12 stops, crescendo. In use; $4,000. Organs at [email protected] or http://OHSCatalog.com/hiorofse.html. 800/583-7644. 888/774-5105. glück newyork orgaNbuilders 170 Park Row, Suite 20A TOTAL PIPE ORGAN RESOURCES New York, NY 10038 2320 West 50th Street * Erie, PA 16505-0325 212.608.5651 (814) 835-2244 * www.organsupply.com www.glucknewyork.com Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: PEEBLES-HERZOG, INC. THE ORGAN COMPANY 50 Hayden Ave. Columbus, Ohio 43222 1220 Timberedge Road Lawrence, Kansas 66049 Ph: 614/279-2211 • 800/769-PIPE (785) 843-2622 www.peeblesherzog.com www.reuterorgan.com 3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com 36 THE DIAPASON Jan 2010 pp. 36-37.indd 36 12/14/09 7:50:10 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 35. PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES 1964 M.P. Möller pipe organ. 36-rank American Six ranks for sale: 16′ Bourdon (32 notes), 16′ Austin actions: Come to the source. Fast de- Releathering all types of pipe organ actions Classic specifi cation including two célestes, two Bombarde (1–12), 8′ Doppelfl öte, 4′ Hohlfl öte, ′4 livery. Guaranteed. 860/522-8293; www.austin and mechanisms. Highest quality materials and enclosed divisions and 32′ reed. Three-manual Harmonic Flute, 8′ Vox Humana. Mike Jalving; organs.com. workmanship. Reasonable rates. Columbia console. No casework or façades; instrument is 303/671-6708 (Colorado). Organ Leathers 800/423-7003. www.columbia in good condition but will need releathering. Ask- organ.com/col. ing $50,000 “as is” or can be rebuilt with some Aeolian/Robert Morton-style maroon leather modifi cations. Available immediately. For more Atlantic City Pipe Organ Company—16′ is now available from Columbia Organ information, contact Létourneau Pipe Organs at Gemshorn with chests, Kilgen/OSI, $2000. Leathers! Highest quality. 800/423-7003, THE DIAPASON’s website now presents featured [email protected] or 888/774-5105. OSI metal Gedeckt, $600; Kilgen: 8′ Harmonic www.columbiaorgan.com. artists in its SPOTLIGHTS section—with pho- Doppel Flute, $700; Harmonic Piccolo, $500. tos, biographies, and contact links. Visit www. 609/641-9422; [email protected]. TheDiapason.com to view details: in the left- 1960s Walcker (German) 14-rank tracker Highest quality organ control systems since hand column, under Spotlights, click on Fea- organ. Open toe voicing on 2″ wind pressure. 1989. Whether just a pipe relay, combination tured Artists. Reverse console built into case. Footprint is 6′ Consoles, pipes action or complete control system, all parts ′ ″ and numerous miscellaneous wide by 11 6 deep (including console and pedal parts. Let us know what you are looking for. are compatible. Intelligent design, competitive stops), 9′10″ tall. All encased with 4′ Principal pricing, custom software to meet all of your re- Tours of the World’s Largest Pipe Organ in At- ′ ′ E-mail [email protected] (not comcast), façade. Manual I—8 Gedackt, 4 Octave, II Ses- phone 215/353-0286 or 215/788-3423. quirements. For more information call Westa- lantic City’s Boardwalk Hall are now available by quialtera, II–III Mixture. Manual II—8′ Gemshorn, cott Organ Systems, 215/353-0286, or e-mail reservation. The two-hour docent tours include 4′ Rohrfl ote, ′2 Principal, 1-1/3′ Quinte. Pedal— [email protected]. the ballroom Kimball organ and the 33,000+ pipe ′ ′ ′ 16 Bourdon, 8 Flute, 4 Choralbass. Playing and Wood pipes. Missing pipes made to match. Midmer-Losh organ, with its 7-manual console in use regularly. Asking $16,500. For recordings and 5-manual portable console. Tourgoers will Damaged pipes in any condition repaired. Over ′ ′ and pictures contact [email protected]. 25 years experience. Filip Cerny, 814/342-0975. Austin actions recovered. Over 40 years ex- see the 64 pedal stop, the immense 32 Diapa- perience. Units thoroughly tested and fully guar- sons, and areas of the organs not open to the ca- anteed. Please call or e-mail for quotes. Tech- sual visitor. Tours cost $20, which goes directly ELECTRONIC ORGANS nical assistance available. Foley-Baker, Inc., 42 to support the restoration of these instruments; ANNOUNCEMENTS N. River Road, Tolland, CT 06084. Phone 1- children under 12 are admitted free. For reserva- FOR SALE 800/621-2624. FAX 860/870-7571. foleybaker@ tions: [email protected]. For information: Pipe Organs of Chicago, Volume II, by Ste- sbcglobal.net. www.acchos.org. Rodgers 2-manual; 46 drawknobs, 28 pistons, phen Schnurr and Dennis Northway (Chauncey 12 toe buttons. $2,000. Conn theatre organ, 2 Park Press, Oak Park, Illinois), 290 pages, hard- Postal regulations require that mail manuals, $1,500. 800/583-7644. bound, full color, contains photographs, stoplists, Need help with your re-leathering and other data for 117 organs built between 1868 project? All pneumatics including to THE DIAPASON include a suite num- and 2008 in the Chicago metropolitan area. In- Austin. Over 45 years experience ber to assure delivery. Please send Viscount Concerto III, 3-manual “Custom Se- struments from seven nations are included along (on the job assistance available). all correspondence to: THE DIAPASON, ries.” 45 stops, 128 orchestral voices, MIDI, with regionally built ones. Volume I, released in 615/274-6400. memory 60,000 events. Also available: two 3030 W. Salt Creek Lane, Suite 201, 2005, has become the largest-selling organ atlas external speakers. Only $25,000; must sell. In- Arlington Heights, IL 60005. formation/photos: 708/945-2762; m.swierk@ in the United States. Few copies of this 274-page comcast.net. book, containing 102 organs, remain in stock; ALL REPLIES they are available for $50.00, Volume II is priced THE DIAPASON’s classified ads are at $65.00, plus shipping and appropriate taxes. TO BOX NUMBERS now available on THE DIAPASON For further nformation and order forms, visit MISCELLANEOUS that appear website—including photographs and www.pipeorgansofchicago.com. convenient e-mail links directly to the FOR SALE without an address sellers! Visit www.TheDiapason.com should be sent to: and in the left-hand column, look for 4 Manual 1989 M.P. Moller organ console in THE DIAPASON’S 100th Anniversary Issue SPOTLIGHTS, then click on Classified oak. MIDI on 3 manuals + pedals. Single memory, is certain to be a valued keepsake. A limited THE DIAPASON Advertisements. Follow the links to the 10 generals, 6 divisionals, 18 rocker tabs. Match- number of additional copies are available at 3030 W. Salt Creek Lane, Suite 201 classifieds that interest you, and click ing bench and pedal board. Also has a Yamaha a cost of $6.00 postpaid. Contact the editor, the e-mail button to contact the sellers. recording and play back device. 407/222-1231; Jerome Butera, at 847/391-1045, jbutera@ Arlington Heights, IL 60005 What could be easier? [email protected]. sgcmail.com. Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930 GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852 Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS W. Zimmer & Sons, inc. City ______❑ $55.00—2 YEARS Jacques Stinkens ❑ $35.00—1 YEAR pipe organ builders Organpipes - since 1914 State ______Zip ______FOREIGN SUBSCRIPTIONS 429 Marvin Road Fort Mill, SC 29707 ❑ $85.00—3 YEARS Flues - Reeds Phone/Fax: 803-547-2073 Please allow four weeks for delivery of fi rst issue ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" wzimmerandsons.com ❑ E-1 $45.00—1 YEAR Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] [email protected] on new subscriptions. NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl JANUARY, 2010 37 Jan 2010 pp. 36-37.indd 37 12/14/09 7:50:33 AM *=picture +=musical examples 2009 In Review—An Index †=stoplist #=diagrams Articles, Reports, and Reviews by author (boldface) and subject Acoustics. See Riedel, Toevs. Clarence Dickinson, Part 2: 1898–1909. Feb 22–25* Aeolian-Skinner. See Lowry and Forrest. ______, editor. From the Dickinson Collection: Speech to the St. Louis Chapter Albert Schweitzer Organ Festival. See Hohman. of the American Guild of Organists by Clarence Dickinson. June 24–25* Atlantic City Boardwalk Hall. See Swisher and Loeser. ______, compiler and editor. From the Dickinson Collection: Music and Wor- ship by Clarence Dickinson. Dec 40–42* Barckhoff organ. See Campbell, Anita. McCray, James. Music for Voices and Organ. Jan 16–17, Feb 15–16, Mar 17–18, Barone, Michael, Jack M. Bethards, Michael D. Friesen, Orpha Ochse, Bar- April 16, May 19–20, June 16, July 17–18, Aug 15, Sept 16–17, Oct 16, Nov 17–18, bara Owen, Frederick Swann, and John Weaver. The Diapason: The First Dec 20 Hundred Years. Dec 31–34* Midmer-Losh. See Swisher and Loeser. Bishop, John. In the wind . . . Jan 14–16*, Feb 12–14*, Mar 12, 14, April 12–14, May Music for Voices and Organ. See McCray. 14, 16, June 12–14, July 14–15*, Aug 12–13, Sept 12, 14–15, Oct 12–13*, Nov 12, 14–15*, Dec 15–16 Nelson, Leon. New Handbell Music. Feb 19, Sept 19 Bishop, Ronald Cameron. What a Time It Was: A Fond Remembrance. Jan Ness, Marjorie. DVD Reviews. July 18–19 23–27* New Handbell Music. See Nelson. Black, Gavin. On Teaching. Jan 16–18+, Feb 14–15, Mar 14, 16–17, April 14–16, New Harpsichord Music. See Collins. May 16, 18–19, June 14–16+, July 16–17, Aug 13–14+, Sept 15–16, Oct 14–15, New Organ Music. See Callahan, Collins, Herman, Hettinger, Hughes, Wagner, Nov 15–17, Dec 18, 20 Young. Book Reviews. See Bullard, Coleberd, Collins, Hettinger, Robinson, Speller, Terry, New Recordings. See Heaton, Pickering, Rakich, Rippl, Speed, Speller, Wagner. Zoller. Bulgarian organ music. See Levi. On Teaching. See Black. Bullard, John M. Book Reviews. Oct 17–18 Organ building. See Bishop, Cera and Pinchi. Butera, Jerome. A Conversation with Todd Wilson. Oct 26–29* Organ design. See Hampton. ______. Editor’s Notebook. Feb 3, Mar 3, April 3, May 3, June 3, July 3, Aug 3, Organ Historical Society. See Rippl. Sept 3, Oct 3, Nov 3, Dec 3 Organ pedagogy. See Black. Buxtehude. See Rathey. Organ Recitals. Jan 34–35, Feb 33, Mar 37, April 33, May 40–41, June 33, July 36–37, Aug 32–33, Sept 36–37, Oct 37, Nov 37, Dec 48–49 Callahan, James. New Organ Music. June 18 Our Lady of Refuge, Brooklyn, NY. See Vitacco. Callaway, Paul. See Campbell, Neal. Campbell, Anita. A Pipe Dream Comes True: The Keweenaw Heritage Center’s Palmer, Larry. Harpsichord News. May 14*, July 12, 14*, Aug 10* Barckhoff Organ. Oct 24–25*† ______. Mario Castelnuovo-Tedesco’s English Suite for Harpsichord at 100. Campbell, Neal. Paul Callaway, Roy Perry and the Washington Cathedral Organ— Dec 36–37*+ A History and Memoir. May 26–33*† ______. William Dowd (February 28, 1922–November 25, 2008): An Apprecia- Campbellsville University. See Roberts. tion. Jan 22* Castelnuovo-Tedesco, Mario. See Palmer. Perry, Roy. See Campbell, Neal. Cera, Francesco, and Andrea Pinchi. The organ by Giuseppe Testa, 1676, in Peterson, Gregory. Summer Institute for French Organ Studies 2009. Nov Serra San Quirico: An incredible sound. June 22–23*† 20–22*† Chase, Jeffrey K. University of Michigan Historic Organ Tour 55. Feb 20–21* Phillips, Craig. See Kelley. Coleberd, R. E. Book Reviews. Aug 15–16* Pickering, David C. New Recordings. Feb 16–18 Collins, John. Book Reviews. Jan 19, April 16–17, June 16–17, July 18 ______. New Harpsichord Music. Oct 18–19 Ragatz, Oswald G. Those Green Pastures. Sept 26–29* ______. New Organ Music. Feb 18, Mar 19, May 22, July 20, Sept 19, Nov 19 Rakich, Christa. New Recordings. Aug 18 Concertizing. See Ragatz. Ransdell Chapel. See Roberts. Cowan, Ken. See Robinson. Rathey, Markus. Text Interpretation and Cyclic Unity in Buxtehude’s Nimm von uns Herr, du treuer Gott, BuxWV 207. July 21–23+ Dickinson, Clarence. See Maycher. Riedel, Scott R. Acoustics in the Worship Space IX. April 22–23*# Dowd, William. See Palmer. Rippl, Frank. 53rd OHS National Convention: Seattle, Tacoma, Olympia, July 13– DVD Reviews. See Ness. 18, 2008. Mar 20–25* ______. New Recordings. Aug 16–18 Editor’s Notebook. See Butera. Roberts, Wesley. Farrand & Votey Organ Installed in Ransdell Chapel. Sept 23–25*† EROI Festival 2008. See Sjöqvist. Robinson, Joyce Johnson. A conversation with Ken Cowan. July 26–29* ______. Book Reviews. May 20 Farrand & Votey. See Roberts. Sewanee Church Music Conference 2009. See Smedley. Glasgow, Robert. See Van Oyen. Shuster Fournier, Carolyn. André Isoir: An Eclectic French Organist. Aug 22–25* Hampton, Calvin. Organs for Use with Symphony Orchestra. Mar 27–28† Sjöqvist, Jerker, translated by Fredrick Tobin. Swedish impressions of Eastman’s Harpsichord News. See Palmer. EROI Festival 2008. Sept 22*† Heaton, Charles Huddleston. New Recordings. Jan 20, Feb 18, Mar 18–19, April Smedley, Jane Scharding. Sewanee Church Music Conference 2009. Nov 23* 17–18, May 21, June 17–18, July 19–20, Sept 19, Oct 19, Dec 22 Speed, Robert M. New Recordings. May 20–21 Herman, David. New Organ Music. Dec 20, 22 Speller, John. Book Reviews. June 17, Oct 18 Hettinger, Sharon L. Book Reviews. Feb 16 ______.New Recordings. Jan 20, Mar 18, Sept 18–19, Nov 18–19 ______. New Organ Music. Mar 19, April 18, May 22 Summer Institute for French Organ Studies 2009. See Peterson. Hohman, Frederick. 2008 Albert Schweitzer Organ Festival: September 5–7, 2008. Swager, Brian. Carillon News. Sept 12* Jan 21* Swisher, Charles, and Carl Loeser. Atlantic City Boardwalk Hall’s Midmer-Losh Hughes, Sarah Mahler. New Organ Music. Feb 18–19 Organ: An Update. Aug 20–21* Hyslop, Scott M. Paul Manz: May 10, 1919–October 28, 2009, In Memoriam. Dec 38–39* Terry, Mickey Thomas. Book Reviews. Sept 17–18 Testa, Giuseppe. See Cera and Pinchi. In the wind . . . . See Bishop. The Diapason. See Barone, et al; Butera. Isoir, André. See Shuster Fournier. ______. The Diapason, December 1909. Dec 23–30 Italian organs. See Cera and Pinchi. Toevs, James W. Organ Acoustics at High Altitudes. Oct 31–32# Kelley, David. A Conversation with Composer Craig Phillips. June 19–21* University of Michigan Historic Organ Tour. See Chase. Keweenaw Heritage Center. See Campbell, Anita. University of Michigan 48th Annual Conference on Organ Music. See Kramer et al. Kilgen organs. See Vitacco. Kramer, Gale, with Marijim Thoene, Alan Knight, and Linda Pound Coyne. Van Oyen, Marcia. A Tribute to Robert Glasgow, Hill Auditorium, The University University of Michigan 48th Annual Conference on Organ Music. April 24–25* of Michigan, May 29, 2009. Oct 20–21* Kuznik, Joel H. Kristian Wegscheider: Master Restorer and Organbuilder. May Vitacco, Joe. Kilgen Opus 5163: Our Lady of Refuge, Brooklyn, New York. Mar 23–25*† 26*† Letters to the Editor. Jan 3, Feb 3, Mar 3, April 3, May 3, June 3, July 3, Nov 3 Wagner, David. New Organ Music. April 18, May 21–22, June 18 Létourneau organs. See Lowry and Forrest. ______. New Recordings. Jan 19–20, July 19, Aug 18–19 Levi, Sabin. Organ Music by Bulgarian Composers: A New Music Series Now in Washington National Cathedral. See Campbell, Neal. Print. Oct 22–23+ Wegscheider, Kristian. See Kuznik. Lewis, James. Organs in the Land of Sunshine: A look at secular organs in Los An- Wilson, Todd. See Butera. geles, 1906–1930. Nov 24–29*† Winthrop University. See Lowry and Forrest. Looking Back. Jan 14, Feb 10, Mar 12, April 12, May 12, June 12, July 12, Aug 10, Worship. See Maycher/Dickinson. Sept 12, Oct 12, Nov 12, Dec 14 Wunderlich, Heinz. See Zoller. Los Angeles. See Lewis. Lowry, David and Andrew Forrest. D. B. Johnson Memorial Organ, Aeolian- Young, Steven. New Organ Music. Jan 20, Aug 19 Skinner Opus 1257, Winthrop University, Rock Hill, South Carolina: Restoration by Létourneau Pipe Organs. July 24–25*† Zoller, Jay. Book Reviews. July 18, Nov 18 ______. Remembrances of a birthday celebration: Heinz Wunderlich at 90. Sept Manz, Paul. See Hyslop. 20–21* Maycher, Lorenz, compiler. From the Dickinson Collection: Reminiscences by ______. Heinz Wunderlich at 90. April 19–21* 38 THE DIAPASON Jan 2010 pp. 38-39.indd 38 12/14/09 7:51:25 AM petition in Organ Playing, Syracuse, Appointments NY. July 3 Obituaries Heaton, Charles Huddleston,* cel- ebrates 80th birthday, Calvary Episco- Bahr, Fredrick,* to tonal director, pal Church, Pittsburgh, PA. Jan 6, 8 Anderson, Robert Theodore.* July 10 Melcher, John H. Sept 8 Kegg Pipe Organs, Oct 5–6 Held, Wilbur,* celebrates 95th birth- Bartholomew, Betty Jean Taylor. Feb 8 Miller, M. Louise. Jan 10 Brown, James Russell,* to faculty, day, Claremont, CA. Oct 6 Boulnois, Michel.* Mar 8, 10 Milliken, Ruth. Mar 10 School of Music, Northern Illinois Hell, Felix, awarded John Hopkins Brakel, Margaret E. Feb 8 Mitchell, Robert Bostwick “Bob.” University, DeKalb, IL. Jan 6 Outstanding Recent Graduate Award, Brandon, Dona Lee. Oct 8 Nov 10 Brugh, Lorraine,* elected president, Johns Hopkins University, Baltimore, Campbell, John C. Aug 6 Neumann, Alfred John. Feb 8 Association of Lutheran Church Mu- MD. June 6 Castle, Jeanie Little. Jan 10 Oliver, Timothy J. May 10 sicians. Mar 6 Henson, Nancy,* celebrates 40 years Clayton, Howard. July 10 Olson, Ivan Ronald.* Oct 8, 10 Cooper, Philip T. D.,* to Lititz Mora- as organist at Austin Avenue United Cool, N. Frederick. Feb 8 Peterson, Jeffrey M.* June 10 vian Church, Lititz, PA. Nov 5 Methodist Church, Waco, TX. Feb 8 Denbow, Stefania Björnson. June 8 Peterson, Richard H.* April 10 Elsholz, Scott M.,* to St. Mary’s Highberger, Edgar,* receives 2009 Dunn, Thomas B. Mar 10 Pinte, Michel.* May 10 Episcopal Cathedral, Memphis, Faculty Award in Excellence in Lib- Fort, Robert E., Jr. May 10 Powell, Travis R. May 10 TN. Nov 5 eral Arts Teaching, Seton Hill Uni- Foss, Lukas. April 8 Ripper, Theodore W. Oct 10 Fienen, David,* to Provost and Vice versity, Greensburg, PA. Dec 8 Gladwell, Richard.* Dec 12 Robe, Robert Wendell. May 10 President for Academic Affairs, Gus- Huber, Harry H.*, recognized for 58th Greenwell, Constance Hunter. June 8 Russakoff, Mark L.* July 10 tavus Adolphus College, St. Peter, year as organist, University United Griffi n, Carol A. Feb 8 Russell, Mary Landon. May 10 MN. Dec 6 Methodist Church, Salina, KS. July 8 Hallman, Charles E. Sept 8 Sambach, Clyde J. “Cj.”* June 10 Harbach, Barbara,* to Director of Jones, Brian,* honored by Noble and Hartman, James Barclay. April 8 Schantz, Mark P. Oct 10 Women in the Arts, University of Greenough School, Dedham, MA. Kelliher, Lawrence G.* Aug 6 Selby, Wesley T., Jr. Feb 8–9 Missouri–St. Louis. Mar 6 Oct 6 King, Hazel-Thomas Baker. Aug 6 Shaffer, Charles.* July 10 Hohman, Frederick,* named to AGO Korndörfer, Jens,* awarded third Kinsman, Everett S. July 10 Smith, Barron. Jan 10 Committee on Educational Resourc- prize, Canadian International Organ Klug, Thomas A.* April 8 Stearns, Frank B. July 10 es. Aug 5–6 Competition, Montreal, QC, Canada. Koch, Paul E. Aug 6, 8 Stephens, William J.* April 10 Kuhn, Duane,* to executive vice presi- Mar 4 Kooiman, Ewald.* April 8, 10 Thal, Marguerite Long. April 10 dent, Rodgers Instruments. Feb 10 Kreeger, Patrick,* wins fi rst prize, Au- Kuznik, Joel H.* June 8, 10 Usher, William D. II. Sept 8 Meads, Frederick M., Jr.,* to Director gustana Arts/Reuter National Under- Litterst, Richard W. Oct 8 van den Broek, Piet.* Sept 12 of Vocal Studies, American Boychoir graduate Organ Competition, Denver, Littlefi eld, Jacques Mequet. June 10 van Oostenbrugge, Cees.* Mar 10 School, Princeton, NJ. Nov. 5–6 CO. May 4 Lombaert, Aimé.* Sept 12 Wasson, D. DeWitt. Sept 8 Olsen, Timothy,* to Kenan Professor Krull, Kelsey, receives 2009 Kotzschmar MacFarland, Joseph F. April 10 Williams, George M.* Aug 8 of Organ, University of North Caro- Memorial Scholarship, Portland, ME. Manz, Paul. Dec 12 Yarbrough, J. Rodney. Jan 10 lina School of the Arts, and Associate July 5 McGrew, Michael James.* Nov 10 Zaporski, Raymond A. July 10 Professor of Organ, Salem College, Kudlicki, Marek,* makes 40th North Winston-Salem, NC. Nov 6 American tour. Feb 6 Pickering, David C.,* to Chair, Divi- Li, Victor,* awarded second prize, Au- sion of Fine Arts, Graceland Univer- gustana Arts/Reuter National Under- Organ Stoplists sity, Lamoni, IA. Nov 6 graduate Organ Competition, Denver, Scanlon, Andrew,* to St. Paul’s Epis- CO. May 4 copal Church, Greenville, NC, and Mason, Marilyn,* to be honored by Bedient Parkey Teaching Instructor in Organ and Sa- AGO, University of Michigan, Ann First Congregational Church, Sioux Church of the Good Shepherd, Lookout cred Music, East Carolina University. Arbor, MI. April 6 Falls, SD. 3/57*, Jan 1, 28–29 Mountain, TN. 3/38*, Feb 1, 26–27 Nov 6 Mims, George Ellis, honored at retire- Holy Trinity Lutheran Church, Marietta, Smith, Jeffrey,* appointed Interim ment, St. Martin’s Episcopal Church, Berghaus GA. 3/42*, Dec 43 Organist and Choirmaster, Christ Houston, TX. May 8 La Casa de Cristo Lutheran Church, St. Peter’s Episcopal Church, Talladega, Church Cathedral, Indianapolis, IN, Murray, Shirley Erena, named a Fel- Scottsdale, AZ. 4/91*, Sept 1, 30–31 AL. 2/11*, Nov 32 and visiting associate professor, Jacobs low of the Hymn Society, Northfi eld, School of Music, Indiana University, MN. Oct 6, 8 Buzard Ruggles Bloomington, IN. Sept 5 Neil, William,* receives 2009 Alumni St. Mark the Evangelist Catholic Fairmount Presbyterian Church Memo- Stellmacher, Jared, to choral/vocal Award from School of Music, Penn Church, San Antonio, TX. 3/43*, rial Chapel, Cleveland Heights, OH. assistant, Yale University Institute of State College of Arts and Architec- Nov 1, 30–31 2/17*, July 1, 30–31 Sacred Music. Oct 6 ture, Pennsylvania State University, Second Presbyterian Church, Blooming- Stinson, Russell,* appointed Gerhard University Park, PA. June 6 ton, IL. 3/56*, Dec 44 Schlueter Herz Visiting Bach Professor at the Nelson, Leon,* honored at retirement, New Orleans Baptist Theological Semi- University of Louisville, KY. July 5–6 First Presbyterian Church, Arlington Dobson nary, New Orleans, LA. 4/83* and Trenney, Tom,* to First Plymouth Heights, IL. Feb 6 Church of St. Peter Claver, West Hart- 3/34*, Aug 1, 26–27 Congregational Church in Lincoln, Owen, Barbara, receives 2009 Max ford, CT. 2/20*, April 28 NE. June 5–6 B. Miller Book Award, Boston, MA. Schoenstein Wilson, Todd,* to Artist-in-Residence, Aug 4 Fabry Grace Episcopal Church, Sheboygan, Trinity Cathedral (Episcopal), Cleve- Palmer, Larry,* plays 40th consecutive First Presbyterian Church, Racine, WI. WI. 2/23*, Jan 30 land, OH, and to house organist, Stan faculty recital, Southern Methodist 3/42*, Oct 32 Schermerhorn Symphony Center, Nash- Hywet Hall and gardens, Akron, OH. University. Dallas, TX. Dec 10 Memorial Chapel, The Culver Acad- ville, TN. 3/64*, Mar 1, 29–31 Oct 6 Pasch, William, is a winner in the 2008 emies, Culver, IN. 3/58*, Feb 28 Macalester Plymouth United Church Steven Jensen Residence, Milwaukee, Swanson Hymn Contest. July 4–5 WI. 2/5*, June 28 St. John’s Lutheran Church, Saginaw, Peterson, Joanne West,* honored at MI. 3/25*, May 36 Honors and 40th anniversary as organist, First Fisk Competitions Congregational Church, Oshkosh, First Presbyterian Church, Santa Fe, Visser WI. Nov. 8 NM. 3/41*, Oct 1, 30–31 NamDaeMun Presbyterian Church, Quimby, Michael,* receives 2008 Dis- Seoul, Korea. 4/61*, July 32 Balderston, Mahlon E.,* honored at tinguished Alumni Award, University Glück 85th birthday with recital, First Pres- of Central Missouri. Jan 8 First Presbyterian Church, New York, byterian Church, Santa Barbara, CA. Ryan, Br. Jonathan,* awarded fi rst NY. 4/94*, May 1, 34–35 The Diapason Jan 4 prize and LeTourneau Prize, Jordan Benedum, Richard, awarded Nation- International Organ Competition, Hupalo & Repasky Jerome Butera, Editor and Publisher al Endowment for the Humanities Columbus, GA. Dec 10 Zion Lutheran Church, Piedmont, CA. 847/391-1045 grant, Nov 6. Schilling, Robert,* plays 60th anniver- 2/33*, June 1, 26–27 [email protected] Champion, Frédéric,* wins Canadian sary recital. Sept 8 International Organ Competition and Sheehan, Tom,* wins 2009 Arthur Pois- Lewis & Hitchcock Joyce Robinson, Associate Editor Richard Bradshaw audience prize, ter Scholarship Competition in Organ Chevy Chase United Methodist 847/391-1044 Montreal, QC, Canada. Mar 4 Playing, Syracuse, NY. July 3 Church, Chevy Chase, MD. 3/41*, [email protected] Chung, Janet, awarded Barrie Cabena Shenton, Andrew, receives 2009 Max Aug 28 Music Scholarship, Toronto, ON, B. Miller Book Award, Boston, MA. Hughes United Methodist Church, www.TheDiapason.com Canada. Sept 5–6 Aug 4 Wheaton, MD. 3/47*, Mar 32 Coffey, Richard,* honored with 2009 Shupp, Enos,* honored by Friends of 3030 W. Salt Creek Lane, Suite 201 Alfred Nash Patterson Lifetime the Wanamaker Organ. Nov 8 Lovallo/Simms Arlington Heights, IL 60005-5025 Achievement Award. Aug 5 Stipp, Neil,* wins 2010 AGO/ECS Pub- St. Andrew’s Episcopal Church, Ante- Crider, R. Fredrick, is a winner in lishing Award in Choral Composition. lope, CA. 2/16*, Nov 32 the 2008 Macalester Plymouth United Sept 8 Church Hymn Contest. July 4–5 Tharp, Stephen,* performs 1,300th Marceau Dewar, Andrew,* awarded second concert, Laurenskerk, Rotterdam, Our Saviour’s Lutheran Church, Stan- prize and Messiaen prize, Canadian Netherlands. Jan 10 wood, WA. 2/26*, May 36 International Organ Competition, Awarded Preis der Deutschen Schall- Montreal, QC, Canada. Mar 4 platten Kritik for Demessieux record- Milnar Elbertse, Theo J. M.,* celebrates 40- ing. July 8 Cal Turner, Jr. Residence, Franklin, TN. year anniversary, Jacques Stinkens Webb, Marianne,* receives St. Louis 2/16*, April 1, 26–27 Orgelpijpenmakers b.v., the Nether- AGO chapter’s Avis Blewett Award, lands. Dec 6 St. Louis, MO. Sept 6 Ott Gambrell, David, is a winner in the First Presbyterian Church, Ypsilanti, MI. 2008 Macalester Plymouth United 3/40*, Sept 32 Church Hymn Contest. July 4–5 Han, Ahreum,* awarded second place. 2009 Arthur Poister Scholarship Com- JANUARY, 2010 39 Jan 2010 pp. 38-39.indd 39 12/14/09 7:52:01 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Stephen Cleobury* Douglas Cleveland Michael Unger AGO National Competition Winner Available 2008-2010 Ken Cowan Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011 David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale* Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012 CHOIRS AVAILABLE The Choir of Saint Thomas Church, NYC John Scott, Director March 2011 Jane Parker-Smith* Peter Planyavsky* Simon Preston* Daniel Roth* Ann Elise Smoot Donald Sutherland The Choir of St. John’s College Cambridge, UK Andrew Nethsingha, Director March, 2011 Westminster Cathedral Choir London, UK Martin Baker, Director Fall 2011 *=European artists available Tom Trenney Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young 2009-2010 and 2010-2011