THE DIAPASON FEBRUARY, 2012
Faith Lutheran Church New Providence, New Jersey Cover feature on pages 26–28
Feb 2012 Cover.indd 1 1/13/12 10:18:30 AM Feb 2011 pp. 2-18.indd 2 1/13/12 10:20:43 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 2, Whole No. 1227 FEBRUARY, 2012 St. Thomas Church Fifth Avenue cent years advocating for more “expres- Established in 1909 ISSN 0012-2378 It is my fervent hope that the Decem- siveness” in pipe organs, and exploring An International Monthly Devoted to the Organ, ber 2011 issue of The Diapason will see ways to enhance the expressive capabil- the Harpsichord, Carillon, and Church Music the last of the seemingly interminable ity of pipe organs. These schemes have discussions of one organ in one church. mostly focused on various arrangements Referring, of course, to the organ in of pipes enclosed behind swell shades. St. Thomas Church, New York City— This is the common approach, but it is CONTENTS Editor & Publisher JEROME BUTERA [email protected] the church known to be favored by the now time to think outside the swell box. 847/391-1045 wealthy and privileged. Conceptually, the usual method involves FEATURES In his (exceptionally lengthy) letter on controlling the volume of sound near its Jehan Alain masterclass by Helga Schauerte Associate Editor JOYCE ROBINSON this subject, Jonathan Ambrosino—refer- source. But also conceptually, it is pos- at Duquesne University [email protected] by Stephanie Sloan and Rebecca Marie Yoder 19 ring to the choir of this church—opines: sible to control the sound volume at 847/391-1044 “arguably the premier North American the listener. As an aside, the inspiration Apprenticing with Contributing Editors LARRY PALMER choir of men and boys.” His choice of for this new concept came from a small Herman Schlicker Harpsichord the term “arguably” is fortunate. With practice organ we built for a prominent by Joseph E. Robinson 20 no disparagement of the excellent St. university. It contained no swell enclo- JAMES MCCRAY East Texas Pipe Organ Festival Thomas choir, I would have to demur. sure, but included a dummy swell pedal Choral Music November 14–17, 2011 In my opinion, the premier choir of men so the students could practice the req-
by Michael Fox 23 and boys in North America is to be found uisite choreography. This stimulated BRIAN SWAGER Carillon at l’Oratoire St.-Joseph (St. Joseph’s Ora- creative thinking for alternate uses of the NEWS & DEPARTMENTS tory) in Montréal, Québec, Canada—Les swell pedal. Thus, absurdity became the Editor’s Notebook 3 JOHN BISHOP Petits Chanteurs du Mont-Royal. mother of invention. Letters to the Editor 3 In the wind . . . The oratory choir is without parallel Controlling sound at the listener can Here & There 3, 4, 6, 8, 10, 11 on this continent. One would have to involve several methods. One utilizes a GAVIN BLACK go to Paris to fi nd anything comparable. digital encoder at the swell pedal, linked Nunc Dimittis 10 On Teaching Harpsichord News by Larry Palmer 11 This choir routinely sings Renaissance to sound attenuators at the listener’s polyphony (Palestrina, Lassus, Victoria, ears. The link can be a form of wire- Carillon News by Brian Swager 11 Reviewers Gale Kramer etc.) a cappella in the original Latin. less communication such as infrared or In the wind . . . by John Bishop 12 John L. Speller David McKinney The entrance processional is sung to Bluetooth. The attenuators can take vari- On Teaching by Gavin Black 14 Gregorian chant from memory. Congre- ous forms, as required by both situation gational singing is generally limited to and style, and could include ear buds, or REVIEWS responses (and sometimes a recessional over-the-ear headsets for highest isola- Music for Voices and Organ 15 hymn) and these are all sung in French— tion and widest dynamic range. For me- Book Reviews 16 the offi cial (and overwhelmingly preva- chanical action organs the link can be a New Recordings 17 lent) language of Québec (with all due pantograph device mounted above the THE DIAPASON (ISSN 0012-2378) is published monthly New Organ Music 18 by Scranton Gillette Communications, Inc., 3030 W. Salt respects to next-door English-speaking music rack, conveying the motion from Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Westmount), inasmuch as the Mass is the swell pedal to a headset with mov- NEW ORGANS 28 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 MSG RLY. E-mail:
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for St. John’s Church Lafayette Friends of the Kotzschmar Organ other courses or for the same course offered subsequently. Square, Washington, D.C., continues continue the Kotzschmar centennial its music series: February 2, Michael season: February 12, Kids, Kartoons & Lodico; March 2, Irvin Peterson, saxo- Kotzschmar family concert with Rob phone; April 6, soloists from St. John’s Richards and Christina Siravo; March Choir; May 4, Mary Bowden, trumpet; 20, Joan Lippincott, Bach birthday bash; Editor’s Notebook June 1, J. Reilly Lewis. For further in- May 6 and 8, Portland Symphony Or- formation: 202/347-8766; chestra; 5/22, Meet the King of Instru-
FEBRUARY, 2012 3
Feb 2011 pp. 2-18.indd 3 1/13/12 10:21:10 AM music series: February 12, young artists Korndörfer, 2nd prize and Liszt prize; Being by Hannibal Lokumbe, along with fatti and the Church of the Epiphany. concert; 2/26, celebrating Black His- Jean-Willy Kunz, 3rd prize (shared) and music for voices and drums from South This fi nal round will be in the form of tory Month; March 17, David Higgs; Richard-Bradshaw audience prize; Bal- Africa, Kenya, Cameroon, and Ghana. a concert, with interaction from a live April 22, Paul Winter’s Missa Gaia; May thasar Baumgartner, 3rd prize (shared); For information: audience (the judges will be behind a 6, Keenan Boswell. For information: Yulia Yufereva, Bach prize; Jared Oster-
Casavant Opus 3875, Kauffman Center for the Performing Arts, Kansas City, Mis- souri (photo by Timothy Hursley courtesy of Kauffman Center for the Performing Arts) Fisk Opus 55 (photo: Len Levasseur)
The Kauffman Center for the Per- stops, 102 ranks, and 5,548 pipes across Old West Organ Society continues forming Arts, Kansas City, Missouri, four manuals and pedals, an attached Ruffatti organ, Church of the Epiphany its recital series, celebrating the 40th presents the dedication of its new Casa- drawknob console, compass 61/32, and anniversary of Fisk Opus 55 at Old West vant organ in Helzberg Hall on March mechanical action. For information: The 2012 Miami International Or- Church, Boston: March 16, Peter Sykes; 10 at 8 pm. The concert will feature 816/994-7200; tickets: 816/994-7222; gan Competition takes place March 2 April 27, Philippe Lefebvre. For further James David Christie. The new organ,
4 THE DIAPASON
Feb 2011 pp. 2-18.indd 4 1/13/12 10:21:29 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Feb 2011 pp. 2-18.indd 5 1/13/12 10:21:49 AM The 2012 Joint Meeting and Festival Music Library at Harvard University, the • that in some European countries Eric Barry, and baritone Eric Downs. of the Midwestern and Southeastern Morgan Library and Museum, and the resources for the maintenance and the The program also included the Over- Historical Keyboard Societies, fea- New York Public Library. preservation of valuable historic or new ture to Ruslan and Ludmilla by Glinka turing the eighth Aliénor International Items digitized include manuscript organs are scarce, and the Nutcracker Suite, op. 71a, by Harpsichord Composition Competition scores and fi rst and early editions of a • that due to the change of use of Tchaikovsky. More than 2,600 people and the seventh Mae and Irving Jurow work. Composers such as Bach, Mozart, some facilities or lack of interest, church attended the performances. International Harpsichord Competition, Wagner, Debussy, Bizet, Schoenberg, and concert hall organs are no longer will be held at the University of Cincin- and Stravinsky, among others, are repre- used and thus neglected or are being dis- Philip Crozier celebrated his 25th nati College-Conservatory of Music, sented on the site through their original posed of. anniversary as director of music at St. March 21–25. The theme of this fi ve-day handwritten manuscripts and fi rst edi- With proposals to improve the situa- James United Church, Montreal, on celebration is the harpsichord old and tions. The online items range from the tion, they wish to address the leaders in September 25. The service that day fo- new. The schedule includes competitions, 16th century to the 20th century in this politics, religion and culture, in particu- cused on music, the choir sang a piece exhibitions, concerts, papers, lecture-re- initial launch. Researchers can search or lar the authorities at the E.U., UNES- written for the occasion by Jean-Sé- citals, and other presentations. Featured browse materials, access bibliographic CO, governments, religious authorities bastien Allaire, and after the postlude performers include harpsichordists Mitzi information about each item, and view and dignitaries, conservatories, univer- Crozier was given a standing ovation. Meyerson and Ketil Haugsand, violinists digital images of the items via each cus- sities of the arts and music schools, the Following the service there was a re- Dana Maiben and Martie Perry, and so- todial archive’s website. The site will concert organizers and the media. ception with presentations, cards, trib- prano Janet Youngdahl. Also included is continue to grow as consortium mem- They urge them to: utes including two special cakes, and a a continuo masterclass taught by Edward bers add more items. • treat the art of the organ as a rel- cash gift. Parmentier and Mitzi Meyerson, and a evant part of the public cultural life, celebration of the work of Don Angle. The Zurich Resolution “Organ • give organ music an appropriate place For information: 2011” will call on politicians, church in worship, concert and broadcasting,
6 THE DIAPASON
Feb 2011 pp. 2-18.indd 6 1/13/12 10:22:07 AM ALLEN ORGANS: MADE IN AMERICA
This stunning QuantumTM four-manual instrument makes its home in one of the most prestigious churches in Sweden; graced with a rich heritage of musical performances and a pipe organ with an ornate facade. The Allen console features: t0BL*OUFSJPS&YUFSJPS'JOJTI t8IJUF%JWJTJPO%JWJEFS4USJQT t,FZCPBSET8IJUF/BUVSBMT Black Sharps t#MBDL%SBX,OPC4UFNTXJUI 8IJUF'BDFT3FE'FMU t/PUF&VSPQFBO1FEBM#PBSE t/BUVSBM0BL1FEBM#PBSE4IBSQT t4PMJE8PPE -JHIUFE "EKVTUBCMF .VTJD3BDL t$ISPNF#SBTT5PF4UVET t"EKVTUBCMF$SBOL#FODI t1FEBM%JWJEF*NQMFNFOUBUJPO
PREFERRED THROUGHOUT THE WORLD
For details on this organ and more examples of the numerous Allen organs exported this year visit: allenorgan.com/englebrekt
Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 (610) 966-2202 t [email protected] using high-resolution Direct Stream companied by a soft cymbelstern on the Digital (DSD) technology. The 70-min- organ. Then followed a chorale, an alle- ute program features period organ works gretto, and repeat of chorale motif. The popular at the time of the organ’s con- piece closed with a taqsim and cymbel- struction, including music of Guilmant, stern over a soft pedal point. Bonnet, Liszt, Saint-Saëns, Ketèlbey, and Jenkins. Also featured is Kim’s new organ transcription of Percy Grainger’s Colonial Song. The CD is available from MSR Classics (www.msrcd.com), the Or- gan Historical Society (www.ohscatalog. org), and other music retailers. Yun Kyong Kim received her doctoral degree in organ performance from In- diana University, and is a prize winner at both regional and national competi- tions in organ performance. Recent en- gagements have included solo recitals Frederick Hohman and Pastor Arthur A. at Washington National Cathedral, art- Sziemeister ist series at Ohio University and Miami University, regional AGO conventions, Thomas Heywood than 50 years of continual service to the and two OHS conventions. For informa- parish of First Lutheran Church of Ly- tion:
Callen Clarke, Dorothy Young Riess, M.D., Kyle Dillingham (photo by Sandra Andrew Violette CD cover Lynn Pulley) Andrew Violette is featured on a new The world premiere of Meditation for recording, Sonata for the Creation of the organ and violin by Oklahoma composer World (COMCON006; 844553050095, 3 Callen Clarke was performed by Dor- CDs, $44.99). The program begins with othy Young Riess, M.D., organist, and Creation From Nothing on the four- Kyle Dillingham, violinist, on October manual Steere organ at the Baptist Tem- 23, 2011, at Nichols Hills United Meth- ple in Brooklyn, New York. Following odist Church, Oklahoma City, Oklahoma. this is a larger section on CD 2 entitled The work was commissioned by Okla- The Days. Here each mini-movement is homa philanthropist Dick Sias for the an homage to an organist/composer (Oli- rededication of the refurbished Reuter vier Messiaen, Terry Riley, Philip Glass, pipe organ. Clarke, a professional com- Charlemagne Palestine, and Liszt). poser, based the composition on Prov- Dance of Joy–Thanksgiving is a fi nale as AUSTINORGANS.COM erbs 3:5, “Put all your trust in the Lord, long as a Bruckner symphony (the last and do not rely on your own understand- track of CD 2 and all of CD 3). A grand t8PPEMBOE4U)BSUGPSE$5 ing.” Dillingham opened the piece with coda, a reworking of the opening refrain, a violin taqsim (improvisation) using half ends the sonata. For information: tones, trills, and free-style rhythms, ac-
8 THE DIAPASON
Feb 2011 pp. 2-18.indd 8 1/13/12 10:23:15 AM 10090113_Johannus_adv_246x360_DIA_FC.indd 2 4/20/11 3:21 PM sor at Concordia College in Milwaukee ogy, Eastern philosophy, the art of con- Nunc Dimittis before going to Wittenberg University Here & There versation, and performance techniques in 1975, where he was professor of mu- for performing musicians of all levels. sic, university organist, and in 1982, was It reveals the inner workings of perfor- William Lewis Betts died October named director of the Wittenberg Choir, Breitkopf has released a new vol- mance from an artist’s perspective while 8, 2011, in Colebrook, Connecticut. which performed throughout the United ume of harpsichord works by Samuel also functioning as a self-discovery and An organist and organbuilder in Con- States and Europe. He played numerous Scheidt (Handschriftlich überlieferte artist-development journal. necticut, he was founder of the William organ recitals and led hymn festivals and Werke für Clavier, EB 8831, €32). Ed- The accompanying DVD documents Betts Pipe Organ Company in Winsted, choral and organ workshops throughout ited by Pieter Dirksen, the volume con- a masterclass in which Paris works with Connecticut; he built, refurbished, and the country. A member of St. Matthew tains 25 pieces—twelve ascertainably by students from the Musicians Institute, maintained numerous church organs in Evangelical Lutheran Church in Hu- Scheidt, three early versions of pieces applying concepts, techniques, and the Northeast. Among the instruments ber Heights, Ohio, where he served for from the Tabulatura nova, and ten as- methods discussed in the book. Before under his care were those in several 24 years as organist and choir director, signed to Scheidt based on stylistic cri- and after videos of the students’ per- churches in Winsted and New Haven; Busarow was also the organist at the First teria. The Urtext edition presents the formances demonstrate the process of Norfolk Church of Christ, Congrega- Presbyterian Church of South Charles- musical text in the form of a “practical taking a song from the studio and de- tional, Norfolk; St. Mark’s Episcopal ton, Ohio, for the past ten years. source edition,” and reproduces several livering a professional performance on Church, New Canaan; and St. Mary’s Ro- A noted composer of church music, characteristics of the notational practice stage; 168 pages, paperback with DVD, man Catholic Church, Bridgeport, Con- Busarow’s many compositions can be of the time. For information: $29.99; for information: necticut. In his younger years he worked found in the catalogs of seven publishing
“In choosing OCH, I know that the work has been done RONALD CAMERON BISHOP with the utmost knowledge, enthusiasm, care and integrity.” Consultant David Enlow, Sub-Dean, NYCAGO Pipe Organs Digital Enhancements Organ Clearing House All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 www.organclearinghouse.com or call John Bishop at 617-688-9290 Tel 716/326-6500 Fax 716/326-6595
10 THE DIAPASON
Feb 2011 pp. 2-18.indd 10 1/13/12 10:23:49 AM and publications. The project concludes after celebrating her 100th birthday (see of the Southeastern Historical Keyboard with a comprehensive opus list. ISBN “Harpsichord News,” The Diapason, Society, held at the University of North 978-3-921140-90-1, 627 pages, numer- Harpsichord News May 2011, p. 12). Texas, Denton. Q ous illustrations and organ dispositions, by Larry Palmer Born in Urbana, Ohio on May 9, 1911, linen, sewn hardbound, with colored Virginia attended Wittenberg University Comments and news items are always dustcover; €88; shipping €5; and completed her baccalaureate degree welcome. Address them to Dr. Larry
FEBRUARY, 2012 11
Feb 2011 pp. 2-18.indd 11 1/13/12 10:24:09 AM Berea College, Berea, Kentucky, held a ceremony to rename the Berea College carillon after John Courter. Courter, who died in June 2010, joined the Berea College faculty in 1971 and served there for 39 years. He was music professor, organist, and carillonneur at the college and is highly regarded here and abroad for his carillon compositions. A large bronze plaque was installed in Draper Hall, which houses the carillon. The University of Chicago’s Rock- efeller Memorial Chapel has released a new compact disc of organ, choral, and carillon music, Rockefeller Gala I, recorded live at the chapel, in celebra- tion of the 100th anniversary of John D. Magellan’s victory Rockefeller’s “fi nal gift” that established the chapel and its diverse arts and spiri- John Bishop tual programs. The 71-minute CD fea- tures university organist Thomas Weis- those early tensioned strings. Sometime fl og, carillonneurs Wylie Crawford and before 500 BC, the great mathematician, James Fackenthal, and the Rockefeller religious philosopher, and harmonic the- Hydraulus mosaic Chapel Choir and Motet Choir under orist Pythagoras used a sort of a single- the direction of James Kallembach per- string lute called a monochord to prove The parallel technological develop- forming English, French, and American his theories of harmonics and overtones. ment was the sailing ship. Egyptian pha- classics in the contemporary era. Almost It’s wonderful to think of all this mu- raohs owned large vessels, some over all of this music was written during the sical creativity going on in such ancient 140 feet long that were apparently not lifetime of the chapel itself. Rockefeller times—proof, as if we needed it, of how rigged for sailing. But if we return to made his donation in 1910, and the ini- important music is to our society and our Crete, we fi nd that the Minoan culture tial architectural drawings were created psyches, especially for those of us who had a navy that included sailing ships shortly after the end of the First World toil in the vineyards of church music. around 2000 BC. War. Construction was begun in 1925, The earliest instrument recogniz- The Sion organ has a keyboard with and the chapel was dedicated in 1928. able as a pipe organ was the Hydraulus, sharps and fl ats similar to those we use The E. M. Skinner organ was built with built by Ctesibius of Alexandria in about today, and a stop action that allows the the chapel itself, and the carillon was 256 BC. It had a row of tuned vertical separation and combination of ranks of installed in 1932. The CD can be pur- fl utes, a source of stabilized pressurized pipes. Fifty years later, into the fi fteenth chased by mailing a check for $17 to: air, and a mechanical action that oper- century, organs with multiple keyboards Rockefeller Memorial Chapel, 5850 S. ated valves that delivered the air pres- were introduced and the instruments Woodlawn Ave., Chicago IL 60637, at- sure to the pipes. As far as I know, this grew more and more complex. By com- tention Lorraine Brochu. Q was the fi rst leap of technology applied parison, in 1519 Ferdinand Magellan to making music—the fi rst time that set sail from Spain with a fl otilla of fi ve Send items for “Carillon News” to Dr. musical tone generators were gathered ships ranging in length from 45 feet to Brian Swager, c/o THE DIAPASON, 3030 into a machine and operated mechani- about 100 feet in length. Tiny as they W. Salt Creek Lane, Suite 201, Arling- cally. The next such device to appear were, these were square-rigged vessels ton Heights, IL 60005-5025; or e-mail was a collection of tensioned strings with multiple masts and sails. Two years
THE DIAPASON 3030 W. Salt Creek Lane, Ste. 201, Arlington Heights, IL 60005-5025
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12 THE DIAPASON
Feb 2011 pp. 2-18.indd 12 1/13/12 10:24:26 AM it to the technological state of transpor- Webster’s Dictionary that’s embedded in background about a particular image, al- his many lady friends entertained him in tation (ox-drawn drays), agricultural ma- my MacBook). Although the stated defi - lowing me to see it in historical context, “various stages of undress,” that he had a chinery (ox-drawn ploughs), or military nition of recital is technically appropriate to know something about the personal signifi cant relationship with entertainer hardware (ox-drawn cannons). Weren’t for our performances, I wonder if we can life of the artist, to compare it with well- and revered beauty Evelyn Nesbit when those organbuilders out in front of the refresh the exercise with more stimulat- known political events, in general put- he was 47 and she was 16, that Evelyn’s technological parade? And for what? The ing monikers. ting it in the context of the rest of the husband Harry Thaw murdered Stan- creation of beautiful sounds and the en- world, my experience is enhanced by the ford White in public during an open-air hancement of public worship, as though Value added enthusiasm and passion of someone who musical review in the rooftop garden of they were the most important goals of A live performance of organ mu- knows much more about it than I. Hear- Madison Square Park, and that the re- society—more important than transpor- sic should be—must be—more than a ing that the painter had to scrounge to sulting trial was notorious as the “Trial of tation, agriculture, even warfare. Just recitation of published scores. It should pay for paint, was jilted by his girlfriend, the Century” as reported by the Hearst think what we could do for pipe organs be—must be—an event designed to and that his parents were disappointed in Newspapers—wouldn’t that bring some with a modern military budget! captivate the audience, an event that him, enhances the experience of viewing pizzazz to walking past the Boston Pub- That great iconic lion-bedecked organ stimulates, excites, and even challenges his art by letting me know a little about lic Library, or Judson Memorial Church is pushing 300 years old now. It’s prob- the listener. It should be educational in the artist as a person. or Washington Square Arch, both at ably the most photographed organ in an open and accessible way, giving listen- We can walk down the street in a great Washington Square Park in Greenwich the world—the Angelina Jolie of pipe ers of all backgrounds something new to city surrounded by massive and mag- Village, New York, or any of the other organs—and it sounds fantastic. Of the enjoy and understand. It should be lively, nifi cent architecture, knowing perfectly buildings that White designed? many recordings I own of that instru- personal, and inspiring. And it should be well which are residential, which are When you’re planning your next re- ment, my favorite is that by Stephen current. We can present the deep reper- businesses, which are old, and which are cital, please go digging. You don’t have Tharp (JAV 178). It includes vibrant per- tory of organ music by recitation, duti- new. But suppose you were walking past to get as lascivious as I just did about formances of music by Bach, Buxtehude, fully getting the notes right, and organiz- the Boston Public Library on Copley Stanford White. In fact, do be careful to Böhm, and Bruhns—just what you’d ing the program by some historic logic. Square, across from famed and fabled match your spices to your audience. As expect for ideal matching of an historic Or we can bring it to life in the modern Trinity Church, and I told you that archi- you play, present a case as to why you ex- instrument to the music of its day. But world, allowing our listeners to under- tect Stanford White of McKim, Mead & pect your audience to listen. What about Franz Liszt’s Ave Maria von Arcadelt stand why it’s important to hear and love White had designed the library, and had the music matters to you? Why have bridges to music of Vierne, Alain, and the music, the heritage, and the instru- started his career as principal assistant to you programmed two particular pieces Flor Peeters’ Toccata, Fugue, and Hymn ment we play. Henry Hobson Richardson, architect of together? What was going on in related on Ave Maris Stella, composed in 1935. We can wander through a great mu- Trinity Church, wouldn’t your experience fi elds when this piece was written? It’s truly remarkable that an organ built seum, casually taking in the beautiful im- would be enhanced? And if I added that Sweelinck died in 1621, one year af- in 1735 is ideal for the stylish and excit- ages, and miss the point completely. Just White had designed the original Madi- ter the fi rst religious Pilgrims landed in ing performance of music written 200 because I took art history courses when I son Square Garden in New York when Plymouth, Massachusetts. Mozart was years later. was a student at Oberlin, I might think I Madison Square Garden was actually born in 1756, the year the French and § know enough to fully appreciate a paint- located in Madison Square Park, that he Indian War started. Beethoven was born ing by Titian, Rembrandt, or Monet. But had an apartment in the Garden building in 1770, the same year as the Boston The history of the organ is easily divid- when a knowledgeable docent gives me that included a red velvet swing on which Massacre. And think of Minutemen run- ed into epochs. We all recognize and dis- tinguish between the eighteenth-century North European music of Bruhns, Bux- tehude, and Bach; that of eighteenth- century France (Couperin, Clérambault, Corrette, DuMage, and friends); and THESE FIRMS ARE that broad body of work inspired by the BUILDER MEMBERS organs of Aristide Cavaillé-Coll (Franck, Widor, Vierne, Tournemire, Dupré, NORTH ANDOVER ORGAN COMPANY Messiaen, and friends). The introduc- tion of low-voltage electric actions in BEDIENT PIPE ORGAN COMPANY pipe organs brought us the marvelous AMERICA’S BERGHAUS PIPE ORGAN BUILDERS, INC. instruments of Skinner, Austin, Möller, Kimball, and others, and concurrently BIGELOW & CO. ORGAN BUILDERS brought us the grand tradition of sym- BOND ORGAN BUILDERS, INC. phonic instruments and playing. Many PREMIER of us lived through the great revival of BUZARD PIPE ORGAN BUILDERS, LLC interest in classic styles of organbuild- ORGAN BUILDING C.B. FISK, INC. ing starting in the middle of the twen- tieth century that gave us the organs CASAVANT FRÈRES of Fisk, Noack, Flentrop, Beckerath, & SERVICE FIRMS DOBSON PIPE ORGAN BUILDERS Taylor & Boody, and many others, and that brought the revival of interest in the GARLAND PIPE ORGANS, INC. music and performance styles of earlier times. And now, on the heels of the Clas- GOULDING & WOOD, INC. sic Revival, we see a revival of interest HENDRICKSON ORGAN COMPANY in the sophisticated tonal concepts of the symphonic organ and techniques of HOLTKAMP ORGAN COMPANY symphonic playing, all enhanced by the BUYING AN ORGAN? KEGG PIPE ORGAN BUILDERS seemingly limitless capabilities of our latest solid-state contraptions. LÉTOURNEAU PIPE ORGANS It’s fun to note that both generations of INVEST IN PIPES! symphonic playing have been enhanced NOACK ORGAN COMPANY, INC. by great leaps of technology. Today, the PARSONS PIPE ORGAN BUILDERS capabilities of solid-state console control systems seem to advance with each sys- THE ORIGINAL GREEN SOLUTION. PASI ORGANBUILDERS, INC. tem I order. And I’ve spent considerable PATRICK J. MURPHY & ASSOCIATES INC. time trying to prove false my assertion that the combination actions of Ernest PAUL FRITTS & CO. 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My dictionary SOLID STATE ORGAN SYSTEMS gives as one defi nition simply that a re- Please call or visit our cital is a performance of music, especial- website to receive a free prospectus ly by a solo performer. But does the word have a further and limiting connotation? the highest standards of integrity, quality and craftmanship in pipe organ building To recite is simply to repeat. When we speak of the recitation of poetry, we infer 1-800-473-5270 www.apoba.com a mechanical repetition. If it’s feeling of expression we look for, the word is de- claim: “utter or deliver words or a speech in a rhetorical or impassioned way, as if to an audience” (from the version of
FEBRUARY, 2012 13
Feb 2011 pp. 2-18.indd 13 1/13/12 10:24:44 AM ning along behind stonewalls shooting anything gets in the fi eld of music and composer’s interest. Not surprisingly, pos at which this short Bull piece would muskets at British Redcoats in Concord music teaching in general, or of organ- composers—whether they are writing be harder to play than the Reger Opus and Lexington, Massachusetts in 1775, playing and organ teaching in particular. for Karl Straube or not—tend to ap- 16: that is, a mind-bendingly fast tempo while Viennese noblemen in powdered We don’t necessarily all agree as to which proach daringly close to that “unplay- for the Bull and a glacial tempo for the wigs danced the minuet to the new mu- pieces are more diffi cult and which less able” line, and then to decide not to Reger. In order to achieve my inverting sic of Haydn. Tra-la! so. Most of us, from our own experiences cross it. This is as true of a composer of the diffi culty of these two pieces, the Jeopardy: as players and from what we have seen like Beethoven, who stated bluntly that tempos would have to be so extreme that A group of people who are united with our own students or other perform- he didn’t care what performers could or they would both be well outside what by a common interest and allow them- ers, know that different pieces or sorts of couldn’t do, as it is of composers like anyone would ever do. However, within selves to be sequestered toward that pieces are more or less diffi cult for dif- Bach or Franck, whose keyboard com- a more realistic range of performance interest, failing to communicate with ferent players, and at different times in positions arose out of their own work as tempos, the Bull can become a virtuoso the rest of society. one player’s career. performers and improvisers. challenge of its own, and the Reger can “What is an ivory tower?” It is also interesting that Straube—as move from the “impossible” all the way I’ve been down this path with you Repertoire in order of difficulty a student, before he had met Reger in down to the “very hard.” before, and we’ll do it together again, When I fi rst acquired copies of one or person—was in fact drawn to Reger’s because our future depends on it. With two volumes of the Peters edition of the music in part because it was fi rst pre- Difficult passages only a few regional exceptions, tradition- Bach organ music—in about 1971, at the sented to him as being too diffi cult to Many pieces that have a reputation al organized worship is taking a different age of about fourteen—I noticed that play. Straube’s teacher Heinrich Rei- for being very hard are as diffi cult as place in our society than it did when I was the separately bound Preface included a mann showed him Reger’s then very their reputations suggest only in spots. a kid. The Organ Clearing House thrives listing of all of the (non-chorale based) recently published Suite in E Minor, op. For example, the Bach F-major Toccata because churches close—a tough place pieces arranged according to diffi culty. I 16, telling him that it was unplayable. is considered one of his hardest organ to be—and I can tell you that churches was excited about this, since it seemed This seems to have motivated Straube to pieces. It earned a very high place on are closing by the hundreds all across the both useful and authoritative. I allowed learn it, which may or may not have been “the list”—maybe at the very top, cer- country. I’ve heard colleagues say that it to infl uence what pieces I chose to Reimann’s intention all along. I myself, tainly close. However, long stretches we have to separate the pipe organ from work on—though not in a logical or con- when I was still more-or-less a student, of the piece are really not hard at all. the church in order to sustain it, but let’s sistent way. Sometimes I would choose occasionally started to work on a piece The opening has nothing going on in face it: besides a few dozen spectacular a piece because I thought it was easy because someone had said to me that I the pedal, and the two manual lines are concert-hall installations, separating the enough to be within my grasp, some- could not learn it. (This was never, in my somewhat intricate, but not remotely organ from the church is like separating times I would spurn and reject pieces case, one of my own teachers.) I always beyond the bounds of the “intermedi- ice cream from sundaes. that were described as being “easy,” be- learned something valuable from the ate” for anyone. Then there is a pedal We are promoting an ancient instru- cause I thought that working on them attempt, although it did not necessarily solo, which is also quite learnable. The ment in a modern society. Get with it! Q would be sort of embarrassing, classify- result in my mastering the piece in ques- following two pages are essentially a re- ing me as “not very good.” Needless to tion at that time. cap of this opening: carefully designed say, this was all rather silly. by the always pedagogically aware com- I did continue for a long time—after Aspects of difficulty poser to be a bit longer and a bit trickier my studying had become at least a bit When we talk about a piece’s being than the opening itself, but similar in na- On Teaching more systematic and effective—to cast very diffi cult, we are almost always talk- ture. Then, beginning at about the fi fth by Gavin Black sneaky glances at the list out of the cor- ing about the learning and reliable play- page, the hands and feet start moving ner of my eye. I would pat myself on the ing of the notes: the right notes, in the together, and things get more complex. back just a little a bit whenever I put in right order, at a suitable tempo. That is Still, however, the notes fall into place some work on a piece in the top half or not to say that anyone denies that other quite naturally. Most players I know so of the diffi culty scale. I pretty much aspects of playing a piece can be diffi - who have worked on this piece report stopped doing this when Eugene Roan, cult. In fact, performing even a simple that this section yields nicely to practic- with whom I had by then started taking piece in such a way that it is extraor- ing and is not more diffi cult than other lessons, mentioned casually to me one dinarily compelling, beautiful, inter- Bach prelude-type pieces. It is the three day that an eminent recitalist he know esting, thought-provoking, disturbing, brief passages that involve the return thought that piece x was much more dif- whatever we want it to be, is probably of the opening motif of the piece, this fi cult than piece y—the opposite order as hard and (at least) as rarely achieved time in manuals and pedal together, that from the Peters list. This introduced me as playing a diffi cult piece competent- seem really hair-raising to many of those to the idea that this whole diffi culty thing ly. However, that is indeed a differ- who work on the piece. This is not ev- could be relative, though at that point in ent thing. When students ask whether eryone’s experience, but it is a common my career I couldn’t have said how or the Goldberg Variations or the Dupré one. Other very diffi cult pieces can be why this might be so. Prelude and Fugue in G Minor is too analyzed this way as well: perhaps most hard for them, they are rarely inquiring of them. In the Goldberg Variations, for Reger and Straube about whether the teacher thinks that another example, probably about eighty Another way that the concept of dif- they can project the deepest meaning percent of the writing is no more diffi cult fi culty as a kind of independent variable of the piece effectively. Of course, there than the average for The Well-tempered in pieces of music came to my atten- is always this relationship between what Clavier or Handel harpsichord suites. tion when I was fi rst getting interested might for the sake of simplicity be called That is not, by any standards, “easy.” But in organ was through hearing the story the two types of diffi culty: that the bet- it is the remaining fi fth or so of the work of Max Reger and Karl Straube. The ter-learned the notes of a piece can be- that gives it its reputation as “only for Hard pieces and idea was that Reger had made his or- come for a given player—the closer the advanced players.” recalcitrant passages gan pieces more and more diffi cult piece can come to feeling easy once it One source of diffi culty in working on This month I am writing about the in the hope of writing something that has been learned—the more of a chance pieces of music is unfamiliarity with a phenomenon of pieces being diffi cult Straube, his good friend who was also there is that a performance can also be particular style or the technical tenden- and the related phenomenon of specifi c the leading German organ virtuoso of musically effective. cies of a particular type of music. Ralph passages being hard to learn: either dif- the time, would be unable to play. It The piece that I happen to have been Kirkpatrick, in his preface to his edition fi cult by any standard or surprisingly was also said that he never succeeded: practicing the most in the week or so of sixty Scarlatti sonatas, fi rst outlines a diffi cult—for reasons that may seem that Straube “won.” There are a couple before I sat down to write this column set of rigorous ideas about how to work elusive—for a particular student. This of interesting things about this. One is the “In Nomine” by John Bull that is on the sonatas, both as to analysis and as is not a very systematic or methodologi- is that, of course, it is trivially easy to found in volume 1 of The Fitzwilliam to practicing. Then he says that if a stu- cal discussion: just a few ideas—almost write a piece that is unplayable, if that Virginal Book. The makers of a list like dent approaches six sonatas this thor- just random thoughts—that I think are is really all that you want to do. All that the Peters Bach organ repertoire list oughly he or she will not have to do the interesting or that may help some stu- you need to do is to write notes that are would probably put this piece at the same with the next sonata or later ones. dents or teachers. too far apart in compass to reach. The easy end of “moderate” or the somewhat The particular shapes of a given kind of We all believe that some pieces are music does not have to be particularly high end of “easy.” It is in three voices music become ingrained. I myself, as harder to learn or to perform than oth- complex or intricate or fast. However, throughout, but none of the voices is a player who has worked more on Ba- er pieces. This—just as a basic fact—is a piece that is really unplayable will, in very busy or intricate. For much of roque music than on anything else, fi nd probably as close to uncontroversial as fact, not be played. That is never in any the piece the middle voice lies in such it much easier both to sight-read and to a way that it could be taken by either learn Baroque pieces—even complex hand, so there is a fair amount of fi nger- and diffi cult ones—than music from a ing fl exibility. It is (though this is obvi- later era. To me this suggests patience. ously subjective) not a piece that many If a student is working on his or her fi rst MANDER ORGANS people would think should go very fast: piece from a particular genre or style certainly not fast enough to make play- or time period, then that piece is going ing it into an athletic challenge—which to be harder than the next one will be. New Mechanical some of Bull’s pieces are. This is a piece That should not be surprising. that I used to play a lot and, as best I can Action Organs remember, I did indeed initially choose Practice strategies it because it was not too athletic. Bull’s If a student is interested in working Walsingham or King’s Hunt would have on a piece that seems too hard, I am ex- seemed beyond me many years ago. tremely committed to letting him or her However, it occurs to me that this piece do so and to making it work. The fi rst Exquisite is a good illustration of the relationship step for me is to try to fi gure out whether Continuo Organs between note-learning diffi culty and the diffi culty is found in a few spots or St. Peter’s Square tempo. There is—literally—a set of tem- more or less throughout. This affects London E 2 7AF • England [t] 011 44 20 7739 4747 [f] 011 44 20 7729 4718 CLAYTON ACOUSTICS GROUP [email protected] 2 Wykagyl Road Carmel, NY 10512 845-225-7515 [email protected] www.claytonacoustics.com www.mander-organs.com ACOUSTICS AND SOUND SYSTEM Imaginative Reconstructions CLAYTON ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP
14 THE DIAPASON
Feb 2011 pp. 2-18.indd 14 1/13/12 10:25:02 AM learning strategy. In the fi rst instance, I The music for Easter Sunday is usu- gregational hymn, Jesus Christ Is Risen Without brass will suggest to the student that we break ally elaborate, requiring special rehears- Today (Easter Hymn). The choral mu- the piece up and completely abandon als, but with Palm Sunday followed by sic has contrapuntal lines as it opens with Risen Today!, Dan Forrest. SATB, any thought that it is one unifi ed piece— church services for Maundy Thursday repeated statements of “Listen”. There is piano, with optional organ and tam- just for the time being of course, but and Good Friday, additional music is a fanfare feeling and the composer sug- bourine, Beckenhorst Press, Inc., BP with a lack of impatience as to how long needed to guide the church through gests that if only trumpets are used they 1947, $1.95 (M). that time will be. Then the easier—more the soul-stirring maze of the week. Mu- be placed separately in remote sections Forrest’s rhythmic setting quotes Eas- “normal”—parts can be practiced and sic directors often draw on previously of the sanctuary. This will be an exciting ter Hymn (Lyra Davidica). The music learned in a “normal” way, systematically used repertoire for some of the extra way to open the Easter service and add is a 3+3+2 dance that is fast and exciting, and carefully, along the lines that I have music. The church library should be to the drama of the morning. although when the choir is singing it slips written about before. The extremely fi lled with arrangements of standards into an easier 3+3. The verses each move hard passages can be treated as intensive such as Hosanna, Lamb of God, and Jesus Christ Is Risen Today, arr. to a higher key, adding to the excitement. exercises: analyzed, taken apart, put back Were You There? to help bridge the gap Aaron David Miller. SATB, organ, Organ, piano, and choral music are each together and practiced to within an inch from Palm Sunday to Easter Sunday. brass quintet, assembly, and vocal on two staves; the tambourine part is of their lives. Some kind of Passion setting may be re- descant, Augsburg Fortress, 978-1- published separately (1947A). This work A piece that is quite diffi cult—per- quired for Palm Sunday, although many 4514-2973-9, $1.30 (E). is highly recommended for those church- haps too diffi cult for the student—and churches have it dramatically read. There are four unison verses set to es not using brass on Easter, and will be of much the same diffi culty throughout Also, vocal and instrumental soloists are the tune Lyra Davidica, with the last enjoyed by singers and congregation. A simply needs to be taken apart and prac- often used for some of the services, so one having an added descant. The choral guaranteed winner! ticed well. The key here is to make sure by careful planning the director may music is on three pages, although there is that the student understands what the circumvent problems by being a para- a 17-measure instrumental introduction. Risen! Risen!, Deborah Govenor. process will feel like. Anyone can prac- gon of effi ciency. The music is very simple and clearly de- Unison/two-part, keyboard with op- tice anything effectively if it is kept slow Easter Sunday is the pinnacle of the signed to be used as a hymn; the organ tional D6, E6, G6, and A6 handbells enough. In this context, the meaning of church year; thus it deserves special at- part is on two staves. or handchimes, Beckenhorst Press, a piece’s being “too hard” is simply that tention. As with Christmas, there are BP 1842, $1.75 (M-). working on it correctly will take a long several popular hymns that a congrega- Risen Lord, We Gather Round You, The handbell music is primarily re- time. Would the student rather work on tion expects to sing, and the messages Bob Moore. SATB, organ, assembly, peated descending fourths, and that mu- this piece for a very long time, or post- are usually direct, clear, and familiar. and optional brass quartet, GIA Pub- sic is on the back cover for duplication. pone it, work on other pieces in the This suggests that some of the music the lications Inc., G6811, $2.05 (M). This joyful setting has the fi rst verse in meantime, and wait to work on the pro- choir performs should have freshness to The assembly sings on three of the four unison, then later mostly in thirds. The posed piece later? This is simply a mat- it. There is a need for the music to be verses; their music is on the back cover keyboard music is very easy, usually ter of what the student prefers: either celebratory, so the reviews this month for duplication. Five alternate stanzas with a single note in the left hand and approach is fi ne for helping him or her to blend qualities of something old, some- are also included; they are for other des- fl owing lines in the right. Designed as become a more accomplished player. thing new. ignated times such as Ordination, Eve- children’s music. In fact, it can be perfectly useful and April 8 is Easter in 2012, and the ning Mass, etc. This is a full score, which helpful for a student to work on a chal- church calendar dictates that this season includes the brass; they play both solo I Will Rise, arr. Craig Courtney and lenging piece even if he or she never re- lasts for fi ve more weeks until Ascension quartet interludes and with the organ or Linda Hasseler. SATB, three solo- ally learns it—assuming that the failure Sunday on May 20. These fi ve following choir. Much of the choir’s verse (no. 3) is ists, piano, and optional string quar- to learn it is of the right sort. If the goal Sundays usually extend the resurrection unaccompanied; the opening verse is in tet, Beckenhorst Press, BP CU1010, is to perform a piece then, by defi ni- music (theme) as well as refl ecting on unison. This would be especially useful $2.25 (M+). tion, that piece must be practiced until spring and unbounded love. for one of the Sundays after Easter. This fl exible setting has several perfor- it is learned and secure and ready to go. Easter typically suggests the addition mance possibilities, including unaccom- However, if the goal is to use the process of brass players, so that repertoire has Christ the Lord Has Triumphed over panied choir. There are extensive divisi of working on a piece to become a bet- been emphasized in the reviews. In most Death, Raymond Weidner. SATB, passages for both men and women, and ter player in the long run, then it doesn’t churches music plays a signifi cant role, organ, with optional brass and tim- a large choir will be needed. A full score matter whether the time put in practic- especially on this special Sunday, so it is pani, Paraclete Press, PPM 00922, with string parts is available (C1010). ing that piece is followed by more time common for church choirs to do several $1.60 (M-). The soloists sing separately and as an with that same piece (eventually leading works with brass, including the hymns. This well-crafted anthem has mild ensemble, often over the choir singing to its being learned) or by practicing a Extra preparation is also needed for dissonances in the organ while the choir on a neutral syllable. A challenging yet new piece. The choice to practice a hard these accompaniments, usually prepared has extended unison areas. There is a interesting arrangement. piece up to a certain point and then let it by the church organist and not involving feeling of majesty to the music. The cho- go is perfectly acceptable, assuming that the choir director. ral parts are on two staves; organ part is Visit www.TheDiapason.com the student is happy with it, and under- Many choirs do not sing on the fi rst on three staves. stands that it is a process, not a failure. Sunday after Easter as a reward for ex- And of course, that same piece will be tended work during Holy Week. That there for the student to come back to is a wise decision for both director and later. In fact, the fi rst round of work on singer to avoid total exhaustion. And, do the piece will leave that piece in very not forget to use a substitute organist as good shape to be picked up again later: well. This may be a good time to remind it will probably even get better during your choir and organist of Ephesians any time that the student takes off from 2:8: “For by grace you have been saved it. It will be sinking into the subcon- through faith, and this is not your own scious mind. The only technical require- doing; it is a gift of God.” Happy Easter ment for this approach to be fruitful is to you all! that the work done on the piece—or any section of it—be accurate and technical- Easter music with brass ly sound, but below tempo. If the piece is put aside in this way, it should be put Easter Acclamation, Lanny Allen. aside at a slow tempo but otherwise ex- SATB with brass sextet and tim- actly as it should be. Q pani, Hope Publishing Co., C 5674, $1.90 (E). Gavin Black is director of the Princeton The bold statements of “Christ has early Keyboard Center. He can be reached died! Christ is risen! Christ will come by e-mail at
FEBRUARY, 2012 15
Feb 2011 pp. 2-18.indd 15 1/13/12 10:25:18 AM so that when Lefébure-Wély died at the Book Reviews end of 1869, Cavaillé-Coll was able to fi nesse the post at Saint-Sulpice for the twenty-six-year-old Widor, although, John R. Near, Widor: A Life Beyond famously, it was a one-year provisional the Toccata. University of Rochester appointment. This could not have par- Press, 2011, $90;
16 THE DIAPASON
Feb 2011 pp. 2-18.indd 16 1/13/12 10:25:36 AM ines the rest of his output and his role as tragic dissolution of her life after Widor The fi rst piece on the recording is a critic and spokesman for the Academy died probably explains the lack of per- New Recordings Pie Jesu by Nadia Boulanger’s younger of Fine Arts. sonal mementos that have come down sister, Lili, whose early death at the age Widor’s tenure as professor of compo- to posterity. of 25 robbed France of one of its most sition lasted thirty-one years until 1927, John Richard Near’s writing on Widor In Memoriam Nadia Boulanger promising young composers. The third considerably longer than his six years dates to a dissertation published in 1985. (1887–1979). Carolyn Shuster track, the celebrated Pie Jesu from the as professor of organ. In this period The present 600-page volume culminates Fournier, Cavaillé-Coll organ, St.- Requiem by Nadia Boulanger’s friend he taught Dupont, Dupré, Boulanger, 25 years of immersion in his subject mat- Antoine-des-Quinze-Vingts, Paris; and teacher Gabriel Fauré, makes an in- Milhaud, Paray, Honegger, Tailleferre, ter. It represents patient research in li- Magali Léger, soprano. Ligia Digital teresting comparison. Both compositions Varèse, Messiaen, Durufl é and, briefl y, braries in Boston, Rochester, Chicago, compact disc Lidi 0109206-09. are very similar in mood, though the Lili Kodály. Honegger thought Widor was a Cleveland, Paris, Gunsbach, Lyon, and Pie Jesu, Lili Boulanger; Prélude, Boulanger setting has a distinctly twen- good teacher—open and tolerant. Near Rouffach. The author’s heart raced, Nadia Boulanger; Pie Jesu, Fauré; Petit tieth-century fl avor. Both pieces, more- presents enough evidence to show that though, he admits, when he discovered canon, Nadia Boulanger; Improvisation, over, are superbly well sung by Magali his pupils considered him to be tolerant a treasure of unpublished personal ma- Nadia Boulanger; Pièce sur des aires Léger, who must be one of the world’s and supportive, as well as unremittingly terials held by Widor’s niece’s family in populaires fl amandes, Nadia Boulanger; greatest living sopranos. old-fashioned. On the one hand, Varèse Persanges. Besides the expected trove Fugue des Trois pièces, Jacques Ibert; The fi rst piece for solo organ is the remembered that he allowed the student of old photographs there was a 103-page Pastorale on a Christmas Plainsong, fi rst of the three pieces from Fr. Jou- enough rope either to hang himself or manuscript entitled “Souvenirs autobi- Virgil Thomson; Preamble for a Solemn bert’s anthology, a Prélude in F Minor. to escape orthodoxy. On the other hand, ographiques,” and more—the original Occasion, Aaron Copland; Suite carmé- Being intended for either organ or har- Widor excoriated the works of his pupils hand-drawn plan for the console of the lite, Jean Françaix; Mosaïques, Noël Lee; monium, none of the three pieces pub- Honegger and Milhaud as unworthy of Saint-Sulpice organ. Prelude and Fugue, David Conte. lished by Joubert has a pedal part, and the Salzburg Festival and the great Mo- Near’s aim, and he achieves it well, is Nadia Boulanger was one of the indeed the manual part is for the most zart: “. . . instead of Salzburg one ought to let Widor tell his own life’s story, both greatest composition teachers of the part concentrated toward the treble end to send them to Lenin to give him a fore- through his own writings, and through twentieth century, numbering among of the keyboard—even the left hand is taste of the pains that certainly await him the recollections of his contemporaries. her numerous students such famous mostly written in the treble clef. This is in the next world.” Who can forget Widor’s description of musicians as Aaron Copland, Walter clearly deliberate and Nadia Boulanger For his part Widor always remained a phlegmatic pneumatic swell, “After Piston, Virgil Thomson, Philip Glass, achieves some extremely interesting ef- faithful to Cavaillé-Coll, extolling his the storm was over, the wind began to and Lennox Berkeley. She herself stud- fects by using the organ in its treble reg- advances in winding, coupling, expres- blow.” The intrigues of conservatory ied composition with Paul Vidal, Ga- ister. Depth is achieved more by texture sion, and tone color and his improve- politics and the occasionally confl icting briel Fauré, and Charles-Marie Widor, and harmony than by pitch. ment of the pedalboard, with praise for memories of pupils and colleagues are and organ with Louis Vierne and Al- Dr. Shuster Fournier plays the re- the assisted mechanical action with the reported along with Widor’s contempo- exandre Guilmant. Nonetheless, only maining two pieces from the Joubert touch “like a fi ne Erard.” This lifelong raneous notes and recollections written four of her compositions for the organ anthology following the Fauré Pie Jesu. mutual affection and support suffered down up to fi ve decades after the fact. are known to be extant—three pieces The Prélude progresses from gentle only once, when Widor mistakenly sup- One feels that one is actually living in published by Fr. Joseph Joubert in an fl utes and strings to a massive crescendo ported the attempt of Cavaillé-Coll’s the Paris between the wars—and wars eight-volume anthology called Maîtres followed by an equally massive decre- son to carry on his father’s faltering there were. His appointment to Saint- contemporains de l’orgue, and a compo- scendo. The very short Petit canon dis- business, but the rupture was eventu- Sulpice in 1870 coincided with the oc- sition called Pièce sur des aires populai- plays a similar though less pronounced ally healed over and continued until the cupation of Paris during the Franco- res fl amandes. All of these are found on progression from piano to forte to pianis- father’s death in 1899. Prussian War; as Perpetual Secretary the compact disc. simo. The infl uence of Nadia Boulanger’s Widor was a prolifi c editor and music of the Academy he resolved to remain The performers on this recording are teacher Louis Vierne is apparent in the critic. Near investigated over 225 opin- in the city during the bombing raids of organist Carolyn Shuster Fournier, who beautifully crafted miniature, as it is also ions, critiques and reviews published in World War I, and his life came to an was born in Columbia, Missouri, and in the lively Improvisation that follows. Estafette and Piano soleil between 1877 end a few years before the occupation soprano Magali Léger, who was born in This displays more of a mystical charac- and 1898, and listed many of them in Ap- of Paris in the Second World War. Guadeloupe—both now live in France. ter than the other two pieces. pendix I: Published Literary Works. Be- Letters provide much of the intimacy Dr. Shuster Fournier is Titulaire of the The fourth of Nadia Boulanger’s tween 1896 and 1928 Widor published of this book. Near consulted 53 letters Cavaillé-Coll orgue de choeur of the compositions is the Pièce sur des ai- L’Orgue moderne, which promoted the in the Saint-Saëns archive at Dieppe, 85 Église de la Trinité in Paris, but on this res populaires fl amandes, composed in unknown works of young composers. He letters from Saint-Saëns to Widor at the recording plays the 1894 Cavaillé-Coll 1915 and dedicated to her sister Lili. revised the Berlioz treaty on orchestra- Institut de France, 207 letters in Widor’s organ of St.-Antoine-des-Quinze-Vingts, It was published by Éditions Ricordi in tion (only, he said, to bring up to date correspondence fi le at the Institut, 28 Paris, an extremely fi ne instrument of 1918, but it is very hard to come by and the ranges and capabilities of modern letters to Widor from Cavaillé-Coll, 72 three manuals and 47 stops of which I I have searched in vain for a copy. It is instruments). He applied successfully signed letters from Widor in the Bib- was not previously aware. an animated piece based on six Flemish in 1910 (unsuccessfully in 1909) for a liothèque Nationale, and letters from a vacant spot on the French Academy of number of other smaller collections. The Fifthteenth Annual Fine Arts, part of the Institut de France. Appendix II is an annotated cata- A few years later, with due recognition of logue of Widor’s musical oeuvres. This his cultured ways, his literary skill, and alone represents a major piece of re- his ability to deal with people, Widor was search. Widor followed Bach’s example Albert Schweitzer unanimously elected Perpetual Secretary of continually reviewing and rewriting of the Academy of Fine Arts, a position his compositions. He often revised less which he managed with distinction un- successful compositions or excerpted Organ Festival til his death. From this role he extended the best parts to be published in a dif- the national culture to Spain through the ferent format. Manuscripts were spread A Weekend in Celebration of Excellence in Organ Music: Casa Velasquez and he initiated and was out among many libraries, which compli- the fi rst Director of the American Con- cated their comparison. Near uncovered A Gala Concert, ORGAN COMPETITION, Services, and Masterclass servatory at Fontainebleau that received at least eight levels of emendation for many American students after World the Op. 13 and Op. 42 organ symphonies High School Division First Prize: $2,000 War I, including Aaron Copland, who re- alone. (By the way, in 1994 Near pub- Other prizes also awarded membered meeting the “ancient organ- lished the defi nitive edition of Widor’s ist and composer.” ten organ symphonies, available from Albert Schweitzer began to study A-R Editions.) College/Young Professional First Prize: $3,500 from time to time with Widor in 1893 as Over a long brilliant lifetime Widor Through age 26 Other prizes also awarded a poor but outstanding private student. was held in great esteem by the public, Younger than his mentor by thirty years, his colleagues, and his many students. A This includes an appearance on our 2012 - 2013 Concert Series he absorbed the performance skills for 1910 tribute from his pupil Gabriel Du- which Widor had become famous. In pont reads in part: the course of these occasional meetings, 2012 JUDGES Schweitzer revealed to Widor a deep un- We love you in your teaching, classical AUDITION CDS: derstanding of the way Bach portrayed and liberal at the same time. As pupils we the text in his musical settings. Widor were already your friends; and now that we Due on June 12, 2012 Cherry are in our careers, you remain for us the Rhodes urged and encouraged Schweitzer to amicable and sure guide. write the now well-known book about We love you, we admire you in your THE COMPETITION: Bach. In later years, more as equals, the works so diverse and so beautiful, where two men collaborated on an edition of the the vigor and richness of imagination unite September 7-9, 2012 Gordon Turk Bach organ works, of which fi ve volumes in absolute mastery of the science. . . . were completed in Widor’s lifetime. The And we also love you, let me tell you, for fi nal three volumes were delayed by the rare example of your life. . . . we salute For Information & in you, my dear maître, with all our heart Schweitzer’s busy life on another conti- and with all our respect, the very charac- Application: nent despite Widor’s eagerness to com- ter of the genuine artist, in the highest and plete them. In Widor’s last years the most complete sense of the word. correspondence between the two men First Church reveals that Widor sought occasional ad- —Gale Kramer vice for his medical condition from his Organist Emeritus, Metropolitan of Christ younger friend. When they met for the United Methodist Church, Detroit Faythe last time in Strasbourg in 1935 the doc- 250 Main Street tor scolded his 90-year-old patient-friend Freese Wethersfield, CT 06109 for climbing against doctor’s orders to the Send a free sample copy of THE swallow’s nest organ in the cathedral. DIAPASON to a student, friend, firstchurch.org/asof Most of Widor’s life was his public life or colleague. as a teacher, critic, and administrator. At Contact Jerome Butera 860.529.1575 age 76 he married a woman forty years Ext. 209 younger whom he had known for many 847/391-1045 years. Mathilde made an agreeable com- [email protected] music@firstchurch.org panion for his last twenty-fi ve years. The
FEBRUARY, 2012 17
Feb 2011 pp. 2-18.indd 17 1/13/12 10:25:52 AM folksongs, and has advanced harmonies Constance, and the resolute, majestic This work is based on the African- Movement three, “God’s Promises that in some ways evoke the style of later Mère Marie de Saint-Augustin. American spiritual We Are Climbing Ja- to Jacob,” features the Great and Pedal composers such as Paul Hindemith, as Noël Lee, who was born in Nanking, cob’s Ladder. After a chordal statement principals. This is the portrayal of God’s well as having some of the character- China, in 1924, but has lived in Paris of the original tune, which Visser har- promise from atop the ladder to Jacob: istics of eighteenth-century noëls. It is since 1948, was Nadia Boulanger’s monizes traditionally in four parts, the “The ground on which you lie, I give to by far the longest of Nadia Boulanger’s only Chinese student. His Mosaïques, work divides into fi ve movements. Each you and your descendants.” This is not compositions for organ and the only one written in 1989, is as the title suggests is a variation on the tune, and each dem- the fi rst time God spoke these words. with an obbligato pedal part. One hopes a mélange of varied, largely atonal, onstrates a different characteristic organ And rather than proclaiming the prom- that someone will soon produce a mod- themes, sonorities, and textures put registration: fl utes, strings, principals, ise, the Lord simply “said” it. I think ern critical edition of all four of Nadia together as a kind of mosaic in which reeds, and full organ. Before each move- this is depicted in the music as well. Boulanger’s organ compositions, since some of the tiles seem to refl ect the in- ment, a narrator reads select verses from Rather than a big to-do, this movement they are all fi ne pieces that deserve to be fl uence of Olivier Messiaen. This is fol- Genesis 28:10–22, the story of Jacob and is matter-of-fact and perfunctory. What more widely performed. lowed by the fi nal work on the compact his dream. As such, Visser’s composition I mean to emphasize is that musically, The rest of the compact disc is de- disc, David Conte’s Prelude and Fugue, becomes programmatic music. there is also nothing new here. We have voted to compositions by Nadia Bou- written in 2003 and dedicated to the There are several ways a composer heard all this before. The descending langer’s colleagues and students. The memory of Nadia Boulanger. Conte, could approach this spiritual. Visser eighth-note pattern and rising octave fi rst of these is the Fugue from Jacques who was born in Denver, Colorado, in chose to concentrate on the vision of pedal motif do provide classic contra- Ibert’s Trois pièces, written in 1920 and 1955, was one of Nadia Boulanger’s last angels ascending and descending the puntal tension and an interesting varia- dedicated to Nadia Boulanger. This is students. His Prelude and Fugue was ladder. His brief notes on his own work tion on the original spiritual. And like an enthralling and beautifully crafted commissioned by the American Guild summarize his approach: the Lord’s successive iterations of His piece somewhat reminiscent of César of Organists for the 2004 Los Angeles promise to the Israelites, each a little Franck’s Prélude, fugue et variation. convention. The fugue is particularly Not unlike the melodic contour of the different than the other, it serves to After this, Dr. Shuster Fournier plays well written. African-American spiritual We Are Climb- remind us of the fact. Symbolically, I ing Jacob’s Ladder, each movement of this a work by one of the more famous of This compact disc is worth buying Organ Demonstrator musically depicts the think it noteworthy that verse three’s Boulanger’s students, Virgil Thomson. for Magali Léger’s wonderful singing on angels ascending and descending the lad- text is “Sinner, do you love my Jesus?” His Pastorale on a Christmas Plainsong tracks 1 and 3 alone. The rest of the CD der Jacob envisioned in his dream. Note Visser juxtaposed one theological no- is not a traditional pastorale in 6/8 or features some very interesting composi- the descending and slightly ascending in- tion that we are all sinners and doomed 12/8 meter, but rather a set of quiet tions that are further enhanced by Dr. troductory and coda material in the fi rst with another of God’s recurring prom- variations on the medieval plainsong Shuster Fournier’s excellent playing on a movement, the slowly moving and ethereal ises to bless us. hymn, Corde natus ex Parentis (liter- superb Cavaillé-Coll organ. oscillating chords of the second movement, Movement four, “Jacob Awakens,” ally, “Of the Parent’s heart begotten” —John L. Speller the descending eighth-note pattern and ris- displays the organ’s reeds with a big ing octave pedal motif in the third move- or, as it more commonly translated, St. Louis, Missouri ment, and the rise and fall of the melodic “trumpet tune,” very much akin to “Of the Father’s love begotten”). The contour of the regal “trumpet tune” heard those found in French Baroque music. Christmas carol “God rest ye, merry in the fourth variation. In the fi nal varia- The traditional French dotted rhythm gentlemen” is introduced as an addi- tion played on the full organ, the melody of the rising and falling melodic con- tional motif toward the end. After this, New Organ Music of the spiritual is accompanied by busy toc- tour is even complete with ornaments. the mood changes considerably with cata fi guration, providing a clearer musical This fanfare, in sharp contrast to the Aaron Copland’s Preamble for a Sol- portrait of the fl ight of the angels. preceding movement, drives home the emn Occasion with its dramatic, almost Jacob’s Ladder—A Biblical Sonata point that for Jacob, and often for us, medieval effects and frequent changes for Organ and Narrator, by Larry Depending on the source one uses, Ja- God is with us, and this is the “gate of in dynamics. Visser. Wayne Leupold Editions, cob’s Ladder traditionally has fi ve verses. heaven.” God may tire of saying the Another of Boulanger’s students, Jean WL600198, Organ Demonstra- Visser divides this Biblical Sonata based same thing over and over, but we need Françaix, originally wrote his Suite car- tor No. 39 (For Upper Elementary on Jacob’s Ladder into fi ve movements. to hear it. Each iteration is revelatory. mélite as background music for the fi lm School Students), $12.50;
18 THE DIAPASON
Feb 2011 pp. 2-18.indd 18 1/13/12 10:26:11 AM Jehan Alain masterclass by Helga Schauerte for Duquesne University Stephanie Sloan and Rebecca Marie Yoder
Helga Schauerte shows Duquesne students Chaz Bowers and Rebecca Yoder one of her manuscripts of Jehan Alain’s organ works
n October 8, 2011, the organ and original documents, and also make his Helga Schauerte working at St. Andrew’s Episcopal Church with Stephanie Sloan O sacred music performance students own judgments of what Alain originally at the organ at Duquesne University, who study un- intended. In addition, these volumes of der the direction of Dr. Ann Laboun- the complete works of Alain publish the died in an Alpine climbing accident try- ists’ repertoire. Whether through a mas- sky, participated in a special masterclass composer’s biography and his commen- ing to protect their brother Olivier from terclass, a celebratory dinner with friends given by Helga Elisabeth Schauerte- taries on many of the pieces. There are a fatal fall. Both these events gave Alain of Jehan Alain meeting each other for the Maubouet on the organ works of Jehan also thoughtful enhancements for each and his wife personal cause to constantly fi rst time, or the National French Cente- Alain. A masterclass of this sort was the piece, with a catalogue of all sources lift their prayers to God. nary Celebration of the Birth of Jehan fi rst in the United States that she con- consulted. The edition brings Alain’s to- Alain dedicated the exquisite Le Jar- Alain, musicians across the globe delight ducted along with her newest publica- tal compositional effort to 120 titles. din Suspendu (1934) to his close friend in studying and internalizing the musical tion, a three-volume Bärenreiter Urtext The music of Jehan Alain is important Marguerite Evain. This was one of his expressions of this inspirational man and edition of Jehan Alain’s music. These for an organist to study in such detail favorite pieces, which describes a “land will do so for decades to come.7 Q volumes are the fi rst German publica- because of the unique modernist voice of cheerfulness and peace.”5 Schauerte tion of Alain’s music and were studied Alain brought to 20th-century French or- told the students in the masterclass to Notes extensively over the course of this 8-hour gan music. Jehan Alain—a musician, art- observe that the piece has three distinct 1. Helga Schauerte-Maubouet, preface to masterclass at St. Andrew’s Episcopal ist, and poet—was born on February 3, sections and to be aware of the varia- J. Alain: Complete Organ Works, by Jehan Church in Pittsburgh. During the mas- 1911, the eldest of four musical children. tions of the theme throughout the piece. Alain, ed. Helga Schauerte-Maubouet, trans. terclass, the Duquesne University organ From his humble beginnings, taking les- In regard to balancing the registration Howard Weiner (Germany: Bärenreiter, 2011), 1: XII. students gained much valuable insight sons from his father on their homemade for the middle section of Le Jardin Sus- 2. Ibid., 2: XII. into the works of Jehan Alain through house organ, Alain went on to study at pendu, she mentioned that the triplets 3. Ibid., 1: XVIII. the research of Schauerte, organist of the the National Conservatory in Paris un- should not be so loud that the listener 4. Ibid., 1: XVIII. German Lutheran Church in Paris. der André Bloch, Georges Caussade, cannot easily discern the primary theme 5. Ibid., 1: XVII. Schauerte’s interest in the art of organ Paul Dukas, Jean Roger-Ducasse, and in the chords. 6. Marie-Claire Alain, Critical Notes on playing began when she was young, for Marcel Dupré. When Alain was drafted Alain generated the title of Choral the Organ Works of Jehan Alain, trans. Dr. at 13 years of age she became the chief for the Second World War in 1939, he Dorien (1938) from the Greek mode, Norma Stevlingson (Paris: Alphonse Leduc, organist at a local church in Lennestadt, was just blossoming into creative matu- “which refers to today’s Dorian as Phry- 2003), 11. 6 7. James David Christie, “National French Germany. The story behind her inspira- rity. Even while performing his duties, gian and vice versa.” Performers of this Centenary Celebration of the Birth of Jehan tion to study Alain’s music began with he continued to write compositions for piece and other Alain works often mis- 2 Alain (1911–1940),” The Diapason 102, no. Litanies. The fi rst time she heard this organ, piano, orchestra, and voice. He interpret his tempi indications. Alain 11, November 2011: 21. piece was during a performance by her drew inspiration from nature, imitating did not like the constraints of bar lines brother in Frankfurt, during which she its purity and freshness, and was also in- and rarely denoted a particular, strict Bibliography assisted him with page turns and regis- fl uenced by Eastern music. Alain often tempo. Instead, he was concerned pri- Alain, Marie-Claire. Critical Notes on the tration changes. She was struck by the composed polytonal music, seeking “new marily with the “living pulse of his mu- Organ Works of Jehan Alain. Translated expressive tonality of the piece and de- colorings created by unusual blends of sical thought” and wrote down the du- by Dr. Norma Stevlingson. Paris: Alphonse sired to know more about it and its com- registers. He experimented with solo- rations of his pieces to determine their Leduc, 2003. poser. Consequently, she began studying istically employed mutation stops” and relative tempi. Schauerte remarked that Christie, James David. “National French at the Conservatory of Rueil-Malmaison composed with unique timbres that re- the tempo of Choral Dorien should not Centenary Celebration of the Birth of Je- 3 han Alain (1911–1940).” The Diapason with Marie-Claire Alain in 1983, after quire complicated registration changes. be too lethargic. She suggested that the 102, no.11 (November 2011): 21. fi nishing her degree at the University of Seventy years after his tragic demise, performer sing the theme in order to Schauerte-Maubouet, Helga. Preface to J. Cologne. As she advanced in her studies, Alain’s pieces are a staple in nearly ev- correctly pace the tempo. These indica- Alain: Complete Organ Works, Vol. 1, by Schauerte noticed technical and numeri- ery organist’s repertoire, including works tions for Litanies, Le Jardin Suspendu, Jehan Alain. Edited by Helga Schauerte- cal discrepancies in the available editions such as Litanies, Le Jardin Suspendu, and Choral Dorien are critical to the cor- Maubouet. Translated by Howard Weiner. of Alain’s compositions. and Choral Dorien. rect interpretation of Alain’s pieces and, Germany: Bärenreiter, 2011. Thereafter, she decided to perform Litanies was written in August of 1937 if applied, form important habits for the ______. Preface to J. Alain: Complete Organ Works, Vol. 2, by Jehan Alain. Ed- her own investigations in search of an under the initial title “Supplication.” On pupils of Jehan Alain’s works. ited by Helga Schauerte-Maubouet. Trans- authentic interpretation of Alain’s works. the original manuscript, Alain depicted The organ students at Duquesne Uni- lated by Howard Weiner. Germany: Bären- Her Bärenreiter edition is the result of a grotesque nightmare: a man push- versity thoroughly enjoyed this intensive reiter, 2011. over a decade of intensive research. It ing a three-wheeled cart, behind whom study of Jehan Alain’s music with Helga critically compares the earliest versions are twenty policemen pelting him with Schauerte as well as her recital the previ- Stephanie Sloan and Rebecca Marie Yoder of Alain’s music preserved in his fam- bricks. The students were fascinated by ous evening at St. Paul’s Cathedral. Many are undergraduate students in the sacred mu- ily archives and scores from the French the fact that Alain, in the original manu- were impressed with the excellence of sic degree program at Duquesne University. National Library with all other known script, dictated that he wished the per- Schauerte’s research and were glad for manuscripts. As recently as 1975, ad- former to double in octaves the pedal her attention to detail and informed ad- ditional autographs were discovered in line in measures fi fty-two to fi fty-eight. vice on each piece. Others were amused the Alain family archives and in 1987 in This is so that the theme in the pedal will with Alain’s artwork and were interested THE WANAMAKER ORGAN his friends’ collections.1 Schauerte made be more prominent than the accompani- to learn more about his life. The master- a careful effort to ascertain not only an ment in the manuals. Litanies’ uneven class provided a fresh musicological in- Listen to it worldwide authentic interpretation of Alain’s piec- theme, evocative of a tortured soul in- sight into the works and life of an inspir- es, but also the correct chronological toning a desperate prayer, is repeated ing modern composer whose creative life over the Internet! order of his works. Within this chronol- unceasingly at a frantic pace while tran- was tragically cut short during his mili- ogy, Schauerte disregards transcriptions sitioning through several modifi cations tary service in World War II. Hourlong streamcasts 4 and unfi nished works. The great signifi - that reach the point of breathlessness. The experience of a masterclass on are featured at 5pm ET cance of this new edition is that it, for Alain himself was enduring great hard- the works of Jehan Alain with Helga the fi rst time, merges Alain’s full organ ships at this point in his life. While Alain Schauerte made a lasting impression the first Sunday of works with details of the discrepancies was writing this piece, his wife and he suf- upon those who participated. Alain’s life between the different manuscripts. fered through a miscarriage. The piece’s and music are inspirations that echo in each month at wrti.org The performer can see the reasoning creation may also have been preemptive: the works of Jean Langlais and Maurice behind the changes made to Alain’s two weeks later, his sister Marie-Odile Durufl é, as well as in numerous organ-
FEBRUARY, 2012 19
Feb 2012 p. 19.indd 19 1/13/12 10:28:08 AM Apprenticing with Herman Schlicker Joseph E. Robinson
I meet Herman Schlicker After completing a master’s degree, I talked over options with my teacher, Robert Prichard. Since I was very in- terested in all things related to pipe or- gans, a career in organbuilding looked promising. Mr. Prichard was well ac- quainted with Herman Schlicker, and broached the subject of my joining his fi rm as an apprentice. Schlicker was not interested. He said that the best ap- prentices come right out of high school and he had bad luck with those who had master’s degrees. Herr Schlicker fl ew to Southern California on business, and so it was ar- ranged that while he was here I would be his chauffeur. One stop that I remember was at what is now the Crystal Cathedral. The Schlicker factory as it appeared in 1970 Their fi rst building contained a small Wicks organ, which was to be replaced greeted by Ken List. Ken said, “So how with a substantial instrument. Schlicker is Merry Christmas on the Gedeckt?” I was among the contenders. At another responded, “Well, it’s OK, but that little stop, I was disgusted with the way they organ really lacks a proper foundation. treated Mr. Schlicker—didn’t they real- Herman Schlicker Too bad we could not have hooked up ize they were talking with a great man? that 32′ Bombarde with it.” After our fi nal stop, Schlicker said however, people would tend to gravitate Schlicker overheard the conversation, to come on to Buffalo, and I would be to that which they did best. Take Don and while I thought anyone would rec- their newest apprentice. I drove my red Bohall, for example. In many organiza- ognize that I was being outlandishly fa- Corvair across the country and rented a tions, he would be referred to as Service cetious, Schlicker thought I was serious room from Mrs. Herbst, who had rent- Manager. He could quickly diagnose and that the third rank in an organ should be ed to many a Schlicker apprentice. She fi x problems, clearly the best man to call a 32′ Bombarde. “You are there repre- asked us to keep our stereo playing of if an organ under the ten-year warranty senting the Schlicker Organ Company,” organ music down—it reminded her of experienced an unexpected malfunction. he said. “You know nothing. A lot has to her husband’s funeral. I asked Don how he managed to be ex- happen in an organ before you include empt from the lumber calls. He told me a 32′ Bombarde.” So I heard all about The factory that after I had been there a few years small to medium to large organs in a The factory is described in sales litera- and made myself valuable in a particular very informative lecture, though I could ture from the late 1960s: operation I could announce that I was no have done without the frequent “You longer going to do lumber. But I would know nothing” comments. From a modest beginning, the company have to be sure I was valuable enough. has expanded to include 65 persons at the Some who tried that too soon were no A wiring error Buffalo factory-offi ce, as well as sales and service representatives throughout the longer doing lumber or anything else at An electro-pneumatic organ was be- United States. The construction of the the fi rm. ing set up for testing. There was a testing present modern factory was begun in 1947, wiring harness used for such purposes. and since that time six additions have been Apprentice duties I said, “I have never done this before; ‘Merry Christmas on the Gedeckt’. This made to the building, giving a total working The apprentice program at Schlicker’s there are surely a lot of wires here.” 2-rank semi-portable pipe organ is simi- area of over 36,000 square feet, and includ- was more typical of the German appren- I was told, “There is nothing to it, just lar to the one the author played in a Buf- ing a spacious erecting room. tice system than what we are used to in start here at the end, and take each wire falo, New York bank. the USA. The view at the Schlicker Organ in sequence.” So I did, but it was the That there was no master plan for this Company was: we pay you for this time wrong end. Final result was that low C expansion from the beginning was obvi- and so you do whatever we ask of you, sounded from the highest note on the ous. For example, there was a large room be it sweeping, cleaning messes, paint- keyboard and vice versa. I started to play devoted to lumber, that in most respects ing walls, or shoveling snow! So this, I a hymn. “What on earth are you doing?” functioned well. However, there was no thought, is why people who have worked “I thought I might never again have the loading dock, or even a door to the out- so hard for a master’s degree don’t like it opportunity to hear music inverted and side. When a lumber truck came, Herr here. I was told a story of one such, who wanted to see what it sounds like.” “You Friedrich (foreman) would announce after driving from California worked one idiot, why don’t you just broadcast to the “LUMBER!” and we would all drop what day, got in his car and drove back home. world what a fool you are!” So I stopped we were doing and rush to the truck to One unhappy apprentice had given the abruptly. Fortunately this was the testing unload the lumber piece by piece and place a nickname “Stalag 15-30” [the ad- wiring harness and not the organ’s per- feed them through a window in the lum- dress was 1530 Military Road]. Stories manent wiring. ber room. On a cold winter day, that was of this nature were a kind of unoffi cial a very unpleasant task. initiation exam. A bright and dim bulb Sometimes my education was of use. Factory tours Information on a need-to-know When something unusual came along, Occasionally music committees or basis such as “What the heck is an 8/9 None?,” I groups of organists would tour the facto- At graduate school, you are fi lled with would know the answer. There was a fi ne ry. I was among those selected to conduct information and encouraged to ask ques- older gentleman, whose name I unfortu- High C of a 4′ fl ue rank showing distor- the tours. At fi rst I would meet visitors at tions and fi nd answers. There were many nately no longer remember, who was in tion of pipe shape caused by tuning the door and then physically take them things I wanted to know. For example, charge of Schlicker consoles. He would collar through the building, saying this is where on most three-manual Schlicker organs, review with me console layouts, controls, we do this, and this is where we do that. the pedal contains a unit 16–8 principal order of stops, etc. He said, “You know Schlicker specifi cations were import- Then I witnessed a tour led by Manuel rank, but the 16 and 8-foot stopped fl utes much more than those guys. You should ed from Europe. For fl ue pipes it was Rosales, who was then at Schlicker Or- are always separate ranks. How come? I be recognized for your knowledge and considered that for the vast majority of gan Co. He started at the melting pot in learned that awhile before my arrival, taken off the lumber run.” Obviously cases, such things as tuning scrolls, pipe the pipe shop, went step by step in the some former employees had stolen I liked him. On the other hand, as the slotting, and tuning collars were detri- construction of an organ, ending in the plans, records, scalings, and materials— wiring example shows, in construction mental. Take tuning collars, for example. erecting room. Even though there was everything they needed to make copies matters I was a rookie. One day I was A tuning collar means that at the top of some crisscrossing in that method, it ex- of Schlicker organs. So Mr. Schlicker was assigned to a task and heard rumblings, the pipe there is a sudden increase in plained the organbuilding process better, now cautious in sharing information, and “I don’t know why they assigned HIM scale. On bass pipes that were nearly cut and I changed my approach accordingly. an apprentice is at the bottom of the to- this task. HE doesn’t even know how to to length, the effect is minimal. But on tem pole in need-to-know. use a HAM-MER.” The speaker usually treble pipes, the distortion of pipe shape Organization chart I got my lecture in Schlicker organ got this task. Since in this case it was an is considerable. Thus Schlicker organs When Schlicker described the appren- design in a most unexpected way. One overtime task, I was robbing him of time- had pipes cut to length and were cone tice position to me, he said that I would holiday season, there was in the factory and-a-half pay. Welcome to the world of tuned. This practice was one reason why work in all aspects of organbuilding and a 32′ Bombarde, which was to be placed offi ce politics. I did not like it, and was Schlicker mixtures had outstanding co- eventually be able to do any task. In fact, in an organ previously fi nished with that a rookie there as well. Fortunately for hesion with the principal chorus. his factory was full of workers that could stop prepared for. Schlicker had placed future employment I learned 1) never do any task. He was proud of that. So, or- a small two-rank unit organ in a Buffalo be cruel to someone and 2) never be the The Schlicker sound ganization was simple: Herman Schlick- bank for publicity purposes. Since I could company scapegoat. Open-toe voicing, low wind pressure, er, President; Ken List, Vice President; play, I was assigned to play Christmas low cutups, etc. are only part of the sto- Herr Friedrich, Foreman; organ build- music on the little organ while the bank Organ pipes ry. It is well known that some Aeolian- ers, and apprentice, with a few excep- was open. One day after the bank closed, Most fl ue pipes were manufactured Skinner contracts, such as the Mormon tions such as the accountant. In practice, I returned to the factory, where I was in the pipe shop. Reed pipes built to Tabernacle and Grace Cathedral, speci-
20 THE DIAPASON
Feb 2012 pp. 20-22.indd 20 1/13/12 10:28:49 AM One of the duplicate consoles at First Congregational Church, Los Angeles. A lot of thought went into the logic allowing both consoles to be played simultaneously by two organists.
struments somehow achieved a result of thus: “It might as well have been built by being more than the sum of their parts, a ———.” [I don’t know if ——— would joy to play and to hear. want to claim it either.] In fi nishing an organ, Wally Guzowski The not-so-good consultants explained to me, “You have to be very These are the ones who think they diplomatic with the organists. When know more about organbuilding than they tell you what they want, smile and The author’s teacher, Clarence Mader, was consultant for the large organ at First the organbuilder, specifying scales, wind nod your head like you agree with them. Congregational Church, Los Angeles pressures, mouth widths, voicing tech- When they are gone, disregard every- niques and so forth. One such organ had thing they said. Organists know nothing fi ed that G. Donald Harrison do the fi nal I do know that who does the servicing so many conditions that the fi nal result about organ fi nishing.” A quite common voicing. It is the artist who does the fi n- makes a huge difference, is a concern of did not have the distinctive Schlicker occurrence in fi nishing an organ would ishing that gives an organ its distinctive organbuilders, and improper servicing sound. Herman Schlicker summed it up be the arrival of the organist with some sound; thus organs of the same manu- deteriorates an organ’s sound. It saddens facturer may sound different depend- me that some of my favorite instruments ing upon who does the fi nishing. At the have deteriorated. Schlicker Company, we had two superb voicers who fi nished at least the more Schlicker’s bias important instruments. Wally Guzowski Bad for Aeolian-Skinner, but providen- voiced with a bold, fresh, exciting sound. tial for Herman Schlicker was the rise in I decided that someday I would like popularity of the Orgelbewegung. With him to voice my residence organ when his strong German accent and experi- I could afford such. Louis Rothenberger ence in German organbuilding, he was in Jr. had a more elegant, refi ned sound. an ideal place to be the foremost Ameri- [We always specifi ed the Jr. because LR can builder in that style. I discussed with senior had also been a voicer.] Schlicker a trip to Europe I was going to They were aware that their styles were take. We went through the German in- different, and Wally told me that they struments I was going to see. “Yah, you worked together to try and make a uni- must see that,” he would say. For Hol- form result. There should be a specifi c land, “There are some good things there.” sound quality associated with the brand. For France, “A waste of time.” These men produced some instruments of distinction. As voicers, they would The good consultants physically adjust pipes. As fi nishers in One of the fi rst things you do as an ap- the fi nal location, they would sit at the prentice is to rack pipes on a windchest. console, playing through a rank of pipes, Here were some pipes that looked like a pick a note and shout a command to double row of little milk cans with their someone like me in the pipes: “Lower lids soldered on top. This experimental the languid,” “Pull the upper lip for- rank had been specifi ed by Paul Manz. ward,” “Narrow the windway,” “Increase Louie Rothenberger Jr. was having a very the cutup,” and so forth. diffi cult time getting the pipes to speak at all. I made the comment, “I don’t see Deterioration of the Schlicker why we need organ consultants at all. A sound church should just choose a builder and As years have passed, I have noticed let their expertise do the job.” Louie re- that some of my favorite instruments no sponded, “You are new here. You will longer have the magic they possessed eventually have the opportunity to visit when they were new. More is involved many organs. When you do, compare than just my ears getting older; record- those that were built under consultants ings of the original instruments captured such as Paul Manz, your teacher Clar- the magic. Here is what I think may ence Mader, Paul Bunjes, E. Power have happened. Schlicker instruments Biggs and so forth, with those that had were cone tuned and were very stable in no consultant. I think you will fi nd that tuning within themselves, but the whole our best organs had consultants such as instrument goes fl at in winter and sharp these.” He was right! in summer. When I was at Occidental College, I Take a fi ctitious organ service man played among other things French Ro- Sam Cifodelance, for example. Sam gets mantic organ music that I liked. I com- a customer who has a Schlicker organ. mented to my teacher Clarence Mader He orders some tuning cones from a how well the Schlicker played that music. supply house. In winter, when the organ He replied, “Yes, you need French reeds goes fl at, he pounds the pipes with the to play that music and I requested that pointed end of the tuning cones to bring Schlicker include them in the Swell One the pitch up to A440. In summer, he division.” I bring this up because on his pounds the pipes with the other end to own, Herman Schlicker would not have bring the pipes down to A440. Over time given the Swell One division a French this attention alters pipe mouth dimen- fl avor. Somehow they managed to do sions slightly, and what was an outstand- that and yet have it integrate beautifully ing sound becomes an ordinary sound. with the rest of the instrument, resulting This theory is an educated guess, but in far greater versatility. The very best in-
FEBRUARY, 2012 21
Feb 2012 pp. 20-22.indd 21 1/13/12 10:29:07 AM 22-rank [+50 digital] Hausorgel, Robinson Opus 1 (also known as ‘Opus Last’)
Mr. Schlicker arranged practice time for the author on this organ at Trinity Lutheran Church in Tonawanda, New York.
last requests for what was going to be his when they discovered that I was from instrument. At that time, it is too late. A California and knew no one in town, successful fi nishing process brings out they invited me to meals and made me the maximum beauty a pipe was de- feel at home and said, “You have friends signed to give. An organist’s request to here.” Shortly thereafter their organist now make a German Principal more like moved away. “Do you play, Joe? Would a French Montre, for example, robs the you mind substituting for a while till we instrument of its potential. That decision fi nd a permanent organist?” A few Sun- should have been made long before.1 days later, “We want you to be our organ- ist.” “Impossible—I can be called out of Insubordination town at any time without notice.” “We I was given two rules, which probably can have someone fi ll in on the piano came about due to prior diffi culties with when that happens. Please be our organ- employees who were also organists: 1) ist.” It seemed like this would work; they When you are on an assignment do not knew I would leave without notice when play the organ, even during a break or af- Schlicker called. I would fulfi ll my obli- The author playing Durufl é on the Occi- dental College Schlicker organ c. 1968 ter you are done. Customers are charged gation to him, and what he did not know Texas Lutheran College, Sequin, Texas. by the hour and we don’t want them to would not hurt anyone. This happy ar- This organ was unfortunately destroyed think they are paying for you to play the rangement continued for many months. many around me who encouraged that by fi re. The decision was made to create organ. 2) Because you may be called at I have a couple theories of how Ken thinking. Perhaps more than the mun- a replacement organ exactly like the one any time to travel, do not accept a church List found out about this arrangement. dane tasks, this kind of thing is the rea- destroyed. It was one of the author’s fa- organist position. It is not fair to the com- “Joe, you have to tell Schlicker.” I dread- son Schlicker had trouble with master’s vorite instruments in the factory. pany, the church, or yourself. Rule 1 was ed that conversation, but I was caught, degree organists. In subsequent employ- diffi cult to manage; we worked on some so I set up a time to meet with him. ment ‘my own time’ would be redefi ned denied or out of reach. So my house in beautiful instruments. But I did manage Schlicker told me he understood after all by being on call 24/7 with aids such as the suburbs was fi nanced by leaving or- this rule in spite of working on some in- the time I had put into learning to play beepers and later, cell phones. One boss ganbuilding and becoming a business struments I longed to play. the organ that I would not want to just let would even follow me into a restroom systems analyst. And I am quite happy After arriving in Buffalo, each Sun- the talent die. So he instructed me to re- stall. So now I see that Schlicker was at with my self-built 22-rank residence or- day I visited various churches to see and sign and he would arrange for me to have least trying to meet me half way. gan. Unfortunately, lack of space in my hear organs and get a feeling of that par- practice time at his church, which had a residence made it impossible for the ticular church. One Sunday, I visited the very nice organ. As a naive young person, Money third rank to be a 32′ Bombarde. Q University United Methodist Church. I thought as long as I can do my job, he Perhaps because organs are very ex- While certainly not the fi nest organ in has no business telling me what I can and pensive instruments, money is a prob- Notes town, the people were very friendly and can’t do on my own time. And there were lem in organbuilding. Herman Schlicker 1. For an interesting exchange between an was a master of fi nance. We did not look organbuilder and organist who wanted very different things see Charles Callahan, Aeoli- forward to his daily rounds at the factory. an-Skinner Remembered, letter 161. “Robinson, why don’t you gold-plate it 2. Ibid., p. 32, paragraph 4. A gift subscription to while you are at it?” That comment trans- lates to the work is very good, but your The author wishes to thank Justin Mat- progress is too slow and we can’t afford ters for permission to use the photographs of THE DIAPASON it. So I would speed up. Then, “Robin- Schlicker organs. son, what is this? It will never do! The The perfect gift for organist colleagues, students, teachers, choir Schlicker organ is a quality instrument.” Joseph E. Robinson received his B.A. from directors, and clergy. California State University at Long Beach While making us employees stressed out and his M.A. from Occidental College in during his rounds, he did achieve the Los Angeles. He studied piano with Charles Each month your gift will keep on giving by providing the important news right balance, getting us to do good work Shepherd, and organ with Clarence Mader, of the organ and church music fi eld. Send in the form below with your with enough production speed to be cost Paul Stroud, and Robert Prichard. He stud- check and know that your gift will be just right. For information, contact effective and keep the fi rm in business. ied choral conducting with Frank Pooler and editor Jerome Butera, 847/391-1045;
22 THE DIAPASON
Feb 2012 pp. 20-22.indd 22 1/13/12 10:29:24 AM East Texas Pipe Organ Festival November 14–17, 2011 Michael Fox
he East Texas Pipe Organ Festival Ttook place November 14–17 in and around Kilgore, Texas, and was one of the best organ-related gatherings I have ever attended. This was largely because of two men: Roy Perry, the former organ- ist-choirmaster of the First Presbyterian Church of Kilgore, and Texas represen- tative for Aeolian-Skinner; and Lorenz Maycher, the current Kilgore incumbent, and devoted historian of Aeolian-Skinner, who decided that Perry’s achievements deserved wider recognition. Harrison & Perry Admirers of the company know that G. Donald Harrison held Perry’s work— and zany humor—in high esteem, and the Texas instruments that were installed by the Williams family of New Orleans and fi nished by Perry have a special place in the hierarchy of Aeolian-Skinner organs. (See “The Williams Family of New Orleans: Installing and Maintain- Roy Perry ing Aeolian-Skinner Organs,” by Lorenz Maycher, The Diapason, May 2006.) Perry’s own organ in Kilgore was featured prominently in the King of Instruments recordings that the company released Roy Perry during the tonal fi nishing of the 1951 Aeolian-Skinner, Opus 1174, at First to promote its organs, and the slightly Baptist Church, Longview, Texas larger sister organ in Longview was used by Catharine Crozier to make two im- portant recordings of American organ music. If for no other reason, the Kilgore organ would have its place in history as the organ that introduced the chamade Roy Perry signature trumpet to America, perhaps a cause for sorrowful head-shaking to many. Robert Brewer accompanied the choir Fashions changed in the following de- superbly. The Parry was tremendously cades, and many regarded the American exciting, even without the “Vivats”, and Classic ideal as unsatisfactory eclecti- that fi rst Trompette-en-chamade is still cism, and it must be said that even before one of the very best examples, a well- Harrison’s death that approach seemed nigh perfect balance of brilliance and to be narrowing its scope even as it was body, just loud enough to dominate. narrowing its scales, and some notable As I heard throughout that concert, instruments came to be deprecated or and in the succeeding events in that ignored—or, worse, rebuilt. church, Roy Perry’s own organ, Aeolian- Through these decades, some organ- Skinner opus 1173, embodies that kind ists continued to maintain that the Roy of musical balance in any number of Perry organs were very special. He fi g- voices. Uniquely, I think, among instru- ured prominently in Charles Callahan’s ments carrying the G. Donald Harrison histories of Aeolian-Skinner, with let- signature plate, it is only “rebuilt” by ters to and from G. Donald Harrison. Harrison, since it started life as a Möller, Inevitably, tastes changed yet again, and and much of the structure and even some of the Romantic aspects of Perry’s East Texas Pipe Organ Festival group photo, taken on the front steps of First Bap- pipework (including the notable French designs once again could be seen as re- tist Church, Longview, Texas Horn) remains from its origin. This per- fl ections of a good musical sense rather than deviations from classical ideals. But Perry, Lorenz Maycher undoubtedly the piney woods of east Texas are a long earned himself a place in the ongoing way from big musical centers, and mostly Aeolian-Skinner saga. the instruments sat ignored by the larger world. One of them had even fallen on Opening concert hard times, and due to changing worship The opening concert was at First Pres- styles was sitting unused. byterian in Kilgore, and the program re- I was enough of a dedicated admirer peated the content of Roy Perry’s origi- of G. Donald Harrison organs that I had nal recording, “Music of the Church,” occasional retirement fantasies about Volume Ten in the King of Instruments jumping in the car and heading on a series. A choir of some 30 voices was long diagonal trek from the Douglas fi rs conducted by Frances Anderson, who of the Northwest to the loblolly pines of as an Austin College student had sung Texas and actually hearing those two or- on the original record. After the appro- gans. For one reason or another, the fan- priate opening hymn (Engelberg), the tasy trek never happened; and so when choir, accompanied by Robert Brewer, I read the announcement of this East sang Parry’s I Was Glad, Ireland’s Great- Texas Pipe Organ Festival I signed up er Love Hath No Man, and Vaughan immediately. It ran from a Monday eve- Williams’s setting of Old Hundredth. ning opening concert through Thursday Practical considerations led to the sub- evening, three non-stop days and nights. stitution of Elgar’s The Spirit of the Lord The festival was essentially on the scale Is upon Me for David McK. Williams’s of an unusually good AGO regional, but In the Year That King Uzziah Died, it really was the work of one man with and following the congregational sing- whatever support he may have asked for ing of St. Clement, Lorenz Maycher and received from others; those are de- played Bruce Simonds’s Iam sol recedit tails of which I know nothing. But how- igneus, the only organ solo on the origi- ever Lorenz Maycher made it happen, nal record. the organization was impressive. There The concert set the tone for the festival were 50 or 60 attendees, a comfortable perfectly. First Presbyterian is not a huge and convenient headquarters hotel, a church—I’d guess that it seats around giant bus, catered meals that were never 300—and even though seat cushions had less than good and in the case of a gumbo been removed, it is not a particularly live dinner, just terrifi c, organs that had been room. It is not a hostile building: music freshly tuned (and because of some odd is clear and well balanced there, but it swings in the weather, even retuned), gets very little enhancement, so the or- hospitable churches, and fi rst-rate recit- gan’s glory is of its own making. It didn’t alists. For arranging this tribute to Roy take long for that glory to be evident, as
FEBRUARY, 2012 23
Feb 2012 pp. 23-25.indd 23 1/13/12 10:30:13 AM Charles Callahan at Aeolian-Skinner Opus 1308, St. Mark’s Cathedral (Episcopal), Shreveport, Louisiana
Bach Prelude and Fugue in E-fl at well enough for these ears, and did a thrill- ing job with the John Cook Fanfare. The program also included Harold Darke’s The Williams Family during the 1966 rebuilding of Aeolian-Skinner Opus 1173, First Meditation on “Brother James’s Air,” Presbyterian Church, Kilgore, Texas Two Meditations on “Herzliebster Jesu” by Mark Jones, and Bach’s Adagio Can- haps makes Roy Perry’s achievement as Goerken did a lovely job on the de- tabile arranged by Roy Perry. Cantwell a tonal fi nisher even more notable, be- manding vocal part (it concludes on a improvised on some hymns, giving the cause this instrument of 69 ranks is ver- pianissimo high A after 22 pages of very attendees a chance to sing along as the satile and elegant beyond description. chromatic writing); Maycher showed off themes were presented, and it was a Other Harrisons that I have heard and opus 1173 as no less spectacular an ac- model church organ in supporting con- loved—Grace Cathedral, Church of the companying instrument. gregational singing. And my fears at see- Advent, St. John the Divine, etc.—owe The Weinberger cantata for years was ing those trumpets aimed at us were un- something of their effect to their glori- a tradition on Easter afternoon at Riv- founded; they, and the organ, were just ous buildings. Kilgore does it all on its erside Church, and I have retained a right. In an ideal world you might hope own, and I left the concert convinced vivid memory of hearing Louise Natale for a livelier room, but working in the that I had just heard one of the world’s and Fred Swann perform it in the late real world Perry delivered a very satisfy- truly great organs. 1970s. The Kilgore organ was easily the ing and completely musical organ. 1952 Aeolian-Skinner, Opus 1175, at St. equal of the Riverside giant in provid- In the evening, Brett Valliant dem- Luke’s United Methodist Church, Kil- Tuesday, November 15 ing all of the color required. (I missed onstrated further capabilities of Opus gore, Texas The following day offered more op- only the few Chimes strikes that Swann 1173 by using it to accompany a Har- portunities to hear just how versatile the added; Maycher was faithful to Wein- old Lloyd fi lm, but I can’t comment on Kilgore organ is, as Maycher, former berger’s score.) Part of the magic and the whether that worked or not, since I de- organist Jimmy Culp (who two days versatility comes from the enclosure of cided to save my energy for the late night later was honored by the grateful church most of the Great, which is both a Great cash bar, where more Roy Perry stories as its Organist Emeritus), and Casey (a splendid Principal chorus, with three abounded. There sure are some great Cantwell played organ works particu- mixtures including one that caps full or- storytellers in Texas. larly associated with Opus 1173: Dreams, gan in much the same way as the famous by Hugh McAmis; Christos Patterakis, Terzzymbel at Washington Cathedral) Wednesday, November 16 by Roy Perry; A Solemn Melody, by Wal- and a Solo, with an English Horn and The following day the giant bus made ford Davies; Nun komm der Heiden Hei- a French Horn to go with an eloquent the 70-mile trip east to Shreveport, land, by Bach; Introduction, Passacaglia Flute Harmonique. With some very where the group enjoyed the hospitality and Fugue, by Healey Willan; Alleluia, imaginative thinking, Roy Perry tran- of the historic Shreveport Scottish Rite by Charles Callahan; Songs of Faith and scended the limits of the usual three- Temple, having lunch and dinner in a dis- Penitence, and Requiescat in Pace, by manual instrument and enabled it to be tinguished dining room. Upstairs in the Leo Sowerby; and The Way to Emmaus, a giant in fl exibility. 500-seat auditorium we heard Charles by Jaromir Weinberger. Later in the afternoon, Casey Callahan demonstrate the sounds of the There were also reminiscences of Roy Cantwell demonstrated another ap- 1917–1921 four-manual Pilcher, some Perry, as there were later in the week; by proach Roy Perry took: at St. Luke’s voices of which weren’t available. Like my reckoning he would have emerged as United Methodist Church in Kilgore, all such fraternal orders, it faces an ag- the undisputed champion in an all-time opus 1175, he designed a very substan- ing and declining membership; the pres- Trompette-en-Chamade profi le and ex- contest of Readers’ Digest Most Unfor- tial instrument in a smallish room, but ervation of their remarkable buildings, posed pipework, Aeolian-Skinner Opus gettable Characters. Attendees learned laid it out on two very complete manu- which are usually among the notable 1173, First Presbyterian Church, Kilgore, that his lovely Christos Patterakis was als rather than the expected three. The structures in every city where they are Texas named not for some obscure Orthodox Great, again partially enclosed, is almost found, should be yet another cause to melody, but for an obscure name he saw enormous at 18 ranks; and the Swell which organists might rally. on a local election campaign poster in has a chamade Trompette in addition to The major attraction in Shreveport California; his irreverence and impish- the usual reed chorus. In a dead room was St. Mark’s Cathedral, Roy Perry’s ness were as fully developed as his ear it seems like a recipe for disaster, but largest installation. It was designed by for proper pipe speech. For me the Casey Cantwell, moving on from hav- G. Donald Harrison in conjunction with highlight among all this music-making ing played the Willan Introduction, Perry and William Teague, then fresh was the performance of Weinberger’s Passacaglia and Fugue on Opus 1173 in out of the Curtis Institute and embark- solo cantata The Way to Emmaus for the morning, demonstrated that Perry ing on a long career at the cathedral, soprano and organ. Anneliese von knew what he was doing. It played the but it was not built until the Whiteford years. The festival’s visit to the cathedral was preceded by a session of further reminiscences of Perry at St. Mark’s former building, now the Church of the Holy Cross, where a 1920 E. M. Skinner was rebuilt by Aeolian-Skinner in 1949. William Teague—“Uncle Billy” to Roy Perry, and I suppose now about 90 (see “William Teague awarded Doctor of Fine Arts degree by Centenary Col- Trompette-en-Chamade, 1949 Aeolian- lege,” The Diapason, October 2011, Skinner, Opus 1173, First Presbyterian p. 10)—was the star of the show, with a Church, Kilgore, Texas fl ood of stories that illustrated both Per- ry’s care for music, as when he sent pipes atmospheric improvisation that hung in from the Kilgore strings back to Boston the air like wisps of incense. Following so that the scales could be duplicated for Evensong, Robert McCormick played Teague’s organ then in the shop, and his a recital that started with a particularly wild sense of humor. colorful performance of the Elgar So- The St. Mark’s organ sounded par- nata, and included three improvisations ticularly lovely in Charles Callahan’s by Pierre Cochereau, reconstructed prelude to the Evensong service, an by Jeanne Joulain; McNeil Robinson’s
24 THE DIAPASON
Feb 2012 pp. 23-25.indd 24 1/13/12 10:30:37 AM William Teague lectures at Church of the Holy Cross, Shreveport, Louisiana; with Charles Callahan and Lorenz Maycher
book I; Elliot, Sing praise to God who came fi rst, but it was accompanied by Charles Callahan preparing for Evensong at the console of Aeolian-Skinner Opus reigns above, Be Thou my vision, Swing good food and comfortable accommo- 1308, St. Mark’s Cathedral (Episcopal), Shreveport, Louisiana low, sweet chariot; Wagner, arr. Lemare, dations, and lots and lots of late-night The Ride of the Valkyries. I’m sure the stories. If the festival is repeated, I’ll Thursday, November 17 church elders were gratifi ed to hear sign up the day it’s announced, and you The third day started with a little jewel, someone who daily plays an organ almost should, too. the 22-rank opus 1153A in the First Bap- three times the size speak of how thrilled Amidst the glorious music and the fun, tist Church of Nacogdoches. Roy Perry he was to be playing the Kilgore organ there was an occasion for solemn refl ec- priorities are made clear by the presence for the fi rst time! In turn he managed tion when the bus en route to Shreveport of two celestes in a small two-manual, to thrill the large audience, fi rst with a stopped to visit Roy Perry’s grave. His last and again the organ fi ts the church like superb performance of the Bach Passa- years were diffi cult, and his death was a dream. The church itself was an odd caglia in the grand manner (every line tragic. His fi nal resting place is in the fam- amalgam: distinctive stained glass win- of counterpoint there to be heard, but ily cemetery of the Crims, the local emi- dows and this vintage American Classic also every ounce of drama and passion— nences who had built the church, donated organ on the one hand, a full drum kit not the sort of effect you can get from a the organ, and supported Perry’s musical opposite the console and a light bridge start-to-fi nish forte plenum), and fi nally education. His gravestone reads, “Music, that would be adequate for a good re- with an all-out Ride of the Valkyries, with once admitted to a soul, becomes a spirit gional theatre on the other. In any case, that miraculous Trompette-en-chamade and never dies.” Amen! Q Joseph Causby did a great job with a spurring the riders on. Very exciting varied program from Bach to Locklair— stuff—an over-the-top ending to an ex- Michael Alan Fox is a retired bookseller that last being a substitution that allowed citing week. and publisher who reviewed organ records for us to hear some very nice Chimes, again I am boundlessly grateful to Lorenz The Absolute Sound for 15 years. Growing up in San Francisco, he fell in love with Aeolian- a voice found in most Perry organs. No Maycher for organizing this heartfelt Skinners while listening to Richard Purvis at snob, he . . . The program: Bach, Pièce tribute to Roy Perry and his instru- Grace Cathedral; and as a disciple of Maurice d’Orgue, BWV 572, O Mensch bewein ments. I can’t imagine how many hours’ John Forshaw—Jean Langlais’ fi rst American dein Sünde gross; Hindemith, Sonata I; work must have gone into planning all of pupil—he has an unshakable faith in seamless Thalben-Ball, Tune in E; Durufl é, Scher- the necessary arrangements and making legato. He is organist of All Saints Episcopal zo, op. 2; Howells, Psalm Prelude, set 1, everything work so smoothly. The music Church in Hillsboro, Oregon. Aeolian-Skinner Opus 1308, St. Mark’s no. 3; and Guilmant, Final (Symphony Episcopal Cathedral, Shreveport, Loui- No. 1 in D Minor). siana And the day continued in glory. I had gotten Catharine Crozier’s recordings INCE 1979, we have from Longview in my teen years, but I wasn’t prepared for the size and magnifi - designed and built over cence of the building. It is like no other 120 new pipe organs for church I have seen, Gothic stripped S down to the essential pointed arch and clients in Australia, Austria, built in yellow brick on a grand scale. The New Zealand, England, window at the east end of the church is 66′ high by 16′ wide, and that refl ects the Canada and the United States. sheer verticality of the design. The organ, Our instruments, whether Opus 1174, sits in chambers on either side of that lofty chancel, and Charles tracker or electric action, have Callahan demonstrated its 85 ranks in been praised for their rugged a fascinating recital, mostly of unfamiliar construction, comfortable pieces that I’m sure were chosen to show Opus 116 off every aspect of the organ: Wallace consoles, responsive key Sabin, Bourée in the olden style; Bach, actions and tonal integrity. Fantasie con Imitazione, All glory be to God on high, Lord God, now open wide New cases, keyboards, Thy heavens, We all believe in one God; windchests, reservoirs and Cimarosa, Sonata IX; Handel, Andante; Paradies, Sicilienne; Gounod, Marche pipes are all built from raw Nuptiale; Salomé, Villanelle; Jongen, materials within our two Pastorale; Foote, Night–A Meditation, Console, Aeolian-Skinner Opus 1308, op. 61; Callahan, Three Gospel Preludes, workshops located in Saint- St. Mark’s Episcopal Cathedral, Shreve- Three Spirituals from Spiritual Suite, Hyacinthe, Québec. Our team port, Louisiana Fanfares and Riffs. It sounded wonder- ful in that huge room, a more sympathet- of experienced builders also Prelude on LLANFAIR, and Larry King’s ic acoustic than Kilgore, and Opus 1174, restores and rebuilds older Fanfares to the Tongues of Fire; the wide open, fi lled it perfectly, the 8′ and 4′ program ended with an improvisation Trompettes and Cornet of the Bombarde instruments to make them on submitted themes. The cathedral division being ideal climax reeds—but its sound and play better than ever. Opus 118 has a generous acoustic, and the organ quiet Romantic voices were just as effec- sounds like a vintage Perry right up to tive. It is sad to think that the organ had the point that the big reeds come on. I fallen into disuse for some years and then may be in a minority, but the Solo Ma- was severely damaged by catastrophic ÉTOURNEAU IPE RGANS jor Trumpet unit was the fi rst less-than- leaks, but it is a cause for rejoicing that L P O beautiful reed I had heard, and the the church repaired and restored one of Trompette-en-chamade in the Gallery the real monuments of American Classic USA Canada ranks with that thing at the back of Riv- organbuilding. 1220 L Street NW 16 355, avenue Savoie erside Church as the ugliest specimen The fi nal event was a recital back at Suite 100 – Box 200 St-Hyacinthe, Québec I’ve experienced, and although I wasn’t Kilgore by Richard Elliott, one of the Washington, DC J2T 3N1 carrying an SPL meter to be exact about masters of the Mormon Tabernacle Or- 20005-4018 Tel: 450-774-2698 it, I think it was brighter and nastier. gan: Handel, La Rejouissance (Music Tel: 800-625-PIPE Fax: 450-774-3008 I’ll bet Roy Perry would have agreed for the Royal Fireworks); Bach, In dir Fax: 202-737-1818 [email protected] with me. But the unpleasantness was ist Freude, BWV 615, Passacaglia in C [email protected] www.letourneauorgans.com washed away later back at the hotel by Minor, BWV 582; Daquin, The Cuckoo; an excellent martini—“Mother’s Milk” Widor, Andante sostenuto (Symphonie in Perry-speak. gothique, op. 70); Gawthrop, Sketch-
FEBRUARY, 2012 25
Feb 2012 pp. 23-25.indd 25 1/13/12 10:36:11 AM Cover feature
Glück Pipe Organs, New York, New York Faith Lutheran Church, New Providence, New Jersey The new pipe organ for Faith Luther- an Church was created for use in tradi- tional worship and for the performance of solo organ literature with a reasonable degree of historical accuracy. Although conservative in its core concept and tonal structure, some unusual pipe forms and design elements take it beyond the realm of the tonal cookie-cutter. The instrument replaces a very heav- ily unifi ed organ from the 1960s that subsequently had been altered by a lo- cal tuner. Inspection revealed that it contained several ranks of fl ue pipes that could be rescaled and incorporated into the new organ. While the mouths of these salvageable ranks were “cut to speech,” the pipes had never been truly voiced or tonally fi nished. They were es- sentially raw pipes of good alloy, straight from the pipemaker. Retaining these heritage pipes accomplished three goals: it enabled us to broaden the scope of the instrument from two manuals to three, it made the congregation understand that pipe organs could be investments, not merely expenses, and it gave church members a deeply satisfying feeling of historical continuity. The façade design When this project began years ago, the The 16′ Holzviolon, painted Portland bidding organbuilders were asked to de- blue, with metal “Haskell” re-entrant sign an organ for the front of the church tubes in the lowest four pipes (photo: as part of a comprehensive renovation. Albert Jensen-Moulton) Despite my strong indication that I pre- ferred a rear gallery location, I conceived two chancel designs, one unilateral, the other divided. As the years passed, larger considerations arose for this thriving Console (photo: Robert Rast) church. Should they once again enlarge their present church and school complex, or build a new church on new land? The church retained respected organ, archi- tectural, and acoustical consultant Scott Riedel of Milwaukee, whose calm advice and clear education resulted in the organ in place today, as well as enlarged facili- ties for the music department and an im- proved acoustic. In the end, I got my wish. The organ sings from an elevated, central position in the new rear gallery. The A-frame struc- ture, characteristic of so many American Lutheran churches of the era, naturally calls for North European case morpholo- gy. The mahogany case, proportioned for a relaxed “fi t” in the room, is accented with understated pipe shades and foliate carvings in maple. Within this visual context, I engaged in a bit of iconography and mannerism. The central “Trinity” of pipes is non- speaking, allowing me the opportunity to increase their length and have them Carving detail (photo: Sebastian M. Glück) break through the cornice and soar heavenward. The remainder of the fa- çade is composed of pipes from the Great 8′ Præstant. The twelve polished zinc pipes of the lowest octave, with their undulating mouth lines, represent the Apostles. They are, in turn, fl anked by the spotted metal 4′ range, playing upon the number seven, which recurs often in scripture. In each “fl at” of pipes, the outer two pipes are reversed to acknowledge the visual strength of the roofl ine, and pipe lengths are bal- anced by building every other pipe one semitone over-length. The console When minister of music Dr. John Girvin asked that I address the needs of an easily navigable, mobile console with unobstructed sight lines, I took as a point of departure the Aeolian organ consoles designed for the homes of the aristocracy during the fi rst quarter of the last centu- ry. In this restrained and modern version, the tablets operate vertically, rather than horizontally, so that there is no confusion as to whether a stop is on or off. Each A view into the Positiv behind the divisional fi eld is in the same location as speaking façade pipes: 8′ Bourdon, 4′ it would be in a drawknob console. The Rohrfl öte, 2′ Recorder, and 8′ Clarinet console is equipped with a comprehen- Nave (photo: Sebastian M. Glück) (photo: Sebastian M. Glück)
26 THE DIAPASON
Feb 2012 pp. 26-28.indd 26 1/13/12 10:36:57 AM Tonal fi nishing in the Swell division (photo: Albert Jensen-Moulton)
The fi rst truck arrives at the church: Peter Jensen-Moulton, Gene Baker, Robert Rast, though fl ute-scaled, the chameleon-like from a fi ne 2′ rank that was in our stock, Sebastian Glück, Joseph DiSalle, and Albert Jensen-Moulton (photo: John Girvin) Cornetto II serves as a pointed Sesqui- appropriately rescaled and revoiced. altera when drawn with the 8′ fl ute, yet The Swell 8′ Trompette, with Bertou- forms a round Cornet of French fl avor nèche shallots and harmonic resonators, when drawn with the entire fl ute choir. is signifi cantly more brilliant than its The tierce remains unbroken through- Great counterpart. The full-length reso- out the compass, and was actually made ³ page 28
Glück Pipe Organs Opus 13 (2011) Faith Lutheran Church, New Providence, New Jersey GREAT (Manual II) 16′ Dexter Geigen 34 pipes 50% tin, slotted, from C25 8′ Præstant 58 pipes polished zinc and 50% tin 8′ Harmonic Flute 49 pipes 50% tin, C1–G#9 from Spitzfl öte 8′ Doppelgedeckt from Swell 8′ Viole de Gambe from Swell 4′ Octave 58 pipes 50% tin 2′ Fifteenth 58 pipes 50% tin Chorus Mixture IV 232 pipes 50% tin 8′ Trumpet 28 pipes 30% tin, harmonic (Pedal extension) Chimes 25 tubes G20–G44 Great Silent 16′ Swell to Great 8′ Swell to Great 4′ Swell to Great 8′ Positiv to Great SWELL (Manual III) 8′ Viole de Gambe 58 pipes 50% tin, slotted 8′ Voix Céleste 46 pipes 50% tin, slotted, from C13 8′ Doppelgedeckt 58 pipes wood, double mouths, stopped The 8′ Præstant gets its fi nal polish (photo: Robert Rast) 4′ Principal 58 pipes 50% tin 4′ Holzdoppelquerpfeife 58 pipes wood, double mouths, harmonic sive combination action and record and is actually an upward extension of the 2′ Gemshorn 58 pipes 50% tin playback system. Pedal reed unit, playing on the Great but Cornetto II 116 pipes 50% tin Mixture II–IV 176 pipes 50% tin The organist can see and conduct over being of the Pedal. 16′ Basson 12 pipes 50% tin the console effortlessly, and musicians The notably potent Swell department 8′ Trompette 58 pipes 50% tin, harmonic can even stand around it and read their is home to the second, slightly brighter 8′ Hautbois 58 pipes 50% tin music from atop its cabinetry. It glides plenum. I did not want to overdevelop Tremulant anywhere in the new organ and choir the unenclosed Positiv and leave the 16′ Swell to Swell loft on an undetectable, integrated dolly, church with a vestigial, anemic Swell. 4′ Swell to Swell since choral and instrumental ensembles While the Great Chorus Mixture IV as- Chimes of various confi gurations are a normal sumes a predictable American formula, POSITIV (Manual I) part of musical life at Faith Lutheran. I the Swell Mixture II–IV was composed 8′ Spitzfl öte 16 pipes 50% tin (Pedal extension) designed the new gallery rail to be some- for sparkle and clarity without losing its 8′ Viole de Gambe from Swell what visually opaque but tonally trans- integrative powers. This is accomplished 8′ Bourdon 58 pipes 50% tin parent, with rhythmic elements paying by having the quints and unisons either 4′ Rohrfl öte 58 pipes 50% tin homage to the likes of Wright, Mackin- in balance or favoring the unisons at all 2′ Recorder 58 pipes 50% tin tosh, and Stickley. times (which has great benefi ts in hymn 8′ Clarinet 58 pipes 30% tin Tremulant accompaniment and contrapuntal mu- ′ Tonal structure sic), and keeping a unison pitch at the 8 Trumpet from Great 8′ Hautbois from Swell While assiduously avoiding the lure of top of the harmonic stack except for a 8′ Swell to Positiv the unthinking American Lutheran stop- very brief, essentially unnoticeable two- Great/Positiv Transfer list, the structure of the Great principal note break near the top of the keyboard. chorus nonetheless had to be the start- The Swell strings are fi rm and delib- PEDAL ing point. It is supplemented by an 8′ erately incisive. Two powerful wooden 16′ Holzviolon 30 pipes wood, C1–D#4 with re-entrant tubes Harmonic Flute, a requirement of the fl utes of double-mouth construction 16′ Infrabass 30 pipes wood 8′ Octave 30 pipes zinc and 50% tin French Romantic repertoire. Carried come from the 1919 Hall organ formerly ′ down in open metal to A10, the bottom in the Swedenborgian church in New 8 Spitzfl öte 30 pipes zinc and 50% tin 8′ Gedeckt from Swell nine notes are borrowed from the open York City, a 38-rank instrument that I ′ ′ 4 Fifteenth 12 pipes 50% tin 8 Spitzfl öte so as to have no break in the acquired when that building was remod- 4′ Spitzfl öte 12 pipes 50% tin tone. Taking advantage of unit actions in eled. The 8′ Doppelgedeckt seems ex- 16′ Posaune 12 pipes zinc and 50% tin the Swell, the unison fl ute and string are ceptionally present at the console, yet is 16′ Basson from Swell duplexed to the Great, making available buoyant in the nave. The orchestral “spit” 8′ Trumpet 30 pipes zinc and 30% tin the dense velour of the fonds d’huit. The in the harmonic range of the 4′ Holzdop- 8′ Basson from Swell ′ 4′ Hautbois from Swell 16 Dexter Geigen, which begins at mid- pelquerpfeife is extraordinary, and the ′ dle C, is a broad and rosiny string of both stop is worthy of copying in the future. 8 Great to Pedal 8′ Swell to Pedal solo and ensemble capability, adding Faith Lutheran’s original organ had a 8′ Positiv to Pedal gravity to the right hand without weight. handful of “wired” mutations, taken from It was made from the 8′ Viola that was in the unifi ed ranks of the small Swell divi- the church’s original organ, a rank that sion. Such practice can never meet with Great Chorus Mixture IV Swell Cornetto II ′ C1 19.22.26.29 C1 12.17 unbroken had only extended to 4 C, with a bor- true success, because these harmonics C13 15.19.22.26 rowed capped metal bass. must be independently scaled, voiced, C25 12.15.19.22 Swell Mixture II–IV The 8′ Trumpet is broad, warm, and and fi nished, and the laws of physics C37 08.12.15.19 C1 19.22 round, with English shallots and bells of make it impossible for them ever to be C49 01.08.12.15 D15 15.19.22 higher lead content than the division’s in tune. The new organ’s independent F#43 12.15.19.22 fl uework. It nobly melds into the ensem- Nazard and Tierce ranks are joined on 40 stops C#50 08.12.15.19 ble without making a brash entrance. It one slider in deference to the budget. Al- 32 ranks D#52 01.08.12.15
FEBRUARY, 2012 27
Feb 2012 pp. 26-28.indd 27 1/13/12 10:37:24 AM ³ page 27: Glück cover feature New Organs nators of the 16′ Basson assure grandeur and richness in anthem accompaniments. Half-length resonators always fall short of the mark, a imprudent expedient, es- pecially in situations like this, where the worthier compromise is to extend the 16′ stop down from the 8′ Hautbois. When Albert Jensen-Moulton, general manager of Glück Pipe Organs, devised the layout of the new organ, he placed the Positiv in “Brust” position, imme- diately behind the façade on the right side, in juxtaposition to the Great to its left and the Swell behind. It is in close proximity to the singers and instrumen- talists, and enjoys the distinct physical separation sought in a Baroque tonal æs- thetic. The metal fl ute choir (8′ capped, 4′ chimneyed, and 2′ open) forms the perfect continuo organ, its varied pipe forms avoiding the risk of duplicating or triplicating other manual stops. The instrument stands on slider soundboards, but the occasional extrapo- Front to back: 8′ Trompette, 8′ Hautbois, 8′ Doppelgedeckt, 8′ Viole de Gambe, lation of ranks on electro-pneumatic unit ′ actions expands the registrational pos- 16 Basson (photo: Sebastian M. Glück) sibilities, particularly in the Positiv. The center of gravity can be shifted by the warm and singing 8′ Spitzfl öte, the other rank that was extended upward from the Pedal division. Once again, it is scaled and voiced as a Pedal stop, but balances P.J. Swartz Organ Company, perfectly here, with freedom of tonal fi n- Eatonton, Georgia ishing in the treble range. The 8′ Clari- Christ Church, United Church of net, poised for dialogue with the Swell Christ, Milwaukee, Wisconsin tierce combination, has a more “antique” The P.J. Swartz Organ Company of sound than its name implies, enhanced Eatonton, Georgia has recently complet- by the release characteristics of the pal- ed the rebuilding of the 1969 Verlinden lets. Its color can be shifted quite effec- organ at Christ Church UCC, Milwau- tively with other stops in the division, ex- kee, Wisconsin. Technical, mechanical, panding its solo capabilities. The Positiv and tonal revisions and updates were car- and Great manuals can be exchanged in ried out. These include the replacement order to accommodate music of the later of the aging electro-pneumatic switches French schools. with a new Syndyne solid-state control The Pedal is based upon the 16′ Holz- system that offers an expanded combi- violon, an open wood string stop also nation action as well as MIDI capabil- selected from the Swedenborgian organ. ity. Trumpet pipes were replaced with a It was in rough shape, with its mitered new rank for improved scaling and tonal basses broken and only two octaves of blend, along with a 16′ extension into the wood pipes, but it was needed to lend Pedal. The original Vox Humana was also pitch defi nition to the Pedal line. While replaced with an historic Wangerin Oboe we could have completed the treble with to expand the organ’s tonal palette and metal pipes, the very capable pipemakers functional use. Finally, a 4′ Swell Princi- at OSI crafted matching wooden trebles The main slider soundboard in the pal rank was added, particularly so that as well as Haskell re-entrant tubes for Swell department, arranged in a “saw the unifi cation of the Great Diapason the bottom four notes. This stop enables tooth” whole-tone layout (photo: Sebastian stop could be reduced. the Pedal to steer in contrasting direc- M. Glück When originally installed, the main tions: a gentle, clarifi ed, open chorus, windchests of this instrument were by adding the 8′ and 4′ Spitzfl ötes, or a cated himself through research and in- mounted within the chamber, higher bolder sound, using the 8′ Octave and 4′ quiry, and a truly knowledgeable, inter- than the top level of the tone opening. Fifteenth. The stopped wood 16′ Infra- disciplinary consultant who guided the From this position, no tone from pipes bass, retained from the previous organ, project without ever interfering with could project directly through the grille provides a solid foundation, and other the artistic process. These elements opening to the nave of the church. It is mezzo-forte borrows from the manual paved the way for Glück Pipe Organs, speculated that this “too high” mount- divisions make up the rest of this fl ex- our suppliers, our subcontractors, and ing of windchests by the original builder ible arrangement. The full-length 16′ all those involved in the enlarging of the above the tone opening was caused by Posaune has spotted metal bells in the church complex to achieve this long- the tall pneumatic switch stacks that bottom octave to inject brightness into anticipated goal. were located beneath the windchests. the round, fi rm, rolling tone. It is extend- —Sebastian M. Glück With the introduction of the solid-state ed to 8′ pitch, and is available on both Artistic and Tonal Director switching system, the tall pneumatic the Great and Positiv manuals. switch stacks were removed, and the The salient factors in place that con- Cover photo by Albert Jensen-Moulton windchests lowered to bring pipes even tributed to the success of this project to the tone opening level. The result is include a supportive pastorate, an en- For information: a renewed tonal vitality, presence, and thusiastic and generous congregation, 212/608-5651 projection. The repositioning of the or- a Minister of Music who tirelessly edu- www.gluckpipeorgans.com gan pipes for good tonal egress, along SWELL 16′ Bourdon with the replacement of carpeted wor- 8′ Stopped Flute (ext 16′ Bourdon) ship space fl ooring with polished gran- 8′ Salicional The DC AGO Foundation ite, has resulted in an excellent musical 8′ Voix Celeste and liturgical functional space. Scott R. 4′ Principal Riedel & Associates Ltd., Milwaukee, 4′ Flute D’amour (ext 16′ Bourdon) Wisconsin, provided consultation service 4′ Salicet (ext 8′ Salicional) 2 2⁄3′ Nazard (ext 16′ Bourdon) to the project. The dedication recital was ′ ′ performed by Donald VerKuilen on No- 2Principal (ext 4 Principal) 2′ Piccolo (ext 16′ Bourdon) vember 13, 2011 to a capacity crowd. 1 1⁄3′ Larigot (ext 16′ Bourdon) 8′ Trumpet (Great) invites musicians and scholars to apply for a grant for the 2012 season. 14 ranks 8′ Oboe Tremulant The mission of the Foundation is to support the organ profession. GREAT MIDI Funding support for competitions, scholarships, educational initiatives, 8′ Open Diapason 8′ Melodia PEDAL organ-related research and publication, new organ compositions, and the 8′ Dulciana 32′ Resultant advancement of professional concerns will be considered. 4′ Octave 16′ Subbass 4′ Wald Flute (ext 8′ Melodia) 16′ Bourdon (Swell) For more information about the DC AGO Foundation and grant 2′ Fifteenth (ext 4′ Octave) 8′ Octave (Great Diapason) applications, visit www.dcagofoundation.org Mixture III 8′ Bass Flute (ext Subbass) 8′ Trumpet 8′ Bourdon (Swell) ′ ′ Applications are due by March 1, 2012, electronically or by mail to: 4Clarion (ext 8 Trumpet) 4′ Choral Bass (Great Diapason) Chimes 16′ Trumpet (ext) Samuel Baker, 540 N ST SW, Suite S-804, Washington, DC 20024 MIDI 8′ Trumpet (Great) 4′ Clarion (Great) Questions or additional information: [email protected] MIDI
28 THE DIAPASON
Feb 2012 pp. 26-28.indd 28 1/13/12 10:37:45 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH The American Boychoir, with Statesboro Youth This calendar runs from the 15th of the month of Pickle Piano & Church Organs Chorale; Performing Arts Center, Georgia South- NEW YORK issue through the following month. The deadline is ern University, Statesboro, GA 7:30 pm Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. issue). All events are assumed to be organ recitals 24 FEBRUARY unless otherwise indicated and are grouped within The American Boychoir; All Saints Episcopal, each date north-south and east-west. •=AGO chap- Jacksonville, FL 7:30 pm Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- Timothy Baker; First Presbyterian, Jefferson- cation, ++= OHS event. ville, IN 12 noon Information cannot be accepted unless it speci- St. Andrew’s by the Sea, fi es artist name, date, location, and hour in writ- 25 FEBRUARY Hyannis Port ing. Multiple listings should be in chronological order; Kent Tritle; Manhattan School of Music, New please do not send duplicate listings. THE DIAPA- York, NY 7:30 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Ken Cowan, recitals for children; Longwood the accuracy of calendar entries. Gardens, Kennett Square, PA 12 noon, 2 pm Gerre Hancock, masterclass; Court Street United Methodist, Lynchburg, VA 10:30 am UNITED STATES Sarasota-Manatee Bach Festival II; Christ East of the Mississippi Church, Bradenton, FL 7:30 pm 26 FEBRUARY 15 FEBRUARY Victor Hill, harpsichord; Clark Art Institute, Williamstown, MA 3 pm James O’Donnell; Wabash College Chapel, Kevin Jones; Christ Church, Westerly, RI 4 pm Crawfordsville, IN 7:30 pm Stephen Hamilton; St. John’s Lutheran, Stam- ford, CT 4 pm 16 FEBRUARY Legacy of Spirituals Choir; First Church of Harold Stover; First Parish Church, Portland, Christ, Wethersfi eld, CT 4 pm Dean W. Billmeyer GAVIN BLACK ME 12:15 pm Olivier Latry; St. Peter’s by-the-Sea Episco- Princeton Early Keyboard Center pal, Bay Shore, NY 4 pm University of Minnesota 17 FEBRUARY Brandon Dumas; Cathedral of the Incarna- 732/599-0392 Janette Fishell; Third Presbyterian, Roches- tion, Garden City, NY 4 pm ter, NY 8 pm Andrew Henderson, Mary Huff & John Minneapolis 55455 • [email protected] www.pekc.org Todd Wilson; St. Stephen’s Episcopal, Dur- Weaver, with Saint Andrew Chorale & Orches- ham, NC 8 pm tra; Madison Avenue Presbyterian, New York, NY Clive Driskill-Smith; Rollins College, Winter 3 pm Park, FL 8 pm Gerre Hancock; Court Street United Method- Peter Richard Conte; Community Church at ist, Lynchburg, VA 4 pm Byron L. Blackmore THOMAS BROWN Tellico Village, Loudon, TN 7 pm Dongho Lee; Duke University Chapel, Dur- UNIVERSITY Stephen Hamilton; Westminster Presbyterian, ham, NC 5 pm Crown of Life Lutheran Church PRESBYTERIAN CHURCH Knoxville, TN 8 pm The American Boychoir; First Presbyterian, Lakeland, FL 4 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA 18 FEBRUARY Sarasota-Manatee Bach Festival II; Church of 623/214-4903 ThomasBrownMusic.com Janette Fishell, masterclass; Third Presbyte- the Redeemer, Bradenton, FL 7:30 pm rian, Rochester, NY 10 am Lenten Choral Evensong; Cathedral Church of Paul Jacobs; Longwood Gardens, Kennett St. Paul, Detroit, MI 4 pm Square, PA 8 pm Christ Church Schola; Christ Church Grosse The American Boychoir with Georgia Boy Pointe, Grosse Pointe Farms, MI 4:30 pm David Chalmers Janette Fishell; Second Presbyterian, Louis- DELBERT DISSELHORST Choir; Peachtree Road United Methodist, Atlan- Concert Organist ta, GA 7 pm ville, KY 2 pm Jeremy Filsell; First Presbyterian, Bristol, TN GLORIÆ DEI CANTORES Professor Emeritus 3 pm 19 FEBRUARY Decani; Rockefeller Memorial Chapel, Chi- Orleans, MA University of Iowa–Iowa City Joseph Arndt; St. Patrick’s Cathedral, New cago, IL 7:30 pm York, NY 4:45 pm Steve Gentile; Como Park Lutheran, St. Paul, Gail Archer; St. Patrick’s Cathedral, Harris- MN 3 pm burg, PA 4 pm AAGO, PhD STEVEN EGLER Federico Andreoni; Washington National Ca- 27 FEBRUARY JAMES DORROH, thedral, Washington, DC 5:15 pm Central Michigan University •Christophe Mantoux; St. Luke Catholic Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Richard Fitzgerald; Mount Calvary Church, Church, McLean, VA 7:30 pm Baltimore, MD 5:15 pm, following 4:30 pm David Jonies; Elliott Chapel, Presbyterian Samford University Artist in Residence Evensong Homes, Evanston, IL 1:30 pm Birmingham, Alabama First Congregational Church Isabelle Demers; Covenant Presbyterian, Saginaw, Michigan Charlotte, NC 3 pm 28 FEBRUARY Organ Consultant Organ Recitals [email protected] Mozart, Missa brevis in C, K. 258; Christ Christophe Mantoux, lecture/demonstration; Church, Bradenton, FL 11 am All Hallows Episcopal Chapel, Davidsonville, MD Choir of St. Peter in Chains Cathedral; Cathe- 7:30 pm Organist / Pianist dral of St. Peter in Chains, Cincinnati, OH 3 pm The American Boychoir; St. Peter’s Anglican JOHN FENSTERMAKER The American Boychoir; Vineville United Meth- Church, Tallahassee, FL 7 pm Michael Gailit odist, Macon, GA 4 pm TRINITY-BY-THE-COVE www.gailit.at Jeremy David Tarrant; First Presbyterian, Bir- 29 FEBRUARY [email protected] mingham, MI 3 pm Katie Timm; St. Paul’s Lutheran, Columbus, IN Choral Evensong; Christ Church Grosse 12 noon NAPLES, FLORIDA Konservatorium Wien University Pointe, Grosse Pointe Farms, MI 4:30 pm Sheri Masiakowski; Cathedral of St. John the University of Music, Vienna Douglas Cleveland; Christ Church Cathedral, Evangelist, Milwaukee, WI 12:15 pm Indianapolis, IN 4:30 pm Marijim Thoene; Rogers Memorial Chapel, Tu- lane University, New Orleans, LA 12 noon Clive Driskill-Smith; Wisconsin Lutheran Col- A Professional Card in lege, Milwaukee, WI 1:30 pm Karen Beaumont; St. John Cantius, Chicago, 1 MARCH The Diapason STEPHEN HAMILTON Gregory Chestnut; Christ Church, Bradenton, IL 2 pm For rates and digital specifi cations, FL 12:15 pm recitalist–clinician–educator Anthony Williams; Madonna della Strada contact Jerome Butera Chapel, Loyola University, Chicago, IL 3 pm 847/391-1045 2 MARCH www.stephenjonhamilton.com VocalEssence; Ordway Center for the Perform- [email protected] Jeremy Filsell; Trinity Episcopal, Vero Beach, ing Arts, St. Paul, MN 4 pm FL 7:30 pm Richard Benedum, Bach, Art of Fugue; First 20 FEBRUARY Congregational UCC, Sarasota, FL 7:30 pm University of Florida & Stetson University or- Dennis Blake; Central Christian Church, New ANDREW HENDERSON, DMA gan students; Morrison United Methodist, Lees- Albany, IN 12 noon WILL HEADLEE burg, FL 7:30 pm Nathan Laube; Trinity United Methodist, 1650 James Street Madison Avenue Presbyterian Church Huntsville, AL 7:30 pm New York, NY 21 FEBRUARY Syracuse, NY 13203-2816 The American Boychoir; St. Luke’s Presbyte- 3 MARCH (315) 471-8451 www.andrewhenderson.net rian, Dunwoody, GA 7 pm Ken Cowan, masterclass; West Side Presbyte- Nicole Marane, with trumpets; Peachtree rian, Ridgewood, NJ 10 am Road United Methodist, Atlanta, GA 7 pm Valparaiso University Chorale; St. Lorenz Lu- Shiloh Roby; Ransdell Chapel, Campbellsville theran, Frankenmuth, MI 8 pm LORRAINE BRUGH, Ph.D. University, Campbellsville, KY 12:20 pm The American Boychoir; Asbury United Meth- James O’Donnell; Schermerhorn Symphony odist, Lafayette, LA 7:30 pm Center, Nashville, TN 7 pm Associate Professor Joel Gary; Park Congregational, Grand Rap- 4 MARCH ids, MI 12:15 pm Ken Cowan; West Side Presbyterian, Ridge- University Organist wood, NJ 4 pm 22 FEBRUARY Singing Boys/Keystone Girls Choir; Trinity Valparaiso University David Simms; North Christian Church, Co- Episcopal, Watertown, NY 3 pm Valparaiso, IN lumbus, IN 12 noon Choral Evensong for Lent; Cathedral of the In- www.valpo.edu carnation, Garden City, NY 4 pm 23 FEBRUARY Paul Jacobs (with Chamber Music Society Musica Sacra; Weill Recital Hall, Carnegie of Lincoln Center Education Department); Alice 219-464-5084 Hall, New York, NY 8 pm Tully Hall, New York, NY 2 pm William Holt; Christ Church, Bradenton, FL Mendelssohn, Elijah; St. James’ Church, New [email protected] 12:15 pm York, NY 3 pm
FEBRUARY, 2012 29
Feb 2012 pp. 29-33.indd 29 1/13/12 10:54:45 AM CALIFORNIA LUTHERAN UNIVERSITY Nancianne Parrella, with violin, harp, cello; St. Scott Dettra; St. John the Baptist Catholic Ignatius Loyola, New York, NY 4 pm Church, Canton, OH 4 pm MICHELE JOHNS Karen Beaumont; St. Patrick’s Cathedral, New Hope College Choir; Cathedral Church of St. A.Mus.D Kyle Johnson, DMA York, NY 4:45 pm Paul, Detroit, MI 4 pm Andrew Henderson; Cathedral Church of St. Organ — Harpsichord The American Boychoir; Community Church at University Organist John the Divine, New York, NY 5 pm Tellico Village, Loudon, TN 6 pm The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV Caroline Robinson; Holy Trinity Lutheran, Carthage College Gospel Messengers; First School of Music Lancaster, PA 4 pm Presbyterian, Arlington Heights, IL 4 pm www.callutheran.edu David Brock; Washington National Cathedral, Stephen Hamilton; St. Aloysius Catholic Washington, DC 5:15 pm Church, Baton Rouge, LA 2 pm Richard Benedum, Bach, Art of Fugue; Christ Ronald Wyatt; Temple Sinai, New Orleans, LA Church, Bradenton, FL 4 pm 3 pm KIM R. KASLING Choral Evensong; Christ Church Grosse Brian Jones Pointe, Grosse Pointe Farms, MI 4:30 pm D.M.A. 12 MARCH Director of Music Emeritus Nathan Laube; Christ Church United Method- The American Boychoir; Centre for Performing St. John’s University ist, Louisville, KY 7 pm and Visual Arts, Newnan, GA 7 pm TRINITY CHURCH Wilma Jensen; West End Methodist, Nash- BOSTON Collegeville, MN 56321 ville, TN 4 pm 13 MARCH Choral Evensong; Cathedral Church of the Ad- Christopher Houlihan; Assumption College, vent, Birmingham, AL 4 pm Worcester, MA 7:30 pm North Shore Choral Society, Carmina Burana; Roman Krasnovsky; Central Synagogue, Unitarian Church of Evanston, Evanston, IL 3 pm New York, NY 12:30 pm Aaron David Miller; Fourth Presbyterian, Chi- JAMES KIBBIE The American Boychoir; First Presbyterian, cago, IL 7 pm Greenville, SC 7:30 pm The University of Michigan University of Chicago Chorus; Rockefeller Me- University of Florida organ students; Queen of morial Chapel, Chicago, IL 3 pm Ann Arbor, MI 48109-2085 Peace Catholic Church, Ocala, FL 3 pm ORGAN CONSULTANT The American Boychoir; Covenant Presbyte- 734-764-1591 FAX: 734-763-5097 Dongho Lee; Dimnent Memorial Chapel, www.gabrielkney.com rian, Jackson, MS 4 pm email: [email protected] Hope College, Holland, MI 7:30 pm 5 MARCH Maria LeRose; Ransdell Chapel, Campbells- •Simon Jacobs; St. Thomas Episcopal, Coral ville University, Campbellsville, KY 12:20 pm Gables, FL 6 pm Nathan Laube; Overture Hall, Madison, WI David K. Lamb, D.Mus. Marilyn Keiser, workshop; Germantown Unit- 7:30 pm ARTHUR LAMIRANDE ed Methodist, Memphis, TN 7 pm Director of Music/Organist James Welch; Brentwood United Methodist, 14 MARCH First United Methodist Church [email protected] Nashville, TN 7:30 pm John Simpson; Sandy Hook United Method- Columbus, Indiana The American Boychoir, with Montgomery ist, Columbus, IN 12 noon 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 Youth Chorale; Church of the Ascension, Mont- gomery, AL 7 pm 15 MARCH Christophe Mantoux; University of St. Thom- Nancy Siebecker; Christ Church, Bradenton, as, St. Paul, MN 7:30 pm FL 12:15 pm Raúl Prieto Ramírez; Ball State University, 6 MARCH Muncie, IN 7:30 pm David Lowry Larry Visser; Park Congregational, Grand THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Rapids, MI 12:15 pm 16 MARCH 1512 BLANDING STREET, COLUMBIA, SC 29201 The American Boychoir, with Birmingham Boys Peter Sykes; Old West Church, Boston, MA DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Choir; Mountain Brook Baptist, Birmingham, AL 8 pm •Boyd Jones; University of Richmond, Rich- ROCK HILL, SC 29733 7 pm mond, VA 7:30 pm 7 MARCH The American Boychoir; Culpeper County High Beth Palmer; Camp Hill Presbyterian, Camp School, Culpeper, VA 8 pm Hill, PA 12:15 pm Isabelle Demers; Holy Trinity Lutheran, Akron, Colin Andrews; First Presbyterian, Columbus, OH 8 pm ANDREW PAUL MOORE IN 12 noon Janette Fishell & Colin Andrews; First Pres- A.S.C.A.P. Christophe Mantoux; Lawrence University, byterian, Saginaw, MI 8 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH Appleton, WI 7:30 pm Raúl Prieto Ramírez, masterclass; Ball State Leon Nelson, with violin; First Presbyterian, University, Muncie, IN 9 am 345 SADDLE LAKE DRIVE Arlington Heights, IL 12:10 pm Judith Miller; Wall Street United Methodist, ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 Jeffersonville, IN 12 noon 8 MARCH Monteverdi, Selva morale; Church of St. Luke 17 MARCH in the Fields, New York, NY 8 pm David Higgs; Bryn Mawr Presbyterian, Bryn OUGLAS EILL Cynthia Roberts-Greene; Christ Church, Bra- Mawr, PA 7:30 pm LEON NELSON D O’N denton, FL 12:15 pm Cathedral of the Madeleine The American Boychoir; Link Centre, Tupelo, 18 MARCH University Organist MS 7:30 pm Hervé Duteil; St. Patrick’s Cathedral, New North Park University Salt Lake City, Utah York, NY 4:45 pm 9 MARCH Chicago, Illinois [email protected] John Coble; Cathedral Church of St. John the 801/671-8657 Jonathan Ryan; Emmanuel Episcopal, Ches- Divine, New York, NY 5 pm tertown, MD 7:30 pm The Chenaults; First United Methodist, Her- Preethi de Silva, harpsichord and fortepiano, shey, PA 3 pm with Con Gioia and soprano; Coolidge Audito- Ken Cowan; St. Paul Cathedral, Pittsburgh, MARILYN MASON rium, Washington, DC 8 pm PA 4 pm Bruce Neswick; Pease Auditorium, Eastern CHAIRMAN, DEPARTMENT OF ORGAN Weston Jennings; St. Paul’s Rock Creek, Michigan University, Ypsilanti, MI 7:30 pm UNIVERSITY OF MICHIGAN Washington, DC 5 pm Gary Pope; St. Mark’s United Church of Christ, ANN ARBOR Stewart Scharch; Washington National Ca- New Albany, IN 12 noon “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it thedral, Washington, DC 5:15 pm The American Boychoir, with the Memphis with awesome technique and a thrilling command of its daring writing.” Ted Dix Boychoir; St. John’s Episcopal, Memphis, TN , with brass; McDaniel College, West- The American Organist, 1980 7:30 pm minster, MD 3 pm Katherine Scott; Mount Calvary Church, Balti- 10 MARCH more, MD 5:15 pm, following 4:30 pm Evensong Todd Wilson, recital and silent fi lm accom- Christopher Houlihan; Messiah United Meth- SYLVIE POIRIER paniment; Englewood United Methodist, Engle- odist, Springfi eld, VA 3 pm LARRY PALMER wood, FL 4 pm Robert Parkins; Duke University Chapel, Dur- Bruce Neswick, masterclass; Pease Audito- ham, NC 5 pm Professor of PHILIP CROZIER rium, Eastern Michigan University, Ypsilanti, MI Gail Archer; Stetson University, DeLand, FL ORGAN DUO 10 am 3 pm Harpsichord and Organ Nathan Laube; St. Norbert Abbey, De Pere, Bradley Hunter Welch; Fifth Avenue Baptist, 3355 Queen Mary Road, Apt 424 WI 2 pm Huntington, WV 3 pm Meadows School of the Arts Jory Vinikour, Baroque performance master- Scott H. Atchison & Zachary Hemenway, Montreal, H3V 1A5, P. Quebec class; Fulton Recital Hall, University of Chicago, Passion of the Christ: The Musical Stations of SOUTHERN METHODIST UNIVERSITY Canada Chicago, IL 2 pm the Cross; Peachtree Road United Methodist, Atlanta, GA 7 pm (514) 739-8696 Yun Kyong Kim; Christ Church Cathedral Dallas, Texas 75275 11 MARCH Fax: (514) 739-4752 Gail Archer; St. Anthony of Padua, New Bed- (Episcopal), Cincinnati, OH 5 pm ford, MA 4 pm Choral Evensong; Christ Church Grosse Musical Heritage Society recordings [email protected] Mark Bani; St. Vincent Ferrer Church, New Pointe, Grosse Pointe Farms, MI 4:30 pm York, NY 3 pm Newberry Consort; Rockefeller Memorial Cha- Canterbury Choral Society, Verdi, Requiem; pel, Chicago, IL 3 pm Church of the Heavenly Rest, New York, NY John Schubring; Zion Lutheran, Wausau, WI 4 pm 3 pm Hervé Duteil; Cathedral Church of St. John the Dennis Northway; Madonna della Strada Divine, New York, NY 5 pm Chapel, Loyola University, Chicago, IL 3 pm A four-inch Professional Card Weston Jennings; Grace Lutheran, Lan- caster, PA 3 pm 19 MARCH in THE DIAPASON Mark Anderson; Shadyside Presbyterian, Ken Cowan, masterclass; Calvary Episcopal, Pittsburgh, PA 4 pm Pittsburgh, PA 8 pm For rates and specifi cations Isabelle Demers; Zion Evangelical Lutheran, Landisville, PA 4 pm 20 MARCH contact Jerome Butera Roland Stangier; Washington National Cathe- Joan Lippincott; Merrill Auditorium, Portland, dral, Washington, DC 5:15 pm ME 7:30 pm 847/391-1045 Choral Evensong; St. John’s Episcopal, Gail Archer; First Presbyterian, Marietta, GA Hagerstown, MD 5 pm 7 pm [email protected] The Florida Voices; Christ Church, Bradenton, David Schout; Park Congregational, Grand FL 4 pm Rapids, MI 12:15 pm Craig Cramer, Buxtehude works; St. Joseph Levi Henkel; Edman Chapel, Wheaton Col- Cathedral, Columbus, OH 3 pm lege, Wheaton, IL 7:30 pm
30 THE DIAPASON
Feb 2012 pp. 29-33.indd 30 1/13/12 10:55:01 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 21 MARCH 30 MARCH John Lowe; Morrison United Methodist, Lees- Janette Fishell; Vassar College Chapel, Stephen G. Schaeffer burg, FL 12 noon Poughkeepsie, NY 8 pm Ed Bruenjes; Asbury United Methodist, Co- Scott Elsholz; St. Mary’s Episcopal Cathedral, Recitals – Consultations lumbus, IN 12 noon Memphis, TN 7 pm Theresa Bauer; Trinity United Methodist, New Cathedral Church of the Advent 22 MARCH Albany, IN 12 noon Birmingham, Alabama R. Alan Kimbrough; Christ Church, Braden- www.AdventBirmingham.org ton, FL 12:15 pm 31 MARCH Georgia State University Singers & University Janette Fishell, masterclass; Vassar College of Georgia Hodgson Singers; Peachtree Road Chapel, Poughkeepsie, NY 10 am United Methodist, Atlanta, GA 7:30 pm Northwest Choral Society; Trinity United Meth- odist, Mount Prospect, IL 7:30 pm ROBERT L. Stephen Tappe 23 MARCH Gail Archer; St. Francis Xavier Roman Catho- Jacob Taylor; Edman Chapel, Wheaton Col- Organist and Director of Music lic Church, New York, NY 7:30 pm lege, Wheaton, IL 2 pm SIMPSON Saint John's Cathedral Istvan Ruppert; Christ Church, Bradenton, FL Christ Church Cathedral Denver, Colorado 7:30 pm 1117 Texas Avenue Nathan Laube; St. Paul’s United Methodist, UNITED STATES Houston, Texas 77002 www.sjcathedral.org Rochester, MI 7:30 pm West of the Mississippi David Lamb; St. John Presbyterian, New Al- bany, IN 12 noon 15 FEBRUARY ORGAN MUSIC OF THE SPANISH BAROQUE 25 MARCH Carole Terry; Memorial Church, Stanford Uni- David Spicer; First Church of Christ, Wethers- versity, Stanford, CA 8 pm Joe Utterback fi eld, CT 4 pm David Troiano Wilma Jensen; St. John’s Episcopal, West DMA MAPM COMMISSIONS & CONCERTS 17 FEBRUARY Hartford, CT 5 pm 586.778.8035 Katherine Meloan; Cathedral of the Incarna- Benjamin Sheen; St. John’s Cathedral, Den- 732 . 747 . 5227 tion, Garden City, NY 4 pm ver, CO 7:30 pm [email protected] Gail Archer; St. Paul’s Episcopal, Albany, NY James O’Donnell; Pulaski United Methodist, 3 pm Little Rock, AR 8 pm Nicole Keller; St. Patrick’s Cathedral, New Joseph Pettit, FW Markull organ chorales; York, NY 4:45 pm Christ Episcopal, Tacoma, WA 12:10 pm David Wagner Robert Costin; Cathedral Church of St. John Joseph Adam, with Peregrine Chant Ensem- Marcia Van Oyen DMA the Divine, New York, NY 5 pm ble; St. James Cathedral, Seattle, WA 8 pm David Herman; Newark United Methodist, First United Methodist Church, Madonna University Newark, DE 3 pm 18 FEBRUARY Plymouth, Michigan Livonia, Michigan Eric Plutz; Washington National Cathedral, Philip Wilby & Bill Chouinard, with the Lake Washington, DC 5:15 pm Woebegone Brass Band; St. Andrew’s Lutheran, mvanoyen.com [email protected] Mozart, Requiem; Our Lady, Queen of the Most Mahtomedi, MN 7 pm Holy Rosary Cathedral, Toledo, OH 7:30 pm Christopher Young, masterclass; St. Luke’s Choral Evensong; Cathedral Church of St. Episcopal, Fort Collins, CO 10 am Paul, Detroit, MI 4 pm Nathan Laube; St. Paul’s Episcopal, Flint, MI 19 FEBRUARY 3:30 pm Kevin Walters KARL WATSON Hans-Uwe Hielscher; Wayzata Community Stephen Hamilton; First Presbyterian, Flint, MI 4 pm Church, Wayzata, MN 3 pm M.A., F.A.G.O. SAINT LUKE’S Mozart, Mass in C, K. 259; Christ Church Gerre Hancock, Choral Evensong; First-Plym- Grosse Pointe, Grosse Pointe Farms, MI 7 pm outh Church, Lincoln, NE 4 pm Rye, New York METUCHEN Stephen G. Schaeffer; Cathedral Church of James O’Donnell; Augustana Lutheran, Den- the Advent, Birmingham, AL 4 pm ver, CO 3 pm Christopher Houlihan; First Lutheran, Rock- Choral Evensong; St. John’s Cathedral, Den- ford, IL 3 pm ver, CO 7:30 pm Christopher Young; St. Luke’s Episcopal, Fort Davis Wortman 26 MARCH Collins, CO 4 pm RONALD WYATT Jill Hunt; Elliott Chapel, Presbyterian Homes, Christopher Houlihan; Our Lady of Lourdes Evanston, IL 1:30 pm Church, Sun City West, AZ 3 pm St. James’ Church Trinity Church Christopher Houlihan, masterclass; First Lu- Myron Heaton Chorale; St. Mary’s Cathedral, theran, Rockford, IL 7 pm San Francisco, CA 3:30 pm New York Galveston California Baptist University Choir and Orches- 27 MARCH tra; St. John’s Lutheran, Orange, CA 4 pm Jonathan Biggers; Shadyside Presbyterian, Olivier Latry; Walt Disney Concert Hall, Los Pittsburgh, PA 4 pm Angeles, CA 7:30 pm Charles Dodsley Walker, FAGO 28 MARCH 21 FEBRUARY Artist-in-Residence Founder/Conductor Scarlatti, Stabat Mater; Cathedral of St. John Olivier Latry; Edythe Bates Old Recital Hall, Saint Luke’s Parish Canterbury Choral Society the Divine, New York, NY 7:30 pm Rice University, Houston, TX 7 pm Ture Larson; Morrison United Methodist, 1864 Post Road 2 East 90th Street Leesburg, FL 12 noon Darien, CT 06820 New York, NY 10128 Tallis Scholars; Cathedral of St. Peter in Chains, 22 FEBRUARY (917) 628-7650 (212) 222-9458 Cincinnati, OH 3 pm Olivier Latry, masterclass/lecture; Edythe David Lamb; First United Methodist, Colum- Bates Old Recital Hall, Rice University, Houston, bus, IN 12 noon TX 12 noon William Webber, C.A.G.O. 29 MARCH 23 FEBRUARY Michael Wittenburg; Christ Church, Braden- Stewart Foster, Guilmant sonatas; First Con- ton, FL 12:15 pm gregational, Los Angeles, CA 12:10 pm Organist/Director, First Christian Church, Danville, KY Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
FEBRUARY, 2012 31
Feb 2012 pp. 29-33.indd 31 1/13/12 10:55:15 AM 24 FEBRUARY 7 MARCH Raúl Prieto Ramírez; American Evangelical Organ and instruments concert; San Andrés Olivier Latry; Recital Hall, Texas A&M Interna- Christoph Bull, children’s concert and dem- Lutheran, Prescott, AZ 2:30 pm Zautla, Oaxaca, Mexico 7 pm tional University, Laredo, TX 7 pm onstration; Shumei Hall, Pasadena, CA 12 noon Stephen Hamilton, Dupré: Le Chemin de la Michael Unger; St. John’s Cathedral, Denver, Croix; Trinity Episcopal Cathedral, Portland, OR 19 FEBRUARY CO 7:30 pm 9 MARCH 4 pm Gerard Brooks; Methodist Central Hall, West- Craig Cramer; Linfi eld College, McMinnville, VocalEssence; Ted Mann Concert Hall, Minne- Marc Ceriser; St. Mary’s Cathedral, San Fran- minster, London, UK 3 pm OR 2:30 pm apolis, MN 8 pm cisco, CA 3:30 pm James McVinnie; St. Paul’s Cathedral, Lon- Christophe Mantoux; St. Mark’s Episcopal Nathan Laube; First Congregational, Los An- don, UK 4:45 pm 25 FEBRUARY Cathedral, Seattle, WA 7:30 pm geles, CA 3 pm Mark Brafi eld; Westminster Abbey, London, •Craig Cramer, workshop/lecture; St Mark’s Christoph Bull, children’s concert; Shumei Ann Marie Rigler; Resurrection Parish, Santa UK 5:45 pm Episcopal, Medford, OR 1:30 pm Arts Council of America, Pasadena, CA 12 noon Rosa, CA 3:30 pm Elisa Freixo; San Jerónimo, Tlacochahuaya, Mexico 5 pm 26 FEBRUARY 10 MARCH 19 MARCH Anne Wilson; Southwood Lutheran, Lincoln, VocalEssence; Ted Mann Concert Hall, Minne- Isabelle Demers, workshop; Episcopal Parish of 21 FEBRUARY NE 4 pm, children’s event at 3 pm apolis, MN 8 pm St. Barnabas on the Desert, Scottsdale, AZ 7 pm Philip Scriven, Bach works; Chapel, Cran- Peter Richard Conte; First Presbyterian, Steven Ball, silent fi lm accompaniment; Royce Thomas Murray; St. Cyril of Jerusalem leigh School, Cranleigh, Surrey, UK 1:10 pm Wichita Falls, TX 3 pm Hall, UCLA, Los Angeles, CA 8 pm Church, Encino, CA 8 pm Delbert Disselhorst, works of Bach; Trinity 25 FEBRUARY Lutheran, Lynnwood, WA 7 pm 11 MARCH 20 MARCH Hannah Parry-Ridout; Bloomsbury Central Craig Cramer; St. Mark’s Episcopal, Medford, Ann-Marie Rigler; Lagerquist Hall, Pacifi c Lu- Nathan Laube; St. Margaret’s Episcopal, Palm Baptist, London, UK 4 pm OR 3 pm theran University, Tacoma, WA 3 pm Desert, CA 7 pm Matthew Walsh ; St. Mary’s Cathedral, San 26 FEBRUARY Francisco, CA 3:30 pm 1 MARCH 23 MARCH Tom Bell; St. Paul’s Cathedral, London, UK J.S. Bach Birthday Bash; Trinity Episcopal, Chanticleer; Cathedral Basilica of St. Louis, St. James Welch; Salt Lake Wasatch LDS Stake 4:45 pm Santa Barbara, CA 3:30 pm Louis, MO 8 pm Center, Salt Lake City, UT 7 pm Michael Bacon; Westminster Abbey, London, John Scott; St. James’ Episcopal, Los Ange- UK 5:45 pm les, CA 6 pm 2 MARCH 24 MARCH Christophe Mantoux; All Souls Episcopal, Carole Terry; Bales Organ Recital Hall, Uni- Houston Chamber Choir; Church of St. John San Diego, CA 4 pm 28 FEBRUARY versity of Kansas, Lawrence, KS 7:30 pm the Divine, Houston, TX 7:30 pm Philip Scriven, Bach works; Chapel, Cran- Gerre and Judith Hancock; Bates Recital The Tallis Scholars; St. John’s Cathedral, Den- 12 MARCH leigh School, Cranleigh, Surrey, UK 12:30 pm Hall, University of Texas, Austin, TX 7:30 pm ver, CO 7:30 pm Christophe Mantoux; St. John’s Cathedral, •Young Organist Recital; St. James Cathedral, 6 MARCH Denver, CO 7:30 pm Seattle, WA 7:30 pm 25 MARCH Alain Wirth, Dupré, Symphonie-Passion; Eg- Ken Cowan; Mount Olive Lutheran, Minneapo- 13 MARCH lise Saint-Martin, Dudelange, Luxembourg 8 pm 3 MARCH lis, MN 4 pm Tom Trenney; Park Cities Presbyterian, Dallas, Philip Scriven, Bach works; Chapel, Cran- Craig Cramer; Pacifi c Union College, Angwin, Roger Sherman, with trumpet; Thomsen Chapel, TX 8 pm leigh School, Cranleigh, Surrey, UK 1:10 pm CA 4 pm St. Mark’s Episcopal Cathedral, Seattle, WA 2 pm Robert Gurney; St. Mary’s Cathedral, San 12 MARCH 4 MARCH 14 MARCH Francisco, CA 3:30 pm Abendmusik; First-Plymouth Church, Lincoln, Choral Arts, Muehleisen, Pietà; St. Mark’s Thomas Trotter; Methodist Central Hall, West- Isabelle Demers; Walt Disney Concert Hall, minster, London, UK 7:30 pm NE 4 pm Episcopal Cathedral, Seattle, WA 7:30 pm Los Angeles, CA 7:30 pm Jack Mitchener; Grace Lutheran, Tacoma, WA 13 MARCH 3 pm 16 MARCH 29 MARCH Isabelle Demers; Davies Symphony Hall, San Marilyn Keiser; First Presbyterian, Little Rock, Jean-Pierre Leguay & Pascale Rouet, with Nathan Laube; Tarrytown United Methodist, percussion; Eglise Saint-Martin, Dudelange, Lux- Francisco, CA 3 pm AR 8 pm Austin, TX 7:30 pm California Baroque Ensemble; St. Mary’s Ca- Alan Dominicci; St. John’s Cathedral, Denver, embourg 8 pm Philip Scriven, Bach works; Chapel, Cran- thedral, San Francisco, CA 3:30 pm CO 7:30 pm 30 MARCH Yale Glee Club; First Congregational, Los An- leigh School, Cranleigh, Surrey, UK 12:30 pm Jonathan Ryan; St. Thomas Aquinas Roman Stephanie Burgoyne & William Vandertuin; geles, CA 2 pm 17 MARCH Catholic Church, Dallas, TX 8 pm Christoph Bull; La Mesa First United Method- Marilyn Keiser, workshop; St. Luke’s Episco- St. Paul’s Anglican Cathedral, London, ON, Can- ist, La Mesa, CA 4 pm pal, Little Rock, AR 9 am ada 12:15 pm Gail Archer; St. Steven’s Church, Belvedere, INTERNATIONAL CA 4 pm 18 MARCH 14 MARCH Choral Evensong; St. John’s Cathedral, Den- Daniel Cook; Concert Hall, Reading, UK 1 pm 5 MARCH ver, CO 7:30 pm 15 FEBRUARY Douglas Cleveland; Benaroya Hall, Seattle, Isabelle Demers; Gold Canyon United Meth- Elisa Freixo; Oaxaca Cathedral, Oaxaca, 18 MARCH WA 7:30 pm odist, Gold Canyon, AZ 3 pm Mexico 8 pm Gillian Weir; Concert Hall, Bamberg, Germany 5 pm 16 FEBRUARY Santiago Alvarez, harpsichord, with fl ute; San 20 MARCH martin ott pipe Andrés Huayapam, Oaxaca, Mexico 1:30 pm Philip Scriven, Bach works; Chapel, Cran- organ leigh School, Cranleigh, Surrey, UK 1:10 pm company Cicely Winter, with percussion; Basílica de la inc. Soledad, Oaxaca, Mexico 8 pm 24 MARCH 7408 Somerset Ave. 17 FEBRUARY Stephen Disley, with Amadeus Chamber St. Louis, MO 63105 314-504-0366 Phone Melos Gloriae; Centro Académico y Cultural Orchestra; St. Saviour’s Church, St. Albans, UK 801-756-5777 Martin Ott [email protected] San Pablo, Oaxaca City, Mexico 8 pm 5:30 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com 18 FEBRUARY 27 MARCH Jane Parker-Smith; St. Albans Cathedral, St. Pierre Pincemaille; Eglise Saint-Martin, Albans, UK 5:30 pm Dudelange, Luxembourg 8 pm Parkey Organ and instruments concert; Santa María Tamazulapan, Oaxaca, Mexico 11 am 28 MARCH OrganBuilders Abraham Alvarado, with Melos Gloriae; Santo Gillian Weir; Philharmonie, Luxembourg City, Distinguished Pipe Organs Domingo Yanhuitlán, Oaxaca, Mexico 2 pm Luxembourg 8 pm 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com
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32 THE DIAPASON
Feb 2012 pp. 29-33.indd 32 1/13/12 10:55:25 AM Clément Janequin, JA 118, Prélude et Fugue, Durón; Tiento de Medio Registro de Tiple Durufl é; Postlude pour l’Offi ce de Complies, JA 75, 57, Alain; Scherzo, A. Alain; Prélude et de Cuarto Tono, De Arauxo; Elevación, Or- Litanies, Alain. Organ Recitals Fugue sur le nom d’Alain, op. 7, Durufl é. los, Dulzainas, y Chirimias de ambas manos, Lidón; Trois Préludes Hambourgeois, Bovet; STEPHEN A. STEELY, Sinsinawa Mound, LYNNE DAVIS, Hoeje Kolstrup Kirche, Litanies, Aria, Alain; Diptyque —Mannahatta Sinsinawa, WI, August 31: Allegro (Concerto LUC BEAUSÉJOUR, Old West Church, Aabenraa, Denmark, August 14: Prelude in 1611–2011, Briggs. del Signor Torelli), Walther; Cantilene (So- Boston, MA, September 23: Prelude and G, Bruhns; Variations on the theme of ‘Ala- nata No. 11, op. 148), Rheinberger; Pastorale Fugue in C, BWV 545, Liebster Jesu, wir sind manda’, Scheidt; An Wasserfl üssen Babylon, HAIG MARDIROSIAN, University of No. 6, Rathgeber; Fantasia and Fugue in g, hier, BWV 731, Bach; Vom Himmel hoch, da BWV 653, Prelude and Fugue in b, BWV 544, Tampa, Tampa, FL, September 11: Comes BWV 542, Bach; Festival Partita: ‘A Mighty komm’ ich her (2 versions), Pachelbel; Mein Bach; Flûtes, Basse de Cromorne, Récit de Autumn Time, Sowerby; Pièce Héroïque, Fortress’, Bender; Communion, op. 8, Vierne; junges Leben hat ein End, Sweelinck; Wachet Nazard (Suite du Deuxième Ton), Cléram- Franck; The Aeolian Sonata, Locklair; Prelude Carillon-Sortie, Mulet. auf, ruft uns die Stimme, BWV 645, Toccata bault; Variations sur un thème de Clément and Fugue in b, Bach; Adagio for Strings, Bar- in d, BWV 565, Bach; Biblical Sonata No. 1, Jannequin, Alain; Chant des ‘Marseillais’ et ber; Sonata Eroica, Jongen. MARK STOTLER, Emmanuel Episco- Kuhnau; Vater unser im Himmelreich, Böhm; l’Air ‘Ca-Ira’, Balbastre. pal Church, Cumberland, MD, August 28: Passacaglia in c, BWV 582, Bach. A Trumpet Minuet, Hollins; Choral Dorien, PETER K. MILLER, Memorial Presby- Choral Phrygien, Litanies, Alain; Allegretto DAVID A. GELL, Grace Lutheran terian Church, Assumption, IL, September JOHN BROCK, with Keith McClelland, Church, Santa Barbara, CA, September 11: (Sonata IV, op. 65), Mendelssohn; Fast and bassoon, University of Tennessee, Knoxville, 25: Agincourt Hymn, Dunstable; Ricercar Sinister (Symphony for Organ), Sowerby; Praeludium II in F, Tunder; Prelude and No. 3 in F, Ricercar No. 4 in F, Fogliano; TN, September 18: Four Humoresques for Fugue in g, BuxWV 149, Herr Christ, der Schmücke dich, o liebe Seele, BWV 654, Fan- bassoon and organ, Pinkham; Nun komm, der Chorale on “In Dulci Jubilo” (Orgel Tabula- tasie and Fugue, BWV 542, Bach. ein’ge Gottes Sohn, BuxWV 192, Buxtehude; turbuch, 1543), Sicher; Puer Nobis Nascitur, Heiden Heiland, BWV 659, 660, 661, Bach; Werde munter, meine Gemüte, Pachelbel; Veil Dances, Prater; Weinen, Klagen, Sorgen, Sweelinck; Bergamasca (Missa della Madon- STEPHEN THARP, Sankt Michael, Saar- Nun freut euch, lieben Christen g’mein, BWV na), Frescobaldi; Praeambulum in F, WV 39, Zagen, Liszt; No. 5 in b, No. 6 in B (Six Stud- 734, Fantasy in G, BWV 571; Bach; Aria brücken, Germany, September 18: Orgel- ies in Canonic Form, op. 56), Schumann; Pas- Canzona in F, WV 44, Scheidemann; Fan- sonate Nr. 8, op. 91, Guilmant; Intermezzo in Re menor, Angles; Choral Prelude on St. tasia II (Klavierwerke, Libro Seconda Parte torale and Dance, Phillips. Anne, Parry; Trumpet Processional, Fedak; A-Dur, op. 118, no. 2, Brahms, transcr. Tharp; Seconda), Froberger; Herr Jesu Christ, ich Prelude on ‘Balm in Gilead’, Partita on ‘Old Funérailles (Harmonies Poétiques et Re- PHILIP CROZIER, Magdeburg Dom, Hundredth’, Gell; Sweet By and By, Toccata weiss gar wohl, Buxtehude; Allegro (Trio ligieuses), Liszt, transcr. Demessieux; Varia- Magdeburg, Germany, July 24: Triptyque, Bé- Giocosa, Martin. Sonata V in C, BWV 529), Bach; Allegro di tions on the hymn tune ‘Rouen’, Baker. dard; Trio Sonata No. 5 in C-Dur, BWV 529, molto (Sonata in D, Wq 70/5, H86), C.P.E. Bach; Trois danses, JA 120, Alain. DAVID HERMAN, Centenary United Bach; Minuet (Song of the Quail), March WILLIAM TINKER, Sinsinawa Mound, Sin- Leonhardskirche, Basel, Switzerland, July Methodist Church, Richmond, VA, Septem- (The Musical Clocks), Haydn; Prelude and sinawa, WI, September 7: Preludium in f-sharp, 29: Bergamasca (Fiori Musicali), Frescobaldi; ber 18: Litanies, Alain; Fugue in E-fl at, BWV Fugue in G, op. 37, no. 2, Mendelssohn; Petit Buxtehude; Allein Gott in der Höh sei Ehr, BWV Trio in d-moll, BWV 583, Bach; Toccata in 552, Bach; Voluntary in B-fl at, S. Wesley; So- Prelude, Jongen; Sarabande (Land of Rest), 662, Aus tiefer Not schrei’ ich zu dir, BWV 686, F, BuxWV 156, Buxtehude; Complainte à la nata No. 3 in A, Mendelssohn; Saraband (In Final (Suite for Organ), Near. Bach; Partita, op. 8, no. 1, Distler; Meditation on mode ancienne, JA 38, Fugue en mode de Fa, Modo Elegiaco), Howells; Wachet auf, Vom 14, Richardson; Choral in E, Franck. JA 28, Chant donné, JA 37, Alain; Vater un- Himmel hoch, Wie schön leuchtet der Mor- FLORENCE MUSTRIC, Trinity Lu- ser im Himmelreich, Böhm; Toccatina (Trip- genstern, Lobe den Herren, Valet will ich theran Church, Cleveland, OH, September THOMAS WIKMAN, Lutheran School of tyque), Bédard. dir geben (90 Kleine Choralvorspiele, op. 2), 7: Prelude and Fugue in D, Fugue in g, BWV Theology, Chicago, IL, September 6: Passa- Le Musée Suisse de l’Orgue, Roche, Bender; 1. Schnell, 2. Schnell, 8. Zurückhal- 578, Prelude and Fugue in e, Bach. caglia and Fugue in c, BWV 582, Bach; Ada- Switzerland, July 30: Voluntary in A, Selby; tend, 10. Mäßig rasch (Dreißig Spielstücke, gio (Symphony No. 5), Widor; Choral No. 3 Bergamasca (Fiori Musicali), Frescobaldi; A op. 18/I), Distler; Postlude for the Offi ce of CAROLYN SHUSTER FOURNIER, St. in a, Franck. Jigge—Doctor Bull’s my selfe, Bull; Epigram Compline, Alain; Toccata in G, Dubois. Petrus & Jakobus Major, Nendingen, Ger- No. 7, Kodály; Psalm Prelude, op. 32, no. 2, many, July 24: Fantasie und Fuge in g, BWV BETH ZUCCHINO, Church of the In- Howells; Fugue in G, BuxWV 175, Buxte- RENÉE ANNE LOUPRETTE, Church 542, Liebster Jesu, wir sind hier, BWV 731, carnation, Santa Rosa, CA, September 9: hude; Méditation, Adoration, Lied, Inter- of St. Ignatius Loyola, New York, NY, Sep- Bach; Prélude, Fugue et Variation, op. 18, Préambule, Cortège, Complainte, Prélude, mezzo (Heures Intimes), Peeters; Première tember 28: Obra de 8° tono alto: Ensalada, Franck; Toccata (Dix Pièces, op. 18), Gigout; Scherzetto, Idylle mélancolique, Madrigal et Prélude Wieder An, JA 64, Deuxième Prélude De Heredia; Tiento de Falsas de Segundo Eclogue and Fugue in B-fl at, Sanders; Pre- Divertissement (24 Pièces en style libre, op. Und Jetzt, JA 65, Variations sur un thème de Tono, Bruna; Gaitilla de Mano Izquierda, lude and Fugue on the Name Alain, op. 7, 31), Vierne.
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POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
The Church of Saint Thomas More on the upper Music of César Franck – For the venturesome Like the harpsichord? Harpsichord Tech- 40 Free Harmonizations of 24 Familiar Hymn east side of Manhattan seeks a Music Director concert organist, Interlude Symphonique, from nique: A Guide to Expressivity, second Tunes for Organ, Vol. 1 (34 pages), settings who will have responsibility for the parish’s music the oratorio Rédemption, arranged for organ edition, by Nancy Metzger is the hands-on for 1 or 2 manuals w/ pedal, 1–4 verses each: program, including supervision of a full and part- (c. 14 min. duration): Visit www.frumuspub.net guide for touch and historically informed Aberystwyth; America; Antioch; Austria; Az- for listings and details; also look for featured time music staff. The Music Director must be a performance. www.rcip.com/musicadulce. mon; Bourbon; Brother James’ Air; Bunessan; liturgical musician and an accomplished organist downloadable PDF fi les. Contact: Eafruhauf@ Coronation; Deus Tuorum Militum; Diademata; who understands Catholic liturgical worship and aol.com; 805/682-5727, mornings, Pacifi c time, Duke Street; Easter Hymn; Ellacombe; Ellers; the role that music plays in it. For further infor- or: Fruhauf Music Publications, P.O. Box 22043, Gelobt Sei Gott; Gloria Patri; Hankey; Hanover; Santa Barbara, CA 93121-2043. mation about The Church of St. Thomas More, Hyfrydol; In Babilone; Italian Hymn; Kingsfold; please visit: www.thomasmorechurch.org. To re- Certifi ed appraisals—Collections of or- Kremser. Visit www.frumuspub.net to view list- ceive a copy of the job description please visit: gan books, recordings, and music, for di- ings and details; also look for featured down- http://www.thomasmorechurch.org/pdf/Job%20 Maxine Thévenot Plays the Wolff magnum vorce, estate, gift, and tax purposes. Ste- loadable PDF fi les. Contact: Eafruhauf@aol. Description%20Music%20Director12_28_11-1. opus—The largest organ built by the distin- phen L. Pinel, Appraiser. [email protected]; com; 805/682-5727, mornings, Pacifi c time; or: pdf. After reviewing the job description, send your guished fi rm of Hellmuth Wolff & Associates of 609/448-8427. résumé to [email protected]. Laval, Quebec, Canada, was completed in 2005 Fruhauf Music Publications, P.O. Box 22043, at Christ Church Cathedral, Victoria, British Santa Barbara, CA 93121-2043. Columbia, Canada, where the superb acous- The OHS Catalog is online at www.ohscata- Project Leader tics add even more enjoyment to this new CD. —Berghaus Pipe Organ Build- log.org. More than 5,000 organ and theatre ers, Bellwood, IL seeks a highly skilled techni- Maxine Thévenot plays: Buxtehude, Praeludium The Tracker—The Organ Historical Society cian to manage and develop service personnel in C (BuxWV 137); Ciacona in e (BuxWV 160); organ CDs, books, sheet music, DVDs and publishes its journal four times a year. The and projects both in-house and onsite. The suc- Praeludium in D (BuxWV 139); Kerll: Capric- VHS videos are listed for browsing and easy Tr a c ke r includes news and articles about the cessful applicant will demonstrate management cio sopra il cucu; Ruth Watson Henderson: ordering. Use a link for adding your address organ and its history, organbuilders, exemplary experience, communication skills, and an ab- Chromatic Partita for organ (chorale and 8 to the OHS Catalog mailing list. Organ Histori- organs, regional surveys of instruments, and solute commitment to quality. Some travel re- variations); Sweelinck: Balletto del Granduca; cal Society, Box 26811, Richmond, VA 23261. the music played on the organ. The emphasis quired. E-mail [email protected] or Bach: Pastorale in F; Bruhns: Praeludium in e; E-mail: [email protected]. is on American organ topics of the 18th, 19th, fax 708/544-4058; www.berghausorgan.com. Andrew Ager: Première Suite (Procession, Duo, Basse de trompette, Flûtes, Musette, Sortie Joy- and 20th centuries, and there are occasional euse). Raven OAR-929, $14.98 postpaid world- subjects on European topics. Most issues run Historic Organs of Seattle: A Young Yet Vi- 32 pages with many illustrations and photo- Service Technician—Berghaus Pipe Organ wide, Box 25111, Richmond VA 23261, www. brant History, the latest release from OHS, graphs, and at least one annual issue is pub- Builders, Bellwood, IL seeks experienced, reli- RavenCD.com. is a four-disc set recorded at the 2008 OHS lished in full color. Membership in OHS includes able technician who can tune skillfully, perform national convention, held in the Seattle, Wash- basic voicing and maintenance, and trouble- ington area. Nearly five hours of music feature a subscription to The Tracker. Please visit our shoot problems. Occasional travel, reliable trans- The Organ Historical Society has released historic organs by Aeolian-Skinner, Casavant, website for more information or subscription: portation, and valid driver’s license required. Historic Organs of Indiana, 4 CDs recorded at Hook & Hastings, and Hutchings-Votey, Kil- www.organsociety.org. E-mail [email protected] or fax the OHS National Convention in Central Indiana gen, Tallman, Woodberry, Hinners, Cole & in July, 2007. Nearly 5 hours of music features 708/544-4058; www.berghausorgan.com. Woodberry, plus instruments by Flentrop, C. 31 pipe organs built between 1851–2004, by Request a free sample issue of The Diapason Aeolian-Skinner, Skinner, Henry Erben, Felge- B. Fisk, and Rosales, and Pacific Northwest organbuilders Paul Fritts, Martin Pasi, John for a student, friend, or colleague. Write to the PUBLICATIONS/ maker, Hook & Hastings, Kilgen, Kimball, and Editor, The Diapason, 3030 W. Salt Creek Lane, many more builders. Performers include Ken Brombaugh, Richard Bond, and many more! RECORDINGS Cowan, Thomas Murray, Bruce Stevens, Carol Renowned organists Douglas Cleveland, Julia Suite 201, Arlington Heights, IL 60005; or e-mail: Williams, Christopher Young, and others. A 40- Brown, J. Melvin Butler, Carole Terry, Bruce [email protected]. If you don’t recognize Zundel or Strang, page booklet with photos and stoplists is includ- Stevens, and others are featured in live perfor- please visit my website to learn about these ed. OHS-07 4-CD set is priced at $34.95 (OHS mances on 24 pipe organs built between 1871 great American organists. Hint: One of them members, $31.95) plus shipping. Visit the OHS and 2000. Includes a 36-page booklet with New classifi ed advertising rates are in effect. wrote the tune “Beecher” for “Love Divine, All Online Catalog for this and over 5,000 other or- photographs and stoplists. $34.95, OHS mem- See page 33 of this issue. For further information Loves Excelling.” michaelsmusicservice.com; gan-related books, recordings, and sheet music: bers: $31.95. For more info or to order: http:// or assistance, contact Joyce Robinson, 847/823- 704/567-1066. www.ohscatalog.org. OHSCatalog.com/hiorofse.html. 7478, [email protected].
TOTAL PIPE ORGAN RESOURCES
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Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
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REED ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
Vocalion—Completely restored, excellent con- Möller “Classique Artiste”—II/3, 1955 proto- 16′ Open Wood with chest—44 notes, CCC Releathering all types of pipe organ ac- dition. 2-manual, full pedalboard with blower. type. Exposed, unifi ed pipework: Quintaton/Flute 12″ x 14″, 5″ wp. Excellent condition—must sell, tions and mechanisms. Highest quality ma- 2 1 Asking $4500 or best offer. Reed organ collection 16–2′, Principal 4–1′, Nasard/Larigot 2 ⁄3′–1 ⁄3′. space is needed. $4,200. Call J.R., 610/955-9437. terials and workmanship. Reasonable rates. for sale. Located in Michigan; 313/770-2970. 1 ⁄3-horsepower Kinetic blower. Restored 1973, Pick up only. Columbia Organ Leathers 800/423-7003. revoiced 1998; beautiful to see, hear, and play. www.columbiaorgan.com/col. Pictures and specifi cations on request. $15,000 16′ Principal pipes, wooden, ELECTRONIC ORGANS or best offer. Buyer to remove. 316/264-8756. small scale, Moller FOR SALE low 12 notes, cost $4000. 8′ Tuba, large scale, Austin actions recovered. Over 40 years Tellers, cost $1200. Deagan Xylophone, 37 notes, experience. Units thoroughly tested and fully needs releathering, cost $800. 24-note Harp guaranteed. Please call or e-mail for quotes. Rodgers Organ, 905, 3 manuals, 45 ranks, MISCELLANEOUS needs releathering, $600. Reisner direct action Technical assistance available. Foley-Baker, eight speakers, manufacture date 1998, excel- WANTED magnets, 77 3/4, 66 1-1/8, 159 5/8, cost $350 Inc., 42 N. River Road, Tolland, CT 06084. lent condition, $25,000. Rockford, IL, 815/397- each. Siedle Organ Company, 412/221-5484. 5579. Buyer assumes shipping costs. Phone 1-800/621-2624. FAX 860/870-7571. Pen friends wanted—Seeking to correspond [email protected]. with other fans of pipe organ music ages 18+. Wood pipes. Missing pipes made to match. Write: Brad Cotton, 225 South Wanda Dr., Damaged pipes in any condition repaired. Over PIPE ORGANS Aeolian/Robert Morton-style maroon Fullerton, CA 92833. 25 years experience. Filip Cerny, 814/342-0975. FOR SALE leather is now available from Columbia Or- gan Leathers! Highest quality. 800/423-7003, Small pipe organs for sale. Great prices. For MISCELLANEOUS www.columbiaorgan.com. more information, please go to our website, SERVICES/ www.milnarorgan.com. FOR SALE SUPPLIES THE DIAPASON 2012 Resource Directory Consoles, pipes and numerous miscellaneous Highest quality organ control systems since was mailed to all subscribers with the Janu- Austin Op. 1513— Two-manual/pedal, 4-rank parts. Let us know what you are looking for. 1989. Whether just a pipe relay, combination ary 2012 issue. Additional copies are available unifi ed. $6,000 or best offer; buyer to remove/ E-mail [email protected] (not comcast), at a cost of $5.00 postpaid. Contact the edi- ship. Currently in storage, playable before dis- action or complete control system, all parts phone 215/353-0286 or 215/788-3423. are compatible. Intelligent design, competitive tor, Jerome Butera, at 847/391-1045, jbutera@ assembling, some restoration needed. 612/554- sgcmail.com. 3350; [email protected]. pricing, custom software to meet all of your re- quirements. For more information call Westa- 16′ Double Open Wood Diapason with chests cott Organ Systems, 215/353-0286, or e-mail and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- Martin Pasi pipe organ—Two manuals, 24 [email protected]. THE DIAPASON E-News is mailed monthly to stops, suspended-tracker action. $350,000. Web: fi eld, NH. Can deliver. john@organclearinghouse. com; 617/688-9290. subscribers who have signed up to receive http://martin-pasi-pipe-organ-sale.com; phone: it. Don’t miss the latest news, announce- 425/471-0826. ATTENTION CHOIR DIRECTORS! Is it dif- ments and classifi ed ads (with photos) fi cult for your choir members to look up at Atlantic City Pipe Organ Company—2-manual, before they appear in print! Visit www. you? Are their noses always in the music, TheDiapason.com; at the bottom left col- Moeller Artiste, 3 ranks, very good condition, 3-rank, 5 Walker stops, free-standing DE chest and they drop notes at page turns? Let our & pipes with detached console, Peterson relay, umn, click Subscribe to our newsletter. some renovation completed, builder ready to new exclusive app solve your problem! For assistance, contact Joyce Robinson, 10 years old; $8,000 OBO. 16′ reeds, principals, assist in moving for additional cost. $10,000/ The iDirector is a tablet app that combines 847/391-1044, [email protected]. best offer. 414/228-8737; jennifer.ankerberg@ strings. 609/641-9422; mywebpages.comcast. in one screen the choir’s music (on the sbcglobal.net. net/acorgan. bottom half), and a view of you (on top)! Pages turn automatically, and your con- ducting is captured via digital video. Now Postal regulations require that mail to 1981 Lauck Residence Organ—2-manual, 3 ′ ′ ′ Need help with your re-leathering they can bury their noses in their iPads THE DIAPASON include a suite number to ranks, 16 Gedeckt 97, 4 Principal 73, 8 Oboe project? All pneumatics including TC 49. Unifi ed to 19 stops. Expression, tremulant, and see both their anthem and their direc- assure delivery. Please send all corre- combination action. Natural ash casework: 94″ Austin. Over 45 years experience tor at work. Imagine the convenience! Or- spondence to: THE DIAPASON, 3030 W. high, 72″ wide, 24″ deep. Movable. Call for more (on the job assistance available). der yours today! Box Conductor-Con, THE Salt Creek Lane, Suite 201, Arlington 615/274-6400. information. Lauck Pipe Organ Co. 269/694-4500; DIAPASON, [email protected]. Heights, IL 60005. e-mail: [email protected].
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 -+ &62GHOO The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS odellorgans.com s 860-365-8233 contact Jerome Butera P.O. Box 405, East Haddam, Connecticut 06423 847/391-1045 518-761-0239 2 Zenus Dr., Queensbury, NY 12804-1930 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected]
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
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Feb 2012 pp. 34-35.indd 35 1/16/12 8:28:41 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 Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*
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Janette Fishell David Goode* Gerre Hancock Judith Hancock Thomas Heywood* David Higgs
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