THE DIAPASON MAY, 2011
Scarborough Presbyterian Church Scarborough, New York Cover feature on pages 30–32
May 2011 Cover A_518.indd 1 4/14/11 9:57:16 AM May 2011 pp. 2-19.indd 2 4/14/11 9:58:14 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 3, Whole No. 1218 MAY, 2011 Review of Wayne Leupold Editions “major concerns” for any publisher. Established in 1909 ISSN 0012-2378 Bach Vol. 8 I’m not sure whether they should nec- An International Monthly Devoted to the Organ, I am well aware that one of the func- essarily be a major concern, but to me the Harpsichord, Carillon, and Church Music tions of a critical review is to criticize, the way a book feels and looks quite but that is certainly not the only func- obviously has an impact. If a book feels tion. As important as what one says nice, I want to pick it up, read and play negatively is what one says positively. It from it again and again. I think that’s CONTENTS Editor & Publisher JEROME BUTERA [email protected] is rare that one fi nds a work so poor that a highly desirable quality for any book 847/391-1045 good things cannot be said about it. But to have. FEATURES when one chooses to review a work with It is true that I wrote little about the Eighth International Organ and Associate Editor JOYCE ROBINSON so many outstanding features as the fi rst introductory essay, although I did com- Early Music Festival, Oaxaca, Mexico, [email protected] volume of Wayne Leupold Editions new ment on a few details in it. I chose to October 21–27, 2010 847/391-1044 by Cicely Winter 20 Complete Organ Works of Johann Se- concentrate on the presentation of the Contributing Editors LARRY PALMER bastian Bach and the result is a review music, as I think that is the central part J. S. Bach’s English and French Suites Harpsichord in which the few positive remarks seem of a musical edition and most interests with an emphasis on the Courante no more than grudgingly made, there is potential readers of a review. I did refer by Renate McLaughlin 24 JAMES MCCRAY no balance or equity. As I read Jan-Piet to, and comment on, the Commentary The Evolution of American Choral Music: Choral Music Knijff’s review of this work (The Diapa- in a number of places and, of course, Roots, Trends, and Composers son, March 2011, page 22), I came away discussed aspects of the editorial policy before the 20th Century BRIAN SWAGER Carillon with precisely this conclusion. Despite throughout my review. While Dr. Shan- by James McCray 26 the fact that WLE has and is publishing non refers to my discussion of various JOHN BISHOP for me and I am one who had the privi- editorial issues as “nit-picking,” I like to NEWS & DEPARTMENTS In the wind . . . lege of reviewing this fi rst volume, I still think that the issues I raised are among Editor’s Notebook 3 maintain some objectivity, an objectivity those that concern serious performers Letters to the Editor 3 GAVIN BLACK that causes me to pen this rebuttal. and scholars working with Bach’s key- On Teaching Here & There 3, 4, 6, 8, 10 After a pro-forma introduction of his board music—including, I’m sure, the Appointments 6 Reviewers Joy Schroeder subject, the reviewer begins his criticism highly competent editorial team of the Nunc Dimittis 10 James Reed with the following: “My fi rst impression Leupold Bach Edition. That, for ex- Harpsichord News by Larry Palmer 12 John L. Speller is that the book doesn’t feel very pleas- ample, the “allotment of pedal notes” David McKinney In the wind . . . by John Bishop 12 ant in my hands.” I was unaware until was an important issue to them is clear John Collins now that the tactile sensations of holding from their own Editorial Policy state- On Teaching by Gavin Black 14 Jay Zoller a book were major concerns for a pub- ment and from the inclusion of the two- REVIEWS lisher. The reviewer the [sic] criticizes stave edition of the Prelude and Fugue THE DIAPASON (ISSN 0012-2378) is published monthly the color of the cover, the size of the in the Appendix, something I like very Music for Voices and Organ 16 by Scranton Gillette Communications, Inc., 3030 W. Salt margins, and the density of the musical much and mentioned in my review. I Book Reviews 17 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 text. He does admit the value of the color do recognize the diffi culty of selling an New Recordings 18 MSG RLY. E-mail:
MAY, 2011 3
May 2011 pp. 2-19.indd 3 4/15/11 9:02:02 AM First United Methodist Church, R. Monty Bennett; 8/31, Stephen Steely; Bose Conference Center in Monteagle, Hershey, Pennsylvania, continues its cel- September 7, William Tinker. For infor- Tennessee. Keith Shafer is director, and Here & There ebration of the installation of Létourneau mation: 608/748-4411 x271; the primary faculty include Dale Adel- Opus 121: May 22, Shawn Gingrich, Karl
4 THE DIAPASON
May 2011 pp. 2-19.indd 4 4/14/11 9:59:12 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
May 2011 pp. 2-19.indd 5 4/14/11 9:59:34 AM and concerts, with Michel Bouvard, April 2007. In 2009 his piece for soprano and Russia. The schedule includes per- Bernhard Haas, Philippe Lefebvre, Jos and electronics, entitled Stretch of Time, formances at McCarter Theatre Center, van der Kooy, Christoph Krummacher, was performed at the SEAMUS annual Princeton, New Jersey; Merrill Audito- Christophe Mantoux, Pier Damiano conference at Sweetwater Sound, Inc., rium, Portland, Maine; Disney Hall, Los Peretti, and Gillian Weir. For further in- in Fort Wayne, Indiana. Beachy is or- Angeles, California; Schermerhorn Sym- formation:
Delbert Disselhorst, John Ditto, Wilma Jensen, Robert Luther, Pamela Decker, Philip Gehring, Shelly Moorman-Stahlman, Carl Staplin, Craig Cramer
A memorial organ recital, honoring Wilma Jensen, Delbert Disselhorst, the memory and life’s work of Phyllis Craig Cramer, John Ditto, Pamela J. Stringham was held in Shattuck Au- Decker, Carl Staplin, and Shelly Moor- ditorium, Carroll University, Wauke- man-Stahlman—all former members sha, Wisconsin, on September 19, of the Stringham Concert Management 2010. Ms. Stringham died on February Agency. Former students included 12, 2010. This recital was in memory of Charles Barland, Audrey Timm-Rhine- her 43-plus years of teaching at Carroll hart, Martha Aslakson, Jeff Thielke, University. Those participating includ- Joyce Ruck, Fr. Charles Conley, and ed Philip Gehring, Robert A. Luther, Thomas Koester.
6 THE DIAPASON
May 2011 pp. 2-19.indd 6 4/14/11 9:59:54 AM May 2011 pp. 2-19.indd 7 4/14/11 10:00:17 AM Britten, Purcell, Bach, and Reger. The 596; Ich ruf’ zu dir, BWV 639; Passaca- Patrick Scott, David Stevens, Glenn recital was given in partial fulfi llment of glia and Fugue in c, BWV 582; Nun freut Hunter, Aaron Garcia, Jordan Peek, and the Master of Music degree at the Uni- euch, BWV 734; Prelude and Fugue in Charles Ludwick. The recital was given versity of Texas at Austin. E-fl at, BWV 552; Liebster Jesu, BWV in partial fulfi llment of the Doctor of 731; Fantasy and Fugue in c, BWV 537; Musical Arts degree at the University of Herzlich tut mich verlangen, BWV 727; Texas at Austin. and Chromatic Fantasy and Fugue in d, BWV 903, transcribed by Reger. Avail- Catherine Rodland, with Carol Rod- able from the Organ Historical Society: land, viola, is featured on a new record-
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
8 THE DIAPASON
May 2011 pp. 2-19.indd 8 4/14/11 10:00:34 AM
in Schenectady from 1962–96; in 1977, in 1958, every movement of the set has size of instrument they are contemplat- Nunc Dimittis he conducted the glee club in a perfor- been restored, including the well-known ing”, said Jack Bethards, president and mance at the White House for Jimmy To a Wild Rose; biographies and photos tonal director of the company. The web- Carter’s fi rst state dinner. Wilson attend- of MacDowell and Ellsasser are includ- site has been updated with new informa- Nancy Jane Blair died November 6, ed Yale College, where he studied organ ed. Four Pieces, by Hungarian organist tion on company projects as well as ar- 2010. A native of Knoxville, Tennessee, with H. Frank Bozyan, theory with Paul and composer Dezsö D’Antalffy, in- ticles and books about the fi rm. Links to she graduated from Carson-Newman Hindemith, and musicology with Leo cludes the Sportive Fauns, the light and the websites of Schoenstein clients have College in Jefferson City, and earned a Schrade, graduating in 1946. He studied melodic Madrigal, Drifting Clouds, and been updated as well. The website ad- master’s degree in church music from musicology from 1947–49 at Yale Uni- Christmas Chimes, which works with or dress is:
10 THE DIAPASON
May 2011 pp. 2-19.indd 10 4/14/11 10:01:35 AM 7KHVRXQGRI(XURSHDQKLVWRU\PHHWLQJWRGD\·V$PHULFDQVWDQGDUGV
The church organ without compromise
$OOWRRRIWHQDFKXUFKLVIRUFHGWRSXUFKDVHDQRUJDQGHVLJQHGIRUKRPHXVH DQGXVXDOO\IRUEXGJHWDU\UHDVRQV8QIRUWXQDWHO\WKHVHRUJDQVDUHGHVLJQHG IRULQWLPDWHHQYLURQPHQWVDQGGRQ·WKDYHWKHSRZHUWRDGHTXDWHO\VXSSRUW FRQJUHJDWLRQDOVLQJLQJ-RKDQQXVGHVLJQHUVDQGHQJLQHHUVKDYHIRXQGDVROXWLRQ IRUWKLVVLWXDWLRQ7KH(FFOHVLDEHJLQVLWVOLIHDVDEDVLFSDFNDJHDWDYHU\ DFFHVVLEOHSULFH DQDIIRUGDEOHVWDWHRIWKHDUWLQVWUXPHQWZLWKHQRXJKSRZHUWR ÀOOYLUWXDOO\DQ\URRP)RUPRUHLQIRUPDWLRQDQGSULFHVSOHDVHYLVLWRXUZHEVLWH STARTING AT $26,995
6DQWD%DUEDUD&$86$ www.johannus.com Why do we schedule tunings accord- ing to seasons? Simply and authorita- Harpsichord News In the wind . . . tively because the pitch produced by an by Larry Palmer by John Bishop organ pipe of a given length is subject to temperature. Say a pipe plays “440- A” and say it’s 70 degrees in the church. Raise the temperature a degree and now the same pipe plays 442 (roughly). And the catch is that the reeds don’t change with temperature and the wooden pipes (especially stopped pipes) are more af- fected by humidity than temperature. So when there’s a temperature swing the organ’s tuning fl ies into pieces. You cannot defi ne organ pitch without ref- erence to temperature. A contract for a new organ is likely to have a clause that defi nes the organ’s pitch as A=440 at 68 degrees. And here’s the other catch. My little example said it was 70 degrees in the church. But it’s never 70 degrees every- where in the church. It may be 70 at the console, 66 in the Swell, 61 in the Choir, and 82 in the Great. If these are the con- ditions when it’s cold outside and the The temperamental organ thermostat is set to 68, you can bet that Winter was coming to an end, and at summertime conditions have it more Fenway Park, fabled home of the Bos- like 75 or 80 degrees everywhere in the ton Red Sox, and the facilities manager building except any high-up area where was working down his checklist of pre- you fi nd organ pipes—then it’s super hot 3 November 2002: players at the dedication of Richard Kingston’s Millennium harp- season chores. This would be the second and the reeds won’t tune that high. sichord, opus 300, in the Washington, D.C. music room of Charles and Susan Mize. year of the new ballpark organ, and he Conditions outdoors can have a dra- Left to right: Dr. Mize, Larry Palmer, Virginia Pleasants, Don Angle, Brigitte Haude- fi gured it would need tuning. He called matic effect on organ tuning. Imagine bourg, and composer Glenn Spring up Fred Opporknockity, the guy who an organ placed in two chambers on had delivered the organ, and asked if either side of a chancel, and imagine Another member joins the he could come to tune the organ be- that the back wall of each organ cham- harpsichordists’ century club fore Opening Day. Fred replied that ber is an outside wall. The tuner comes the organ didn’t need to be tuned—he on a rainy Friday and gets the organ Virginia Pleasants, harpsichordist, was sure it would be fi ne. Mr. Facilities nicely in tune. Sunday dawns bright clavichordist, and fortepianist, celebrates suggested that the organ at his church and sunny, the south-facing wall gets her 100th birthday on May 9, 2011. Born was tuned for Christmas and Easter. heated up by the sun and that half of in Ohio, she attended Wittenberg Uni- “No,” said Fred, “don’t you know that the organ goes sharp. During the ser- versity and completed her baccalaure- Opporknockity tunes but once?” mon the organist “txts” the tuner to ate degree (with a major in piano) at the This joins a long list of so-called jokes complain about how awful the organ College-Conservatory of the University like the one that ends, “Is that an almond sounds. (Wht wr u doingŘ) The fol- of Cincinnati. After private piano study daiquiri, Dick?” “No, it’s a hickory dai- lowing Thursday the organist shows up in New York City, she won a fi rst prize in quiri, Doc.” Or the one that goes . . . But for choir rehearsal and fi nds the tuner’s the MacDowell Competition for Cham- I digress. (How can I digress when I’m bill in his mailbox. What would you do? ber Music. only 160 words into it?) Was it the tuner’s fault that it rained? Joining her husband, music critic In fact, the Fenway Park organ didn’t Any good organ tuner pays attention to Henry Pleasants, in Europe at the end of need to be tuned. It’s electronic and was weather conditions and forecasts as if World War II, the couple lived in Austria, tuned at the factory. But the tuning of he were the mother of the bride plan- Switzerland, and Germany until settling pipe organs is a subject without end or ning an outdoor wedding. in London in 1967. There Henry wrote beginning, without right or wrong, with- I care for a large tracker-action organ music criticism for the International Virginia and Henry Pleasants, 1996 (pho- out rhyme or reason—it just needs to be in Boston, housed in a free-standing Herald-Tribune and Virginia served for to: Charles Mize) in tune! case with polished tin Principal pipes in twenty years as an adjunct lecturer at Mr. Facilities’ recollection that the the façades of Great, Pedal, and Rück- Cambridge University. Her frequent eastern Historical Keyboard Society, Vir- church organ needs to be tuned for positiv cases. It’s situated in a contem- recitals of early music and her gift for ginia gave a memorable lecture-recital Christmas and Easter (notice that I capi- porary building designed by a famous keeping in touch with a wide circle of in- on the fortepiano works of Philadelphia talized Opening Day as a High Holyday!) architect, who gave the congregation terested friends kept Virginia in the fore- composer Alexander Reinagle for the is only half right, in my opinion. For years the gift of light from the heavens com- front of the British early musical scene. Society’s 2007 conclave at the University I scheduled big tuning routes that occu- ing through a long narrow window that In turn she kept many, including read- of North Texas in Denton. pied Advent and Lent, but where I live runs along the ridge of the roof. In the ers of The Diapason, better informed With her attainment of the century in New England, Christmas and Easter winter as the sun moves across the sky, about interesting happenings across mark, Virginia Pleasants joins a select are almost always both winter holidays, brilliant light moves across the front of the Atlantic. Pleasants’ discography in- group of revival harpsichordists, includ- and the August brides would walk down the organ, heating the façade pipes as cludes four discs of Haydn Sonatas for ing Marcelle de Lacour and Virginia countless center aisles straining to the it goes. Instantly the Great 8-foot Prin- The Haydn Society, and Quincy Porter’s Mackie. More research may be needed, strains of sorry 8-foot trumpets that cipal goes 30 or 40 cents (hundreds of Harpsichord Concerto, issued by Com- but it seems that daily practicing, espe- made her guests pucker as if they were a semi-tone) sharp. Do the math—how posers Recordings Incorporated. cially on a plucking instrument, might be biting into a lemon. It’s my experience many hundredths of a semitone are Four years after the death of her hus- considered benefi cial for a long, as well that summertime tuning problems al- there in a quarter-tone? Guess what band in 2000, Virginia came “home” to as happy, life. ways involve either “soprano” D, F#, or time of day this happens? Eleven AM. Philadelphia. In 2002 she joined several A, ruining virtually every Trumpet-Tune And guess what time the opening hymn friends in dedicatory festivities for Rich- Comments and news items are always processional. In one wedding I played, is played on a Sunday morning? The fi rst ard Kingston’s 300th harpsichord, playing welcome. Address them to Dr. Larry the fourth E went dead—the trill on time I tuned that organ, I felt as though music of Zipoli, Blow, Croft, Domenico Palmer, Division of Music, Southern beat three of Jeremiah Clarke’s ubiq- I were in a carnival fun-house with mir- Scarlatti, and Hungarian composer Tibor Methodist University, Dallas, TX 75275. uitous tune made me laugh. I was only rors distorting the world around me as Serly. A longtime member of the South- E-mails to
12 THE DIAPASON
May 2011 pp. 2-19.indd 12 4/14/11 10:02:13 AM May 2011 pp. 2-19.indd 13 4/14/11 10:03:45 AM tomorrow—and the time and mileage An organ tuner is something of a I spent today goes on your bill. Once I contortionist—he has to be able to for- showed up at the church (made of blue get about physical discomfort in the On Teaching brick and shaped like a whale—some often-awkward spaces inside an organ by Gavin Black architects have the strangest ideas) and so he can concentrate on the sounds. the sexton proudly announced, “I got He often hangs from a ladder or a it good and warm in there for you this swell-shutter for stability. (Key hold- time.” It was 95 degrees in the church ers, please keep your dagnabbit feet and the organ sounded terrible. Sorry, off the Swell pedal!) He learns to tune can’t tune. I’ll come back tomorrow. He out little mechanical noises and defects must have run $400 of fuel oil through of speech. An organ pipe might have that furnace in addition to my bill for burps and bubbles in its speech that wasted time. And the haughty authori- are clearly heard when you’re inside tative pastor of a big city Lutheran the organ and still sound perfect from church once said to me from under an the nave or the console. expensively-coiffed shock of theatrical He gets into a nice quiet state and a white hair, “We heat the church for the rhythm develops: “next,” tick-tick-tick, people, not the organ.” “next,” tick-tick-tick. A couple hours The eternal battle of the organ tuner and ten ranks (610 pipes) into it and the and the thermostat is not because we sexton comes in with a vacuum cleaner. don’t like working in cold rooms. It’s The fl owers are delivered for Sunday. A not because we want the organ to be lawn mower starts up at the house next warm. It’s physics. When you chill oxy- door. The pastor brings in a soon-to-be gen, the molecules get closer together married couple. They politely assure me, and it thickens to the point at which it “Don’t worry, you’re not disturbing us.” Pretty Nancy Faust doll becomes a liquid. When air warms, the Once I showed up to tune the organ molecules get further apart. When the at a university chapel. A couple heavy circulated by fans and sports offi cials of- air molecules get further apart, the air trucks full of equipment were outside fended that the White Sox had placed Buxtehude and Boëllmann—fi nal gets less dense. When the air gets less and a guy was loading tools into the a woman on the team’s payroll. But she thoughts (for now) dense, sound waves need less energy bucket of a cherry picker. I went up to came into her own when Harry Caray For the last year I have looked, in as and they shorten. When the sound waves him saying I was there to tune the organ became the radio commentator for the much depth as space seemed to permit, shorten, the pitch increases. It’s not a and wondered if they’d be making noise. Sox. He gave her the moniker Pretty at the process of studying and learning matter of comfort, it’s physical law—the “Not much,” he said, “just a little ham- Nancy Faust, and started the tradition of two contrasting and, I hope, comple- laws of physics. mer-drilling.” leaning out the window of his announc- mentary pieces—the Praeludium in E The same laws say that the organ will § er’s box to lead the singing of Take Me Major, BuxWV 141 by Dietrich Buxte- be in tune at the temperature at which it out to the Ballgame as Nancy played. She hude, and the Suite Gothique, op. 25 was tuned. Set the thermostat at 68 on As I write, the Red Sox offi cial web- played by ear, and kept current with all by Leon Boëllmann. This month I will Thursday for the organ tuning, turn it site says that the Opening Day game the latest music through her four decades share a few thoughts about this project down to 55, then back up to 68 on Sun- at Fenway Park starts in twelve days, of playing so she was always ready with a as a whole; then next month I will turn to day. Voila! The organ is in tune—unless eight hours, thirteen minutes, and current musical quip for the amusement something new. the weather changed. And it’s better for twenty-fi ve, twenty-four, twenty-three of the fans. She was the originator of the The goals of this long series of col- the organ not to be vigorously heated all seconds. It doesn’t really matter wheth- ballpark use of the now ubiquitous 1969 umns were really two: fi rst, to provide a the time. Ancient European organs have er the organ is tune or not—they don’t Steam song Na Na Hey Hey (Kiss him template for working on the two pieces, survived for centuries partly because use it as a ballpark organ any more. But goodbye), playing it when the pitcher of which, if followed, would help a student their buildings are not superheated. there was a time when the organ music an opposing team was pulled out during learn those pieces securely and com- American churches are often guilty of was an integral part of the ballpark ex- the 1977 pennant race. fortably; and second, to suggest ways “organ baking”—keeping the heat up perience. A common question in Bos- Nancy Faust was honored by the of thinking about and working on organ all winter, using the argument that it’s ton sports trivia quizzes was, “Who’s White Sox for her years of service to the repertoire that could be applied broadly more cost-effi cient than reheating a cold the only person who played for the Red team and its fans on September 18, 2010 to other pieces. building several times a week. Sox, the Bruins (hockey), and the Celt- in a pre-game ceremony. Ten thousand ics (basketball)?” Answer—John Keilly, Pretty Nancy Faust bobblehead dolls The learning process It’s a Zen thing. the organist for Fenway Park and the were distributed to fans that day. My The process of learning a piece of I’ve been asked if I have perfect pitch. Boston Garden. wife Wendy lived and worked in Chicago music on the organ can be thought of in No—and I’m glad I don’t. A roommate My father and I have been to dozens for about ten years, and as both a gifted three parts—parts that are not rigorous- of mine at Oberlin had perfect pitch, (maybe hundreds?) of games at Fenway organist and a baseball fan, she joined ly separate, but interact with and blend and he identifi ed that my turntable ran Park. He’s had the same seats (section countless other Chicagoans celebrating into one another. The fi rst is the very slow (remember turntables?). It didn’t 26, row 4, seats 13 and 14) since the Faust’s contribution to the game. We practical: learning the notes by work- bother me—but he couldn’t bear it. early 1970s. When John Keilly was at heard about her retirement on the NPR ing out fi ngerings and pedalings, and The organ tuner with perfect pitch has the Hammond B-3, we joked about get- sports program “Only A Game” early by practicing the notes systematically to compensate for the fact that you are ting to the park early so we could hear one Saturday morning, and Wendy let and patiently—and practicing enough. not necessarily tuning at A=440. If the the preludes. And he had an uncanny me know how much she wanted one of The second is getting to know the piece organ is a few cents sharp or fl at when knack for playing the right tune at the those dolls. With thanks to Chicago or- as well as possible. This includes any- you arrive to tune, chances are you’re right time. When Carlton Fisk hit his ganbuilding colleague and theatre organ thing that permits the player to know, going to leave it that way. It takes sev- now legendary “walk-off” twelfth-inning guru Jeff Weiler, I found one complete consciously or subconsciously, what is eral days to change the basic pitch of homerun to win game six of the 1975 with the ticket stub for the September 18 coming up next in the piece. This has most organs. And for really big organs it World Series, Keilly created a secondary game, and it now has an honored place in a working relationship with the act of can take weeks. sports legend when he played “Hallelu- our living room. memorizing a piece, but doesn’t depend I’ve been asked how I can stand lis- jah”—though not according to historical In the pages of this journal we often on memorization. (And indeed memori- tening to “out of tune-ness” all day. I performance practices. read about churches celebrating their zation does not guarantee really knowing don’t like hearing it when I’m listening retiring long-time organists. I’ve read the content of a piece musically.) This to organ music or attending worship, but § plenty of stories about fancy concerts knowledge reinforces the learning that when I’m tuning I love it because I can with reunions of dozens of past choir comes from practicing—makes it more change it. There’s a satisfaction about Nancy Faust was organist for the Chi- members, music committees commis- secure. The third part comprises purely working your way up a rank of pipes cago White Sox from 1970 until her last sioning commemorative anthems (bet interpretive decisions that are made bringing notes into tune. You can feel game on Sunday, October 3, 2010. She you can’t say that three times fast!), about how to play the piece: tempo, ar- them “click” into tune—in good voic- missed fi ve games in 1983 when her cakes that look like pipe organs, bronze ticulation, phrasing, and so on—and of ing there’s a sort of latching that I sense son was born—otherwise she played for plaques, and surprise tickets for Carib- course also registration. when I give the pipe that last little tick more than 3,200 games without missing bean cruises, but never bobblehead In the columns of the last year I em- with my tool. one. When she was hired, petitions were dolls. How cool is that? Q phasized the fi rst two of these, writing The right organ at the right price We’ll help you chose from the hundreds of vintage organs available through our website. We can deliver it to the organ builder of your choice or refurbish, revoice, and install it ourselves.
“In choosing OCH, I know that the work has been done with the utmost knowledge, enthusiasm, care and integrity.” David Enlow, Sub-Dean, NYCAGO Organ Clearing House www.organclearinghouse.com or call John Bishop at 617-688-9290
14 THE DIAPASON
May 2011 pp. 2-19.indd 14 4/14/11 10:04:10 AM rather little about interpretation, for beginning. And—this is crucial—she has Getting to know the piece Practice techniques reasons that I will discuss below. Also, made it work because she has been will- In writing about getting to know the Practice techniques that I described I only occasionally, when there seemed ing to keep the whole thing slow enough, piece, I have tended to emphasize what in the last year’s columns might of to be a particular reason for it, outlined and to crank it up to tempo very gradu- might be called motivic analysis, but course also suit other pieces. For ex- a specifi c protocol for practicing a pas- ally indeed. I believe that it will take her of an informal kind: simply noticing ample, in the fi nal column on the sage. That protocol is largely the same longer to learn the piece this way, but any melody, motif, theme, fragment, Buxtehude, I discussed the technique from one case to the next. Systemati- she is fi nding it more interesting, and etc., that happens more than once. It of leaving out certain notes in a pas- cally organized and patiently carried out she will in the end learn it well. I should has always been my experience that sage as a stage in practicing. This di- practicing is monumentally important. I mention that she is playing through in- noticing things like this, even if this rects the attention of the ear to the will outline the most important points dividual voices in the manner that I have is not followed by the drawing of any stronger notes, and guides the player about it once more here. often discussed, to learn them both au- particular analytic conclusions, leads towards playing lighter notes lightly. I 1) Any student or other player can rally and structurally.) both to more solid playing—by im- discussed this in connection with the successfully play any passage right off proving the ongoing remembering of fugue subject of the fi nal section of the the bat—sight read it—if he or she keeps Hand choices what is coming up next in the piece Praeludium. This approach could also it slow enough. The harder or more intri- I wrote quite a bit in recent columns as it goes along—and to more rhe- be applied to the Boëllmann Toccata, cate a passage is, the slower it has to be at about hand choices. These are a dis- torically convincing playing. However, leaving out the latter three sixteenth fi rst. The simpler a passage is or the more proportionate and needless source of getting to know the piece through no- notes of each quarter-note beat in the it is broken down into simple parts, the trouble for many students. Of course, ticing things about harmony or chord right hand over the fi rst nineteen mea- less slow it needs to be. if a passage involves the use of two key- progressions, while not something sures of the movement, and similar 2) The correct starting practice tem- boards, with one hand on each, then the that I tend to emphasize, can certainly passages, and playing the on-the-beat po for any passage is a tempo at which player does not choose which hand plays also be useful. notes as (very) detached quarter notes. that passage is reliably accurate and which notes, and it was the composer’s A piece like the Toccata from the This would, among other things, elu- feels easy. Again, the simpler a passage job to make sure that the note patterns Suite Gothique is strongly chord-based. cidate the relationship between those is, the less slow that tempo has to be. within each hand are plausible to fi nger A trip through the piece, identifying notes and the left hand chords, which Practicing hands and feet separately and play. If both hands, and thus the chords by letter-name and type and also are in effect detached quarter notes. allows the initial practice tempo to be whole manual part of the texture, are on by relation to a local tonic or to the tonic less slow than it would have to be to the same keyboard, then it is extremely of the piece, could aid in fi nding those Interpretation cope with playing the whole texture important that the student consider the chord shapes securely, and therefore in I am very much a non-authoritarian from the very beginning. The most two hands, ten fi ngers, to be one unit—a playing the piece well. A passage like when it comes to interpretation. I have important thing to note is that an ap- unit with the job of playing all of the the section of Buxtehude BuxWV 141 no desire whatsoever for my students to propriate practice tempo is never de- notes in the most comfortable way, re- that begins at m. 60, though certainly play pieces the same way that I do, or in fined in relation to the ultimate tempo gardless of what note is printed in what conceived contrapuntally, can also be a way that I consider “right”. If a student of the piece or to anything about what staff. I have seen students classify whole seen as organized around chord shapes, of mine, or any other musician, plays a sounds “musical.” Students can get pieces as un-learnable because of disad- and taking note of what those chords piece in a way that I really don’t like, or into trouble because of a reluctance vantageous hand choices in a few salient are can also be useful in fi xing the piece that I consider “wrong”, either based on to practice too much more slowly than diffi cult spots. in the student’s mind. analysis of the piece or historical consid- the tempo that they hear in their head for a piece. This should never be a consideration at this stage. The faster ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
a piece is supposed to be in the end, DOBSON CASAVANT FRERES the more important it is to practice it slowly enough in the beginning. 3) Once any passage, in any combina- tion of hands and feet, has been played enough times at a given (appropriate) tempo, and feels really easy—essentially automatic—at that tempo, then it can always be played just a little bit faster. This is simply a fact about the human BOODY TAYLOR mind, brain, refl exes, muscles, and so on, which continues to be true as the passage increases in tempo towards (or beyond) where the player wants the piece to end up. Therefore: 4) Any passage or piece can always be learned—by anyone—by starting it at a slow-enough practice tempo and
speeding it up in suffi ciently small in- DYER R. crements. Always—anyone. This only ever appears to have failed when the person claiming to have done it has not really done it. (I should know: I have from time to time been that person, led by busy-ness or laziness or distraction to cut corners. Most of us have done the GARLAND FISK same.) The teacher’s role in this process is to motivate the student to stick to practicing this way. 5) Choices about how much to sim- plify the increments in which a piece is FRITTS practiced—that is, whether to practice a measure at a time, or a few measures, or half a piece or a whole piece, how much to practice separate hands, when to start putting things together, and so on—are really matters of the psychology and mo- tivation of the student. Different choices will affect the trajectory of the learning Thinking of Purchasing a Pipe Organ? of the piece, but not the fi nal results, as GOULDING & WOOD long as the above principles are followed. Some students like working with larger APOBA Can Help! or more complex chunks of music and are willing to keep them slow enough; other students would rather work with simpler From information for your architect through fund-raising, APOBA has helpful or smaller bits and be able to have the publications concerning every aspect of an organbuilding project. “up-to-tempo” experience sooner with those bits. (I want to mention, just by way of And, they’re FREE for the asking! example, a recent experience that has come my way just by coincidence that touches on this. I have a student who QUIMBY REDMAN SCHANTZ SCHOENSTEIN & has been working on the fi rst Contra- HENDRICKSON punctus of The Art of Fugue—on harp- To receive information about pipe organs sichord, and thus with all four voices in and recognized pipe organ builders the hands—over the month or so prior to my writing this. She decided—after AP write or call toll free 1-800-473-5270 spending some time working out fi nger- or on the web @ www.apoba.com ings—that she would altogether skip the PASIAssociated RICHARDS-FOWKES Pipe Organ Builders of America step of practicing hands separately. This BO was contrary to my assumption that she A P.O. Box 155 • Chicago Ridge, Illinois 60415 would work out each hand until it felt
really ready before putting the two to- OTT PARSONS gether. She did this because she found the whole texture fascinating and want- NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP ed to experience that texture from the
MAY, 2011 15
May 2011 pp. 2-19.indd 15 4/14/11 10:04:49 AM erations, then that is their business and tion. This is a subject that arises fairly and parents who have provided effective Daughter of Zion, See the Victor, not mine. naturally out of the attempt to learn a leadership during these three decades. G. F. Handel, arranged by Michael I am happy to share my reasons for piece or two really well. The question As church choir directors, we must all Burkhardt. Unison, SS or SSA voices liking or not liking anything, but only of the relationship between memori- do more to encourage children singing in and organ with optional C instru- if the person with whom I am sharing zation and really thorough learning of choirs. This is not only important to the ments, MorningStar Music Publish- those ideas is not going to feel obliged a piece is a complex and controversial children, but it has serious implications ers, MSM-50-9975, $1.70 (M-). then to do things the way that I seem to one. I will try to explore a number of for the life of the church. Adult church From Handel’s Judas Maccabaeus, want them done. I fear that the hand of different ways of thinking about it, and choirs are already seeing fewer partici- this arrangement has several performing a teacher’s artistic, aesthetic, and inter- give an account of my own views and pants, so developing a love of singing options. The two C instruments usually pretive judgments can be a very heavy my own experience. Q at an early age is crucial to our role as play in parallel thirds and their music one for a student, even long after the choral musicians. John Cage, who made is on the back cover. If the SSA version teacher has modifi ed or abandoned the Gavin Black is Director of the Prince- signifi cant contributions to the world of is used, the sopranos also sing in paral- particular opinion. ton early Keyboard Center in Princeton, music, once said that it was his mother lel thirds, with a contrasting line for the I try to consider any aesthetic judg- New Jersey. He can be reached by e-mail at who had a profound infl uence on his de- altos. The keyboard part is often in the ment that I formed more than about fi ve
THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org
16 THE DIAPASON
May 2011 pp. 2-19.indd 16 4/14/11 10:05:07 AM century ended, the old-time religion fad- in great detail, spanning both the worlds 3. 1961–62 Further study and school- Book Reviews ed as the cultural environment gave way of church music and academia. Accom- teaching in London to the Industrial Revolution and the Civil panied by many fi ne, interesting photo- 4. 1962–64 Bangor Parish Church War (370). Citations for these would be graphs marking important milestones 5. 1964–65 Belfast Cathedral Don Cusic, ed. Encyclopedia of Con- interesting to the scholar. in his career, the book is an interesting, 6. 1965–67 Belfast Cathedral, The Ca- temporary Christian Music: Pop, Whether this book is the “fi rst compre- well-written account of the life of a musi- thedral Consort Rock, and Worship. Santa Barbara, hensive work” about the contemporary cian highly regarded in his fi eld, and in- 7. 1968–70 Belfast Cathedral, Dean CA: Greenwood Press, 2010, 505 pp., Christian music scene can be addressed cludes many humorous anecdotes. The Samuel Crooks hardcover, $85.00. ISBN: 978-0-313- by searching in Google and Amazon, short biographical snippets of his many 8. 1971–72 Belfast Cathedral, St Louis 34425-1;
MAY, 2011 17
May 2011 pp. 2-19.indd 17 4/14/11 10:05:30 AM lent period in Irish history, is an engaging the pipework had been installed at the French program in June 2008 at Trinité. nent in the fi rst two variations, begins to and well-written tale that will interest or- time, but I remember being particularly According to an interview with Stephen disguise itself with elaborate ornamen- ganists and choir directors alike (and the impressed by the beautiful vocale qual- Tharp, Dr. Freese says that this project tation; the lovers dance more elegantly inappropriate hymn choices foisted upon ity of the 8-foot Principal on the Werk evolved from a chance encounter in a ho- now. In Deciso, it all but disappears. In- Harry’s mother by the Marchioness of (main manual) and by the fi ne acoustics tel lobby in Chicago in 2006. There, Naji stead, an engaging, disjointed rhythmical Dufferin & Ava will resonate with every of the building. The instrument is fairly Hakim approached her and said that he jest commands attention; the dancers are church musician who has had carefully uncompromisingly classical in its con- wished to compose a piece for her. After young and athletic. chosen hymn selections overridden by a ception, having but a single string on the securing the commission, she premiered Arabesque offers the catchy melody in zealous priest or pastor!). Werk, no swell box, and 1/5-comma Kell- To Call My True Love to My Dance on a haunting minor mode with ornamental —James Reed ner temperament. January 25, 2008 at Alabama’s Moody fi gurations. This movement foreshad- Bergen, Norway While, therefore, some might think that Music Building. Wisely, she proposed to ows the seduction yet to come. Bur- the design is a little limiting for a church record the work at Hakim’s church, and letta showcases call and response reed organ in terms of the repertoire that it can he replied, “Of course!” choruses, ending with a humorous jab; perform, it is undoubtedly a superb me- This recording showcases the talents the lovers are clearly fl irting with each New Recordings dium for Bach. The leafl et enclosed in the and abilities of all: performer, compos- other. Tango-Scherzando-Tango, per- jewel case unfortunately does not give the ers, instrument, and engineer. Freese’s formed attaché, feels like one extended stoplist of the organ, though this is read- program choices highlight every tonal movement in ABA form. Tango suggests Bach in the Back Bay. Bálint Karosi, ily available on the builders’ website. One possibility this organ offers. And she a raunchy night of great fun; the tryst’s organist. Richards, Fowkes & Co. of the prepared-for stops is a 2-foot Pedal deftly plays demanding literature with resultant consequence, lighthearted and organ at First Lutheran Church, Cornet (reed). In the absence of this, the impeccable technique, true musicality, sprite itself, follows in the Scherzando; Boston, Massachusetts. Dulcian Re- Pedal has little in the way of independent and interpretive authority. Moreover, to but that one night was so much fun that cordings CD-D007; upperwork, and there were one or two minimize capturing too much of Paris’s it, well, happens again. Berceuse, or lul-
18 THE DIAPASON
May 2011 pp. 2-19.indd 18 4/14/11 10:05:50 AM cost Sunday, based on the associated the organ; in the libro primo, toccatas hence the need to purchase both, not an for the church service. Each volume is plainchants Veni Creator Spiritus and 5, 11, and 12 are close to elevazione in inexpensive outlay in these straightened laid out in alphabetical order by tune Veni Sancte Spiritus. Introit is played style. A brief section on registration times. All pieces are laid out so that page name on heavy stock and clear print. Tin- on a lovely, soft reed. Offertoire unfolds would have been even more helpful if turns can all be managed by the player, dall has made every effort to simplify the and develops rich, luscious harmonies. the registrations of Antegnati by genre and the use of original beaming and lay- organist’s job. There are fold-out pages Elévation lightly accompanies the raising and Diruta by mode had been included out of the notes between the hands as in throughout all the volumes to eliminate of consecrated bread and wine (host and here, instead of footnotes referring the the original prints is a great help when page turns in the middle of a variation. chalice). Communion meditates on the reader elsewhere. An extensive bibliog- considering the articulation implied; A clear table of contents that includes all mystery of transubstantiation. Fantaisie- raphy under seven headings provides a the time taken in adjusting to this major volumes (there are three in the current Choral completes the recording with veritable cornucopia of further reading change from some earlier editions will set) is listed in the front of each book, rousing, celebratory gusto. for the interested student. An extremely be richly repaid. along with a brief biography of each Trinité’s Cavaillé-Coll organ is a trea- detailed critical commentary presents It is interesting to read in the pref- composer. The end of each volume con- sure. This recording contains insightful differences between the prints as well as aces to Mayone’s two books printed tains further indexes: one, which lists the music choices that highlight its best at- handmade corrections to the edition of in 1603 and 1609 that he regarded the music written by each composer, and a tributes. All the compositions are tightly 1615; also listed are variants in the Turin toccatas as being for the progressive for- second in which common texts are listed constructed, great pieces, and Hakim’s manuscript copies. ward-thinkers and the ricercars for the with their related tunes. To Call My True Love to My Dance Also included in the preface to vol- conservatives who did not care for this One of the best features to my mind proves worthy to play alongside prior ume I.1 is an extensive introduction to new style; Frescobaldi’s almost obsessive is that along with the older tunes that we French masterworks. Lastly, Faythe the toccatas, partite, and the four cor- wrestling with contrapuntal problems fi nd in every book of Baroque keyboard Freese performs splendidly: this is a rente included in the 1st book of tocca- and the ingenious solutions he adopts music, such as Lobe den Herren and landmark recording of contemporary tas; a full commentary on the different are amply demonstrated here, particu- Nun Komm der Heiden Heiland, French repertoire. variations of the partite included in the larly in the more introverted recercars, Tindall has included 19th and 20th cen- —David McKinney, DMA second edition also sheds light on the which are far less well-known and played tury tunes as well. So, tunes like For- Gainesville, Florida compositional and revisionary process. today than the more extrovert toccatas. est Green, Cwm Rhondda, and God Several facsimile pages or part pages It is only by playing and immersing one- Rest You Merry Gentlemen fi gure are included, as is a version of recercar self in this wonderful music that one be- prominently with dozens of others; there quinto from the Turin manuscript. comes more adept at solving some of the are 83 hymn tunes in all. New Organ Music The preface tells us that this new edi- problems posed in the score. Although In addition to the three parts of 83 tion, based on the print of 1618, is intend- these are dealt with so comprehensively Musical Gifts, Adrienne Tindall has gone ed to replace the edition by Pierre Pidoux in the introduction—which should be on to produce another, in four parts, en- Frescobaldi: Organ and Keyboard some 60 years ago and to offer today’s compulsory reading, especially for the titled 120 Musical Gifts, which continue Works, I.1 Recercari et Canzoni player an edition that is as close as possi- newcomer to these pieces, prior to play- the same themes as the fi rst three. Every franzese, and I.2 Toccata e par- ble to the sources, together with informa- ing them—it is through the act of playing tune in all the volumes is set as variations, tite libro primo. Editor: Christo- tion on the most recent research. How- that the real worth of these volumes will which make them eminently usable as pher Stembridge, with the col- ever, with this fi rst volume the open score be revealed as a fi tting testimony to the preludes. By playing single variations, they laboration of Kenneth Gilbert; format of the original print has again been genius of Frescobaldi. also adapt easily to offertory or postlude Bärenreiter BA8411/12, €46.95 per reduced to keyboard score; the main dif- —John Collins status. Of the many composers included, volume;
MAY, 2011 19
May 2011 pp. 2-19.indd 19 4/14/11 10:06:09 AM Eighth International Organ and Early Music Festival Oaxaca, Mexico, October 21–27, 2010 Cicely Winter
he eighth International Organ and Carlos Murillo (trombone) offered the TEarly Music Festival took place Oc- fi rst concert of the festival in the Basílica tober 21–27, 2010 in Oaxaca, Mexico, de la Soledad. This is the fi rst time the with the theme, “Celebrating the Bicen- trombone has been featured in a IOHIO tennial of the National Independence festival, and the sound blended brilliantly and the Centennial of the Mexican Rev- with the organ in a varied program based olution.” To honor the two most signifi - on arrangements by José Francisco. The cant events in Mexican political history, magnifi cent polychromed case of the or- the IOHIO (Institute of Historic Or- gan has the date 1686 inscribed on the gans) presented its grandest festival yet. side of the case, making it the oldest ex- For the fi rst time, music lovers were able tant organ in Oaxaca. to hear concerts on all seven restored organs, a unique opportunity to appreci- October 22, Friday ate the richness and diversity of Oaxaca’s The second organ masterclass by Guy collection of Baroque instruments. Bovet in Tlacochahuaya once again fo- In addition, there were three all-day cused on the Iberian repertoire of the fi eld trips to visit 12 unrestored instru- 16th and 17th centuries. Participants ments in village churches, most of which presented works by Correa de Arauxo, are usually inaccessible to the public; Cabanilles, Bruna, Aguilera de Heredia, two masterclasses with Swiss organist Cabezón, and Durón. and musicologist Guy Bovet; two choral That afternoon, everyone gathered concerts, one of which presented cho- in the elegant space of the Francisco ral works that have not been heard for de Burgoa Library in the former con- centuries from the early 18th-century vent of Santo Domingo de Guzman for notebook of Domingo Flores from San the inauguration of the eighth festival. Bartolo Yautepec; the opportunity for IOHIO director Cicely Winter intro- organists to play the organ in the Basílica duced Ricardo Fuentes and Beatriz de la Soledad; guided tours of two arche- Domínguez from the Coordinación ological sites; an exhibit of historical ma- Nacional de la Conservación del Patri- terial related to the organs from various monio Cultural (CNCPN) who spoke Oaxacan archives; a talk about the organs about the goals of their institution and and the work of the IOHIO; a view of future collaborations with the IOHIO. Oaxaca’s splendid and varied scenery Next, Alberto Compiani and Josefi na during fi eld trips to the Tlacolula Valley Benavides from the “Radio Monterrey” and the Mixteca Alta; and a chance to station spoke about the weekly radio sample the local cuisine and revel in the show “His Majesty the Organ,” which fi esta traditions in the villages. Compiani initiated as a result of his on- going collaboration with the IOHIO. It is October 21, Thursday hoped that starting next year these pro- The festival began with the fi rst of two grams may be broadcast in Oaxaca. Cic- masterclasses in San Jerónimo Tlacocha- ely Winter then offered a presentation huaya given by Guy Bovet. Thirteen about “The Historic Organs of Oaxaca Mexican organists and organ students and the Work of the IOHIO.” Her talk from Oaxaca, Mexico City, Puebla, Que- was prefaced by special recognition of retaro, Morelia, and Toluca, as well as the initiative of Don Alfredo Harp Helú one from the U.S., played for Bovet and in support of the restoration and mainte- Guy Bovet leads masterclass in Tlacochahuaya (photo credit: José Luis Pérez Cruz) a group of some 20 auditors from Mex- nance of the organs. ico and abroad. Participants benefi ted This was followed by an exhibit of immensely from Bovet’s explanation of documents related to organs from vari- the fi ne points of Spanish repertoire and ous Oaxacan archives, “Ad maiorem Dei performance practice. He carried out an gloriam, el órgano oaxaqueño al servicio important survey of Mexican organs in del altar,” which afforded an excellent the 1980s and 90s sponsored by UNES- overview of Oaxacan organ history. The CO and Pro Helvetia. exhibit was curated and presented by That evening, Mexican artists José Polish researcher and IOHIO collabora- Francisco Álvarez (organ) and Juan tor Ricardo Rodys.
Cicely Winter plays for Guy Bovet masterclass in Tlacochahuaya (photo credit: Peter Bryant)
The second concert of the festival took guitarist Vladimir Ibarra. Gabriela place in the Capilla del Rosario (ex-con- Edith Pérez Díaz enchanted the audi- vento de San Pablo) and featured the ence with several pieces by J. S. Bach on Capilla Virreinal de la Nueva Espa- the marimba. The Ibarra/Díaz duo then ña directed by Aurelio Tello in the pre- closed their program with a piece for sentation of “Music from the Domingo marimba and guitar. At the end of the Flores Book (18th century) of San Bar- concert, each of the two IOHIO organ tolo Yautepec.” This notebook was part scholarship students from the commu- of a treasure of manuscripts discovered nity played a piece. We did not know by the IOHIO in Yautepec in 2001. that the Pan American Races would take place that day and that the highway was October 23, Saturday blocked. We were waved through by a The all-day fi eld trip to the Mixteca police car but did not fi nd out until the Alta began with the third concert of the end of the day that the friends who drove festival in Santa María de la Natividad. their own cars to the concert were not Barbara Owen opened the program allowed to pass. with Baroque dance pieces. Later Guy The fourth concert of the festival in Bovet improvised a sonata on a Mexi- Santo Domingo Yanhuitlán was espe- can patriotic tune in the style of Sor cially important because this organ has María Clara and played a Fandango with not been played for years due to ongo-
20 THE DIAPASON
May 2011 pp. 20-23.indd 20 4/15/11 8:08:42 AM Exhibit “El órgano oaxaqueño al servicio del altar” (photo credit: José Luis Pérez Cruz)
José Francisco Álvarez (organ) and Juan Carlos Murillo (trombone) perform the fi rst concert at the Soledad Basilica (photo credit: Bruce Shull)
Local students Einer Mendoza and Alan Martínez, with their teacher, Joel Vásquez, at Tamazulapam concert (photo credit: José Luis Pérez Cruz)
Capilla Virreinal de la Nueva España, directed by Aurelio Tello (photo credit: José Luis Pérez Cruz)
ing restoration work in the church. The and Vladimir Ibarra, guitar. Banegas’s audience was transported by the com- program combined light 18th-century bination of the program “The Splendor dances with more modern works, includ- of the Cathedrals of Mexico in the 17th ing one of her own compositions, while century,” presented by the Capilla Vir- Díaz and Ibarra offered modern works reinal de la Nueva España directed for guitar and complete percussion en- by Aurelio Tello, the setting in one of semble. The case decoration of this 4′ Mexico’s most magnifi cent 16th-century table organ (1726) is among the most Baroque churches, and the acoustics in elaborate in all of Mexico. the vaulted stone space. The renowned Uruguayan organist Cristina García October 24, Sunday Banegas accompanied the choir and This day was dedicated to visiting un- enhanced the program with several mag- restored organs in the Tlacolula Valley. nifi cent 17th-century solo works. Our fi rst stop was in San Matías Jalat- Thanks to the ongoing support of the laco, located just on the edge of the his- Federal Road and Bridge Commission, toric center of Oaxaca City. This lovely 8′ a special entrance was opened from the organ, painted blue, was built in 1866 by super highway, allowing us direct access Pedro Nibra and though missing some to San Andrés Zautla and saving us over pipes, is quite restorable. an hour of travel time. The fi esta and We continued on to San Andrés Huay- concert in Zautla are always a highlight apam and its lovely country church with of the festival. We were received in the a splendid gilded altarpiece. The 4′ table atrium of the church by the local band organ (1772) is in nearly perfect condi- with noisy fi reworks, mezcal, and danc- tion and would require little to make it ing, with the elderly women of the town playable. We were refreshed by a drink dressed in their traditional skirts and of tejate, a specialty of this community. blouses. We enjoyed a delicious stew We made a brief stop at the famous with squash seed sauce, a special local tree in Santa María del Tule before pro- recipe, served in the patio behind the ceeding to Santa María Tlacolula. It was church. After dinner, we fi led into the market day and a local saint was also be- church to hear the fi fth concert of the ing celebrated, so the streets were packed festival, presented by organist Cristina and it was diffi cult to get one’s bearings García Banegas in alternation with Ga- because of the tall tents and rides. First briela Edith Pérez Díaz, percussion, we viewed the little 2′ 18th-century pro-
MAY, 2011 21
May 2011 pp. 20-23.indd 21 4/20/11 9:36:26 AM Visit to the unrestored organ in Tlacolula (photo credit: Bruce Shull) Cristina García Banegas at Oaxaca Cathedral (photo credit: José Luis Pérez Cruz)
Case of the unrestored organ in Santiago Teotongo (photo credit: Bruce Shull)
cessional organ, the smallest in Oaxaca, though missing its pipes and keyboard, is which was built for a small chapel. Then the closest relative to the Tlacochahuaya Cristina García Banegas in San Andrés Zautla (photo credit: José Luis Pérez Cruz) we climbed up to the choir loft to see organ. Its doors, which were removed the 8′ organ in the choir loft. Dating from the organ, framed, and hung in the tune “Amor Juvenil,” with Antonio de organ (1828) that is disproportionately presumably from the mid-18th century, sacristy, were brought to the choir loft Jesús Hernández, the 15-year-old son large for the interior space. The organ, this stately organ is nearly complete and for viewing. One of them depicts King of the sacristan on the trombone. This completely intact and played just a gen- has the most elaborately painted façade David playing his harp and the other, organ (ca. 1735) is the jewel in the Oaxa- eration ago, still grunts and wheezes pipes in all of Mexico. Santa Cecilia playing the Ocotepec or- can crown. Its gorgeously decorated case when the bellows located in the loft We were all set to proceed to Mitla gan, showing the bellows behind and the and façade pipes make it a work of art above are pumped. It is possible that it for lunch, but a police car was blocking original façade decoration. in its own right and it synchronizes per- could be made to play again with just our vans and it took at least a half hour We arrived in San Jerónimo Tlacocha- fectly with the acoustics and exuberantly an overall cleaning and patching of the to track down the driver and convince huaya just in time for the sixth concert painted decoration of the church. winding system. him to move. As a result we had to rush of the festival. Guy Bovet offered an el- We proceeded to San Mateo Yucucuí. through the rest of the day. After our egant program combining serious works October 25, Monday The organ (1743) was never painted but midday meal in Mitla, we zoomed to San of the Spanish repertoire with lighter Participants had the choice of play- is richly carved. The fl oor of the high Dionisio Ocotepec to view one of Oaxa- pieces such as verses from the Sor María ing the organ in La Soledad or going side balcony on which the organ sits is ca’s earliest and most important organs Clara notebook. His program ended on a guided tour of archeological site of much deteriorated, but the custodian (1721). This 4′ stationary instrument, with an improvisation on the Oaxacan Monte Albán with Marcus Winter of had laid down some planks so that par- the INAH (Instituto Nacional de Antro- ticipants could get a closer look at the pologia e Historia). There was free time organ. The situation has been evaluated for the rest of the day until the seventh by the INAH and a repair project is un- concert of the festival presented that der consideration. evening in the Oaxaca Cathedral by Cris- Santa María Tiltepec is one of sev- tina García Banegas. Her concert was eral extant organs located near Yanhuit- varied and exciting, and included pieces lan. Appreciated by art historians for its from the Jesuit mission in Chiquitos, Bo- richly carved façade, this 17th-century livia. There was an excellent turnout for church houses one of Oaxaca’s oldest or- this concert. gans (1703), unique in both its construc- tion technique and whimsical carved and October 26, Tuesday painted decoration. We departed early in the morning for After lunch in Teposcolula, we as- our two-day journey through the Mixteca cended up through the pine forest to Alta. This was only the second time that Santa María Tlaxiaco. Guy Bovet’s pre- a concert had been programmed on the sentation of the eighth and fi nal concert organ in Santa María Tlaxiaco, because of the festival included some of the most its three-hour distance from Oaxaca City stirring pieces of the 17th-century reper- requires an overnight stay. toire and ended with an improvisation on Our fi rst stop was in Santa María the “Canción Mixteca.” This beautiful 8′ Tinú. This small stone church houses an organ, the only 19th-century restored in-
22 THE DIAPASON
May 2011 pp. 20-23.indd 22 4/15/11 8:09:25 AM Cristina García Banegas in Yanhuitlan (photo credit: José Luis Pérez Cruz)
where there was no evidence of former gilding. The IOHIO was not notifi ed of this project and it is being investigated. The organ has a similar profi le to that of Yanhuitlan but was painted a cream color rather than polychromed, probably because of lack of funds at the time of Guy Bovet, Cristina García Banegas, and Marisa Aubert at Tlaxiaco concert (photo the construction. credit: José Luis Pérez Cruz) After lunch, we continued on to San- tiago Teotongo, where we could admire the coming year we look forward to pre- she obtained a B.A. in music and an M.A. the organ as part of one of the most senting more concerts, producing more in European history. She later studied piano splendid Baroque churches in Mexico. CDs, continuing our documentation and performance at the post-graduate level in the School of Music at Indiana University. She The organ seems to date from the mid- conservation project, and writing a book presents organ, piano, and harpsichord con- 18th century because of the resemblance about the Oaxaca organs. So when we certs regularly, many of which benefi t com- of its profi le to the organ in San Mateo organize our Ninth Festival sometime in munity service projects. In the year 2000 she Yucucuí (1743). Even though it lost all its 2012 we will have a lot to celebrate! Q co-founded el Instituto de Órganos Históricos pipes and keyboard during the Mexican de Oaxaca A.C. (IOHIO) and since then has Revolution, the magnifi cent gilded and Cicely Winter grew up in the state of Michi- served as its director. The IOHIO focuses on polychromed case still exists. gan, but has lived in Oaxaca since 1972. She the protection and promotion of the sixty-nine Our Mixtec tour culminated with a studied piano and harpsichord at Smith Col- historic pipe organs known to date in the state visit to the church and organ of Santiago lege and the University of Michigan, where of Oaxaca. Tejupan. This lovely polychromed organ (1776) is the last extant Oaxacan instru- ment to exhibit religious imagery on the case. Even though it no longer has its pipes or keyboard, the community is Antonio de Jesús Hernández and Guy most interested in having it reconstruct- Bovet in Tlacochahuaya (photo credit: José ed some day. The name of the donor, cost Luis Pérez Cruz) of the organ, and date of construction appear inscribed on decorative medal- strument in Oaxaca, offers a broad palette lions on the façade. Just before getting of sound possibilities, which resounded in to the vans to return to Oaxaca City, throughout the beautiful church. Cicely Winter announced that she had a surprise for everyone . . . a visit to one October 27, Wednesday more organ! (just kidding!) After breakfast, we departed for the late pre-classic and classic Mixtec ar- Everyone agreed that the Eighth Fes- cheological site of San Martín Huam- tival was spectacular. All the planning and elulpan for a guided tour by Marcus organizational work beforehand really Winter of the INAH and a visit to the paid off and there were no major glitches, community museum. at least within our control. For the fi rst From there we went to the nearby time, we set up a screen and projected village of San Pedro Mártir Yucuxaco. the concerts in the church below so that The table organ here (1740) is complete the audience could see the organist and and in excellent condition, even though the rest of the activity in the choir loft— its bellows no longer exist. It closely this proved to be enormously successful. resembles the organ in Zautla, though Three of the organ concerts included without the painted decoration, the pieces from the notebook of the Oaxa- carved pipeshades include faces in pro- can nun Sor María Clara del Santísimo fi le, and the keyboard is one of Oaxaca’s Sacramento. The group of participants most exquisite. could not have been more congenial and The open chapel, church, and ex-con- included organists, organbuilders, organ vent in San Pedro y San Pablo Tepos- students, anthropologists, academics, colula comprise one of the most amaz- musicians, teachers, restorers, cultural ing 16th-century Dominican complexes promoters, and other professionals. It in Mexico. A project is nearing conclu- will be a pleasure to maintain contact sion to gild the carved decoration of the with these wonderful new members of 18th-century monumental organ in areas our growing IOHIO community. During
MAY, 2011 23
May 2011 pp. 20-23.indd 23 4/15/11 8:09:45 AM J. S. Bach’s English and French Suites with an emphasis on the Courante Renate McLaughlin
Introduction Religious confl icts brought about the Figure 1. The Courante from French Suite #1, BWV 812 Thirty Years War (1618–1648), which devastated Germany. Reconstruction took at least one hundred years,1 en- compassing the entire lifetime of Bach. The Treaty of Westphalia (1648), which ended the war, gave each sovereign of the over 300 principalities, which make up modern Germany, the right to deter- mine the religion of the area under his (yes, they were all male) control. This resulted in a cultural competition among the numerous sovereigns, and it also led to the importing of French culture and its imitation (recall that Louis XIV, the “Sun King,” reigned from 1643 to 1715). social standing during his entire career!). French Suites and English Suites the importance of these suites in stu- Bach encountered French language, An elite group of professional musicians In the Baroque era, a suite consisted dents’ progress from the Inventions to music, dance, and theater throughout his stood at his disposal,6 and his duties fo- of a collection of dance tunes linked by the Well-Tempered Clavier. formative years. In the cities where Bach cused on secular chamber music. Since the same key and often with some com- (5) Writing in 2000, Christoph Wolff lived, he would have heard frequent per- the court belonged to the reformed mon thematic material. Concerning the stated as a fact that the “so-called” Eng- formances of minuets, gavottes, couran- church, Bach’s employer expected nei- origin of the suite, Bach scholar Albert lish Suites originated in Bach’s later Wei- tes, sarabandes, etc.2 ther liturgical music nor organ music. It Schweitzer believed that the dance suite mar years,22 and that Bach himself used Christoph Wolff has provided addi- is clear from the prefaces that Bach wrote was created by wandering musicians in the perhaps more accurate name “suites tional evidence for Bach’s acquaintance his keyboard works for didactic purpos- the early 17th century who strung to- avec préludes.” Wolff also asserts that with French music and French customs. es—for members of his family and for gether music from different countries. the French Suites were written during In connection with the famous com- his students. Additional evidence for this Town pipers adopted this music and Bach’s years in Cöthen.23 petition between J. S. Bach and Louis is that the Clavierbüchlein for Friede- played sets with at least four move- So by the 1970s, we appear to have Marchand, scheduled to take place in mann (1720) and the Clavierbüchlein for ments: the allemande (German origin), fi gured out the background of Bach’s Dresden in 1717, Wolff wrote that Bach Anna Magdalena (1722) include material courante (French origin), sarabande English and French suites, in spite of would most likely have won the contest.3 from the suites, but in rudimentary form (Spanish origin), and gigue (English Fuller’s comment that discussion about Bach knew thoroughly the stylistic idi- and not in a systematic order.7 origin). Keyboard players adopted these why twelve of Bach’s suites are called oms of the French keyboard repertoire; Howard Schott also noted that the dance suites from the pipers and devel- English and French suites will continue and his own keyboard suites integrated French Suites (BWV 812–817) and the oped the suites further.14 for as long as these suites themselves are genuine French elements from the English Suites (BWV 806–811) belonged Bach brought the suite to its peak by discussed.24 very beginning. He consistently applied to the domestic musical repertoire of the giving each movement a musical identity In total, Bach composed about 45 French terminology, but he also blended Bach family.8 He continued with the as- and personality.15 Each of the six Eng- suites.25 Neither the six French Suites in Italian concerto elements (example: sertion that the English suites are more lish suites and six French suites includes nor the six English Suites were published the prelude to BWV 808). Further, he in- Gallic in style and feeling than their the expected allemande, courante, sara- during Bach’s lifetime, but they were corporated polyphonic writing and fugal French brethren. To mix things up a bit bande, and gigue. (Details on the cou- copied by hand by students and music textures, especially for the concluding more, the preludes in the English suites rante are discussed later in this article.) lovers. Generally, only compositions gigues. As we know, this highly antici- are in Italian concerto-grosso style.9 Each English suite begins with a pre- likely to increase Bach’s stature as a vir- pated contest with Marchand never took On December 3, 1721, shortly after lude, which is followed by an allemande. tuoso were published,26 due to the high place, since Marchand unexpectedly and her wedding as Bach’s second wife, Anna Each French suite begins with an alle- cost of publication. Handwritten copies secretly left Dresden. Magdalena Bach started a notebook of mande. Each suite, English and French, of both the French Suites and the Eng- keyboard compositions.10 She recorded ends with a gigue. Some movements in lish Suites go back to Bach’s early years J. S. Bach’s life—a short version4 the title page and a few headings, but some of the English suites have doubles in Leipzig.27 The towns where Johann Sebastian Bach himself wrote the musical entries. written out—these are the ornamented Manfred Bukofzer devoted an entire Bach lived and his key roles there can be They included fi ve short but sophisticated versions that a Baroque performer would chapter in his book, Music in the Baroque summarized as follows. The context pro- harpsichord suites, which would later be- have played on the repeats. Era, to develop the thesis that Bach fused vided by this list is important, because come the French Suites, BWV 812–816. It is interesting to observe how our national styles.28 He noted that the titles Bach wrote the English and French The undisputed surviving harpsichord knowledge about Bach’s suites has in- “English” suites and “French” suites are suites fairly early in his career. and clavichord works written during the creased in recent years by comparing misleading (as well as not authentic):29 Eisenach: born March 21, 1685 Cöthen years are:11 what has been written about them at dif- the suites were no longer tied to dance Ohrdruf: 1695–1700, stayed with old- Clavier Book for Wilhelm Friedemann ferent times. The following comments, music, and only a skeleton of rhythmic er brother Clavier Book for Anna Magdalena listed in chronological order, start with patterns had survived. They had become Lüneburg: 1700–1702, Choral Scholar The Well-Tempered Clavier wild guesses and uncertainty and end abstract art music. (By the way, Bukofzer Arnstadt: 1703–1707, Organist (New 15 Inventions with reasonable certainty about what we claimed that both sets of suites belong to Church) 15 Sinfonias. must currently regard as the truth. the Cöthen period, and that on stylistic Mühlhausen: 1707–1708, Organist and Further evidence that Bach wrote the (1) Writing in 1950, Alfred Kreutz, grounds, the English Suites were com- Town Musician (St. Blasius) keyboard pieces listed above, as well as the editor of the English Suites for C. F. posed fi rst.30) Weimar: 1708–1717, Ducal Court the French and English suites, as peda- Peters Corporation, followed Forkel in Bukofzer stated that “in the French Organist and chamber musician, then gogical pieces for his family and his stu- asserting that the English Suites were suites Italian, French, and German styles Concertmaster dents (and not to gain favor with particu- written for a noble Englishman. But he no longer stand side by side but wholly Cöthen: 1717–1723, Capellmeister lar members of the royalty) was provided also conceded that if the English Suites merge with Bach’s personal style.”31 He for Prince Leopold by one of Bach’s students, H. N. Gerber. had been commissioned, we should be also observed that the melodic character Leipzig: 1723–1750, Cantor and Di- Gerber studied with Bach in Leipzig and able to fi nd some trace of this. He then of the dances in the French Suites leans rector Musices (the dual title refl ects the left an account of Bach as a keyboard mused that the English Suites might toward the Italian style. split in the town council of Leipzig) teacher. According to Gerber, keyboard vaguely follow some musical work pub- Leipzig: died July 28, 1750 students started with the Inventions lished in England, and he listed works A surprise about the courante and the French and English suites, and by Purcell, Händel, and Dieupart as Anthony Newman’s book on Bach The keyboard music (other than or- they concluded with the 48 preludes and candidates.16 and the Baroque includes a chapter en- gan music) by J. S. Bach fugues in the Well-Tempered Clavier.12 (2) Writing in 1954, Bach scholar Al- titled Dance Music, which incorporates Bach wrote most of his music for key- Current scholarship indicates that the bert Schweitzer stated that both the a section on the courante.32 He explains board (clavichord and harpsichord) dur- English Suites were composed in Bach’s English and the French suites were com- that there are two types of courante in ing his years in Cöthen (1717–1723).5 He Weimar years (1708–1717), and the posed during Bach’s years in Cöthen.17 Baroque instrumental music: the cor- served the court as Capellmeister and French Suites were composed later, dur- (3) In 1957, Rudolf Steglich, in his rente of Italian origin and the courante director of chamber music (the highest ing his years in Cöthen.13 preface to the Henle edition of the Eng- of French origin. The corrente is a quick lish Suites, wrote that Bach referred to dance in triple meter, usually 3/8; the these suites as “suites avec préludes.”18 courante is a slower dance, described The notation, “faites pour les Anglois,” as solemn and majestic, often in 3/2 fi rst appeared in a copy of these suites meter. As a ballroom dance, the minuet ERTIFIED PPRAISALS belonging to Johann Christian Bach, the replaced the courante by 1660.33 But C A “London Bach.”19 In the same preface, because of its “rhythmic grace and com- Steglich stated that the English Suites plexity,” the courante remained popular Collections of organ books, recordings, and music are more in the style of the young Bach in instrumental music throughout the than the “more elegant” French Suites.20 Baroque period. Newman considered for gift, tax, and estate purposes No autographs have survived. the courante as the most subtle and com- (4) In 1972, the same Rudolf Steg- plex member of the dance suite. He also lich claimed in his preface to the Henle pointed out that both the courante and Stephen L. Pinel, Appraiser edition of the French Suites that these the corrente are often labeled as cou- suites were written in Cöthen,21 and that rante. [See Figures 1 and 2.] [email protected] / (609) 448-8427 the name “French Suites” was attached Philipp Spitta also commented on later. Many copies of the suites (but no the two styles of courante. He counted autograph) have survived, attesting to Bach’s French Suites and English Suites
24 THE DIAPASON
May 2011 pp. 24-25.indd 24 4/14/11 10:07:14 AM Figure 2. The Courante from French Suite #5, BWV 816. This courante has the characteristics of a corrente. sic with special emphasis on the music of J. S. Bach (New York: Pendragon Press, 1985), 142. 33. Ibid. 34. Philipp Spitta, Johann Sebastian Bach: His work and infl uence on the music of Ger- many, 1685–1750 (translated from the Ger- man by Clara Bell and J. S. Fuller-Maitland) (New York: Dover Publications, 1951), Vol. II, 84. 35. Ibid., 85. 36. Nicolas Slonimsky, Webster’s New World Dictionary of Music, ed. Richard Kassel (Indianapolis: Wiley Publishing, Inc., 1998), 106. among Bach’s most important works.34 piece is a good indication of how the mu- 6, Wolff, Johann Sebastian Bach, 188. 37. Ibid., 103. According to Spitta, the Italian form of sic should be played, this is not the case 7. Ibid., 218. 38. The Harvard Dictionary of Music the courante (i.e., the corrente) would with the courante, since the Italian form 8. Howard Schott, Playing the Harpsi- (fourth edition, ed. Don Michael Randel) normally have been replaced by the (quick and “running” character) often is chord (New York: St. Martin’s Press, 1971), (Cambridge, Massachusetts, and London, French form, except that it was too fi rm- found with the French (solemn charac- 72. England: The Belknap Press of Harvard Uni- ly settled to be driven out—“thus there ter) name. 9. Ibid., 73. versity Press, 2003), 221. 10. Wolff, Johann Sebastian Bach, 218. 39. Little and Jenne, Dance and the Music existed side by side two utterly different Little concrete information is avail- 11. Ibid., 231. of J. S. Bach, 140. types [of courante]. It would be well to able about the tempo at which a cou- 12. Ibid., 329. 40. Ibid., 124. distinguish once and for all between the rante should be played. All we know for 13. Little and Jenne, Dance and the Music 41. Ibid., 123. corrente and the courante.”35 sure is that some courantes are faster of J. S. Bach, Appendix A. 42. Meredith Ellis Little and Suzanne G. Webster’s New World Dictionary of than others:49 François Couperin wrote 14. Albert Schweitzer, Johann Sebastian Cusick, “Courante.” The New Grove Diction- Music defi nes the courante as a stately courantes with the tempo notations Bach (Leipzig: VEB Breitkopf & Härtel ary of Music and Musicians, ed. Stanley Sa- and courtly old French dance in triple “noblement,” “un peu plus viste,” “un Musikverlag, 1954), 284. die and John Tyrrell (2nd ed. rev.) (London: meter, of moderate tempo and with peu plus gayement;” Nicholas-Antoine 15. Ibid., 285. Macmillan; New York: Grove’s Dictionaries, much melodic ornamentation.36 The cor- Lebègue wrote a “courante grave” fol- 16. J. S. Bach, Englische Suiten 1–3, BWV 2001), Vol. 6, 604. 806–808 (Urtext, ed. A. Kreutz) (New York: 43. Little and Jenne, Dance and the Music rente is defi ned as an Italian variant of lowed by a “courante gaye”—all in the Edition Peters, 1951), III. of J. S. Bach, 123. the French courante, with a faster tempo French style. 17. Schweitzer, J. S. Bach, 284. 37 44. Frederick Dorian, The History of Music and less fl orid ornamentation. Typically, In the courante, notes inégales, 18. J. S. Bach, Englische Suiten 4–6, BWV in Performance (New York: W. W. Norton & a courante is notated in 3/2 meter with a when appropriate, are on the 8th-note 809–811 (Urtext, ed. R. Steglich) (München: Company, 1942), 116–117. tendency to hemiolas that combine 6/4 level.50 According to Little and Jenne, G. Henle Verlag, 1957), Preface. 45. Newman, Bach and the Baroque, 203. and 3/2 accent patterns. It also tends to- notes inégales may be appropriate in 19. Ibid. 46. Fritz Rothschild, Vergessene Tradition ward polyphony. In contrast, a corrente Courante I in the English Suite in A 20. Ibid. in der Musik (Zürich: Atlantis Verlag, 1964), uses a fast triple meter (3/4 or 3/8) and is Major (BWV 806).51 [However, I have 21. J. S. Bach, Französische Suiten, BWV 170. generally homophonic.38 never heard anyone perform a couran- 812–817 (Urtext, ed. R. Steglich) (München: 47. Ibid., 174. G. Henle Verlag, 1972), III. 48. Robert Donington, The Interpretation Four of Bach’s French Suites include te using notes inégales.] 22. Wolff, Johann Sebastian Bach, 168. of Early Music (New York: St. Martin’s Press, correntes (labeled as courantes). They Concerning performance of the cou- 23. Ibid., 196. 1974), 103. are small masterpieces with more bal- rante, Rudolf Steglich, the editor of 24. David Fuller, “Suite.” The New Grove 49. Little and Jenne, Dance and the Music ance and a more obvious sense of con- the Henle edition of the French Suites, Dictionary of Music and Musicians, ed. of J. S. Bach, 115. tinuity than the correntes in the suites paraphrased Mattheson (Bach’s contem- Stanley Sadie and John Tyrrell (2nd ed. rev.) 50. Ibid., 121. for solo violin or solo cello.39 Most have porary in Hamburg) and J. G. Walther (London: Macmillan; New York: Grove’s Dic- 51. Ibid., 124. a slow harmonic movement, implying a (Bach’s cousin and author of a musical tionaries, 2001), Vol. 24, 680. 52. Bach, Englische Suiten 4–6, Preface. fast tempo. All of Bach’s English Suites encyclopedia). Steglich stated that the 25. Ibid., 679. 53. Ibid. 40 26. Schweitzer, J. S. Bach, 283. 54. Bach, Englische Suiten 1–3, III. include French courantes. All of Bach’s courante was originally a French ball- 27. Ibid., 284. French courantes possess a time signa- room dance “but now (under Italian in- 28. Bukofzer, Music in the Baroque Era, Renate McLaughlin has had a lifelong ture of 3/2, except for the one in BWV fl uence) is a dance tune either in graceful, 260–305. interest in organ music. She retired from a 814 (French Suite III), where the time lightly fl owing 3/4 time, or in an equally 29. Ibid., 288. career as mathematics professor and univer- signature is 6/4.41 lilting yet ‘extremely serious’ rhythm. . . . 30. Ibid. sity administrator in order to study music. In Grove, Little and Cusick state fl atly There is always something pleasing and 31. Ibid. She is now a senior, majoring in organ per- that “many of Bach’s ‘courante’ move- delightful about it.” He did not mention 32. Anthony Newman, Bach and the Ba- formance, and is looking forward to gradu- ments are actually correntes.”42 The mix- the fact that the French Suites include roque: A performance guide to Baroque mu- ate school next fall. up between courantes and correntes may both courantes and correntes, which re- have been caused by early editors. It is quire rather different interpretation! interesting that Bach did not use the cou- Questions about ornamentation im- rante as a basis for works outside the realm pact the interpretation of music. Unfor- INCE 1979, we have of suites: we know of no courante arias or tunately, there is no consistency in the choruses in his other compositions.43 surviving copies of the French and Eng- designed and built over How much our knowledge of perfor- lish suites, since at Bach’s time the nota- 120 new pipe organs for mance practices and the history of our tion for ornaments was not systematized S music has increased in recent years is in detail.52 clients in Australia, Austria, made evident in Frederick Dorian’s sec- Rudolf Steglich wrote about the cou- New Zealand, England, tion on the courante.44 His book was pub- rantes in the last three English Suites lished in 1942 and includes a preface by that they are to be played in fl owing Canada and the United States. Eugene Ormandy. In the book, Dorian movements of three half-notes (not six Our instruments, whether cited the confl icting descriptions for the quarter-notes), and that the change of courante. For example, Shakespeare rhythm to two-part time at the close of tracker or electric action, have called it “swift” and Quantz called it the sections is to be observed.53 been praised for their rugged “pompous.” But Dorian ascribed the dif- Alfred Kreutz, editor of the English construction, comfortable ferent descriptions to the development of Suites for Peters Verlag, wrote that he de- Opus 116 the courante over time. He gave no hint liberately gave no indications of tempo or consoles, responsive key that there might have been two national dynamics, since this could only be done actions and tonal integrity. styles (Italian and French) that co-ex- subjectively due to a lack of sources.54 isted. Instead, he merely attributed the It appears that the best we can do New cases, keyboards, two different time signatures for couran- is to learn as much as we can about windchests, reservoirs and tes/correntes to lighter or heavier accents Bach’s suites, and the courantes in par- and considered 80 beats per minute as an ticular, but then rely on our musical pipes are all built from raw appropriate tempo for both types. taste, the particular instrument, and materials within our two the acoustics of the room to do justice Performance considerations to the compositions. workshops located in Saint- Anthony Newman wrote45 that with only Hyacinthe, Québec. Our team notes on a page, it is almost impossible for Conclusion a performer to “give the proper energy to We can accept as a fact that Baroque of experienced builders also the music.” Performers who played under movements labeled as courante fall restores and rebuilds older composers who insisted that their music into two different categories: the swift should be played exactly as written report corrente of Italian origin with running instruments to make them that in actuality the composers did not fol- fi guration and slow harmonic motion, sound and play better than ever. Opus 118 low their own instructions (Newman cites and the complex and slower courante of Stravinsky as an example). French origin. Exactly how each is per- In the space of less than half a page formed depends on the knowledge and and without a comment, Fritz Roth- good taste of the performer. Q schild quoted confl icting sources, LÉTOURNEAU PIPE ORGANS which stated that the courante should Notes be played quickly and that it should be 1. Meredith Little and Natalie Jenne, Dance and the Music of J. S. Bach (expanded USA Canada played “seriously” [Der Couranten-Tact 1220 L Street NW 16 355, avenue Savoie ist der allerernsthaffsteste [sic] den man edition) (Bloomington and Indianapolis: In- 46 diana University Press, 2001), 3. Suite 100 – Box 200 St-Hyacinthe, Québec fi nden kann]. In addition, he gave sev- 2. Ibid., 4. Washington, DC J2T 3N1 eral musical examples where he marked 3. Christoph Wolff, Johann Sebastian Bach: 47 20005-4018 Tel: 450-774-2698 the locations of the beats in the score The Learned Musician (New York and Lon- Tel: 800-625-PIPE Fax: 450-774-3008 and clearly did not distinguish a corrente don: W. W. Norton & Company, 2000), 182. Fax: 202-737-1818 [email protected] from a courante, indicating a slow tempo 4. Ibid., ix–x. [email protected] www.letourneauorgans.com for the corrente! 5. Manfred F. Bukofzer, Music in the Ba- Robert Donington48 observed that roque Era: from Monteverdi to Bach (New while normally in suites the title of a York: W. W. Norton & Company, 1947), 282.
MAY, 2011 25
May 2011 pp. 24-25.indd 25 4/14/11 10:07:39 AM The Evolution of American Choral Music: Roots, Trends, and Composers before the 20th Century James McCray
I hear America singing, the varied car- such as Chester, A Virgin Unspotted, ols I hear. David’s Lamentation, Kittery, I Am the —Walt Whitman Rose of Sharon, and The Lord Is Ris’n Leaves of Grass1 Indeed received numerous performanc- es in concerts by church, school, com- Prologue munity, and professional choirs. Billings Unlike political history, American cho- generally is acknowledged to be the most ral music did not immediately burst forth gifted of the “singing school” composers with signifi cant people and events. Choral of eighteenth-century America. His style, music certainly existed in America since somewhat typical of the period, employs the Colonial Period, but it was not until fuguing tunes, unorthodox voice lead- the twentieth century that its impact was ing, open-fi fth cadences, melodic writing signifi cant. The last half of the twentieth in each of the parts, and some surpris- century saw an explosion of interest in ing harmonies.11 By 1787 his music was choral music unprecedented in the his- widely known across America. tory of the country. American choral mu- Billings was an interesting personal- sic came of age on a truly national level, ity as well. Because out-of-tune singing and through the expansion of music edu- was a serious problem, he added a ’cello cation, technology, professional organiza- to double the lowest part.12 He had a tions, and available materials, the interest “church choir,” but that policy met re- in choral singing escalated dramatically. sistance from aging deacons, although It is possible to trace the history of by 1779 a gallery was placed in the American choral music from its two most church for “the singers”. It was Billings basic perspectives: who proclaimed: 1. Music that had a functional purpose (sacred) He who fi nds himself gifted with a tun- 2. Music created for artistic purposes able voice, and yet neglects to cultivate it, (secular) not only hides in the earth a talent of the highest value, but robs himself of that pe- In the early days of America, issues culiar pleasure, of which they only are con- such as food, shelter, and clothing were scious who exercise that faculty.13 foremost in the minds of the people. As William Billings, The New England Psalm-Singer, frontispiece engraved by Paul Revere America became more affl uent, the need It would seem that problems often faced for greater diversions increased. Music’s of a general negative attitude toward the Overview: the 18th century by today’s church choir directors were purposes reached beyond the amateur, arts, it nevertheless remains that their As the eighteenth century progressed, also present in the eighteenth century. and geographical tastes dictated ever- practice of church music could be sung in New England established a more solid, Extensive research in the music of this unison without accompaniment, and noth- changing styles and requirements. 4 humanized social identity, and it is here period has provided contemporary con- Of course the true native Americans ing more. where the true “art music” had its foun- ductors with understanding of the style, were American Indians, but their music The early pioneers who came to this dations. European thinking continued to and background for performance. Two remained localized. As an oral tradition, country brought with them two types of dominate the music, but because Ameri- important studies are Alan C. Buechner, preservation through notation was not music: religious and folk. Both played can amateurs were the creators and Yankee Singing School and the Golden a major factor. They and their culture major roles in the musical milieu, but re-creators, a less professional posture Age of Choral Music in New England, became a minority, and, in many regret- the functional need for church music evolved. These stalwart American com- 1760-1800,14 and Dickson D. Bruce, And table ways, an unfortunate footnote in helped promote choral works. Nearly posers began to create a new personality They All Sang Hallelujah: Plain-Folk American music history. For a detailed forgotten are the Huguenot settlements that represented their culture. Camp-Meeting Religion, 1800–1845.15 account of this true American music in Florida, which occurred almost fi fty Some of these “native” American mu- see Daniel Kingman, American Music: years before the landing of the Pilgrims; sicians are familiar to today’s choral di- Overview: the 19th century A Panorama,2 and “Native Pioneers” in their music was transplanted and cer- rectors, not because of the compelling In the late nineteenth century, a group Gilbert Chase’s American Music.3 Their tainly not an original American style. quality of their music, but more often as of composers came to be known as “The infl uence on the development of Ameri- The Puritans in seventeenth-century an historical contrast to the sophisticated Second New England School.” They in- can choral music is negligible, although New England imported the Psalm-sing- European music of that time. It is highly cluded George W. Chadwick (1854– twentieth-century composers have em- ing traditions of the Reformation. Since doubtful that most conductors who pro- 1931), Arthur Foote (1853–1937), ployed some of its characteristics in se- religion dominated their lives and the gram early American choral music do Mrs. H.H.A. Beach (1867–1944), and lected works. lives of everyone in the community so because they and their audiences are Horatio Parker (1863–1937). Parker, The veritable seeds of American mu- even if they were not members of the attracted to the beauty and ingenuity professor of music at Yale from 1894– sic can be found in the religious tradi- church, religious music naturally took of the music, but then that is true with 1919, was possibly the most important tions carried to the new world by trans- precedence over that of the secular many types of concert music. A high American choral composer of the cen- planted Europeans. The settlers came world. Percy Scholes, in The Puritans quality level of this music should not be tury. He, like many Americans, had been seeking religious freedom, but, in so and Music in England and New Eng- expected—these composers were “Yan- trained in Europe (Munich). His orato- doing, they helped create a narrowly fo- land, corrected the unfortunate stereo- kee tunesmiths”,6 as labeled by H. Wiley rio, Hora Novissima (1891), is a major cused view of choral music, which took type of the Puritans as being universally Hitchcock, because they did not have the work that established his place in the many years to nurture and broaden. In a opposed to music and the fi ne arts in cultural development and training of their history of American music. After its 1893 penetrating study, The Anthem in Eng- general.5 Folk music was used on spe- professional European counterparts. performances in New York, Boston, and land and America by Elwyn A. Wien- cial occasions, but church music was Some of the early American compos- Cincinnati, in 1899 it became the fi rst andt and Robert H. Young, the authors always present. The folk music that ers whose music remains modestly pres- work by an American to be performed point out: survived continued to be transformed ent in today’s choral repertoire include: at the famous Three Choirs Festival in throughout succeeding generations, Supply Belcher (1751–1836) Worcester, England. This resulted in Austerity also characterized Puritan re- and American folk art prospered and William Billings (1746–1800) commissions for prestigious English ligious musical expression. While it is true changed during the growth and expan- Elkanah Kelsay Dare (1782–1826) choir festivals and the acceptance of an that Puritans have been unjustly accused sion of the new civilization. Jacob French (1754–1817) American compositional school by the Christian Gregor (1723–1801) international community. Uri K. Hill (1802–1875) Parker’s music is rarely performed Oliver Holden (1765–1844) today and exhibits Teutonic rather than Jeremiah Ingalls (1764–1838) American tendencies, yet his infl uence Stephen Jenks (1772–1856) through his teaching of such noted com- Justin Morgan (1747–1738) posers as Douglas Moore (1892–1969), Timothy Olmstead (1759–1848) Quincy Porter (1897–1966), and the Daniel Read (1757–1856), and quixotic Charles Ives (1874–1954), in- Timothy Swan (1758–1842). directly makes him the father of twen- They had professions other than music. tieth-century American choral music. For example, Supply Belcher was a tavern Parker, and to a somewhat lesser degree keeper; William Billings, a tanner; Oliver Dudley Buck (1839–1909), serve as Holden, a carpenter; Justin Morgan, a transitional fi gures from the rudimen- horse breeder; and Daniel Read, a comb tary choral music that preceded them, maker. Their music is available in per- to the more solid styles and schools that forming editions because of the research came after them. In teaching Charles and effort of musicians in the last half of Ives, Parker’s conservatism proved to AHIGHER L EVEL of E XCELLENCE the twentieth century such as Leonard be more negative than positive, and Van Camp,7 Irving Lowens,8 Lawrence Ives eventually abandoned the Roman- Bennett,9 Kurt Stone,10 and others. tic spirit and style of Parker to become Great musicians need extraordinary instruments Today it is William Billings whose America’s fi rst great composer.16 music receives the greatest frequency Parker, a dedicated musician, wrote in to deliver magnificent performances. of performance, and he has become a a variety of genres, including orchestral standard representative for music of this and operatic; however, it is in church P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com period. The year 2000 was the 200th an- music where his contributions seem to niversary of his death, and choral works be most recognized. Erik Routley boldly
26 THE DIAPASON
May 2011 pp. 26-29.indd 26 4/14/11 10:08:31 AM Jeremiah Ingalls, Northfield fuguing tune larly in the North, there was a need to been traced from as early as the beginning have more refi ned music than that in of the Christian era, but the various spell- the standard “native” American reper- ings, forms and meanings in English begin tory. Stevenson explains: much later, perhaps not until around the eleventh century.25 Already by 1850 the American denomi- Of special musicological interest nations had so drawn their social lines that is the word “antine,” which was used some ministered to the wealthy and elite in American music in the early years. in big cities, while others served the com- mon folk on farms and frontiers. Speaking Kingman states: of one ‘elite’ denomination in a course of historical lectures given at Berlin in 1854, There is no such word in English usage. Philip Schaff claimed that the Protes- Baring-Gould, collector of the fi rst ver- tant Episcopal Church had addressed it- sions using it, postulates that it is a corrup- self ‘heretofore almost exclusively to the tion of the French antienne, which means higher classes of society, and had rather “antiphon.” Since an antiphon is a piece of discouraged the poor man from joining liturgical music, the image of every grove ringing ‘with a merry antine’ is a plausible it.’ With such a constituency, the music 26 published for use in Episcopal churches and indeed a rather happy one. at mid-century sounded quite a different note from that prevailing in publications As stated earlier, the concept of the for frontier churches, or even for middle- anthem was brought to this country. In class urban churches.23 the 1760s the publication of American anthems by “native” composers (Francis Church repertoire Hopkinson [1737–91] and James Lyon Arguments persisted regarding the [1735–94]) led the way to an ever-expand- function of a church choir. Some felt ing market of this genre. In most churches that it should be to assist congregational today, the anthem serves as the standard states that Parker’s Mount Zion is “prob- ing music of merit were the Methodists, singing, while others wanted a group that presentation of choir performance. It be- ably one of the best hymn tunes of its the Episcopalians, and the Presbyterians. had its own identity and quality. These came a work of several pages’ duration age.”17 His musical style, prudent and Men such as James Lyon (1735–1794) opinions on choir function have not based on a scriptural or poetic text that old-fashioned, still represented an el- and William Tuckey (1708–1781) ceased, and even at the beginning of the may or may not be accompanied and al- evation in the quality level of American helped develop church music through twenty-fi rst century, impassioned cries of most always is in English. choral music at the end of that century. composition, but their choral contribu- support or lack-of-support can be heard In European Catholic churches, com- He had developed a solid craft that gave tions were not particularly important. from some denominations and/or mem- plete musical Masses were at one time his music more depth than others of his The use of organs in churches was mildly bers within them. After 1865 churches very common, but today they are rare generation or before. His ability to write controversial in some denominations, developed their own hymnals, so that and generally found only in large and in larger forms raised the appreciation of but eventually that came to be common styles of music associated with certain very musically active churches; even the American composer in the interna- practice for most. Part of the problem denominations became even more es- then, they may only be used on special tional forum. was fi nding someone who could play the tablished. Congregational singing always occasions. Catholic churches through- The only other truly signifi cant Ameri- organ. According to Irving Lowens, was important, but stylistic differences at out America most often celebrate Mass can choral composer between Billings this time were not limited to the Protes- with brief musical intonations by a priest and Parker was Dudley Buck. Typical As late as 1714, when after much dis- tant churches, and in the late twentieth and congregational singing. Those choirs of many nineteenth-century American cussion an organ imported three years century, even the Roman Catholic hym- may prepare special music, such as an composers, Buck studied in Europe. As earlier by Thomas Brattle was installed in nals moved toward a more folk-like or anthem, but their primary function is to Boston’s King’s Chapel, an organist had to with Horatio Parker, Buck wrote useful, be brought from England to Play skillfully gospel-style inclusion. help with congregational singing. yet conservative, anthems employing thereon with a loud noise.22 In most American churches today, the In many Protestant denominations solo quartets in alternation with the full anthem serves as the standard vehicle for choral singing is used in other places chorus. Before 1870 it was customary to As in the preceding century, Protestant choir performances. As traced by Wien- in the service (introits, responses, etc.). write anthems for solo quartet without church music was the primary vehicle for andt and Young,24 its history has been Some do not employ the term anthem, the choir, and Buck had a “concern for choral music in America during the nine- long and varied. It is not an American but, even if called special music or some the differing characteristics of quartet teenth century. Much of the music was invention, but its development and use other term, its function is that of an an- and choral music.”18 He composed in all developed through music collections, was an important factor in the spread them. Often ministers and church choir musical forms and was highly regarded and often these publications contained of choral music. The anthem is an Eng- directors differ on the function of the in his lifetime. Wienandt and Young sug- European music, which helped to make lish derivative of the Latin motet, and as choir. For many ministers, church choirs gest that: them more commercially profi table. such was more musically complex than are, above all, a help for congregational Of the composers not previously men- simple hymns sung by the congregation; singing, and the preparation of an an- Although Dudley Buck was not a threat tioned, some of the most important were therefore, more accomplished singers them is a bonus; for most church choir to the superiority of European composi- William B. Bradbury (1816–1868), and preparations were needed for use in conductors, the opposite may be true. tion, he was the best that America could George Kingsley (1811–1884), Joseph the service, and that concept has been in Regardless of their intended function, then bring to the fi eld of church music. . . . The American examples of this period are P. Holbrook (1822–1888), Thomas existence since ancient times. church choirs that have been successful shabby at best. 19 Hastings (1784–1872), and George K. serve in both capacities, and, for most Jackson (1745–1823). The word may be followed back to people, the blending of these functions There were, however, productive and In the fi rst half of the century, Eu- various forms of Antiphon, a term denot- has been benefi cial. relatively important nineteenth-century ropean music dominated concert halls ing the category of plainsong sung before The rise of choral music in America and after psalms and canticles. It was the composers in other fi elds of music. Men and other professional musical venues, function of antiphons to amplify the text of owes much to congregational singing. such as Louis Moreau Gottschalk but American church music fl ourished. scriptural material to which they were at- Congregational response has long been a (1829–1869), Stephen Foster (1825– Anthem collections by American com- tached. They were numerous because such part of liturgy. Group singing in worship 1894) and Edward MacDowell (1861– posers steadily increased. However, as scriptural sections were used several times has been a vital part in the development 1908) were successful in their areas of the sophistication levels rose, particu- each day. References to the antiphon have of choral music, especially in America. interest. Gottschalk’s music is considered to be among the best of the century. As a piano virtuoso, he toured Europe exten- sively. His adaptation of Creole melodies Region III Convention brought elements of the New World into the salons and concert halls of Europe Harrisburg, PA Chapter AGO and South America. This paved the way for the acceptance of an American style, which, even today, is very elusive.20 Invites You to Join Us for Undoubtedly, the most prominent choral musician of this middle period was Lowell Mason (1792–1872), al- though his primary compositional con- “A Capital Event" tributions were in hymns and singing books. He helped fashion a more refi ned June27Ǧ30,2011 style of American hymnody, different from the popular camp meeting songs of the time. His vital gift, however, was 11 Recitalists, featuring: Hilton Harrisburg Hotel is the Convention Headquarters in the development and advancement Hector Olivera offering a low hotel rate of $99.00 (plus tax) per night. of music education. His career reached Diane Meredith Belcher a pinnacle in 1838 when he became the Boston Superintendent of Public School Craig Cramer Registration includes admission and transportation to all Music, which was the fi rst such position Shelly Moorman-Stahlman events, a ticket to the Hector Olivera Recital, in the United States.21 Rhonda Sider Edgington plus three meals. For choral music, though, it was the church that continued to provide the Marcus Krieger Mark Laubach Register at: backbone for growth. Protestant Church harrisburgago.com/RegionalConvention2011.htm Music in America, by Robert Stevenson, John Tuttle is a brief but very thorough survey of people and movements from 1564 to the Commissioned Organ Works by: “Stars of the Future” Recital present. Throughout the eighteenth and Robert Lau Young recitalists from Curtis, Peabody, nineteenth centuries, there was a steady and Westminster Choir College rise in denominations and numbers of Jeremy Gill churches in America. Each had its own Scott Eggert perspective on what was needed musical- Email: [email protected] ly for their services of worship. Some of 18 Workshops the more active denominations produc-
MAY, 2011 27
May 2011 pp. 26-29.indd 27 4/14/11 10:08:56 AM The prevailing aspect of congregational Black spirituals, white spirituals, Dudley Buck, Thou wilt keep him in perfect peace singing can be found in hymnody. Briefl y, and gospel song hymnody was an outgrowth of plainsong In the South, hymnody progressed in and originally a monastic technique. Mu- different directions. Folk hymnody was sical hymns were melodies that were, at a rural development that heavily relied fi rst, associated with the daily offi ces; on the shape-note tradition; this focused they most often were Psalms, but other on assisting uneducated people to learn Scriptural texts were used as well. Their how to sing. George Pullen Jackson has use continued to expand throughout the been a leader in tracing the history of early centuries of Christianity, and in the folk hymnody; he has authored three hands of Martin Luther (1483–1546) books dealing with the music and style congregational hymnody became a ma- associated with this genre.30 The white jor segment of worship services in the spiritual was a term sometimes used for Reformation. Melodies popular with the the hymnody of white settlers in south- people thrived, and it is in this context ern states. Music books for this hym- that American hymnody took shape.27 nody often use “shape note” characters Erik Routley, in The Music of Chris- to assist in reading the music. There tian Hymns, states: were many publications of music which helped spread the shape-note concept. The American tradition of hymnody falls Some of those that merit attention in- into clearly defi ned streams which before clude John Wyeth, Repository of Sacred 1900 were culturally separate, and which Music (1810),31 Ananias Davisson, Ken- during the 20th century began to infl uence 32 each other . . . We classify these streams as tucky Harmony (1816), William Walk- er, Southern Harmony,33 B.F. White and (1) the New England Style (2) the South- 34 ern Folk Hymnody (3) the Black Spiritual E.J. King, Sacred Harp. and (4) the Gospel Song. 28 Black spirituals were transmitted through oral tradition. The fi rst black The New England tradition of hym- college, Fisk University, began in 1866. Most of the early Moravian composers New England fi lled their quotas of sing- nody was an outgrowth of Psalm singing, A group of student singers known as The were clergymen who wrote music appar- ers, and each had a local leader who had especially linked to the Scottish Psalter Jubilee Singers toured America, England, ently as easily as they did sermons. . . . The been instructed in the tempos so that ev- and the Ainsworth Psalter. America’s and other European countries. They were anthems and songs created by the Moravi- eryone was well prepared when they met fi rst printed book, the 1640 Bay Psalm responsible for spreading the knowledge ans were infl uenced primarily by contem- together to perform. 35 porary musical trends of Central Europe. Book, attempted to replace those psal- and interest in Negro spirituals. Since most of the choral and vocal music There were world’s fairs held in Phila- ters, and did so for many generations. An The gospel song was, as Routley by American Moravians is conceived for delphia in 1876 and Chicago in 1893, and important feature of the New England indicates: mixed voices accompanied by instruments, singing played an important part at these tradition was the establishment of sing- it is quite different both in structure and international events. For the centennial, ing schools. The intent was to improve Hymnody reduced to its simplest terms, content from other sacred music written in new choral works were commissioned congregational singing, but they also can it is cast in the form either of a solo song, or 18th-century America.37 from John Knowles Paine (A Centen- of a solo song with refrain, and this it has in be seen as an endemic factor in the de- 36 nial Hymn, text by John Greenleaf Whit- velopment of choral music in America, common with the Black Spiritual. Their musical past has been preserved tier) and Dudley Buck (The Centennial because as singing improved, so did the and made available through defi nitive Meditation of Columbia, text by Sidney need for music other than simple hymns. This style of hymnody grew out of the editions released under the title Moramus Lanier). Chicago’s 1893 World’s Co- In many ways, the interest in the sing- revivals that were particularly popular Editions. Three of the more signifi cant lumbian Exposition (which presented ing schools led the way for church choirs. in the South in the nineteenth cen- American composers were John Antes 36 choral concerts) featured music per- For example, through diligent rehearsals tury. Evangelistic music existed in the (1740–1811), Johann Friedrich Peter formed by some of the younger American in the meeting houses, congregational 1730s and is associated with Jonathan (1746–1813), and Johannes Herbst composers, including G.W. Chadwick, members grew musically profi cient and Edwards (1703–1758), but the true (1735–1812). Peter, perhaps the most Edward MacDowell, and Arthur Foote. sought special recognition; eventually, gospel songs became a formidable style outstanding of the Moravian composers, Female composers were represented in people with training sat and performed around 1859. Typically, they sustain wrote over 100 anthems and arias, as well a concert heralding the opening of the together in the church’s “gallery,” today one chord for an entire measure and as six string quintets in 1789, which may Woman’s Building, including music by called the choir loft. remain restricted to the three basic be the earliest extant examples of Ameri- Mrs. H.H.A. Beach.38 triads of tonic, subdominant, and domi- can chamber music. Antes composed Another important development that Musical literacy infl uences nant. This permitted strong rhythmic twenty-fi ve sacred anthems and twelve fostered choral singing in America was Two important early writers were fl uctuations and improvisation, which chorales, and possibly made the earliest the establishment of music schools and Thomas Walter (1696–1725) and John helped generate and intensify the emo- violin in America in 1759. conservatories. Oberlin College had a Tufts (1689–1750). Walter’s pioneer tional drive, a primary feature of evan- Chair of Sacred Music in 1835. The fi rst book of instruction, The Grounds and gelistic denominations. Whereas the New secular directions music courses at America’s oldest institu- Rules of Musick Explained (1721), tried other three streams of hymnody (New Less dominant infl uences on the tion, Harvard College, were not offered to provide rules and methods for sight- England style, Southern folk hymnody, growth of choral music in America may until 1862. Other beginnings of note reading tunes. Tufts’ An Introduction to and Black spiritual) have roots in for- be seen in the development of secular were: 1865, Oberlin Music Conservato- the Singing of Psalm-Tunes in a Plain and eign cultures, gospel music seems to be organizations and events. A product of ry; 1867, New England Conservatory of Easy Method was also available in 1721, an American contribution. the singing schools, for example, was the Music; 1867, Cincinnati Conservatory of and he tried to instruct through letters One of many religious groups that formation of music clubs. Organizations Music and the Chicago Musical College. instead of notes.29 came to America and developed a music such as the Stoughton Musical Society These American schools did not elimi- Throughout the eighteenth century, for their denomination was the Shakers, developed by 1786 and Boston’s Handel nate the continuing process of seeking a singing schools and singing school teach- although this folk-like music was unison, and Haydn Society, which began in 1815, European musical education, but as they ers brought music to interested people. not harmonized, and unaccompanied, did much to stimulate interest in choral grew in quality and numbers, they made Emphasis remained on sacred music; and not pure choral music. Possibly singing. Often competitions between a musical education more accessible.39 however, the inclusion of secular tunes the most important may have been the organizations were held, which encour- Social amusements were the initial became more common. William Billings, Moravian tradition, which dates from the aged improvements in quality. reasons for the development of singing the most famous of the singing teachers, fi fteenth century and is rich in a choral In the nineteenth century, conventions on college campuses. Glee clubs were produced six tune books containing the heritage. These people settled in Penn- and fairs were held, and they helped formed, which performed local con- robust, energetic musical style found in sylvania before 1740 and established promote choral singing in America. Pat- certs for friends, and later they toured his anthems. Other later signifi cant mu- communities such as Bethlehem, Lititz, rick Sarsfi eld Gilmore (1829–1892), to sing for alumni. Eventually, more so- sical missionaries who contributed to the and Nazareth; by 1783 they had expand- through his Peace Jubilees, promoted phisticated groups developed; they per- spread of musical education were Low- ed south to North Carolina. Donald M. gigantic mass performances by choirs of formed the standard European favorites ell Mason (1792–1872), Thomas Hast- McCorkle, director and editor-in-chief 10,000! These festivals involved enor- by Handel, Haydn, Mozart, and others. ings (1784–1872), and Virgil C. Taylor of the Moravian Music Foundation sug- mous bands and orchestras; a struc- Probably the earliest offi cial ensemble (1817–1891). gests that: ture was built to house an audience of was the University Choral Union of the 50,000. Villages and towns throughout University of Michigan in 1879. North- western University, in 1906, was the fi rst school to have an “a cappella” choir—Pe- ter Lutkin, dean of the music school at Northwestern University, founded the Northwestern A Cappella Choir.40 Availability of music was an important factor in helping to encourage music in America. Some noteworthy landmarks in the publishing of music included the 1698 ninth edition of the Bay Psalm Book, which contained the fi rst music printed in New England, and the 1761 James Lyon collection Urania, which was the fi rst published setting of Psalms and hymns by a native-born American. Lyon was also ac- tive in the establishment of the fi rst public subscription concerts in Philadelphia, and in other early musical ventures. John S. Dwight (1813–1893) was not a composer, but his work in advanc- ing standards of excellence was impor- tant. He was America’s fi rst music critic and editor of the fi rst signifi cant mu- sic journal, Dwight’s Journal of Music (1852–1881).
28 THE DIAPASON
May 2011 pp. 26-29.indd 28 4/14/11 10:09:16 AM Lowell Mason, madrigal music in the twenty-fi rst century, but the 21. Lowens, “The American Harmony.” 22. Robert Stevenson, Protestant Church swing away from signifi cant sacred cho- Music in America (New York: W.W. Norton & ral music probably will increase just as it Company, 1966). did in the twentieth century. Q 23. Lowens, “The American Harmony.” 24. Stevenson, Protestant Church Music, p. Notes 106. 1. Walt Whitman, “Leaves of Grass” in The 25. Wienandt and Young, Anthem in Eng- Complete Poems (New York: Viking Press [pa- land and America. perback reprint], 1987), p. 47. 26. Ibid. 2. Daniel Kingman, “American Indian 27. Kingman, American Music, pp. 532– Music, and Spanish and French Folk Strains” 533. in American Music: A Panorama (New York: 28. Erik Routley, The Music of Christian Schirmer Books, 1979), pp. 65–95. Hymns (Chicago: GIA Publications, Inc., 3. Gilbert Chase, “Native Pioneers” in 1981), pp. 9–27. America’s Music (New York: McGraw-Hill 29. Ibid. Book Co., revised second edition, 1966). 30. George Pullen Jackson, Spiritual Folk- 4. Elwyn A. Wienandt and Robert H. songs of Early America (Locust Valley, New Young, The Anthem in England and America York: J. J. Augustin, 1937); White and Negro (New York: The Free Press, 1970), p. 171. Spirituals (New York: J. J. Augustin, 1944); 5. Percy Scholes, The Puritans and Music and White Spirituals in the Southern Uplands in England and New England (New York: (Chapel Hill: University of North Carolina Russell and Russell, 1962 [reissue of original Press, 1933). Opera and instrumental music also tings of liturgical words into the secular 1934 edition]). 31. John Wyeth, Repository of Sacred Music infl uenced the growth of choral music arena. The twentieth century saw a pro- 6. H. Wiley Hitchcock, Music in the United (Harrisburg, Pa.: J. Wyeth, 1810) (standard in America. While these genres did not found growth of choral singing. States: A Historical Introduction (Englewood tunes in shape-notes). Cliffs, New Jersey: Prentice Hall, 1969). 32. Ananias Davisson, Kentucky Harmony have the benefi t of the church to encour- The church, which was the overriding 7. Leonard Van Camp has produced many age their evolution and maturation, they force in the development of choral sing- (Harrisonburg, Va., 1816, reprinted Augsburg editions of American choral music. Some Press, 1976, ed. Lowens). were able to secure ongoing support ing, is now somewhat less infl uential. In contain notes on history and performance 33. William Walker, The Southern Harmony from individual citizens. Most of the mu- today’s society, one of the controversial practices, such as his series “From Colonial and Musical Companion (New Haven, 1835). sic before the middle of the nineteenth issues in the choral fi eld is whether to America,” published by Concordia Publishing 34. B.F. White and E.J. King, The Sacred century was European; orchestras had include sacred music as part of the rep- House, which has various individual anthems. Harp (Philadelphia, 1844). been formed, but they performed reper- ertoire of public school ensembles; this He also co-authored an article with John 35. Sablosky, American Music, pp. 102–103. toire by continental composers. By 1876 is a refl ection of that secular expansion, Haberlen, “On Performing Music of William 36. Routley, Hymnody, p. 137. Billings,” in The Choral Journal, November 37. Donald M. McCorkle, “Introduction, subscription concerts had begun in Phil- even though a vast majority of quality 1973, p. 18, and December 1973, p. 16. adelphia. It was common for orchestras choral works are based on sacred texts. Early American Moravian Music” in Go, Con- 8. Irving Lowens has edited various early gregation Go, an anthem (Boosey & Hawkes, (and opera singers) from Europe to tour This change of attitude is a reversal of American choral works in The Arthur Jordan No. 5303, 1959). in this country, and they too, perpetuated the past. Singing schools were formed to Choral Series, published by Marks Music 38. Sablosky, American Music, pp. 99–106. the standard works by recognized Euro- help people learn to sing religious music, Corporation, New York, 1963. 39. Ibid., pp. 84–86. pean composers. but beginning in the middle of the twen- 9. Lawrence Bennett has produced many 40. Ray Robinson and Allen Winold, The Theodore Thomas (1835–1905) was tieth century some school systems or ad- editions of American choral music, published Choral Experience (New York: Harper’s Col- an avid young conductor who did much ministrations began forcefully working in an anthem series “The Western Wind lege Press, 1976), pp. 20–21. American Tune-Book” (New York: Broude 41. Sablosky, American Music, pp. 88–95. to advance the professional American to keep music with religious texts from Brothers Limited, 1974). orchestra. His Theodore Thomas Or- being performed. 10. Kurt Stone has published many editions chestra, founded in 1862, toured for Nevertheless, the church remains an James McCray, Professor of Music at Colo- of American choral music in the Cornwall rado State University in Fort Collins, retired many years; in Chicago, Thomas’s or- important advocate for music, especially Music Series (Hackensack, New Jersey: Jo- after more than 40 years of teaching. He taught chestra gained a permanent home and choral, yet its interest in styles has seen a seph Boonin, Inc., 1975). for 25 of them at CSU, and for 10 years he was evolved into today’s Chicago Symphony rapid shift during the past few decades. 11. Irving Lowens, “The American Harmo- the Chairman of Music, Theatre, and Dance Orchestra. His pioneering helped en- That shift has reduced the quality and ny,” record jacket notes on the album of same Department. He has published 25 scholarly courage the formation of major profes- amount of choral singing, as may be title published by Washington Records, WR- articles in various national and international 418. journals such as The American Organist, Mu- sional orchestras, and before 1900 there seen in the number of people in church 12. Charles Hamm, “Search for a National were ensembles in St. Louis, New York, congregations and ultimately church sic Educator’s Journal, The Choral Journal, Identity,” in Music in the New World (New and several others. He served a two-year term Chicago, Los Angeles, and other large choirs. The church gave impetus to cho- York: W.W. Norton & Co., 1983), p. 147. cities. Most relied heavily on benefac- ral singing in this country, and today still 13. Wienandt and Young, Anthem in Eng- as the head editor for The Choral Journal. tors who subsidized them fi nancially. is responsible for a large portion of cho- land and America, p. 172. For over 30 years he has written a monthly column on choral music for THE DIAPASON. He Wealthy families such as the Vanderbilts, ral performances, as well as the creation 14. Alan Clark Buechner, “Yankee Singing Schools and the Golden Age of Choral Music is the author of three books; a fourth will be the Rockefellers, and the Morgans were of new music. The difference is that it is published sometime next year. vital to the development of professional not the primary leader in the prolifera- in New England,” Ph.D. dissertation, Harvard University, 1960. As a composer, Dr. McCray has published orchestras needed to provide opportuni- tion of choral music, only an equal part- 15. Dickson D. Bruce, Jr., And They All over 100 choral works. He has had commis- ties for the performance of large-scale ner at best. sions from Yale University, Florida All-State 41 Sang Hallelujah: Plain-Folk Camp-Meeting choral works. America was founded on the need and Religion, 1800–1845 (Knoxville: University of Choirs, Texas Music Educators’ Association, Opera also depended on the contribu- search for freedom in both religious and Tennessee Press, 1974). and many other colleges, public and private tions of rich patrons. The public in the secular arenas. The church continues to 16. Scholes, The Puritans and Music. schools, and churches throughout the U.S. nineteenth century had come to opera evolve in society, and therefore its mu- 17. Erik Routley, The Music of Christian He has received the Professor of the Year Hymnody (London: Independent Press, award from two separate universities (in Vir- from a background in minstrelsy, so cul- sic, which has always been an important ginia and Florida). Dr. McCray was one of 11 tivation of understanding was slow. Even element, will also evolve. The same may 1957), p. 166. 18. Wienandt and Young, Anthem in Eng- Americans designated for the 1992–93 Out- today opera remains a genre that has less be said for the secular side of society in land and America, p. 242. standing Music Educator Award, and in 1992 universal appeal than many other musi- which music is a vital component. The 19. Lowens, “The American Harmony.” he received the Orpheus Award, the highest cal forms. By the end of the nineteenth confl uence of the two main forces (sa- 20. Irving L. Sablosky, American Music award given by Phi Mu Alpha Sinfonia. The century, however, there were major op- cred/secular) will continue to be a ma- (Chicago: The University of Chicago Press, award read “For signifi cant and lasting con- era houses in operation. They brought jor factor in the development of choral 1969), p. 61. tributions to the cause of music in America.” European performers to the States, which helped develop an established audience. In comparison with other ma- jor musical genres such as orchestral, 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ choral, or chamber music, the number of composers who write in this medium DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX remains limited. Cost, technical require- 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV ments, and available performances are restrictive factors that have not success- ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG fully encouraged a corresponding growth OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV to this vocal art form, yet it did have a modicum of infl uence on the growth of &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK choral singing. 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ Summary WKHLQVWDOODWLRQ The commentary above is a brief ex- amination of some of the events involved in the establishment and evolution of 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX American choral music. There certainly were many other elements that could be PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW pursued in a discussion of this type, but 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations space does not permit a more detailed survey. America is a blend of heteroge- FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions neous cultures, and throughout the en- tire history of the country, people from Solutions for Old Pipe Organs other places have continued to come to her shores; they brought with them re- ligious, artistic, and social elements of their past, but the most signifi cant factor in any study on the evolution of Ameri- can choral music must be the infl uence of the church. Clearly, choral music began primar- ily because it was needed in religious ceremonies. In essence, the history of www.rodgersinstruments.com American choral music can be traced through the expansion of musical set-
MAY, 2011 29
May 2011 pp. 26-29.indd 29 4/14/11 10:09:40 AM Cover feature
J.H. & C.S. Odell, East Hampton, Connecticut Scarborough Presbyterian Church, Scarborough, New York I remember receiving my fi rst phone call from Scarborough Presbyterian Church in late January 2005. I was de- lighted to have the chance to become ac- quainted with this church and with its or- gan, my own family’s J.H. and C.S. Odell Opus 327, installed in 1894. Six years on, there is much to report. One cannot help but be immediately taken in by the beauty of Scarborough Presbyterian, both interior and exte- rior. The church is set along old Route 9 in Briarcliff Manor. Approached from either north or south, the siting of the building (whose exterior is rich with clas- sical elements) blends in gracefully with its setting. Scarborough Church was a gift from Repaired pipe foot for one of the notes Mrs. Elliott Shepard as a memorial to of the Great Open Diapason 8′. Note her husband in 1893. The architects of the use of common metal and the 2/7 record for the church were Haydel and mouth. Shepard, a short-lived partnership of Stanford White’s nephew, Haydel, and a nephew of Mr. Shepard. Their only other signifi cant building, the Fabbri Mansion on Manhattan’s 64th Street, echoes the neo-classical style of Scarbor- ough Church—briefl y called, “Shepard Memorial,” but organized later as Scar- borough Presbyterian. A reprint of the dedication announcement from the May 12, 1895 edition of the New York Times includes copious detail of the building’s appointments, which in modern archi- J.H. & C.S. Odell, Scarborough Presbyterian Church tectural parlance is properly classifi ed as Beaux-Arts: The main design of the ground plan is a cross, a porte cochere being one of the short arms of the cross, and the pastor’s study the other arm. The church is built of granite rubble, with trimmings of Indiana limestone. The granite is of a pink tinge, which harmonizes pleasantly with the gray- ish limestone, and the effect is very striking to the visitor. Comparing nodal points on the The height of the tower from the steps Harmonic Flute 4′ with scale data from to the top of the cross is about 120 feet. Odell Op. 178 The architecture of the exterior is a dis- tinctly American interpretation of the Re- naissance idea as it was in the time of Louis XIV. The granite used in the body of the structure was quarried on the estate of Col. Shepard, which is a short distance south of the edifi ce. In the three large windows of the main structure, each nineteen feet high, are stained glass designs. Strictly classical treatment has been used in the interior of the building. The main auditorium has a seating capacity of 350, and the Sunday- school room of 150 persons. The fl oors are of mosaic in the church, and the pews are of carved wood. The building is as near as possible fi reproof, as little wood being em- Console ployed in the construction as circumstances would permit. The wood-paneled [coffered] ceiling is at St. Michael’s Church on West 34th fi rst examined the organ at Scarborough secured to the entablature by carved wood- Street in Manhattan. That organ, which in 2005. The Swell chest was then largely en corbels. This ceiling is one of the main is presently under our care and slated non-functional, owing mostly to issues features of the room. It is made of Califor- for major restoration work in 2012, was with stuck sliders and pallet actions in nia redwood. Its side surfaces are enriched originally all tubular-pneumatic when need of rebuilding. I quickly realized with twenty-eight panels, each six feet it was built only one year prior in 1893. that not only would a program of full me- square, and with carved wooden rosettes in It has been interesting to note the nu- chanical restoration be needed, but also their centers. This design encloses, as in a ance in mechanisms, scaling, and voicing a careful reversal of many of the tonal large frame, a large panel, itself broken up New spotted metal tuning inserts and subdivided into a considerable number practices of two Odell instruments that changes, if the fi nal result were to re- were built at nearly the same time. semble anything that would make sense installed on stripped façade pipes prior of smaller panels. In the center of the ceil- to fi nishing ing is a great carved redwood cross. The As one can easily imagine the unwield- to a properly trained organist. inner walls are of cement, tinted to harmo- iness of playing the gallery organ from In addition to the diffi culties with nize with the ceiling. the chancel, it is not surprising that the the organ, Scarborough was managing a No sooner had Mr. Potter taken the The choir dome, under which the pul- console was later relocated to the gal- leadership transition, something that is position than he reached out to me, and pit is placed, at the end of the church, is lery. Apart from this, the organ remained always trying in the life of any parish. The a lively discussion ensued on how best to paneled with rosettes, and a large skylight largely intact until the fi rst major cam- congregation faced this while contempo- revise and restore the organ. Plans at one admits light from above. The building is lighted at night with electric lights, and the paign of rebuilding and revisions began raneously entertaining bids for the organ point had even branched out into an en- heating is to be in the winter season by hot- in the late 1980s through the 1990s. project from us and other local fi rms, as tirely new case design, for which I excit- air appliances from the basement. Perfect At one time, there had been ambitious well as considering wholesale replace- edly prepared several conceptual sketch- ventilation is secured by means of exhaust plans for the instrument, evidenced in ment of the organ with a new electronic es, but these were later set aside for both fl ues in the side walls from the fl oors to the the documentation of the Peterson substitute. It was not until I made a de- practical and aesthetic reasons. With roof. The organ is in the main tower, while switching system installed by a prior tailed presentation to the congregation our limited budget, the majority of our the keyboard is under the choir dome. technician. Most of these plans went that we were able to at least keep the lat- work would have to focus on restoration unrealized, though the addition of an ter option off the table. of the pipes, console, and mechanism. As the article states, the console was anachronistic and stylistically question- While we eventually prevailed as se- Moreover, with limited gallery space and originally placed in the chancel area, able “Positiv” division had been carried lectee for the organ project, there was no an already richly appointed interior, it leading me to speculate that this organ out. Other changes included additional appreciable progress in going to contract was diffi cult to realize a case design that was likely the fi rst all-electric adaptation reed stops in the Swell, as well as evi- until the appointment of Kenneth Potter would match the level of ornamentation of the patented Odell tubular-pneumatic dence of attempts at rescaling, mostly in as organist and director of music in 2007. or allow for a proper sense of proportion action. In comparison, there are appre- the principal stops of the Great. Potter took the position on the condi- without getting into models that we knew ciable, if minor, design differences in In the meantime, problems of the tion of the organ’s restoration. This was would be far too elaborate. We offi cially the primary mechanism employed in the winding system and mechanism were agreeable to the Session and we were at went to contract in late 2007 and set to manual chest action used in our Op. 313 largely ignored. It was in this state that I last able to proceed. commence work in early 2008.
30 THE DIAPASON
May 2011 pp. 30-32 4C.indd 30 4/14/11 10:11:43 AM J.H. & C.S. Odell Opus 327 Scarborough Presbyterian Church, Scarborough, New York GREAT 16′ Bourdon 70 pipes 8′ Open Diapason 58 pipes 8′ Gamba 58 pipes 8′ Gross Flute 58 pipes 8′ Bourdon (from 16′ Bourdon) 4′ Principal 58 pipes 4′ Harmonic Flute 58 pipes 2 2⁄3 Twelfth 58 pipes 2′ Fifteenth 58 pipes 3 1⁄5′ Seventeenth (new) 58 pipes III Mixture 174 pipes 8′ Trumpet 58 pipes SWELL – Expressive – in reconfi gured expression chamber 16′ Bourdon 58 pipes 8′ Open Diapason 58 pipes 8′ Stopped Diapason 58 pipes 8′ Salicional 58 pipes Silver accent lacquering applied to pipe mouth inserts 8′ Voix Céleste 58 pipes 4′ Violina 58 pipes 4′ Rohr Flute 58 pipes 2′ Flute 58 pipes III Cornet 174 pipes ′ ′ 16 Bassoon 58 pipes Great Trumpet 8 on voicing machine 8′ Cornopean 58 pipes 8′ Oboe 58 pipes 4′ Clarion 58 pipes Tremulant PEDAL 32′ Resultant (special confi guration, from Open Wood and Bourdon) 16′ Open Wood 30 pipes 16′ Bourdon 54 pipes 8′ Gedeckt (ext 16′ Bourdon) 8′ Violoncello 30 pipes 4′ Flute (ext 16′ Bourdon) 16′ Bassoon (from Swell) Mixture Compositions Great 1 to 25 15-19-22 26 to 37 12-15-19 38 to 58 8-12-15
Dry-fi t of the new saepele bench with Swell carvings 1 to 25 17-19-22 26 to 37 15-17-19 38 to 58 8-15-17 to be available at 16′ and 8′ pitch. The ′ ′ Great Harmonic Flute 4 and Principal 4 on the voicing machine Dulciana was deleted in favor of a new, Couplers matching principal-scaled Seventeenth. Great to Pedal 8′ (reversible) This exchange was part of an overall plan Great to Pedal 4′ to keep a third-sounding rank available Swell to Pedal 8′ (reversible) in the division, since the original Great Swell to Pedal 4′ Cornet mixture (17-19-22) was to be ′ rescaled and recomposed into a suitable Great to Great 16 ′ Great Unison Off chorus mixture based on 2 pitch (15-19- Great to Great 4′ 22). The original Cornet Mixture in the Swell had been retained, and Ken and I Swell to Great 16′ were in agreement that one tierce mix- Swell to Great 8′ (reversible) ture per organ was more than suffi cient. Swell to Great 4′ Apart from these changes, pipe resto- ration was straightforward. Along with Swell to Swell 16′ Swell Unison Off the windchests and console, everything ′ was brought back to our facility and Swell to Swell 4 carefully cleaned. Metal ranks went Pistons through our pipe shop for repair. Wood- 12 generals (duplicated on toe pistons) en pipes were repaired and pipe stop- 6 divisionals per division pers were repacked. But for the Bas- 4 reversibles (3 coupler, 1 Sforzando) soon 16′ in the Swell and the Trumpet in the Great (which I kept for myself to Accessories 32 levels of capture memory work on), the Swell reeds went to Trivo 12-step transposer in Hagerstown for restoration. Broken Programmable Sforzando Rebuilding pneumatic stop-action assemblies reed pipes were properly reblocked, Memory controls in keyslip tuning inserts were replaced, and shal- Programmable Crescendo Eventually we settled on the design with limited success: rather than insert- lots, tongues, and wedges were carefully MIDI for record/playback one sees today, which in many respects ing new pipes in the bass and shifting the cleaned and refi tted as required. closely resembles the organ’s 1894 speci- entire rank upward, pipes from various The rebuilding of the mechanism pre- fi cation. The fl oating “Positiv” is gone, its sources were randomly inserted in the sented several challenges. The manual re-dressed with new felt and leather, and Oboe restored and returned to its proper compass of the Principal, Twelfth, and windchests were essentially Odell slider the motor and primary systems rebuilt. place in the Swell. The Swell Vox Hu- Fifteenth. To the uninitiated this prob- chests with electro-pneumatic pulldown With the slider motor system we faced mana was likewise deleted in favor of the ably seemed a harmless practice, but I motors and slider motors. Both chests a particular diffi culty: Odell pneumatic Bassoon 16′, though not without some was determined to restore some sense of were completely stripped down to their slider motors were an innovative design regret. The addition of the Clarion 4′ order. Thus we maintained (and in some tables at our facility so they could be in their day, but they can be fi ckle. When was kept, though the stop was revoiced cases increased) the rescaling, as my evaluated and repaired. Thankfully, re- they work, they work well, but they often in order to be more in scale (in terms of experience with Odell scaling practices tabling was not needed, though dam- grow slow and unresponsive. Knowing power) with the rest of the division’s reed from this era (as well as my review of this age to some of the sliders was so severe this, in the planning stages of the project chorus. Apart from careful tonal fi nish- instrument in particular) called for a sig- that some of them had to be replaced. I seriously considered conversion to an ing and some adjustments to the power nifi cant increase in order to balance the Unlike modern slider chests (where en- electric slider motor system, but instead of some of the stops, the rest of the divi- power of the stops of the chorus without gineered plywood is used), the bottoms held this out as a last resort. The original sion remains as original but for the re- attempting to “voice around the scale.” of the Odell chest grids are covered with pneumatic motors were dutifully rebuilt, placement of the Aeoline with a matched Thus I reoriented the prior attempts at motor cloth, and the pallet openings are and after some experimentation I even- Voix Céleste for the Salicional. rescaling by fabricating new pipes with formed by blocking in the channels in- tually realized a solution: by placing the I approached the Great with similar properly matching 2/7 mouths, using side the pallet box and covering the area slider motor assemblies on their own care. In sorting through the pipework matched common metal (roughly 70% with a layer of packing leather. All this separate wind reservoir and increasing in the shop I was able to review (and lead) as opposed to the uncharacteristic was restored to match the original con- the pressure moderately, I realized two correct) prior attempts in rescaling and spotted metal used before. This allowed fi guration, whereafter the grid channels immediate benefi ts: the slider motion revoicing. Thankfully, the critical back- better control in the adjustment of the were carefully sized with thinned shellac, was now swift and sure, and the action bone stops of the division (the Open Di- power of these ranks as I worked on as is the custom. It was an arduous, not of the sliders no longer had any effect on apason 8′, Gross Flute 8′, Gamba 8′, and them in the voicing room. to say messy process, but the result was the divisional wind pressure as they were Harmonic Flute 4′) had been left mostly The other changes to the Great in- the total elimination of the numerous actuated. I owe the inspiration for this untouched. Efforts had been made to re- cluded the addition of the original Swell runs and bleeds encountered prior to re- concept to my colleague Timothy Fink, scale the principal chorus from 4′ upward Bourdon on new unit windchests, so as moval. Finally, the chest pallets were all who several years ago used a similar ap-
MAY, 2011 31
May 2011 pp. 30-32 4C.indd 31 4/14/11 10:12:05 AM proach when he designed his own pneu- tion involved removing redundant ranks, matically powered slider system (based ranks that served no useful purpose. in part on the Odell design) for the Prior to the rebuild, the Swell had be- New Organs new organ he built for Grace Lutheran come almost completely unplayable and Church in Naples, Florida. been more or less abandoned. We real- As the Pedal division had recently had ized the removal of the entire instrument its action rebuilt, we were free to leave to the Odell shop would be needed. Now this section alone and concentrate our rebuilt, the Swell is a wonderful division remaining efforts on the console, wind- of great subtlety and color. ing system, and façade. It made sense to keep certain addi- Dealing with the winding system was tions, but we wanted these additions to simple. The original massive single-rise form a real ensemble, and for the organ reservoir was replaced with four new to speak into the room naturally. A fi ne properly sized Odell reservoirs, one for Clarion 4′ had been added to the Swell. each division, and the fourth for the afore- The Bassoon 16′, Cornopean 8′, Oboe 8′, mentioned slider motor assemblies. and Clarion 4′ formed a reed battery that The console carcass was gutted and we were loath to break up. In order to fi tted with new, rear-fulcrum keyboards keep it, the old Vox Humana 8′ had to go. with basswood levers, and the manual I deeply regretted this loss, but I love the compass restored to the original 58 notes. full reed chorus as it is now. The Aeoline The newer pedalboard was kept. The 8′ went the same way to make room for stop-action rail and stop-action magnets the Voix Céleste. There was more than were replaced with a much more reliable enough pipework left for quiet music, Harris tilting-tablet assembly, whose ap- with the very gentle strings, a Stopped pearance is more characteristic of a tradi- Diapason 8′, and a lovely Rohr Flute 4′ tional Odell console. The interior of the of surpassing beauty. console was fi tted with new panels made In the Great division, the previous of sapele. We installed a new, integrated Tierce had been derived from a split slid- control system with the customary mod- er on the Mixture. It never worked very ern feature set. well, but I felt it was important to have The façade, which contains the bottom a full Cornet on the Great, so we sac- seventeen notes of the Great Open Dia- rifi ced the Dulciana. The Seventeenth pason, was carefully stripped, repaired, that took its place is the only wholly and restored. The original zinc tuning new rank in the rebuild. The Dulciana’s Console fl aps were replaced with spotted metal place in the tonal scheme was taken by tuning scrolls. I personally handled the an 8′ extension of the 16′ Bourdon. I felt Lewis & Hitchcock, Inc., preparation and fi nishing process. A cata- that with the three other strong 8′ stops Beltsville, Maryland lyzed base primer that bonds directly to (Open Diapason 8′, Gross Flute 8′, and Wesley United Methodist Church, the metal was used as the undercoat, over Gamba 8′) we needed a quiet 8′ fl ute. Vienna, Virginia which I applied specialized metal lacquer This Bourdon 8′ can be coupled with the Wesley United Methodist Church mixed with gold fl ake powder. The result Gamba 8′ and form a fonds doux, but it of Vienna, Virginia, has a Wicks organ is a richer, deeper gold color that was ac- also works beautifully alone, or with the that was installed in 1966 and enlarged cented by the application of silver fl ake Principal 4′ or Harmonic Flute 4′. With in 1971. The organ had begun to have lacquer on the pipe mouth inserts. all 8′ fl ue stops on the Great drawn, one problems in the switching system and Our fi nal step was to replace the has a close approximation of the classic combination action. Working with trust- 1950s-era wall panels below the impost fonds de huit. After rescaling and resto- ees Harvey Bowles and Dick Takamatsu of the façade. The layout was sketched ration, the Great chorus is powerful and and organist Jason Bowles, we developed by my wife Susan, who is a classically intense. With the coupling of the Swell a plan to rebuild the organ, including re- trained architect. With no cues from reeds, it becomes immense. placing the switching system and relays me, she intuitively established a rail In the process of this rebuild, I with a new multiplex system that would and stile pattern that picked up on the learned a lot about what stops are truly provide a large combination action, with center point placements of the pipes in necessary. As someone who cut his teeth accessories such as a transposer as well the façade, while maintaining symmetry on the Organ Reform movement, I had as a piston sequencer. New keyboards throughout. The panel molding, which diffi culty understanding a tonal scheme were recommended, for a better feel as required a custom-made set of molder built on generously scaled 8′ stops, with well as reliable contact systems. knives, is a duplication of the custom smaller upperwork, or a second manual We also recommended the replace- panel moldings used throughout the division without a Principal 4′. In time, ment of one rank of pipes that would not Pipework church. The panels themselves are made I have come to understand this instru- hold voicing. As plans went forward, the from the same sapele used in the con- ment on its own terms. The Violina 4′ desire was expressed to add some digital CHOIR sole, and are stained to match the exist- really does serve a purpose, and I have stops, and eventually a full complement 8′ Nason Gedeckt 61 pipes ing appointments. Though it is minor, come to love the very modest 4′ Rohr of digital stops was designed to complete 8′ Erzahler 61 pipes this was a welcome embellishment to the Flute in the Swell; it is delicate and very the organ tonally. These were provided 8′ Erzahler Celeste (tc) 49 pipes 4′ Koppelfl ute 61 pipes appearance of the organ. non-intrusive, and I never seem to stop by the Walker Technical Company of Zi- 2 ′ ′ 2⁄3 Nazard 61 pipes Members of the Odell staff who con- fi nding uses for it. The Flute 2 with the onsville, Pennsylvania. As there was no 2′ Blockfl ute 61 pipes 3 tributed to this project include: John Cornet III makes a wonderful sparkle space in the chambers for a large bass 1⁄5′ Tierce 61 pipes Williams (chest restoration, new chest, in that division without adding weight. speaker, they provided a cabinet fi nished 8′ Krummhorn 61 pipes panel, and reservoir fabrication), Stew- The Oboe 8′, now returned to the Swell, to match the organ grillework, which sits Tremolo art Skates (pipe repair, fabrication, and is an excellent addition to the division’s directly in front of it. 8′ Harp (Walker) restoration), Scotty Giffen (site, restora- chorus, adding just enough weight to Besides all the standard accessories, 4′ Celesta (Walker) tion, and assembly work), David Wason balance the fl ues. So much for the Swell there is a piston sequencer with Next 8′ Festival Trumpet (Walker) (wiring, site, restoration, and assembly organs I was previously accustomed to, and Previous pistons and toe studs, and a Choir to Choir 16–UO–4 work), Douglas Keilitz (site work, tun- with their 8′ Gedeckt foundation and MIDI data fi le record and playback sys- Swell to Choir 16–8–4 ing, and tonal fi nishing), and myself blazing upperwork! tem. The result is a versatile instrument PEDAL (design, planning, wood and metal pipe It thrills me endlessly to have other that easily provides the right sound for 32′ Untersatz (Walker) fi nishing, voicing, and tonal fi nishing). organists come in and play. I love to wan- the music. 16′ Principal (Walker) Rigging for the removal and reinstalla- der around downstairs and listen, often —Gerald Piercy 16′ Bourdon 32 pipes tion was handled by our friends at Auer’s asking what stops they have on. This or- 16′ Rohr Gedeckt (Sw) GREAT 8′ Spitz Principal 32 pipes of New York City, long known for their gan, which sounds immensely powerful ′ ′ skill in handling this sort of work. in the gallery, is gentle and convincing 16 Violone (Walker Paradox System) 8 Bourdon (ext) 8′ Principal 61 pipes 8′ Rohrfl ute (Sw) We are grateful to the staff and con- downstairs—the fullest registration is 8′ Bourdon 61 pipes 4′ Spitz Principal (ext) gregation of Scarborough Presbyterian not overpowering, but rather full, blend- 4′ Octave 61 pipes 4′ Bourdon (ext) Church for being given the opportunity ed, and satisfying. 4′ Spillpfeife 61 pipes 2′ Octave (Gt 8′ Principal) to restore this instrument and return it There isn’t an ugly stop on the en- new pipes on existing chest 16′ Trombone (Walker) 2 to service. I am particularly grateful to tire instrument. Every rank is distinct, 2⁄3′ Twelfth 61 pipes 4′ Hautbois (Sw) 2′ Fifteenth 61 pipes Great to Pedal 8–4 Kenneth and Christine Potter (who have beautiful, and makes the listener sit up ′ become great friends as well as cham- and notice, whether quiet, mezzo forte, 8 Trumpet (Walker) Swell to Pedal 8–4 Chimes (Walker) Choir to Pedal 8–4 pions of our work), and also the Rev- or loud. Nothing is overbearing and the Great to Great 16–UO–4 erends Chris Iosso, Dae Jung, and Tim range of color is amazing. Edward Odell Swell to Great 16–8–4 25 registers, 27 ranks, 12 Walker voices Ives, worship and music committee chair has demonstrated great skill as a voicer, Choir to Great 16–8–4 Lindsay Farrell, and most especially the taking stops that had been poorly regu- SWELL Eyeline console, white knobs for stops late Florence Fletcher, to whose memo- lated, and restoring, focusing, and ad- ′ and division couplers, black knobs for ry the new organ façade is dedicated. justing them to create a satisfying, inte- 16 Rohr Gedeckt 61 pipes 8′ Geigen Diapason (Walker) intermanual couplers. —Edward Odell grated ensemble. He was ably assisted by 8′ Rohrfl ute (ext) The existing console shell was retained. East Hampton, Connecticut Doug Keilitz on the tonal fi nishing. 8′ Viole d’Gambe 61 pipes The manual keys, pistons, drawknobs, Let me conclude by saying we are 8′ Viole Celeste (tc) 49 pipes toe studs and all internal works are It isn’t often that an organist takes a blessed with some of the fi nest acous- 4′ Geigen Principal 61 pipes new. The pedalboard was rebuilt to job with the congregation already un- tics I have ever experienced in a church, 4′ Nachthorn 61 pipes new standards. The relay system was derstanding that the organ needs to be both for organ and choral music. The 2′ Piccolo 61 pipes 1 replaced with multiplex units. 1⁄3′ Plein Jeu III 183 pipes rebuilt, and he gets a signifi cant say in instrument is now inspiring our choir to ′ how it gets done. My fi rst decision was new heights. As I had hoped, the won- 16 Contre Trompette (ext) 8′ Trompette 61 pipes Lewis & Hitchcock, Inc. to commit what one might call a heresy derful sounds coming from the loft are 8′ Vox Humana (Walker)
32 THE DIAPASON
May 2011 pp. 30-32 4C.indd 32 4/14/11 10:12:26 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Choral concert; Cathedral Church of St. Paul, Pickle Piano & Church Organs This calendar runs from the 15th of the month of Detroit, MI 5 pm NEW YORK issue through the following month. The deadline is John Gouwens, carillon; Memorial Chapel, Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. Culver Academies, Culver, IN 4 pm issue). All events are assumed to be organ recitals •Stephen Tharp, workshop; St. Andrew’s Lu- unless otherwise indicated and are grouped within theran, Park Ridge, IL 10:30 am each date north-south and east-west. •=AGO chap- Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- 22 MAY cation, ++= OHS event. Victor Hill, harpsichord; Clark Art Institute, St. Andrew’s by the Sea, Information cannot be accepted unless it speci- Williamstown, MA 3 pm fi es artist name, date, location, and hour in writ- Brahms, Requiem; Church of St. Joseph, Hyannis Port ing. Multiple listings should be in chronological order; Bronxville, NY 3 pm please do not send duplicate listings. THE DIAPA- John Weaver, with St. Andrew Chorale; Madi- St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for son Avenue Presbyterian, New York, NY 3 pm the accuracy of calendar entries. Jean-Baptiste Dupont; Cathedral of St. Pat- rick, New York, NY 4:45 pm Tom Sheehan; Cathedral Church of St. John the Divine, New York, NY 5 pm UNITED STATES Renée Louprette; St. Thomas Church Fifth East of the Mississippi Avenue, New York, NY 5:15 pm Gail Archer; Immaculate Conception R. C. Church, Port Jervis, NY 4 pm 15 MAY Shawn Gingrich, with friends; First United Ray Cornils, with Lionheart and Portland String Methodist, Hershey, PA 3 pm Quartet; Merrill Auditorium, Portland, ME 3 pm Vincent Dubois; Cathedral Church of the Na- Gavin Black, harpsichord; Christ Episcopal, tivity, Bethlehem, PA 4 pm Norwich, CT 3 pm Choral festival; Shadyside Presbyterian, Pitts- Choral Evensong, Messiah excerpts; Cathe- burgh, PA 4 pm Dean W. Billmeyer AVIN LACK dral of the Incarnation, Garden City, NY 4 pm The Heritage Chorale; Holy Trinity Lutheran, G B Mark Bani; Church of the Resurrection, New Lancaster, PA 4 pm Princeton Early Keyboard Center York, NY 3 pm Philadelphia Singers Chorale, with the Phila- University of Minnesota Russian Chamber Chorus of New York; Madi- delphia Orchestra; Verizon Hall, Philadelphia, 732/599-0392 son Avenue Presbyterian, New York, NY 3 pm PA 2 pm Minneapolis 55455 • [email protected] www.pekc.org Choral Evensong; Grace Church, New York, Anthony Williams; Washington National Ca- NY 4 pm thedral, Washington, DC 5:15 pm Stephen Tharp; Church of the Epiphany, New Choral concert; Brevard-Davidson River Pres- York, NY 4 pm byterian, Brevard, NC 3:30 pm Thomas Friese & Christian Friese; Cathe- Choral concert; St. Luke Catholic Church, Byron L. Blackmore THOMAS BROWN dral of St. Patrick, New York, NY 4:45 pm McLean, VA 4 pm Timothy Brumfi eld UNIVERSITY ; Cathedral Church of St. Choral concert; Basilica of the National Shrine of John the Divine, New York, NY 5 pm Crown of Life Lutheran Church Mary, Queen of the Universe, Orlando, FL 3 pm PRESBYTERIAN CHURCH J. David Williams; St. Thomas Church Fifth Bach, Easter Oratorio, BWV 249; Christ Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Avenue, New York, NY 5:15 pm Church Grosse Pointe, Grosse Pointe Farms, MI David Herman; Longwood Gardens, Kennett 623/214-4903 ThomasBrownMusic.com 4:30 pm Square, PA 1 pm Choral concert; Cathedral of Mary Our Queen, The Chenaults; Christ Church Cathedral, Baltimore, MD 5 pm Nashville, TN 4 pm Stephen Hamilton; Westminster Presbyte- +Stephen Tharp; St. Andrew’s Lutheran, Park rian, Lynchburg, VA 4 pm Ridge, IL 3 pm David Chalmers Janette Fishell; River Road Presbyterian, Jerry Jelsema, with Rockefeller carillon stu- DELBERT DISSELHORST Richmond, VA 5 pm dio, carillon; Rockefeller Memorial Chapel, Chi- Concert Organist cago, IL 6 pm Robert Powell, lecture-recital; Holy Cross GLORIÆ DEI CANTORES Professor Emeritus Episcopal, Tryon, NC 5 pm James David Christie; Cathedral of St. Jo- Westminster Church Choir; Westminster Pres- seph the Workman, La Crosse, WI 2 pm Orleans, MA University of Iowa–Iowa City byterian, Dayton, OH 7 pm Festival Singers of Atlanta; Peachtree Road 23 MAY United Methodist, Atlanta, GA 5 pm Andrew Peters; Elliott Chapel, Presbyterian Bemidji State Choir; Cathedral of St. Paul, St. Homes, Evanston, IL 1:30 pm Paul, MN 7:30 pm JAMES DORROH, AAGO, PhD STEVEN EGLER Easter Lessons & Carols; Christ Church Grosse 25 MAY Saint Luke’s Episcopal Church Central Michigan University Pointe, Grosse Pointe Farms, MI 4:30 pm Raymond Nagem; Methuen Memorial Music First Presbyterian Church Cameron Carpenter; Schermerhorn Sympho- Hall, Methuen, MA 8 pm Samford University Mt. Pleasant, Michigan 48858 ny Center, Nashville, TN 7 pm David Enlow; Church of St. Ignatius Loyola, Birmingham, Alabama John Paradowski; Madonna della Strada New York, NY 7 pm SOLO Shelly-Egler Chapel, Loyola University, Chicago, IL 3 pm Choral concert; Church of St. Ignatius Loyola, Organ Consultant Organ Recitals RECITALS Flute and Organ Duo Paul Jacobs; Rockefeller Memorial Chapel, New York, NY 8 pm Chicago, IL 3 pm Donald Armitage; Old Salem Museums & Lloyd Harter; First Lutheran, La Crosse, WI Gardens, Winston-Salem, NC 12 noon Organist / Pianist 6 pm OHN ENSTERMAKER Marietta College Concert Choir; Cathedral of 26 MAY J F St. Paul, St. Paul, MN 2:30 pm Frances Fitch, harpsichord; First Church, Michael Gailit Boston, MA 12:15 pm TRINITY-BY-THE-COVE www.gailit.at 16 MAY Francis Chapelet; Church of the Ascension, offi [email protected] Cameron Carpenter; St. Gabriel Catholic New York, NY 8 pm NAPLES, FLORIDA Konservatorium Wien University Church, Charlotte, NC 7:30 pm University of Music, Vienna 27 MAY 17 MAY Andrew Sheranian; Trinity Church, Boston, Ray Cornils, children’s program; Merrill Audi- MA 12:15 pm torium, Portland, ME 10:30 am Philadelphia Singers Chorale, with the Phila- delphia Orchestra; Verizon Hall, Philadelphia, JAMES HAMMANN 18 MAY PA 8 pm DMA-AAGO Henk de Vries; St. Luke Catholic Church, John Sherer; Fourth Presbyterian, Chicago, McLean, VA 1 pm IL 12:10 pm University of New Orleans Susan Bates; Old Salem Museums & Gar- dens, Winston-Salem, NC 12 noon Chapel of the Holy Comforter 28 MAY Gail Archer; Bruton Parish Church, Colonial 19 MAY Williamsburg, VA 8 pm James Nicolson, harpsichord; First Church, Philadelphia Singers Chorale, with the Phila- Boston, MA 12:15 pm The Trinity Choir; Trinity Church, New York, delphia Orchestra; Verizon Hall, Philadelphia, ANDREW HENDERSON, DMA NY 7:30 pm PA 8 pm WILL HEADLEE Philadelphia Singers Chorale, with the Phila- Marilyn Keiser, masterclass; Church of the 1650 James Street Madison Avenue Presbyterian Church delphia Orchestra; Verizon Hall, Philadelphia, Good Shepherd, Jacksonville, FL 10 am New York, NY PA 8 pm Syracuse, NY 13203-2816 Paul Skevington; St. Luke Catholic Church, 29 MAY www.andrewhenderson.net McLean, VA 1 pm Edward Moore; Cathedral Church of St. John (315) 471-8451 the Divine, New York, NY 5:15 pm 20 MAY Rodney Long; Washington National Cathe- Mark Pacoe; Trinity Church, Boston, MA dral, Washington, DC 5:15 pm 12:15 pm Paul Skevington, with National Men’s Chorus; LORRAINE BRUGH, Ph.D. Choral concert; Church of the Advent, Boston, St. Luke Catholic Church, McLean, VA 5 pm MA 8 pm Ken Cowan; Grace Episcopal, Charleston, SC Alistair Nelson; Cathedral of the Incarnation, 7:30 pm Associate Professor Garden City, NY 8 pm Marilyn Keiser; Church of the Good Shep- University Organist Marilyn Keiser; St. Paul’s Lutheran, Washing- herd, Jacksonville, FL 6 pm ton, DC 7:30 pm David Lamb, hymn festival; First United Meth- Vincent Dubois; Broad Street Presbyterian, odist, Columbus, IN 9 am Valparaiso University Columbus, OH 7:30 pm Valparaiso, IN Gail Archer; Fourth Presbyterian, Chicago, IL 30 MAY www.valpo.edu 12:10 pm National Men’s Chorus; St. Luke Catholic Church, McLean, VA 4 pm 21 MAY 219-464-5084 Philadelphia Singers Chorale, with the Phila- 1 JUNE delphia Orchestra; Verizon Hall, Philadelphia, Daniel McKinley; Methuen Memorial Music [email protected] PA 8 pm Hall, Methuen, MA 8 pm
MAY, 2011 33
May 2011 pp. 33-37.indd 33 4/14/11 10:13:54 AM Mark McClellan; Sinsinawa Mound, Sinsina- 17 JUNE MICHELE JOHNS wa, WI 7 pm Thomas Gouwens; Fourth Presbyterian, Chi- Brian Jones cago, IL 12:10 pm A.Mus.D 2 JUNE Ascension Evensong; Emmanuel Church, 18 JUNE Organ — Harpsichord Director of Music Emeritus Chestertown, MD 6 pm Christopher Young; Princeton University The University of Michigan TRINITY CHURCH Vespers for Ascension Day; Peachtree Road Chapel, Princeton, NJ 8 pm School of Music BOSTON United Methodist, Atlanta, GA 7 pm Bach Vespers; St. Lorenz Lutheran, Franken- 19 JUNE muth, MI 7 pm Choral Evensong, Choir of the Cathedral Church of the Advent, Birmingham; Cathedral 3 JUNE Church of St. John the Divine, New York, NY KIM R. KASLING JAMES KIBBIE Woo-sug Kang; Trinity Church, Boston, MA 4 pm Iris Lan; Basilica of the National Shrine of D.M.A. The University of Michigan 12:15 pm Chelsea Barton; Mount Calvary Church, Bal- the Immaculate Conception, Washington, DC St. John’s University Ann Arbor, MI 48109-2085 timore, MD 7:30 pm 6 pm 734-764-1591 FAX: 734-763-5097 James David Christie; Madonna della Strada Collegeville, MN 56321 4 JUNE Chapel, Loyola University, Chicago, IL 3 pm email: [email protected] Artis Wodehouse, harmonium; Ann Good- Trevor Workman, carillon; University of Chi- man Recital Hall, Kaufman Center, New York, cago, Chicago, IL 6 pm NY 8 pm Rudolf Zuiderveld; First Presbyterian, Spring- Ken Cowan; Emmanuel Church, Chester- fi eld, IL 4 pm David K. Lamb, D.Mus. town, MD 7:30 pm Director of Music/Organist Evensong; Christ Church Grosse Pointe, 20 JUNE Grosse Pointe Farms, MI 4:30 pm Janette Fishell; First United Methodist, First United Methodist Church Waynesville, NC 8 pm RGAN ONSULTANT John Gouwens, carillon; Memorial Chapel, O C Columbus, Indiana Culver Academies, Culver, IN 7:30 pm www.gabrielkney.com 812/372-2851 Northwest Choral Society; Edison Park Lu- 22 JUNE theran, Chicago, IL 7:30 pm John Weaver & Marianne Weaver, organ & Thomas Weisfl og, with choir and carillon; Rock- fl ute; Methuen Memorial Music Hall, Methuen, efeller Memorial Chapel, Chicago, IL 4:30 pm MA 8 pm Nathan Laube; Longwood Gardens, Kennett David Lowry 5 JUNE Square, PA 1:30 pm David Jonies & Jay Peterson; Sinsinawa ARTHUR LAMIRANDE THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Nigel Potts; Church of the Resurrection, New Mound, Sinsinawa, WI 7 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 York, NY 3 pm [email protected] The Chenaults; Asbury United Methodist, DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Harrisonburg, VA 3 pm 23 JUNE www.youtube.com/watch?v=WTkDk-cX1X4 Jeremy Filsell; All Saints Catholic Church, ROCK HILL, SC 29733 Joachim Fontaine; Basilica of the National Manassas, VA 7 pm Shrine of the Immaculate Conception, Washing- ton, DC 6 pm 24 JUNE Paul Skevington; St. Luke Catholic Church, Colin Lynch; Fourth Presbyterian, Chicago, McLean, VA 4 pm IL 12:10 pm James R. Metzler Gerre Hancock, hymn festival; Christ Church, Alexandria, VA 5 pm 25 JUNE Park Congregational Church Cathedral Choir concert; Cathedral Church of John Gouwens, carillon; Memorial Chapel, Grand Rapids, Michigan the Advent, Birmingham, AL 4 pm Culver Academies, Culver, IN 4 pm www.youtube.com Northwest Choral Society; Trinity United Meth- TheCathedralOrganist odist, Mount Prospect, IL 4 pm 26 JUNE Mark Thallander & Brett Judson; Cathedral 6 JUNE of St. Patrick, New York, NY 4:45 pm Bradley Hunter Welch; Cathedral of St. Peter Latona; Basilica of the National Shrine Thomas More, Arlington, VA 8 pm of the Immaculate Conception, Washington, DC 6 pm LEON NELSON 8 JUNE A.S.C.A.P. James Brown, carillon; Rockefeller Memorial Peter Krasinski, with percussion; Methuen FELLOW, AMERICAN GUILD OF ORGANISTS University Organist Chapel, Chicago, IL 6 pm North Park University Memorial Music Hall, Methuen, MA 8 pm 345 SADDLE LAKE DRIVE Voices of Ascension Chorus; Church of the 27 JUNE ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois Ascension, New York, NY 8 pm (770) 594-0949 ++Nathan Laube; Washington National Ca- David Troiano; Sinsinawa Mound, Sinsinawa, thedral, Washington, DC 7:30 pm WI 7 pm Janette Fishell; First United Methodist, Waynesville, NC 8 pm 10 JUNE •Gillian Weir; First Presbyterian, Greensboro, DOUGLAS O’NEILL BEDE JAMES PARRY Jacob Street; Trinity Church, Boston, MA NC 8 pm Cathedral of the Madeleine 12:15 pm Colin Lynch; Elliott Chapel, Presbyterian LL AINTS HURCH Homes, Evanston, IL 1:30 pm Salt Lake City, Utah A S ’ C 11 JUNE [email protected] Stephen Hamilton; Church of the Holy Trinity 28 JUNE AS EGAS EVADA (Episcopal), New York, NY 8 pm 801/671-8657 L V , N Diane Meredith Belcher; Market Square +John Weissrock; Gesu Parish, Milwaukee, Presbyterian, Harrisburg, PA 7:30 pm WI 7:30 pm Ken Cowan; Capitol Hill United Methodist, Washington, DC 8 pm MARILYN MASON 12 JUNE James David Christie; Kernersville Moravian CHAIRMAN, DEPARTMENT OF ORGAN Christopher Holman & Simon Jacobs; First Church, Kernersville, NC 2 pm UNIVERSITY OF MICHIGAN Church of Christ, Wethersfi eld, CT 7 pm F. Allen Artz; St. John Lutheran, Bloomfi eld, 29 JUNE ANN ARBOR NJ 3 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Marko Petricic; Methuen Memorial Music Kyle Babin; Basilica of the National Shrine of the Hall, Methuen, MA 8 pm with awesome technique and a thrilling command of its daring writing.” Immaculate Conception, Washington, DC 6 pm The American Organist, 1980 •Craig Cramer; First Lutheran, Carlisle, PA Choral Concert, Choir of the Cathedral Church 10:15 & 11:25 am of the Advent, Birmingham; All Saints Episcopal, Gillian Weir, masterclass; First Presbyterian, Atlanta, GA 7:30 pm Greensboro, NC 2:30 pm Evensong; Christ Church Grosse Pointe, Maxine Thévenot; Cathedral of St. Philip, At- SYLVIE POIRIER Grosse Pointe Farms, MI 4:30 pm lanta, GA 7:30 pm LARRY PALMER David Jonies; Sinsinawa Mound, Sinsinawa, 13 JUNE WI 7 pm Professor of PHILIP CROZIER Choral Concert, Choir of the Cathedral Church ORGAN DUO of the Advent, Birmingham; St. Paul’s Episcopal, 30 JUNE Harpsichord and Organ Winston-Salem, NC 7:30 pm Lee Dettra; All Saints Episcopal, Rehoboth 3355 Queen Mary Road, Apt 424 •Jack Mitchener; First Presbyterian, Danville, Beach, DE 12:15 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec KY 8 pm SOUTHERN METHODIST UNIVERSITY Canada 14 JUNE UNITED STATES Mark Bani; St. Vincent Ferrer Church, New West of the Mississippi (514) 739-8696 Dallas, Texas 75275 York, NY 7 pm Fax: (514) 739-4752 Choral Concert, Choir of the Cathedral Church of the Advent, Birmingham; Chapel of the Cross, 15 MAY Musical Heritage Society recordings [email protected] Chapel Hill, NC 7:30 pm +Michael Elsbernd; First Lutheran, Duluth, Ken Cowan; Centenary United Methodist, MN 4 pm Lexington, KY 8 pm April Beckman; Redeemer Lutheran, Roch- ester, MN 2:30 pm 15 JUNE Vincent Dubois; St. Michael and All Angels Brenda Lynne Leach; Methuen Memorial Mu- Episcopal, Mission, KS 7:30 pm sic Hall, Methuen, MA 8 pm Daniel Roth, Choral Evensong; Church of the A four-inch Professional Card Choral Concert, Choir of the Cathedral Church Incarnation, Dallas, TX 5:30 pm of the Advent, Birmingham; St. Mary’s Episcopal, James David Christie; Church of the Trans- in THE DIAPASON Arlington, VA 7:30 pm fi guration, Dallas, TX 7 pm Bradley Hunter Welch; Briarwood Presbyte- Choral Evensong; St. John’s Cathedral, Den- For rates and specifi cations rian, Birmingham, AL 7:30 pm ver, CO 3:30 pm Jay Peterson; Sinsinawa Mound, Sinsinawa, Mark Brombaugh & Kathryn Nichols, organ contact Jerome Butera WI 7 pm and harpsichord; Grace Lutheran, Tacoma, WA 3 pm 847/391-1045 16 JUNE Carol Williams; Spreckels Organ Pavilion, Christoph Bossert; Church of the Ascension, Balboa Park, San Diego, CA 2 pm [email protected] New York, NY 8 pm Choral Evensong, Choir of the Cathedral 17 MAY Church of the Advent, Birmingham; Washington Daniel Roth; Church of the Incarnation, Dal- National Cathedral, Washington, DC 5:30 pm las, TX 7 pm
34 THE DIAPASON
May 2011 pp. 33-37.indd 34 4/14/11 10:14:16 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM 20 MAY 19 JUNE •Jelani Eddington, silent fi lm accompaniment; James Callahan & David Jenkins; Church of Stephen G. Schaeffer Christ the King Lutheran, Mankato, MN 8 pm St. Edward, Bloomington, MN 2 pm ROBERT L. Stephen Hamilton; Faith Lutheran, Des Chelsea Chen; Trinity Episcopal Cathedral, Recitals – Consultations Moines, IA 7:30 pm Omaha, NE 3 pm SIMPSON •AGO members’ recital; St. John’s Cathedral, David Hatt; St. Mary’s Cathedral, San Fran- Cathedral Church of the Advent Christ Church Cathedral Denver, CO 7:30 pm cisco, CA 3:30 pm Birmingham, Alabama 1117 Texas Avenue Musical Fireworks, voice and instruments; www.AdventBirmingham.org Houston, Texas 77002 22 MAY Trinity Episcopal, Santa Barbara, CA 3:30 pm Dee Ann Crossley, James Frazier & Helen Carol Williams; Spreckels Organ Pavilion, Jensen; Church of St. Edward, Bloomington, MN Balboa Park, San Diego, CA 2 pm 2 pm A Professional Card in St. John’s Cathedral Choir; St. John’s Cathe- 20 JUNE Stephen Tappe dral, Denver, CO 2:30 pm •Aaron David Miller, hymn festival; Plymouth Organist and Director of Music The Diapason Joseph Adam, with viola; Thomsen Chapel, Congregational, Des Moines, IA 7:30 pm Saint John's Cathedral For rates and digital specifi cations, St. Mark’s Cathedral, Seattle, WA 2 pm Mary Preston; Meyerson Symphony Center, contact Jerome Butera Lorraine Brugh, hymn festival; Queen Anne Dallas, TX 12:30 pm Denver, Colorado 847/391-1045 Lutheran, Seattle, WA 4 pm Carol Williams, with pipe band, trumpets, and www.sjcathedral.org [email protected] Larry Palmer, harpsichord; Resurrection Par- choir of St. Paul’s Cathedral; Spreckels Organ ish, Santa Rosa, CA 3:30 pm Pavilion, Balboa Park, San Diego, CA 7:30 pm Carol Williams; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 2 pm 21 JUNE ORGAN MUSIC OF THE SPANISH BAROQUE •Aaron David Miller, workshop; Plymouth 28 MAY Congregational, Des Moines, IA 9:15 am David Troiano Joe Utterback Bruce Neswick; First Congregational, Los An- DMA MAPM geles, CA 4 pm 22 JUNE COMMISSIONS & CONCERTS Christopher Houlihan; Central Presbyterian, 586.778.8035 732 . 747 . 5227 29 MAY Des Moines, IA 7 pm [email protected] Cathedral Choir of Boys and Girls, St. Brigid School Honor Choir; St. Mary’s Cathedral, San 26 JUNE Francisco, CA 3:30 pm Robert Gurney; St. Mary’s Cathedral, San Carol Williams; Spreckels Organ Pavilion, Francisco, CA 3:30 pm Balboa Park, San Diego, CA 2 pm Carol Williams; Spreckels Organ Pavilion, David Wagner Balboa Park, San Diego, CA 2 pm DMA Kevin Walters 3 JUNE Madonna University 27 JUNE M.A., F.A.G.O. Pike’s Peak Ringers; Cathedral Basilica of St. Livonia, Michigan Louis, St. Louis, MO 8 pm Jonathan Ortloff; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 7:30 pm [email protected] Rye, New York 5 JUNE James Welch, music of Wagner and his con- INTERNATIONAL temporaries; St. Mary’s Cathedral, San Francis- co, CA 3:30 pm 15 MAY KARL WATSON Cherie Wescott 10 JUNE Timothy Wakerell; St. Paul’s Cathedral, Lon- Concerts • Masterclasses • Coaching Lyn Leowi, with St. Martin’s Chamber Choir; don, UK 4:45 pm St. John’s Cathedral, Denver, CO 7:30 pm SAINT LUKE’S Ourania Gassiou & Eleni Keventsidou; 405/942-3958 Isabelle Demers; St. Andrew’s Cathedral, Ho- Westminster Cathedral, London, UK 4:45 pm METUCHEN e-mail: [email protected] nolulu, HI 7 pm Simon Johnson; Westminster Abbey, Lon- don, UK 5:45 pm 12 JUNE Christoph Tietze; St. Mary’s Cathedral, San 16 MAY Francisco, CA 3:30 pm Andrew Lumsden; St. Michael’s Cornhill, Davis Wortman Marilyn Keiser; St. Mark’s Episcopal, Berke- London, UK 1 pm RONALD WYATT ley, CA 6:10 pm Carol Williams; Spreckels Organ Pavilion, 17 MAY St. James’ Church Trinity Church Balboa Park, San Diego, CA 2 pm Yukiko Yamada; St. Lawrence Jewry, Lon- Alison Luedecke, with Millennia Too!; St. don, UK 1 pm New York Galveston Mark’s United Methodist, San Diego, CA 4 pm 19 MAY 14 JUNE Bernard Dargassies & Julien Bret, theatre Mary Preston; University of Oklahoma, Nor- organ demonstration; Fontenay sous Bois, Neuil- Charles Dodsley Walker, FAGO man, OK 9 am ly-Plaisance, France 7 pm Roger Sayer; Cathedral, Biella, Italy 9 pm Artist-in-Residence Founder/Conductor 15 JUNE Saint Luke’s Parish Canterbury Choral Society Christopher Houlihan; Westminster Presby- 20 MAY 1864 Post Road 2 East 90th Street terian, Oklahoma City, OK 5:30 pm Bernard Dargassies & Julien Bret, theatre Darien, CT 06820 New York, NY 10128 organ demonstration; Fontenay sous Bois, Neuil- (917) 628-7650 (212) 222-9458 17 JUNE ly-Plaisance, France 7 pm Rocky Mountain Children’s Choir; St. John’s Roger Sayer; Chiesa Parrocchiale SS. Am- Cathedral, Denver, CO 7:30 pm brogio e Theodulo, Stresa, Italy 9:15 pm Karen Beaumont; St. John’s College, Oxford, William Webber, C.A.G.O. 18 JUNE UK 2:30 pm Polyphony: Voices of New Mexico; Cathedral Randy Mills; St. Jude’s Anglican Church, Organist/Director, First Christian Church, Danville, KY of St. John, Albuquerque, NM 7 pm Brantford, ON, Canada 12:15 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
MAY, 2011 35
May 2011 pp. 33-37.indd 35 4/14/11 10:14:39 AM 21 MAY 29 MAY 10 JUNE Craig Cramer; Ottobeuren Abbey, Ottobeur- Craig Cramer; Steinfeld Basilika, Eifel, Ger- András Virágh, with mezzo-soprano; Chiesa en, Germany 8 pm many 4 pm Parrocchiale SS. Ambrogio e Theodulo, Stresa, Organ Recitals Eleni Keventsidou & Ourania Gassiou; St. Anna Myeong; Cathédrale Notre Dame, Par- Italy 9:15 pm John the Evangelist, London, UK 7:30 pm is, France 4:30 pm Denis Bedard, with soprano; Holy Rosary Ca- Christopher Bragg; St. Paul’s Cathedral, thedral, Vancouver, BC, Canada 8 pm MAHLON E. BALDERSTON, Trin- 22 MAY London, UK 4:45 pm ity Episcopal Church, Santa Barbara, CA, James Scott; St. Paul’s Cathedral, London, Richard Brasier; Westminster Cathedral, 11 JUNE November 28: Come, come ye saints, Jesus, UK 4:45 pm London, UK 4:45 pm Stephen Tharp; Basilika, Ottobeuren, Ger- rest your head, Diemer; Toccata and Pasto- Charles Cole; Westminster Cathedral, Lon- Edward Tambling; Westminster Abbey, Lon- many 4 pm rale, Toccata in e, Pachelbel; In dulci jubilo, Donald Mackenzie; Victoria Hall, Hanley, don, UK 4:45 pm don, UK 5:45 pm Bach; Jesus, Son of Mary, Balderston; Noël Stoke-on-Trent, UK 12 noon James McVinnie; Westminster Abbey, Lon- and Variations, Daquin; Variations on GLO- don, UK 5:45 pm 30 MAY RIA, Giamanco; Puer nobis, Sobaje; Christmas Daniel Bishop; Liverpool Cathedral, Liver- 12 JUNE Trumpet Tune, Cooman. pool, UK 11:15 am Timothy Wakerell; St. Paul’s Cathedral, Lon- 23 MAY don, UK 4:45 pm Kevin Bowyer; St. Michael’s Cornhill, London, DEAN BILLMEYER, The Church of St. 31 MAY Gerard Brooks; Westminster Abbey, London, Louis, King of France, St. Paul, MN, Novem- UK 1 pm Hampus Lindwall; St. Lawrence Jewry, Lon- UK 5:45 pm ber 30: Nun komm, der Heiden Heiland, BWV don, UK 1 pm 659–661, Bach; Nun komm, der Heiden Hei- 24 MAY 13 JUNE land, Walcha; Magnifi cat Primi Toni, BuxWV Konstantin Volostnov; St. Lawrence Jewry, 1 JUNE Stephen Farr; St. Michael’s Cornhill, London, 203, Buxtehude. London, UK 1 pm Robert Woolley; St. Botolph without Aldgate, UK 1 pm Susan Kendrick & Paul Butler; St. Giles London, UK 7 pm JUSTIN BISCHOF, First Church Con- Cripplegate, London, UK 6:30 pm 17 JUNE gregational, Fairfi eld, CT, November 14: 2 JUNE Roger Fisher & Ben Saunders; Parr Hall, Trumpet Tune in D, Clarke; Suite Gothique, 25 MAY Arnau Reynès Florit; Cathedral, Biella, Italy Warrington, UK 7:30 pm op. 25, Boëllmann; Trio Sonata No. 3 in D, Simon Daniels & David Parry-Smith; St. 9 pm BWV 527, Fugue in G, BWV 577, Bach; Im- Giles Cripplegate, London, UK 6:30 pm 18 JUNE provisation on B.U.R.R., Bischof; Sheep May Martin Neary; Westminster Cathedral, Lon- 3 JUNE Gillian Weir; Cirencester Parish Church, Ci- Safely Graze, BWV 208, Bach; Symphony on don, UK 7:30 pm Arnau Reynès Florit; Chiesa Parrocchiale rencester, UK 7:30 pm F.I.R.S.T. C.H.U.R.C.H., Bischof. SS. Ambrogio e Theodulo, Stresa, Italy 9:15 pm 19 JUNE 26 MAY STEPHANIE BURGOYNE, with WIL- Joseph Ripka; St. Paul’s Cathedral, London, Momoko Koshimizu; Minato Mirai Hall, Yoko- 5 JUNE LIAM VANDERTUIN, The Cathedral UK 4:45 pm hama, Japan 12 noon Benjamin Saunders; St Michael’s Abbey, Church of St. Paul, London, ON, Canada, Farnborough, UK 3 pm, Choral Vespers 4:45 Robert Quinney; Westminster Abbey, Lon- November 22: Sonata Chromatica, Yon; So- Michele Croese, with trumpet; Cathedral, Bi- don, UK 5:45 pm ella, Italy 9 pm pm nata No. 4 in a, Corelli, arr. Burgoyne/Vander- Simon Lloyd; St. Matthew’s Westminster, Donald Hunt; St. Paul’s Cathedral, London, tuin; Variations on Amazing Grace, Bédard. UK 4:45 pm 20 JUNE London, UK 1:05 pm Andrew McCrea Michael Bonaventure; Westminster Abbey, ; St. Michael’s Cornhill, Lon- PHILIP CROZIER, Barockkirche St. Elizabeth Day & Anne Marsden Thomas; St. don, UK 1 pm Franziskus, Zwillbrock, Germany, August 8: Giles Cripplegate, London, UK 6:30 pm London, UK 5:45 pm Isabelle Demers; Church of St. Andrew and Choral Song and Fugue, S.S. Wesley; Trio 22 JUNE St. Paul, Montreal, QC, Canada 4 pm Sonata No. 6 in G, BWV 530, Bach; Skizzen 27 MAY Graham Barber; Westminster Cathedral, Lon- für den Pedal Flügel, op. 58, Schumann; Zwei Michele Croese, with trumpet; Chiesa Parroc- don, UK 7:30 pm 7 JUNE Fugen, F. 31, W.F. Bach; Miroir, Wammes; chiale SS. Ambrogio e Theodulo, Stresa, Italy Andrew Benson-Wilson; St. Giles-in-the- Variationer over ‘Nous chanterons pour toi, 23 JUNE 9:15 pm Fields, London, UK 1:10 pm Seigneur’, Bédard. Gillian Weir; Hexham Abbey, Hexham, UK Ann Elise Smoot; St. Matthew’s Westminster, Domkirke, Maribo, Denmark, August 15: London, UK 1:05 pm 7:30 pm 8 JUNE Choral nr. 1 i E-dur, Franck; Kanon i h-mol, Olivier Latry; Southwark Cathedral, London, John Vandertuin; St. Jude’s Anglican Church, Stephen Tharp; St. Peter und Paul, Straelen, op. 56, no. 5, Schumann; Récit de Tierce UK 7:30 pm Brantford, ON, Canada 12:15 pm Germany 7:30 pm en taille (Gloria, Premier Livre d’Orgue), de Grigny; Variationer over ‘Nous chanter- 25 JUNE 28 MAY 9 JUNE ons pour toi, Seigneur’, Bédard; Larghetto Mark Brafi eld; Bloomsbury Central Baptist, Stephen Tharp; Chiesa Prepositurale S. Am- Christophe Mantoux in f#-mol, S.S. Wesley; Miroir, Wammes; ; Freiberger Dom, Frei- London, UK 4 pm brogio di Merate, Merate (LC), Italy 9 pm Prélude i Es-mol, op. 66, d’Indy; Toccata, berg, Germany 8 pm Clive Driskill-Smith; St. John the Evangelist, Clive Driskill-Smith; Bloomsbury Central Fugue et Hymne over Ave Maris Stella, op. András Virágh, with mezzo-soprano; Cathe- London, UK 7:30 pm Baptist, London, UK 4 pm dral, Biella, Italy 9 pm 28, Peeters. St.-Gertraud-Kirche, Frankfurt (Oder), 26 JUNE Germany, August 17: Choral Song and Iain Quinn; St. Paul’s Cathedral, London, UK Fugue, S.S. Wesley; Trio g-Moll, BWV 584, ORGAN BUILDERS 4:45 pm Bach; Nicht schnell und sehr markiert (two James McVinnie; Westminster Abbey, Lon- pieces), Lebhaft, Allegretto (Skizzen für den don, UK 5:45 pm Pedal Flügel, op. 58), Schumann; Orgelsonate L. W. BLACKINTON THE NOACK ORGAN CO., INC. and associates, inc. MAIN AND SCHOOL STREETS Submit calendar information through GEORGETOWN, MA 01833 Send organ recital programs www.noackorgan.com TheDiapason.com! Look for Events Cal- 380 FRONT ST. endar and then click to submit an event. to The Diapason. Mail printed Member: Associated Pipe Organ Builders of America EL CAJON, CA 92020 You can add much more detail to the ba- programs to Joyce Robinson, The sic information shown in our Calendar, Diapason, 3030 W. Salt Creek Lane, martin ott pipe and information will be viewable that Suite 201, Arlington Heights, IL organ day. Items added via the website will be 60005-5025; e-mail fi les (Microsoft company placed in the next print issue if received inc. before deadline. For assistance or infor- Word preferred, PDF acceptable) to 7408 Somerset Ave. mation: jrobinson@sgcmail. [email protected]. St. Louis, MO 63105 314-504-0366 Phone 314-569-3879 Fax Martin Ott [email protected] Orgelbaumeister www.ottpipeorgan.com
NEW INSTRUMENTS MAINTENANCE RESTORATIONS Parkey 974 AUTUMN DRIVE OrganBuilders ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 F INCY ATOS 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 ExperienceAmerican Theatre Organ Society Suite 150-285 Fax 770-368-3209 www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com Preserving a unique art form. Concerts, education, silent film, preservation, Pipe Organ Craftsmen & Builders fellowship and more. www.atos.org Hupalo GF 1785 Timothy Drive, Unit 4 Jim Merry, Executive Secretary, [email protected] & San Leandro, CA 94577 P.O. Box 5327, Fullerton, CA 92838 Repasky Tel: 510 483 6905 www.hupalorepasky.com
sound INSPIRATION
Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training
www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202
Advertise in A. David Moore, Inc. _The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
36 THE DIAPASON
May 2011 pp. 33-37.indd 36 4/14/11 10:15:18 AM f-Moll, op. 65, no. 1, Mendelssohn; Fuge in son), Dupré; Vom Himmel hoch da komm’ lude and Fugue in b, Barber; Continuum Siebert; Skyland, Vardell; For All the Saints B-Dur, Fuge in D-Dur, F. 31, W.F. Bach; ich her, Bach; Vom Himmel hoch da komm’ (Notre Dame), Quinn; Barcarolle, op. 10, Who from Their Labors Rest (Three Pieces Variationen über ‘Nous chanterons pour toi, ich her, Pepping; What Child Is This, Bölt- Rachmaninoff, arr. Quinn; Prelude and Fugue for All Saints’ Day), Sandresky; Partita on Seigneur’, Bédard. ing; Lo, How a Rose E’er Blooming, Manz; in d, op. 98, Glazunov. ‘Holy Manna’, Ashdown; Come, Thou Fount Lo, How a Rose E’er Blooming, Brahms; God of Every Blessing (warrenton), I Will Arise JO DEEN BLAINE DAVIS, Christ rest ye, merry gentlemen, Held; O Heiland, NAOMI ROWLEY, with The Shepherd (Restoration), The Morning Trumpet (Ear- Church, Greenwich, CT, November 12: The reiss die Himmel auf, Pepping; Vom Himmel Singers and The Shepherd Ringers, Shepherd ly American Hymn-Tune Preludes), In Memo- Congregational Church, New Canaan, CT, hoch da komm’ ich her, Pachelbel; The First of the Bay Lutheran Church, Ellison Bay, WI, riam: The Grief of Separation Tempered by November 19: Toccata and Fugue in D, op. Nowell, Bölting. December 5: Choral Fantasia on O Come, O Faith and Courage (An American Tribute: A 59, no. 5, Reger; An Wasserfl üssen Babylon, Come, Emmanuel, MacNutt; Wake, Awake, for Suite of Patriotic Songs), Powell; Variations BWV 653, Prelude and Fugue in C, BWV JEANNINE JORDAN, with David Jordan, Night Is Flying, Savior of the Nations, Come, on ‘Amazing Grace’, Utterback. 547, Bach; Rubrics, Locklair; Hommage à visual artist, First Congregational Church, Bach; Prelude, Fugue and Variation on Light Frescobaldi, Epilogue for Pedal Solo, Lang- Anchorage, AK, November 21: Fugue in E- One Candle to Watch for Messiah, Wold; Toccata GILLIAN WEIR, The Church of the Holy lais; Fantasie in C, op. 16, Franck; Lucis Cre- fl at, Toccata in d, Concerto in a, Vom Himmel on O Come, O Come, Emmanuel, Carter; March Trinity (Episcopal), New York, NY, Novem- ator, Papadakos. hoch, Nun freut euch, O Mensch bewein, Sei on Handel’s Lift Up Your Heads, Guilmant; Li- ber 4: Variations de Concert, Bonnet; Cia- gegrüsset, Bach; Sonata IV, C.P.E. Bach; Jesu turgical Improvisation on Creator of the Stars cona in G, Muffat; Variations on Est-ce Mars, EMMA LOU DIEMER, Trinity Episcopal Meine Freude, W.F. Bach. of Night, Oldroyd; The Magnifi cat, Bonnet, arr. Sweelinck; Prelude and Fugue in E-fl at, BWV Church, Santa Barbara, CA, December 12: Marriott; Joy to the World, Cherwien. 552, Bach; Toccata, Fugue and Hymn on Ave Come, Thou Fount of Every Blessing, Diemer; LEON NELSON, Southminster Presbyte- Maris Stella, Peeters; Sonata Eroica, Jongen; Let All Mortal Flesh Keep Silence, Gell; Let rian Church, Arlington Heights, IL, Novem- STEPHEN SCHNURR & KEITH WIL- Variations on a theme of Jannequin, JA118, All Mortal Flesh Keep Silence, O’Connor; Let ber 21: Processional, Nelson; Jesu, Joy of Man’s LIAMS, First Presbyterian Church, Knoxville, Fantasmagorie, JA63, Alain; Scherzo, Duru- All Mortal Flesh Keep Silence, Diemer; O Lit- Desiring, Have Mercy on Me, O Lord God, IL, November 12: Sonata No. 2 in c, op. 65, fl é; Toccata, Mushel. tle Town of Bethlehem, Balderston; Lo, How BWV 721, Bach; Now Thank We All Our God, no. 2, Mendelssohn; III. Rondo – Allegretto a Rose E’er Blooming, On This Day Earth Bach, arr. Fox; The Musical Clocks, Haydn; (Concerto de Flute, op. 55), Rinck; Prelude JOHN SCOTT WHITELEY, St. Thomas Shall Ring, Cooman; Go Tell It on the Moun- Aria, Come Thou Fount of Every Blessing, and Fugue in a, Eddy; Idylle – Evening Rest, Church Fifth Avenue, New York, NY, October tain, Diemer; Jesu, Joy of Our Desiring, Bach, Manz; What a Friend We Have in Jesus, Barr; Merkel; Marche des Fantomes, Clark; Jesus, 31: Sei gegrüsset, Jesu gütig, BWV 768, Bach; arr. Fruhauf; I Have Decided to Follow Jesus, Variations on O for a Thousand Tongues to Savior, Pilot Me, Just As I Am, Thompson; Passacaglia, op. 17, Whiteley; Papillons noirs What a Friend We Have in Jesus, Hanukkah Sing, Hopson; Pilgrim’s Chorus (Tannhäuser), Grand Choeur, op. 18, no. 1, Guilmant; Jesu, (13 Préludes pour piano, op. 69), Jongen, arr. Song, Diemer; Be Thou with Me, Bach; An- Wagner; Trumpet Tune in C, Nelson. Joy of Man’s Desiring, Bach; Nun danket alle Whiteley; Final (Symphonie en improvisa- gels We Have Heard on High, Wood; Lo! He Gott, op. 65, no. 59, Karg-Elert. tion), Cochereau, transcr. Whiteley. Comes, with Clouds Descending, Diemer. DAVID PICKERING, Kansas State Uni- versity, Manhattan, KS, October 27: Partita DANIEL SCHWANDT, Lutheran School THOMAS WIKMAN, Lutheran School DAVID A. GELL, Trinity Episcopal on Foundation, Jordan; Jesu, Joy of Man’s of Theology at Chicago, Chicago, IL, Decem- of Theology, Chicago, IL, November 2: Pre- Church, Santa Barbara, CA, November 7: Desiring, BWV 147, Bach/Leupold; Volun- ber 7: Magnifi cat II. Toni (4 verses), Weck- lude and Fugue in e, BWV 548, Bach; Prière, Prelude and Fugue in b, Willan; The Modal tary on Coronation, Longhurst; Meditation, mann; Freu dich sehr o meine Seele, Böhm; op. 37, no. 3, Jongen; Finale - Allegro vivace Trumpet, Karam; Elegiac Prelude, Sortie Cundick; Pièce héroïque, Franck. Wachet auf, Tempus adest fl oridum, Wie (Symphony No. 7 in a, op. 42, no. 3), Widor. Breve, Bales; Variations on the Huron Carol schoen leuchtet, Manz; Meine Seele erhebt ‘Jesous Ahatonhia’, Bryant; Cat Suite, Suite TIM PYPER, St. Thomas Church Fifth Av- den Herren, BWV 733, Bach. ROBERT E. WOODWORTH JR., Holy Romantique, Bédard. enue, New York, NY, December 12: Prelude Name Cathedral, Chicago, IL, November and Fugue in C, BWV 547, Pastorale, BWV CHARLIE W. STEELE, Brevard-David- 28: Wachet auf, ruft uns die Stimme (Twenty DAVID HATT, St. Mary’s Cathedral, San 590, Bach; Rhapsody in E-fl at, op. 17, no. 2, son River Presbyterian Church, Brevard, NC, Preludes & Postludes), Karg-Elert; Lo! He Francisco, CA, November 28: Escuela Espa- Siciliano for a High Ceremony, Howells; Pre- November 8: “...to thee our cordial thankful- Comes with Clouds Descending (Chorale nola de Organo, Guridi. lude in C, Bairstow. ness...”, “Hallowed be Thy Name...”, “...Let Preludes on English Tunes), Ridout; Hymn His work your pleasure be...” (Salem Sonata), - Creator Alme Siderum, Lemmens; To Shep- STEVEN HODSON & CHARLES TAL- IAIN QUINN, St. Thomas Church Fifth Locklair; Wondrous Love: Variations on a herds As They Watched By Night, Savior of MADGE, Trinity Episcopal Church, Santa Avenue, New York, NY, November 21: Pre- Shape-note Hymn, Barber; Come Away to the Nations, Come, Prepare the Royal High- Barbara, CA, December 5: O come, o come lude and Fugue in a, op. 607, Czerny; Lar- the Skies, Star in the East, Blow Ye the Trum- way (Chorale Preludes), Ore; O Come, O Emmanuel, Near; Nativité (Symphonie-Pas- ghetto (Six Pieces, no. 5), S. S. Wesley; Pre- pet, Blow (Preludes on Campmeeting Songs), Come, Emmanuel, Martin.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,
Visit The Diapason website: www.TheDiapason.com
CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected]
Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 22.00 ______Display Classifi ed, per word 1.35 Display Classifi ed minimum 26.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($26 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $5.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
MAY, 2011 37
May 2011 pp. 33-37.indd 37 4/14/11 10:15:42 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
Organist needed—The Orchard Evangelical Like the harpsichord? Harpsichord Tech- Request a free sample issue of The Diapason 1869 E. & G.G. Hook organ for sale. The organ Free Church, based in Arlington Heights, IL, nique: A Guide to Expressivity, second for a student, friend, or colleague. Write to the measures 14 ft. wide, 10 ft. deep (with pedal) seeks a skilled organist for new campus (and edition, by Nancy Metzger is a hands-on Editor, The Diapason, 3030 W. Salt Creek Lane, and is 20 ft. tall. It has mechanical action, Great, new Rodgers organ!) in Barrington. For more in- guide for touch and historically informed Suite 201, Arlington Heights, IL 60005; or e-mail: Swell, Pedal divisions, two combination pedals, formation on this position, contact Dan Wells at performance. www.rcip.com/musicadulce. [email protected]. 15 ranks; removal date January, 2012. $95,000, 224/764-4016, or [email protected]. negotiable. Please contact Stephen Tappe at Saint John’s Cathedral in Denver for more infor- Refl ections: 1947–1997, The Organ Depart- mation: [email protected]. St. John’s Episcopal Church, Mt. Pleasant, The Organ Historical Society has released ment, School of Music, The University of Michi- Michigan is seeking applications for organ- Historic Organs of Indiana, 4 CDs recorded at gan, edited by Marilyn Mason & Margarete ist/choir director, 15–20 hr. week. Interested the OHS National Convention in Central Indiana Thomsen; dedicated to the memory of Albert Martin Pasi pipe organ—Two manuals, 24 applicants should send a cover letter, in July, 2007. Nearly 5 hours of music features Stanley, Earl V. Moore, and Palmer Christian. stops, suspended-tracker action. $350,000. Web: resumé/curriculum vitae and three letters of rec- 31 pipe organs built between 1851–2004, by Includes an informal history-memoir of the organ http://martin-pasi-pipe-organ-sale.com; phone: ommendation to St. John’s Episcopal Church, Aeolian-Skinner, Skinner, Henry Erben, Felge- department with papers by 12 current and former 425/471-0826. 206 W. Maple St., Mt. Pleasant, MI 48858. maker, Hook & Hastings, Kilgen, Kimball, and faculty and students; 11 scholarly articles; remi- E-mail: [email protected]. Website: many more builders. Performers include Ken niscences and testimonials by graduates of the www.stjohnsmtpleasantmi.org/. Cowan, Thomas Murray, Bruce Stevens, Carol department; 12 appendices, and a CD record- 1960s Walcker (German) 14-rank tracker Williams, Christopher Young, and others. A 40- ing, “Marilyn Mason in Recital,” recorded at the organ. Open toe voicing on 2″ wind pressure. National Shrine of the Immaculate Conception PUBLICATIONS/ page booklet with photos and stoplists is includ- Reverse console built into case. Footprint is 6′ ed. OHS-07 4-CD set is priced at $34.95 (OHS in Washington, DC. $50 from The University of wide by 11′6″ deep (including console and pedal RECORDINGS members, $31.95) plus shipping. Visit the OHS Michigan, Prof. Marilyn Mason, School of Music, stops), 9′10″ tall. All encased with 4′ Principal Online Catalog for this and over 5,000 other or- Ann Arbor, MI 48109-2085. façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- gan-related books, recordings, and sheet music: ′ Bonnet’s In Memoriam quialtera, II–III Mixture. Manual II—8 Gemshorn, is included in his third www.ohscatalog.org. ′ ′ ′ set of twelve pieces (1913). He quotes the haunt- 4 Rohrfl ote, 2 Principal, 1-1/3 Quinte. Pedal— HARPSICHORDS ′ ′ ′ ing “Nearer My God To Thee” (HORBURY). Find 16 Bourdon, 8 Flute, 4 Choralbass. Playing and details and samples at michaelsmusicservice. Historic Organ Surveys on CD: recorded during FOR SALE in use regularly. Asking $12,000. For recordings com; 704/567-1066. national conventions of the Organ Historical So- and pictures contact [email protected]. ciety. Each set includes photographs, stoplists, One-manual Rutkowski and Robinette harp- and histories. As many organists as organs and sichord. 8-8-8 in immaculate condition. Dark Ten-rank pipe organ —Wicks, $2,500. Set of Historic Organs of Seattle: A Young Yet Vi- repertoire from the usual to the unknown, Arne green case with red interior. Can be seen at The brant History is a four-disc set recorded at the to Zundel, often in exceptional performances on 20 tubular chimes, beautiful gold color, $250. Church of the Holy Trinity (Episcopal), 316 East 248/471-1515. 2008 OHS national convention, held in the Seat- beautiful organs. Each set includes many hymns 88th Street, New York. Contact: Stephen Hamil- tle, Washington area. Nearly fi ve hours of music sung by 200–400 musicians. Historic Organs of ton at 212/289-4100 ext 210. feature historic organs by Aeolian-Skinner, Casa- Indiana, 31 organs on 4 CDs, $34.95. Historic vant, Hook & Hastings, and Hutchings-Votey, Kil- Organs of Louisville (western Kentucky/eastern 48-rank, 3-manual and pedal pipe organ, 60 gen, Tallman, Woodberry, Hinners, Cole & Wood- Indiana), 32 organs on 4 CDs, $29.95. Historic stops, 3,000+ pipes, 99-level combination action, berry, plus instruments by Flentrop, C. B. Fisk, Organs of Maine, 39 organs on 4 CDs, $29.95. PIPE ORGANS Great, Swell, Positive, Echo. With or without a and Rosales, and Pacifi c Northwest organbuild- Historic Organs of Baltimore, 30 organs on 4 FOR SALE 4,200 sq. ft. 4 bedroom home: 20′ x 55′ LR, on ers Paul Fritts, Martin Pasi, John Brombaugh, CDs, $29.95. Historic Organs of Milwaukee, 50+ acres, 2 bedroom guest cottage, lake front, Richard Bond, and many more! Renowned or- 25 organs in Wisconsin on 2 CDs, $19.98. His- excellent for a retreat, on Great Sacandaga ganists Douglas Cleveland, Julia Brown, J. Mel- toric Organs of New Orleans, 17 organs in the 1971 Bosch Organ —Two manuals, 36 ranks, Lake. Saratoga County, New York. $69,000, or vin Butler, Carol Terry, Bruce Stevens, and oth- Bayous to Natchez on 2 CDs, $19.98. Historic free standing, encased with detached console. $690,000 for package. Tel. 518/696-3405; e-mail ers are featured in live performances on 24 pipe Organs of San Francisco, 20 organs on 2 CDs, Mechanical key action, electric stop action. Sell- [email protected]. organs built between 1871 and 2000. Includes a $19.98. Add $4.50 shipping in U.S. per entire or- ing price $30,000, re-location and installation 36-page booklet with photographs and stoplists. der from OHS, Box 26811, Richmond, VA 23261, available. For information package contact Fowl- $34.95, OHS members: $31.95. For more info or by telephone with Visa or MasterCard 804/353- er Organ Company, Lansing, MI. bmforgans@ Home pipe organs bought, sold, and relocated. to order: http://OHSCatalog.com/hiorofse.html. 9226; FAX 804/353-9266. aol.com; 517/485-3748. 800/583-7644 or 865/577-7644.
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215
PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON
May 2011 pp. 38-39.indd 38 4/14/11 10:16:42 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37
PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1929 Estey “Minuette” with 3 unifi ed Late-1800s 2-manual Pilcher tracker pipe Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions ranks, a very rare 2-manual instrument in organ is available, for just the cost to relo- parts. Let us know what you are looking for. and mechanisms. Highest quality materials and a grand piano style case. Completely re- cate and refurbish. Specification and photo E-mail [email protected] (not comcast), workmanship. Reasonable rates. Columbia built including case refi nishing and a new at www.pipe-organ.com. Arthur Schlueter, III, phone 215/353-0286 or 215/788-3423. Organ Leathers 800/423-7003. www.columbia blower. $20,000. Contact Box JU-6101, 800/836-2726. organ.com/col. THE DIAPASON. SERVICES/ MISCELLANEOUS Highest quality organ control systems since SUPPLIES 1989. Whether just a pipe relay, combination FOR SALE action or complete control system, all parts 1958 Klais of Germany, 2 manual, 20 rank Aeolian/Robert Morton-style maroon leather are compatible. Intelligent design, competitive pipe organ in exceptional condition. Slider Atlantic City Pipe Organ Company—Trivo: is now available from Columbia Organ pricing, custom software to meet all of your re- chests, cone tuning, very easy installation. View 1980s 8′ English Horn, 4′ Rohr Schalmei; Moller Leathers! Highest quality. 800/423-7003, quirements. For more information call Westa- it at www.homelesspipeorgans.com. 16′ half-length Fagotto with chest 3″ WP; C.S. www.columbiaorgan.com. cott Organ Systems, 215/353-0286, or e-mail Haskell 16′ principals, strings, reeds; Estey 16′ [email protected] 32-note Viol with Haskell basses. 609/641-9422; Schlicker organ—two manuals, four ranks. [email protected]; mywebpages.comcast. Austin actions recovered. Over 40 years Immaculate condition. Can be seen at The net/acorgan. experience. Units thoroughly tested and fully ANNOUNCEMENTS Church of the Holy Trinity (Episcopal), 316 guaranteed. Please call or e-mail for quotes. East 88th Street, New York. The instrument Technical assistance available. Foley-Baker, can be viewed on the church website at www. Are you receiving THE DIAPASON E-News? Send recital programs to THE DIAPASON, 3030 W. Inc., 42 N. River Road, Tolland, CT 06084. holytrinity-nyc.org. Contact: Stephen Hamilton, Our newsletter is e-mailed monthly to our reg- Salt Creek Lane, Suite 201, Arlington Heights, IL Phone 1-800/621-2624. FAX 860/870-7571. 212/289-4100 ext 210. 60005; e-mail: [email protected]. istered subscribers; a separate issue each [email protected]. month sends you our web classifi ed ads. Don’t miss out! To register, visit www.TheDiapason. Two small pipe organs for sale. Great prices. com, click on Newsletter, and enter your con- For more information, please go to our website, tact information. Need help with your re-leathering www.milnarorgan.com. ATTENTION ORGANISTS! Do you love to project? All pneumatics including add the bright sparkle of a Zimbelstern to Austin. Over 45 years experience your playing, but the organ you play is Postal regulations require that mail 1969 Möller Double-Artiste. 2 manuals, 9 ranks lacking one? Fret no more! Our new prod- (on the job assistance available). (including Mixture and 16′ Trompette), 28 stops. uct, ZimbelSpurs, will solve your problem 615/274-6400. to THE DIAPASON include a suite num- Newly releathered and renovated. $44,500 and let you jingle-jangle-jingle! Zimbel- ber to assure delivery. Please send plus installation. john@organclearinghouse. Spurs are spurs with tiny bells that you all correspondence to: THE DIAPASON, com; 617/688-9290. mount to the backs of your organ shoes. Ultra-high-tech black-box technology lets 3030 W. Salt Creek Lane, Suite 201, you engage (or silence via a reversible) ALL REPLIES Arlington Heights, IL 60005. Available Summer, 2011. Moller Opus 11546 the ZimbelSpurs either through a piston (1981), 3-manual, 34+ ranks. Polished zinc ex- on your console, or through your smart TO BOX NUMBERS posed pipes symmetrically set in wood fi nish phone. Best of all, they’re portable, so THE DIAPASON’s classified ads are casework. Chicago area. Come try it! Contact you can have those magic bells wherever that appear now available on THE DIAPASON Adrienne: 847/816-1468; [email protected]. you play! Causes little or no damage to without an address website—including photographs and pedalboards. Order before midnight and convenient e-mail links directly to the receive free ankle guards and pedal re- should be sent to: sellers! Visit www.TheDiapason.com 1981 Lauck Residence Organ—2-manual, 3 pair kit (just in case!). Available in gold or THE DIAPASON and in the left-hand column, look for ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe silver fi nishes. Order yours today! Spec- SPOTLIGHTS, then click on Classified TC 49. Unifi ed to 19 stops. Expression, tremu- ify shoe size (available in A-EEE widths) 3030 W. Salt Creek Lane, Suite 201 and pedalboard design (curved/radiating Advertisements. Follow the links to the lant, combination action. Natural ash casework: Arlington Heights, IL 60005 classifieds that interest you, and click 94″ high, 72″ wide, 24″ deep. Movable. Presently or fl at). Box Spur-Con, THE DIAPASON, [email protected]. the e-mail button to contact the sellers. being restored. $18,000. Lauck Pipe Organ Co. What could be easier? 269/694-4500; 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 The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE 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-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in 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
MAY, 2011 39
May 2011 pp. 38-39.indd 39 4/20/11 9:33:15 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011 SOLD OUT
*=European artists available 2010-2011 and 2011-2012
Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young