THE DIAPASON OCTOBER, 2011
Cornell University Anabel Taylor Chapel Ithaca, New York Cover feature on pages 26–28
Oct 2011 Cover.indd 1 9/14/11 11:28:13 AM Oct 2011 pp. 2-18.indd 2 9/14/11 11:33:05 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 10, Whole No. 1223 OCTOBER, 2011 St. Thomas Fifth Avenue gal pad endlessly redesigning the organ Established in 1909 ISSN 0012-2378 Will Carter (Letters, September 2011) and console layout—adding a Trompette An International Monthly Devoted to the Organ, seems to be confused as to whether the here, moving a Septième there. At the the Harpsichord, Carillon, and Church Music organ of St. Thomas Church in New York time I thought this was pretty terrifi c. is or is not still the work of G. Donald Nomenclature is not the real issue. Harrison. As one who has played recitals The signifi cance of this organ on so on it regularly since 1971, I contend that many different levels, and its preserva- CONTENTS Editor & Publisher JEROME BUTERA [email protected] it is not. The best documentation that I tion, are. 847/391-1045 can offer to support this is the letter of Much of Harrison’s basic conception, FEATURES March 21, 1968 from Philip Steinhaus, his console, his layout of divisions, his The organ and disaster relief: Associate Editor JOYCE ROBINSON Executive Vice President of the Aeoli- Great without chorus reeds, his Swell An American organist in Japan [email protected] by Roger W. Lowther 19 an-Skinner Company, to William Self, as main secondary division, his en- 847/391-1044 organist of St. Thomas, as recorded on semble build-up, his 32′ Grand Choeur Grinnell College Contributing Editors LARRY PALMER page 355 of Charles Callahan’s Aeolian- division—albeit altered—all still exist. Aeolian-Skinner Opus 1091 restoration 20 Harpsichord Skinner Remembered. In this letter, Although fi ve large Harrison-designed Steinhaus “reluctantly puts into written organs were fi nished at roughly the same Franjo Dugan JAMES MCCRAY Croatian Organist, Teacher, and Composer form” the request that G. Donald Har- time in New York*, each special, this one Choral Music by Chris Krampe 23 rison’s signature nameplate “[which] Mr. was always very special—considerably Harrison only agreed to using [on the or- more dramatic, more personal, seem- BRIAN SWAGER NEWS & DEPARTMENTS Carillon gans] with whose fi nishing he was deeply ingly his valedictory. In one of his last Editor’s Notebook 3 and personally involved” be removed letters he said, “I think this one is going Letters to the Editor 3 JOHN BISHOP from the console. Steinhaus goes on to to be a honey.” In the wind . . . say of the organ that “in all honesty . . . its It was a summarization of a lifelong Here & There 3, 4, 6, 7, 8, 10, 12 character is not recognizable as the work involvement with the Organ Reform Appointments 6 GAVIN BLACK of Mr. Harrison, or the Aeolian-Skinner Movement. It also documented a person- Nunc Dimittis 10 On Teaching Company for that matter.” al triumph in a diffi cult nearly thirty-year In the wind . . . by John Bishop 12 I write not to pass judgment on the saga with Ernest Skinner, particularly so Reviewers John M. Bullard On Teaching by Gavin Black 14 qualities of the present St. Thomas or- in light of Skinner’s interference with John L. Speller Kevin D. Parizo gan, but only to call attention to the fact this project. Harrison’s design was, and REVIEWS Robert August that it is often referred to as an E. M. in some ways still is, a unique attempt Music for Voices and Organ 15 Jay Zoller Skinner or a G. Donald Harrison Aeoli- to aurally match a pipe organ within its Book Reviews 16 an-Skinner. Any objective assessment of contextual setting of French Flamboyant New Recordings 17 its present state should begin with the architecture. New Organ Music 18 acknowledgement that it hasn’t been a Restoration would serve the choir G. Donald Harrison Aeolian-Skinner for admirably, give the organist a resource THE DIAPASON (ISSN 0012-2378) is published monthly NEW ORGANS 28 by Scranton Gillette Communications, Inc., 3030 W. Salt at least 43 years, or an E. M. Skinner for of proven greatness, eliminate millions Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. much longer than that. of dollars of additional fundraising, and CALENDAR 29 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 MSG RLY. E-mail:
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission For the second consecutive year, Schwarzwald, and Strassburg, with of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for First Church in Boston is present- Bernard Haas; German-Danish organ other courses or for the same course offered subsequently. ing midday recitals on Thursdays from tour, November 2–9, Lügumkloster and 12:15–12:45 pm. There are four series, Flensburg, with Daniel Roth and Bine one for each Thursday of the month. Bryndorf. For information: Two of the series are co-sponsored by
OCTOBER, 2011 3
Oct 2011 pp. 2-18.indd 3 9/14/11 11:33:42 AM St. John’s Church Lafayette Second Presbyterian Church, St. Square, Washington, D.C., presents its Louis, Missouri, announces the fall dates 2011–12 music series: October 6, Mi- on its Couts Music Series: October 23, chael Lodico; November 3, Benjamin Andrew Peters accompanies a Harold Hutto; December 1, Madrigal Singers Lloyd silent movie; November 6, Vitali from St. Albans and National Cathedral String Quartet, music of Mexican com- Schools; January 5, Julie Vidrick Evans; posers; December 4, Advent Vespers, February 2, Michael Lodico; March including Bach’s Magnifi cat. For infor- 2, Irvin Peterson, saxophone; April 6, mation: 314/367-0367; soloists from St. John’s Choir; May 4,
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Oct 2011 pp. 2-18.indd 4 9/14/11 11:34:06 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
Oct 2011 pp. 2-18.indd 5 9/14/11 11:34:24 AM nal tunes are welcome. New music for Archbishop Gregory Aymond of New The fi rst director of the Pennsylva- the winning hymn may also be sought in Orleans, chair of the Committee on nia Girlchoir of Philadelphia, Anderson the future. Hymns previously published Divine Worship of the United States also is the founder and past director of or currently entered in other contests Conference of Catholic Bishops, an- the San Marino National Organ Com- should not be submitted. nounced that beginning in September, petition, the San Marino Music and Arts All entries must be postmarked by diocesan bishops may allow early use of program, and the Westminster Choir December 31, 2011. The judges will musical settings from the new translation College Middle School Vocal Camp. He arrive at their decision by February 15, of the Order of Mass in the new Roman was for several years the director of the 2012. Only one winning entry is antici- Missal. The offi cial implementation date Westminster Choir College Summer pated, but the judges may decide to split for mandatory use of the new translation Organ Week for High School Students the prize among several co-winners. The in the United States is November 27, the and is a past dean of the Philadelphia judges also reserve the right not to select First Sunday of Advent. This permission AGO chapter. any hymn as the winner. For information: will allow local communities to introduce Anderson has won awards for his cho-
Mark A. Anderson
Shadyside Presbyterian Church, Pitts- burgh, Pennsylvania, announces the appointment of Mark A. Anderson as director of music ministry. His duties include directing the Shadyside Chancel Choir, playing the organ at weekly and John Grunow holiday worship services, and serving as director of “Music in a Great Space” The Reuter Organ Company announc- concert series. Anderson previously es the appointment of John Grunow as served as organist/choirmaster at the regional sales representative. Grunow’s Presbyterian Church of Chestnut Hill lifelong fascination with the pipe organ (Philadelphia) for fi fteen years, in ad- began as a young student, when the in- dition to prior church positions in New strument at his school chapel was un- York, Kentucky, Texas, and California. dergoing renovation. After graduation
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Oct 2011 pp. 2-18.indd 6 9/14/11 11:34:44 AM Oct 2011 pp.2-18.indd 7 OCTOBER, 2011 bachelor’s degreeattheEastmanSchool ester, NewYork, Lenticompletedher Pasadena, California.AnativeofRoch- master atAllSaintsEpiscopalChurchin the positionofassociateorganist-choir- sic. Forthepastsixyears,shehasheld ment attheClevelandInstituteofMu- she willbeteachingintheorgandepart- In additiontoherworkatthecathedral, ty EpiscopalCathedral,Cleveland,Ohio. associate formusicandworshipatTrini- Mexico, andWyoming. central states,includingColorado,New Organs, andwillrepresentReuterinthe Colorado asproprietorofGrunowPipe opportunities. Hehasnowreturnedto Middle Easttopursuenewemployment years beforeheandhiswifemovedtothe in theRockyMountainWest forover20 in 1996.Heprovidedpipeorganservices became owner/operatorofthebusiness project manyyearsbeforeandeventually builder thathadcompletedtheschool accepted employmentwiththesame from ColoradoStateUniversity, Grunow Elizabeth Lenti The Shepherd School of Music hasbeenappointed Photo byPaulSirochman Mr. Cowanwilljointhefacultyfull-timeinFall2012. for hisdazzlingartistry, impeccabletechnique,andimaginativeprogramming, and pedagogueKenCowantoTheShepherd SchoolofMusicfaculty. Known Rice Universityispleasedtoannouncetheappointmentofacclaimedorganist Elizabeth Lenti tive committeeoftheLosAngelesAGO in Pasadena,sheservedontheexecu- student ofTodd Wilson. Duringhertime land InstituteofMusic,whereshewasa and earnedhermaster’s fromtheCleve- of Music,studyingwithDavidHiggs, Ken Cowan The Shepherd SchoolofMusic, Rice University, HoustonTX,music.rice.edu go, ChicagoMusicalCollege,andWest zelle studiedattheUniversityofChica- gan,” anarratedmusicalprogram.Mo- “The SightsandSoundsofthePipeOr- copal CathedralinChicago.Shecreated Washington, D.C.andSt.JamesEpis- the NationalPresbyterianChurchin has servedinmanychurches,including United StatesandinGreatBritain.She citalist shehasappearedthroughoutthe pel inWinter Park,Florida.Asasolore- Rollins College,KnowlesMemorialCha- chapel organistandadjunctfacultyfor Busch ChapelatHarvardUniversity. Church (CopleySquare),Boston;and Thomas Church,NewYork City;Trinity at St.JamesintheCity, LosAngeles;St. er recentperformancesincluderecitals Anglican MusiciansinLosAngeles.Oth- tional conventionoftheAssociation vention, andalsoplayedatthe2009na- former atthe2009AGOregionIXcon- United States,shewasafeaturedper- chapter, mostrecentlyassub-dean. Mary Mozelle Active asarecitalistthroughoutthe hasbeenappointed Mary Mozelle Mary featured on on theMSRClassicslabelthathasbeen cording atPrincetonUniversityChapel E. Gawthropledtoaworldpremierere- cialization intheorganworksofDaniel and harpsichordperformance.Herspe- a MasterofMusicdegreeinbothorgan Virginia University, whereshereceived PipeDreams . 9/14/11 11:35:12 AM 7 The other two recitals were in north- Here & There ern Denmark at St. Catherine’s Church in Hjoerring and then on the 2006 Mar- cussen in Hoje Kolstrup, where Olav Oussoren was the builder of the organ and serves as organist there. During this tour to Denmark, Davis also visited the Marcussen headquarters in Aabenraa.
Thomas Murray SooHwang Choi Thomas Murray was honored by Korea, she has taught at Dankuk Univer- the American Guild of Organists at its sity, Pyungtaeck University, Ewha Wom- eighth annual recital and gala benefi t Gail Archer ans University, Hansei University, and on May 15 at Yale University, New Ha- Sungkyul University. She holds a bach- ven, Connecticut. Colleagues, students, Gail Archer commemorates the elor’s degree from Ewha Womans Uni- and friends came together to celebrate 200th birthday of Franz Liszt with a new versity (Seoul, Korea), a master’s degree Murray’s 30th anniversary at Yale. The recording, Franz Liszt—A Hungarian from Musashino Academia Musicae (To- event raised $30,000, to be invested in Rhapsody (Meyer Media). The program kyo, Japan), and a doctorate from Hansei the AGO endowment fund in Murray’s includes Ad nos ad salutarem undam, University (Kunpo, Korea). Ms. Choi is honor. The recital, played by Murray on Prelude and Fugue on B-A-C-H, Weinen, currently pursuing an additional doctoral the Newberry Memorial Organ in Wool- Klagen, Sorgen, Zagen, Am Grabe Rich- degree at the Mason Gross School of the sey Hall, included Bach’s Toccata in F, ard Wagners, and Liszt’s arrangement of Arts at Rutgers University in New Jersey, BWV 540, Hindemith’s Sonate II, selec- the “Pilgrim’s Chorus” from Tannhäuser. where she is an assistant organist. For in- tions from Symphony I on Gregorian This marks Archer’s third composer- formation:
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8 THE DIAPASON
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Allen Organ Company, 150 Locust Street, Macungie, PA 18062 (610) 966-2202 www.allenorgan.com was selected to perform the inaugural at SMU in 1939 and has been a mem- was a life member of the American Guild recital on the new organ in Walt Disney ber ever since. He graduated from the Nunc Dimittis of Organists and the American Institute Concert Hall in Los Angeles. Curtis Institute of Music in Philadel- of Organ Builders. For many years, he phia, where he studied with Alexander was involved with many civic organiza- McCurdy. For many years he concert- Wally Behnke died June 2 at the tions in both Chambersburg and Hagers- ized under the management of Lilian age of 91 in Alpena, Michigan. He was town. He was recently a member of the Murtagh in this country and under Ibbs a contributor to the early development Franklin/Fulton County Drug and Alco- and Tillet in the U.K. Teague taught at of electronic organs for home and in- hol Advisory Board, and a member of the Centenary College for 44 years and re- stitutional use during the 1950s through board of directors for mental health of tired as Professor Emeritus of Music. He the 1970s. Born March 16, 1920 in Al- Franklin and Fulton Counties. was also the organist and choirmaster for pena, Michigan, he received his teaching St. Mark’s Episcopal Church (now the certifi cate from Alpena County Normal cathedral) for 39 years and is Organist School and then continued his education and Choirmaster Emeritus. In Septem- at Eastern Michigan University until the ber Teague and his older brother, Abner, interruption of World War II, when he who is a rocket scientist, were inducted served in the U.S. Navy in the Samoan into the Gainesville, Texas High School Islands. He then attended the University Hall of Fame. of Michigan, where he earned bachelor’s and master’s degrees in music. Shortly Carol Williams has been reinstated after graduation, he was hired by the or- for a 10-year contract by the City of San gan division of Conn Musical Instrument Diego as their Civic Organist. Williams, Co., Elkhart, Indiana, as music director who has already served 10 years as Civic and head of sales. Organist, came under months of delib- During his tenure at Conn, he pub- eration due to the economic climate. lished many collections of arrangements Jeremy David Tarrant Support from all over the world fl ooded of popular tunes. Among the published in to the city council for her continu- collections are Mills Popular Favorites On July 31 Jeremy David Tarrant ing the free organ concerts held every for Conn Organs (1954), Mills Popular played the closing recital of Interna- Sunday at the Spreckels Organ Pavilion Standards for Conn Organs (1955), and Richard M. Geddes and daughter Sylvia tional Organ Week in the Cathedral of in Balboa Park. The full council heard Harms Hits through the Years for Conn Geddes celebrating his 90th birthday St. Bénigne in Dijon, France, where his speakers in favor of continuing the city Organs (1958). He also published sever- program included music of Bach, Scarla- concerts, resulting a unanimous deci- al instructional books for specifi c Conn Richard Malcolm (Dick) Geddes tti, Widor, Franck, Durufl é, and Vierne. sion by the eight city council members models. He was involved with the design died February 10, 2011, in Springdale, Sponsored by Les Amis de l’Orgue de la to extend the contract for 10 years. Wil- of the Conn “Sound Reproducing Sys- Arkansas. He was born on July 19, 1916, Cathédrale de Dijon, the concert round- liams also serves as artistic director of tem” of pipe speakers. in Pleasant Valley, Connecticut, the son ed off a week of recitals by organists from the Spreckels Organ Society. For infor- Behnke retired from Conn in 1978 of William and Bertha Geddes. After France, South Africa, the Czech Repub- mation:
www.mander-organs.com Imaginative Reconstructions
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Oct 2011 pp. 2-18.indd 10 9/14/11 11:36:12 AM
has been contracted to remove, recondi- Here & There tion, and install the Austin organ at St. Joseph’s new building, presently being In the wind . . . constructed at Somers. Work includes by John Bishop Jazzmuze announces the release of fi ve new stops and mild overall tonal new works by Joe Utterback: When I updating. Architects DCAK-MSA of Survey the Wondrous Cross, Prelude on Nyack, New York have properly located ‘Beach Spring’ (organ), An Irish Bless- the new chambers with good consider- ing (tenor vocal solo), Deep Peace (SATB ation for tonal egress and serviceability. choral), and Reverie (piano). Audio and The organ will be installed by December score samples can be found on the fi rm’s 2012. For information: 800/621-2624; website:
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
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Oct 2011 pp. 2-18.indd 12 9/14/11 11:36:37 AM three- or four-manual organ has great fi nd that you have to remove ten reed sightlines that way. But what if some- pipes and ten mixture notes so you can thing goes wrong inside the console? I stand on a walkboard—tricky and cum- remember vividly a repair I made to the bersome if you’re working from a narrow combination action of a big three-manual walkboard high off the fl oor—you hate Casavant organ. It had the standard-issue it when a Trumpet rolls off the edge of electro-pneumatic-mechanical combina- the walkboard. (That never happened to tion action prevalent in Casavant organs me—I’ve just heard that it’s possible!) A of the 1940s and ’50s—the console was simple tuning can become a multiple- jam-packed with intricate mechanical day event. gizmos. The design of the console al- I care for an organ on Cape Cod built lowed for access to accomplish the re- in the 1980s that has tracker action, a pair, but we couldn’t get to the console freestanding case for the Great, and a panels. It took two days to take apart the second case behind for Swell and Pedal. choir risers, and even longer to put them I’m sure that when the organ was being back together—a week’s work for two planned, a musician or member of the guys because a piston wouldn’t set cor- clergy insisted that the organ couldn’t rectly. That was an expensive repair. project forward toward the nave past a § certain point—the result being that the space between the two cases is narrow Thanks to a lifetime of recreational enough that I can get on the Great walk- cooking and some input from the gene board only if I remove all the case panels, pool of a family populated with tall peo- my belt, wallet, and strip to my tee-shirt. ple with big bones, there are places inside Then I can just wriggle past the posts of some organs where I can’t go. I’ve had Here’s what the tuner sees from the top of the Woolsey Hall organ the case. Looking at the organ now, it’s many an unpleasant afternoon slithering hard to imagine that there couldn’t have my “dainty little body” across a fi lthy fl oor There’s a spot up on the top level of the also many instruments, especially those been just an inch or two more space— trying to reach the leather nuts of a pedal organ that is not for the faint of heart— in shallow freestanding cases, where all that wouldn’t have changed the fl oor action. I especially enjoy the encounters you step out across an abyss where you the maintenance work is done by reach- plan for the choir and clergy a bit. But with broken light bulbs on those dirty can look down through multiple layers of ing into the case through panels and the way it is, it’s terribly diffi cult to tune fl oors. The other day I visited a church the instrument. Your heart skips a beat doors. These organs are typically very that organ or to reach the tracker action that’s home to an 1868 W.B.D. Simmons and over you go. Oopah! Reminds me crowded inside. And if the organ is large that runs between the two cases. It’s as organ. (Lovely organ, by the way, and of photos I’ve seen of the suspension enough that the case is deeper than the if the builder didn’t want anyone getting about to go on the market.) I climbed a bridge made of rope in the Himalayas. reach of the technician, things can get inside the organ. very rickety 143-year-old ladder inside While there are lots of organs where very diffi cult. If a bass pipe in the far Another organ, also on Cape Cod, the organ and crossed a walkboard be- you open a door and go inside, there are corner is not speaking properly, you can is so tight inside that I make a point of hind the Great windchest so I could get a look through the Swell shutters. I walked as though on eggshells, knowing that if I fell through I’d wreck the tracker action behind the keyboards. At a recent convention of the Ameri- THESE FIRMS ARE can Institute of Organbuilders, I sat on a BUILDER MEMBERS panel with several colleagues discussing the maintenance of pipe organs. Mark NORTH ANDOVER ORGAN COMPANY Venning (then managing director of Har- rison & Harrison Ltd., organbuilders in BEDIENT PIPE ORGAN COMPANY Durham, UK) spoke eloquently about AMERICA’S BERGHAUS PIPE ORGAN BUILDERS, INC. the dangers of organ maintenance, sug- gesting that it’s the responsibility of the BIGELOW & CO. ORGAN BUILDERS technicians to insist on safety in the BOND ORGAN BUILDERS, INC. organs they service. One instrument I PREMIER maintain has a tall freestanding case with BUZARD PIPE ORGAN BUILDERS, LLC the Great division at the top. There’s a ORGAN BUILDING C.B. FISK, INC. wooden walkboard against the back of the case about eighteen feet up, on which CASAVANT FRÈRES you stand to reach through the case & SERVICE FIRMS DOBSON PIPE ORGAN BUILDERS doors to tune the Great. The walkboard is painted to match the case—a hard and GARLAND PIPE ORGANS, INC. glossy paint. The dust that collects on that slick surface feels just like ball bear- GOULDING & WOOD, INC. ings under my shoes. I really should ask HENDRICKSON ORGAN COMPANY the church to let me build a railing. In the late 1970s I was working with HOLTKAMP ORGAN COMPANY John Leek, organbuilder in Oberlin, BUYING AN ORGAN? KEGG PIPE ORGAN BUILDERS Ohio. (John’s son James now runs that neat little company.) We cared for a LÉTOURNEAU PIPE ORGANS large Hook & Hastings organ in the INVEST IN PIPES! First Church of Christ, Scientist in NOACK ORGAN COMPANY, INC. Cleveland, where we also did a lot of PARSONS PIPE ORGAN BUILDERS large-scale renovation work. One Fri- day afternoon, thinking of rush-hour THE ORIGINAL GREEN SOLUTION. PASI ORGANBUILDERS, INC. traffi c (if you know Cleveland, you’ll PATRICK J. MURPHY & ASSOCIATES INC. know “Dead Man’s Curve” on I-71!), I was hurrying across the top of the Swell PAUL FRITTS & CO. ORGAN BUILDERS box, arms full of tools, to the ladder that QUIMBY PIPE ORGANS, INC. would get me twenty feet to the fl oor. I jumped on the ladder in the usual cava- RANDALL DYER & ASSOCIATES, INC. lier fashion (when you get used to the geometry of a particular ladder you can SCHANTZ ORGAN COMPANY get careless), missed a step, and down SCHOENSTEIN & CO. I went. It was a narrow little chute sur- rounded by façade pipes, swell box wall, TAYLOR & BOODY ORGANBUILDERS and some pedal pipes, so there was no option but to stay upright. I landed hard on my feet and my breath was knocked SUPPLIER MEMBERS out. My ankles and lower back were sore A.R. SCHOPP’S SONS, INC. for days. If that happened to me today I doubt I’d escape uninjured, although HARRIS PRECISION PRODUCTS in 1589 on the famous leaning tower by the cathedral in Pisa, Italy, Galileo used OSI - TOTAL PIPE ORGAN RESOURCES different sized cannonballs to prove that PETERSON ELECTRO-MUSICAL PRODUCTS, INC. I wouldn’t fall any faster today than I did in 1979! Oof. But come to think of it, this SOLID STATE ORGAN SYSTEMS story is about me more than about the Please call or visit our design of the organ. website to receive a free prospectus It has been my privilege to be shown through the magnifi cent and immense Newberry Organ in Woolsey Hall at Yale the highest standards of integrity, quality and craftmanship in pipe organ building University by my friend and colleague Joe Dzeda, who with Nick Thompson- 1-800-473-5270 www.apoba.com Allen serves as curator of that mighty in- strument. Now that’s a big organ. It has 197 ranks and it goes from way over there to way over the other way. And it’s tall.
OCTOBER, 2011 13
Oct 2011 pp. 2-18.indd 13 9/14/11 11:36:50 AM wearing “sacrifi cial” tee-shirts when I go thinking, “Yuck. I have to go there to- never tried to memorize. I did, however, there. It’s one step worse than the last or- day.” You struggle all day to tune, know- study the F-major more intensely and in gan I mentioned because I know I can’t ing that the organist won’t be able to tell On Teaching more detail than I had ever studied any- get inside the organ to tune without tear- that you did anything. by Gavin Black thing up to that point. I did all sorts of ing my shirt on the iron hooks that hold On the other hand, a well-designed motivic and other analysis, including an the windchest bungs closed. organ is a pleasure to care for. You can analysis of proportion in both the Tocca- Another problem in maintaining spend a day doing mechanical adjust- ta and the Fugue, which suggested to me organs in shallow cases is that open- ments and repairs and tuning, and leave that the two pieces are more closely re- ing doors or access panels changes the knowing that you’ve made a difference. lated than they are sometimes thought to acoustics inside the case and the tun- You know the organist will be pleased, be. I also practiced it to within an inch of ing is altered. In other words, a pipe and the church’s money is well spent. its life, using every strategy that I knew that’s in tune when the doors are closed Here are some of the factors common at the time, but relying mainly on good goes out of tune when they’re opened. to organs that are well designed, well old-fashioned repetition. I feared at the The fi rst time I encountered that as a built, and easily maintained: time that it was “too hard” for me, but fl edgling tuner in the late 1970s was Only high-quality materials are used. it was an absolute favorite of mine and I in a Flentrop organ in Slippery Rock, • If a console is full of cheap plastic was determined to learn it. Pennsylvania. The only way to get pipes parts, the technician can hardly help I performed all three pieces from time properly in tune was to listen, open a breaking things. to time in the 1990s, and had not looked panel and tap a pipe, then close the • If a windchest is full of cheap parts, at any of them within the last ten years. panel and listen again. You can some- it will not stay reliable through changes When I began exploring them in order times fi gure out that opening a door on in weather and climate, and the techni- to choose one to play, I discovered very the C-side of the organ doesn’t change cian cannot help breaking things. quickly that the F-major was much more the C#-side tuning, so you can reach Every part of the organ can be solid—retained much more of what I across, but then you have to be care- reached by a person of at least aver- had once put into it—than either of ful that your body heat doesn’t change age size. the other two. In fact, right off the bat the organ’s internal temperature. Oh, • I admit I’m on the large side—but I could play through it at about 80% and be sure you’re not holding on to a too much of too many organs can only be tempo and have it come out quite accu- brass tuning cone for too long, because reached by teeny people, if they can be This and that rate and steady. The process of working the tool heats up in your hands and reached at all. This month’s column is a grab bag or it up to a performance tempo and get- changes the temperature around the • If you can’t reach a pipe you can’t miscellany of sorts. I will add to what I ting it to feel solid and ready to play was pipe you’re tuning. Whose idea was all tune it. have already written about each of my as smooth and easy as I can remember this, anyway? • If you can’t reach a pipe, you can’t last two subjects—memorization and in- that process ever being with any piece. And while we’re talking about temper- correct its speech. terpretation—based partly on feedback Furthermore, I noticed that when I tried ature, what about all those incandescent • If you can’t reach a leather nut, you and discussions that I have had about to play chunks of each of these three light bulbs inside the organ? can’t adjust the action. those subjects over the last few months pieces from memory—at page turns, § • If you can’t reach a keyboard spring, and partly on my own further thoughts. for example, in order not always to stop you can’t replace it. By coincidence, a couple of things have at the same place—I could do more of Most pipe organs seem pretty sturdy • If you spend time taking things apart arisen in my own performing life and that with the F-major than with pieces at fi rst glance, but there are lots of ways to reach that pipe that’s not speaking, the in my teaching recently that shed some that I had explicitly memorized all those that a poorly designed structure can tuning bill skyrockets. specifi c light on the issues that I dis- years ago. This probably in part refl ects interfere with the care of the organ. I The organ’s structure should be cussed in July, August, and September, my having done a less than stellar job know of a very large organ in which the sturdy and rigid. and I will recount those anecdotes. I of memorizing them, but it is also, I be- walkboard for access to the Great is in • If a windchest can move, the action will also provide a brief introduction to lieve, a reminder of the power of really contact with the wind system. When a will always be changing. what will be the subject of next month’s studying and working on a piece. tuner stands on the walkboard, the wind- • If a technician’s weight on the walk- column: fi gured bass realization and con- pressure increases—this makes tuning board changes any function of the organ, tinuo playing. Reading or sight-reading theoretically impossible. tuning is theoretically impossible. One of the ideas that I have encoun- I know of another organ in which the • If a ladder is fl imsy or unstable, the Memorization vs. thorough learning tered persistently in discussions about Great rollerboard (a major component technician is either in danger (as is the or- The fi rst anecdote that I want to men- memorization after I fi nished writing my of the tracker action) is suspended from gan) or the technician may choose not to tion comes from my own recent per- recent columns on the subject (before as the Great walkboard. When you stand on climb up. (I’m not going up to the Swell forming life. It bolsters my existing views well, but more after, for some reason) is the walkboard the action sags, the pallets until I can install a new ladder—life is about memorization, or, more particular- that if you haven’t memorized, you are (pipe valves) close partially, and the wind short enough without taking industrial ly, about the relationship between mem- sight-reading. I discussed sight-reading to the pipes is diminished—another in- and personal risks to tune the Oboe.) orization and really thorough learning. in July and in August. However, at the stance where tuning the Great is theo- The organ’s interior is well lit. (That is, it is a bit self-serving of me to moment I feel even more impressed that retically impossible. • If I can’t see it, I can’t fi x it. recount it!) I recently needed to choose we must make clear to our students that § • Maybe I should start billing my cli- one of the larger Bach pieces to be part the alternative to memorized perfor- ents for tools that I lose when I can’t see of a recital program. There were three in mance is not or should not be anything If an organ is easily serviceable, it will inside the organ. particular that I was interested in play- that earns the description of sight-read- have a longer life. If components of an If you’re ever in the position to partici- ing: the Prelude and Fugue in E Minor, ing. “Reading,” yes; “sight reading,” no. organ cannot be reached, they cannot pate in the conception of a new or relocat- BWV 548; the Fantasia and Fugue in G The role of reading in a well-prepared be maintained. If an organ is diffi cult to ed pipe organ, consider starting from the Minor, BWV 542; and the Toccata and performance is hard to describe. I would get around in, the well-meaning techni- tuner’s point of view. You want your tuner Fugue in F Major, BWV 540. try some of the following: cian cannot do a good job. I care for a to look forward to visiting your church. The fi rst two are pieces that I memo- 1) Reading confi rms what you already few instruments that are diffi cult and Then after a pleasant day of making the rized for auditions or juries at West- know or remember at a (slightly) sub- uncomfortable to manage, and I admit organ sound and function better, he can minster in the early 1980s. The Toccata conscious level about what is coming up that’s on my mind when I’m on way to pick up a nice piece of meat on the way and Fugue is a piece that I fi rst learned next, and therefore enables you to bring one of them. I wake up in the morning home to throw on the grill. Q at about that same time but that I have that knowledge to the conscious level in an untroubled manner. 2) Reading gives you something to latch on to if you feel that the performance is 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ slipping away. In fact, the security—or perhaps the rescue—that players are DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX sometimes tempted to achieve by look- 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV ing at their hands when a passage seems about to unravel can usually be achieved ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG better by zeroing in on the music and ex- OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV plicitly reading what the next notes are supposed to be. This sometimes takes a &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK leap of faith—it can feel like tightrope- walking—but it works. 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ 3) The experience of playing a piece WKHLQVWDOODWLRQ from the score resembles the experience of listening to a long, complicated song (or oratorio or opera) that you know well. 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX You would not be able to write out all of the words or the whole libretto, but as it PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW unfolds you know with certainty at each 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations moment what is coming up next. 4) There are many things in everyday FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions life that we experience this way: for ex- ample, the road signs along a familiar Solutions for Old Pipe Organs route. I could never list from memory the content of all of the signs along, say, the Connecticut Turnpike or the Garden State Parkway. But as I drive along, I know what is coming up next, and I know right away if I see that one of them has been changed. Semi-memorization I describe this particular state of www.rodgersinstruments.com knowing something—a piece of music or a pattern of exit signs or anything—as semi-memorization. It results naturally
14 THE DIAPASON
Oct 2011 pp. 2-18.indd 14 9/14/11 11:37:03 AM from really thorough study of a piece of that page at all sorts of different places. our students come to us to learn. It is music. Reading with attention and focus It can also be done by memorizing the normally thought of as part of the con- Music for Voices a piece of music that you have semi- last few measures of the earlier page and stellation of skills that might be taught memorized is neither sight-reading nor the fi rst few measures of the later page to those studying harpsichord, though of and Organ playing from memory. It is its own thing, and again pausing to turn at various dif- course in the days when continuo was a by James McCray as different from each of them as they ferent spots, randomly distributed. This universal practice, much continuo play- are from each other. It is the most com- little bit of memorization should be anx- ing took place at the organ. Certainly mon and natural mode of performance iety-free, since is it never intended to be any organist who feels comfortable real- The slippery slope of Advent for most of us most of the time. brought out in performance. izing continuo parts himself or herself (rather than relying on printed realiza- If you can alter things, alter them, Page turns Teaching interpretation tions found in modern editions) will If you cannot, put up with them. —English Proverb I have become increasingly impressed Here is another recent story, this one have both greater fl exibility and greater by the extent to which full-fl edged mem- relevant to teaching interpretation. It is musical possibilities open to him or her orization is mentioned as a necessity spe- also, I am afraid, intended to confi rm or in playing any non-solo Baroque music. The fi rst Sunday of Advent 2011 is in cifi cally to avoid dealing with page turns. bolster what I have recently written, so it This includes many anthems and other November. Christmas is on Sunday this Page turns can be annoying indeed, but, too is a bit self-serving. A young student music that church choirs might sing. It year, so to have the traditional four Ad- as I mentioned in July, wholesale adop- of mine—middle-school age, a somewhat is even relevant to the playing of many vent Sundays, they must begin on the tion of memorization seems to me to be experienced and very talented pianist hymns. Understanding continuo playing Sunday after Thanksgiving, which poses a disproportionate response to this an- with so far just a little bit of harpsichord is also a window to understanding a lot problems in terms of rehearsals. Origi- noyance. It is especially disproportionate and organ experience—was working on a of what is going on in (at least) Renais- nally, there were six Sundays in Advent, as something to ask of our students as a piece that was manuals only, two voices, sance and Baroque music in general. It but now the season is offi cially limited to major part of what they work on. with a left-hand bass line in steady eighth is also a step towards undertaking the art the four Sundays that precede Christ- (At this moment in history, it seems notes and a more fl orid right-hand part of improvisation, since it is itself a form mas. The celebration of this season start- possible that the practical side of page in sixteenths and thirty-seconds. After of improvisation, though one conducted ed in the fourth century in the Gallican turning will change dramatically, perhaps she had worked on the notes a certain within defi ned limits. region (France and Spain), but not until quite soon. There are already electronic amount, when it was almost time to put Figured bass realization is often taught the sixth century in Rome. music reading systems that work very the hands together, I did the following. I as part of the teaching of harmony, coun- Advent is a time of preparation in the well on orchestral-type music stands, played the fi rst several measures of the terpoint, or theory in general. In that church. Common hymns sung include and that can work also on piano or harp- left-hand part for her three different context it is considered a good idea to People Look East, Prepare Ye the Way, sichord music desks. They eliminate ways: legato, staccato, and in-between, think of continuo realizations as being and the perennial favorite O Come, O the need to turn pages by hand. I have that is, mildly but distinctly detached. I in effect pieces of music that should fol- Come, Emmanuel. Those themes are started using such a system in my harp- asked her to think about which she liked low the rules or customs of composition echoed in the choir’s repertoire, and sichord playing. It is useful in concert, better: nothing about which I preferred, especially as to voice leading. This is an several mutual texts are included in this and also sort of a conversation piece, or about historical authenticity, or about approach that is nearly the exact oppo- month’s choral reviews. It should be re- given that it is still fairly rare. However, anything else (supposedly) authoritative. site of what works best in actual perfor- membered that texts referring to Christ’s the most important difference that it I did say to her that in the end there was mance. The reasons for this lie in the actual birth should not be used before makes is in practicing. After all, no one no reason that these approaches couldn’t nature of what a keyboard continuo part Christmas Eve. Special events during ever employs a regular page-turner for be combined and the results varied. She contributes to a performance. An under- these Sundays usually include the light- practice sessions. I have often in the past took this home to think about. standing of this is the key to learning to ing of the Advent candles by members of had the experience of playing through a Over the next week or two of practic- play continuo comfortably, not least be- the congregation. This year, the scripture piece without page-turning breaks for ing and the next couple of lessons, she cause it actually has the effect of making for the fourth Sunday of Advent is Luke’s the fi rst time when I played it in concert. not only, in a sense, chose one of my op- the process easier than it can seem to be story of the angel’s visit to Mary, and this These new music-reading/page-turning tions (the middle one) but more impor- in theory class. I will discuss this in detail is a perfect Sunday to sing some form of systems make that unnecessary. It is tantly worked out—on her own—a com- next month. That discussion will also in- the Magnifi cat; a new setting by Gerald trickier to devise a system like this for pletely varied and nuanced articulation clude a very practical protocol for work- Near is included in the reviews below. organ, mainly because the organist can- with some notes held longer than others ing on continuo playing and of course Perhaps this year is a good time to not spare the feet for operating page- and certain phrases or passages played for introducing it to students of various use fresh approaches to the season, and turning pedals. However, it seems cer- overall more or less legato than others. levels and backgrounds. Q the reviews include music for two sug- tain that any practical obstacles to this This exercise pointed her in the direc- gested ideas. Emmanuel, An Advent will be fi gured out and that systems like tion of listening carefully to what her Gavin Black is Director of the Prince- Processional might be used more than this will some day be commonplace.) playing was doing and to thinking about ton Early Keyboard Center in Princeton, once during the season. This work uses However, page turns do create a real what she wanted out of the piece and New Jersey. He can be reached by e-mail handbells, wind chimes, and non-tuned musical problem, and one approach to each of its constituent passages. It also at
Reserve advertising space now Deadline: November 1 To reserve advertising space, contact Jerome Butera 847/391-1045; [email protected]
OCTOBER, 2011 15
Oct 2011 pp. 2-18.indd 15 9/14/11 11:37:20 AM ing to the service. Another possibility is cated to be gently activated for periods this work has a freedom to it that gives a musical candle-lighting ceremony that of time (10 seconds). This is certain to be it a chant-like character, especially the Book Reviews has a more formal structure. Joel Raney a favorite work for the singers and con- vocal lines, which have numerous unison offers a new one that includes individual gregation, and will present an effective, repeated notes. The Nunc Dimittis, also texts for all four Advent Sundays and for dramatic opening to an Advent service. primarily in unison, has phrases for sepa- Essays in Honor of Christopher Hog- Christmas Eve. His work, entitled The Highly recommended. rate men and women. Both movements wood: The Maestro’s Direction, ed- Wonder of Christmas, traces that theme close with the same Gloria Patri, as was ited by Thomas Donahue. Lanham, with readings and music for the congre- The Wonder of Christmas (A Candle typical throughout the past several hun- Maryland, Toronto, Canada, and gation in addition to the choir’s music. Lighting Ceremony for Advent), Joel dred years. Plymouth, UK: The Scarecrow Press, The holiday season is a particular Raney. Two-part mixed voices, two Inc., 2011. 259 pages + xvii, illustrat- time of stress for most people. The usu- handbells, and congregation, Hope Savior of the Nations, Come, arr. Da- ed, hardbound. ISBN: 978-0-8108- al busyness of Americans is expanded Publishing Co., C 5706, $1.95 (E). vid Cherwien. SATB, trumpet, con- 7737-5; as special festivities increase. Prepara- This ceremony includes a choral open- gregation, and organ, Concordia Pub-
16 THE DIAPASON
Oct 2011 pp. 2-18.indd 16 9/14/11 11:37:47 AM for His Concerto in D Major, K. 175?” and less sophisticated than the average all by twentieth- and twenty-fi rst-century Frederick Hohman, Soar Above— by Robert D. Levin; “Square Pianos in reader of The Diapason. It is reper- composers—Ivan Jevtic (b. 1947), André From the 10 Organ Symphonies of German-Speaking Areas at the Time of toire that might grace an elevator or a Jolivet (1905–1974), Nicolas Bacri (b. Charles-Marie Widor. Pro Organo Wolfgang Amadeus Mozart and Their grocery store, and I do not say this by 1961), and Henri Tomasi (1901–1971), 7202; $17.98; Possible Uses in His Works” by Sabine K. way of denigration. as well as Thierry Escaich himself. They
OCTOBER, 2011 17
Oct 2011 pp. 2-18.indd 17 9/14/11 11:37:57 AM is brilliant and “beyond warp speed”, it tration and tempos, and the program compositions. Other pieces that could seven variations on God Rest You Mer- is refreshing and musically exhilarating provides an excellent overview of Bach’s fi nd use in church as well as recital are ry, Gentlemen, would work equally well to hear Hohman’s interpretation, where output. A highly recommended CD. Richard Webster’s (1952–) Fantasy on an in a church service or recital. The fi rst articulation, warmth, fl uidity of melodic —Robert August Original Tune; Elegy by Brent Weiland variation has a fast-moving 16th-note line, and sound color are all combined Fort Worth, Texas (1963–); Variations on an Elegy by Philip chromatic pattern in the right hand on with his sense of control and beauty. A. Kraus (1950–); Aria and Variations by a 4-foot fl ute against chords that out- This CD should be in the hands of Paul French (1959–); Petite Chant Suite line the harmonies. Fiess enjoys chang- organists who can revel in the beauty of by Alan J. Hommerding (1956–); and the ing the rhythm, so that the second vari- this timeless music. New Organ Music Fantasy on a Solemn Ostinato by Richard ation is in 5/4 time, with parallel thirds —Kevin D. Parizo, Ph.D. Hillert (1923–2010). in both hands, with the left hand being Middlebury, Vermont A number of pieces are probably more a mirror of the right hand. In variation The ChicAGO Centenary An- intended for recitals rather than service three, the left hand has the melody in- thology, edited by Dennis E. work, although they may serve double verted. The fourth variation is again in Margaret Phillips: J.S. Bach Volume Northway. World Library Pub- duty. Two pieces are designed to show parallel thirds, but this time in canon, V—Various free works, partitas and lications WLP 003074, $25.00; off the Tuba or other Trumpet stops. with the left hand inverted near the miscellaneous chorale preludes. Re-
18 THE DIAPASON
Oct 2011 pp. 2-18.indd 18 9/14/11 11:38:09 AM The organ and disaster relief: An American organist in Japan Roger W. Lowther
Roger Lowther at outdoor concert Roger Lowther at Iwaki concert he train slammed to a hard stop, al- Overlooking the city of Ishinomaki, Tmost throwing me to the fl oor. “We one of the worst-hit cities in the region as some deal with their grief for the joyfully dancing in their celebration of are experiencing an earthquake. Please where over 6,000 people died, is a large very fi rst time. As a thank-you, one en- life! You can see a short video clip of this wait a moment,” came the voice from the hill topped with a shrine and large to- ergetic 84-year-old gentleman sang local amazing moment on my blog:
OCTOBER, 2011 19
Oct 2011 p. 19.indd 19 9/14/11 11:39:08 AM Grinnell College Aeolian-Skinner Opus 1091 restoration
Herrick Chapel
Surrounded by farmlands planted in 32-foot stops (Bourdon, Bombarde, and thick carpets of corn, Grinnell, Iowa, is Fagott) that were downward extensions considered one of the most livable small of their pneumatic siblings, and which towns in America. Founded in 1854 by were designed and executed by Michael abolitionist minister Josiah B. Grinnell, Harrison, son of the fi rm’s forward-look- it is home to the college that now bears ing president. his name, fi rst established in Davenport When Opus 1091 was surveyed in in 1846 as Iowa College. Within twenty- 2003, it was found to be in pristine, per- fi ve years of its founding, Iowa College fectly restorable condition. Always the relocated to Grinnell, and in 1909 its fortunate recipient of responsible and name was changed offi cially to Grinnell sympathetic care over the years, the or- This photo, taken at the rededication, shows the placement of the console across College. Today it remains an outstanding gan seemed to be waiting for the restora- from the pipe chamber; in use since 1940, this placement was kept when the cur- liberal arts school that pioneered the So- tion that had been predicted by its build- rent organ was installed in 1949. A video screen is in place so the organist can be cial Gospel Reform Movement, a tradi- er upon its completion some fi fty years more visible when performing. Linda Bryant is speaking at right. tion that continues to present times. earlier. Perhaps not surprisingly, the only Herrick Chapel was dedicated in May casualty proved to be the electronic 32- 1907 and fi rst housed an organ by Lyon foot stops, of which only the loudspeak- & Healy. This instrument served the ers remained. college for about thirty years until it was Restoration of the organ began in mid- rebuilt by the Kimball Organ Company 2006, when Richard Houghten of Milan, in 1940. Dedicated by Clarence Dick- Michigan removed the console for res- inson, the Kimball organ had an aston- toration. The following January began ishingly short lifespan. In 1948 it was the systematic removal and restoration replaced by Opus 1091 of the Aeolian- of the pipework and chassis within the Skinner Organ Company, retaining only organ chamber. After the chamber had the forty-six case pipes from the Lyon & been emptied of its contents, repair and Healy instrument. On May 19, 1949 the restoration of the organ’s environment organ was dedicated by none other than could take place. Walls, ceilings, and Virgil Fox. fl oors were cleaned and given several Opus 1091 proved to be, in every sense fresh coats of paint to aid in delivering of the word, an extraordinary instrument. the organ’s sound to the listeners seated Its feet fi rmly planted in two distinctly in the chapel. different soils, not only did it feature a All of the organ’s pipes were washed, Flute Celeste, English Horn, Clarinet, repaired, and restored to original speci- and Vox Humana, it also boasted a Harp/ fi cations. The fl uework was restored in- Celesta percussion stop, thought to be house without any attempt to second- one of the last, if not the last such device guess the builder’s intentions. Reed made by Aeolian-Skinner. These Ernest stops were carefully restored by Broome Skinner-style stops were juxtaposed with & Company, and now provide the organ a low-pressure fl oating Positiv division with the éclat that Donald Harrison en- and G. Donald Harrison’s renowned visioned in 1949. All of the organ’s chas- American Classic scaling and halving-ra- sis was dismantled, cleaned, releathered, tios. As if that were not diversity enough, and adjusted to replicate original factory Opus 1091 also included three electronic standards. It is accurate to state that ev-
Grinnell College Organist Linda Bryant studies the restored console of Aeolian- The right Skinner Opus 1091 organ at the erything was done to make this a truly storers were left with the dilemma of transparent restoration, one in which the either replicating the original stops with right price original builder’s concepts and execution modern digital voices, or leaving three were respected at every step of the way. stops in the Pedal Organ without bottom We’ll help you chose from Even Aeolian-Skinner’s elegant remote octaves. In the end, the missing 32-foot the hundreds of vintage organs electro-pneumatic machinery for the voices were replicated by Walker Techni- combination action was retained and re- cal Company’s contemporary versions of available through our website. stored to its original standards. Michael Harrison’s experimental stops of We can deliver it to the An interesting conundrum appeared 1948. Opus 1091 was rededicated April organ builder of your choice when it came to the organ’s 32-foot 3–4, 2009 in a series of events featuring stops. There was little room in the or- Kevin Bowyer (University of Glasgow), or refurbish, revoice, and gan chamber for real organ pipes, nor Paul Jacobs (The Juilliard School), and install it ourselves. budget for their inclusion. And as much Davis Folkerts, who improvised accom- as the restorers resisted the thought of paniments to the silent fi lms Laughing “In choosing OCH, I know that the work has been done non-pipe sound generation in the organ, Gas and The Vagabond. with the utmost knowledge, enthusiasm, care and integrity.” the original instrument made no apolo- At every step of the way, the restor- gies for the installation of such effects. ers endeavored to stand aside and let David Enlow, Sub-Dean, NYCAGO Even though Michael Harrison down- the work of the Aeolian-Skinner Organ played the authenticity and effectiveness Company shine through. College Or- Organ Clearing House of such voices in his later years, claiming ganist Linda Bryant threw her full sup- www.organclearinghouse.com or call John Bishop at 617-688-9290 that they remained “underdeveloped” port behind the restoration project, as when he left Aeolian-Skinner, the re- did College President Russell Osgood
20 THE DIAPASON
Oct 2011 pp. 20-22.indd 20 9/14/11 11:39:51 AM The pipe chamber can be seen through the refurbished non-speaking façade pipes, which have guarded the chamber since Herrick Chapel was built in 1908.
Aeolian-Skinner remote combination- Pedal organ chassis being reinstalled action machines awaiting restoration Herrick Chapel fi lled with organ components on their way to New Haven
THE GRAND ORGAN OF LIVERPOOL CATHEDRAL
NOW AVAILABLE IN NTSC FORMAT FOR NORTH AMERICA! IAN TRACEY plays a diverse program over 75 min- utes long at the Liverpool Cathedral. The grand organ was built by Henry Willis & Sons. It is the largest pipe organ in the United Kingdom boasting two five-manual consoles and 10,268 pipes. In this program Ian Tracey makes full use of the entire organ and shows off the Pitman chest pouch-rails and expres- Grinnell College Organist Linda Bryant vast dynamic range. He took over from Noel Raw- sion shades ready for re-installation in at the console of Aeolian-Skinner Opus sthorne in 1980 to become the youngest cathedral organ 1091 organist in the UK. He is currently Organist Titulaire at and local curator Carroll Hanson, all of it is used for recitals, religious services, Liverpool Cathedral which gives him more responsibil- whom were enthusiastic about the con- weddings, organ teaching, and concerts. ity while also granting him more freedom and flexibil- cept of restoring Opus 1091 to its origi- Herrick Chapel has been maintained ity. As usual this DVD presents wonderful visual shots nal condition. Today, more than sixty regularly with modest improvements of the Cathedral in its entirety both inside and out as years after it was dedicated, this organ (sprinklers, simplifying the altar area, JOIN TODAY! works and sounds as it did when it left restoring stained glass windows, and well as close-up, full detail of the console and pipes. the Aeolian-Skinner shops in 1948. It carpeting). But our organ, which was A bonus audio CD of the performance is also included. WWW.ORGANSOCIETY.ORG is the restorers’ sense that history will maintained and repaired, had not been applaud what was done in Herrick Cha- thoroughly renovated. pel, and that musicians and historians At the same time as we were getting IN STOCK FOR IMMEDIATE SHIPMENT! of the future will be grateful that one of pointed suggestions to do a restoration, G. Donald Harrison’s larger and more a donor stepped forward who offered to NOW CHOOSE FROM OVER 5,000 TITLES! interesting instruments survived a criti- pay half the bill for a thorough estimate cal moment in its life, and now serves to of the cost of a renovation. I gladly agreed ORDER ANY TIME ONLINE: www.ohscatalog.org teach the future about the past. to this and we hired Joe Dzeda and Nick Nicholas Thompson-Allen Thompson-Allen of the A. Thompson- ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we Joseph F. Dzeda Allen Company of New Haven. I had recommend, is $8.50 for your entire order. A. Thompson-Allen Company, LLC some acquaintance with the fi rm due to P.O. Box 26811 Richmond, VA 23261 Telephone: (804) 353-9226 Media Mail shipping is $4.50 for your entire their work on the Yale campus (where I order. Shipping outside U.S. is $4.50, plus Grinnell College has had its wonder- was an undergraduate and a law student) Monday-Friday 9:30am-5:00pm ET the cost of air postage, charged to your VISA ful Aeolian-Skinner pipe organ for over and at an Episcopal church in New Ha- sixty years. Situated in Herrick Chapel, ven that I had attended. E-mail: [email protected] SHIPPING or MasterCard.
OCTOBER, 2011 21
Oct 2011 pp. 20-22.indd 21 9/14/11 11:40:08 AM The estimate was over a million dol- maintains a fund for larger repairs that signifi cant amount of the bequest to the offered to help pay expenses to bring lars; it called for a restoration of the or- we believed could pay for a substantial organ project. Joseph Dzeda and Nicholas Thompson- gan along the same lines as the initial portion, but perhaps not even half of the In the world of fi ne organ restorers, Allen of the A. Thompson-Allen Co., installation. The main problem was fi nd- cost. Fortuitously, one of our alums who the work never starts immediately after New Haven, Connecticut, to do just that. ing the resources to pay for the renova- had died at about this time left the Music an agreement is reached, because there President Osgood agreed. tion. No one doubted that the project Department a very large bequest. The is a waiting list. We got in line and soon Joe and Nick were dancing in the aisles was needed or that the organ was wor- department, after some importuning by the project was underway. At the very of Herrick Chapel when they realized thy of this investment. Grinnell College the president, agreed to contribute a end, our original donor stepped forward that this was truly the gem we had told again and suggested he would pay half them to expect! They wrote a proposal, the cost to refurbish the non-speaking which was accepted. I might add that Aeolian-Skinner Opus 1091, Grinnell College, Grinnell, Iowa visible pipes. the project became possible because of a Finally, we had a series of dedicatory large bequest that came to the college at 3 ″ Great Organ – 61 notes – 3 ⁄4 wind concerts with two well-known organists the right time and which was able to be 16′ Quintaton 42 scale, com. 8′ Diapason 43 scale, ¼ m, ½ on 17th playing familiar pieces (Bach) and some used for this project. Thus began a happy 8′ Bourdon #2 1–12 stopped wood, 13–61 spotted metal with felted canisters not-so-familiar modern organ works. It chapter for this instrument, the college, 8′ Gemshorn great type, cone tuned was a wonderful culmination of a needed the area, and the organ world. At an age 4′ Octave 56 scale, ¼ m, ½ on 18th project that will pay dividends of an- when pipe organs require this kind of 4′ Flute 50 scale at 8′C, harmonic at 1′C other fi fty years of great organ music. attention and funds are not always avail- 2 ′ 2⁄3 Twelfth 67 scale, ¼ m, ½ on 18th This project would not have happened able, making an instrument vulnerable, 2′ Fifteenth 70 scale, ¼ m, ½ on 18th ′ without the following: 1) an organist who this one was restored! III–V Fourniture 46 scale at 8 C, ¼ m, ½ on 19th cared, 2) a president who was sympa- A used three-manual Allen electronic 15-19-22 12 notes 12-15-19-22 18 notes thetic, 3) donors willing to help, and 4) a was purchased for use while the restora- 8-12-15-19 6 notes very fi ne restorer. tion was underway. It is now in use at St. 1-8-12-15 12 notes Russell K. Osgood Mary’s Catholic Church in Grinnell. 1-5-8-12-15 13 notes Grinnell College President The organ was rededicated April 3–4, 245 pipes 2009, with a recital by Kevin Bowyer Chimes I became Grinnell College Organist of Glasgow, Scotland, who performed Tremolo early in 2001. I inherited an organ with a work by John Zorn commissioned by much beauty and potential but with Grinnell College for this event, a recital Swell Organ – 73 notes – 5″ wind 16′ Gedeckt 1–24 stopped wood, 25–73 spotted metal with felted canisters many “issues” because of its age. Turn- by Paul Jacobs of the Juilliard School, 8′ Geigen Diapason 46 scale, ¼ m, ½ on 17th, slotted and slided ing it on was often an adventure! I very and a silent fi lm accompanied by Davis 8′ Chimney Flute 1–12 zinc metal with felted canisters, 13–61 spotted metal quickly became friends with Carroll Folkerts of Pella, Iowa. The same week- with felted canisters with chimneys, 62–73 open spotted metal Hanson of Iowa City, who had for many end, the organ was designated an “His- 8′ Salicional 60 scale, 1/5 m years taken care of the instrument— toric Instrument” by the Organ Histori- 8′ Voix Celeste (t.c.) 60 scale, 1/5 m tuning, repairing, and sometimes pro- cal Society. The certifi cate hangs on the 8′ Flauto Dolce com. ′ tecting it from those who thought it case just below the pipe chamber. 8 Flute Celeste (t.c.) com. should be replaced. I am blessed with the opportunity to 4′ Octave Geigen 57 scale, ¼ m, ½ on 17th 4′ Flute Triangulaire 1–49 open wood, 50–73 open common metal Mr. Hanson introduced me to James perform regularly and to teach on this in- 2′ Flautino 61 pipes, 70 scale, ¼ m, ½ on 17th Windsor, III of Des Moines, an alum- strument. My students are able to prac- IV Plein Jeu all 48 scale at 8′C, ¼ m, ½ on 18th nus of Grinnell College and a huge fan tice on it. It still lends its voice to wor- 19-22-26-29 17 notes of Aeolian-Skinner organs. He expressed ship, weddings and memorial services, 15-19-22-26 12 notes interest in helping me get Opus 1091 baccalaureate, alumni events, and vari- 12-15-19-22 12 notes restored. I did some research to deter- ous concerts and performances. 8-12-15-19 7 notes mine who should be invited to look at the Linda Bryant 1-8-12-15 6 notes instrument with restoration in mind and Grinnell College Organist 1-5-8-12 7 notes 244 pipes together we approached Russell Osgood, 3 16′ Contra Hautbois 5 ⁄4″ at 16′C, parallel domed shallots Grinnell College President. Mr. Windsor Photos courtesy of Grinnell College 8′ Trompette French #2 – parallel domed shallots 8′ Oboe com. 8′ Vox Humana lift cap Unison Couplers Positiv 1–4 4′ Clarion French #2 – parallel domed shallots Swell to Great Pedal 1–6 Tremolo Choir to Great General 1–7 Swell to Choir Coupler 1, 2, 3 (one under each manual) Choir Organ – 73 notes – 5″ wind Great to Choir 1 Unison release to Swell, Choir, and Great Mechanicals 16′ Contra Dulciana 12 pipes, 44 scale at 16′C, ⁄5 m 1 Positiv to Great on, off and release 8′ Viola 54 scale, ⁄5 m 8′ Concert Flute old stock Orchestral fl ute with open bass Octave Couplers Positiv to Choir on, off and release ′ Swell to Swell 16′ Swell expression pedal 1–49 open wood, harmonic at 1 C, ′ 50–61 harmonic open metal, 62–73 open metal Swell to Swell 4 Choir expression pedal 1 Swell to Great 16′ Crescendo pedal with 6 indicator lights 8′ Dulciana 73 pipes, 56 scale at 8′C, ⁄5 m 1 Swell to Great 4′ Sforzando reversible pedal and piston 8′ Unda Maris (t.c.) 56 scale, ⁄5 m ′ ′ ′ Swell to Choir 16′ Great to Pedal reversible pedal and piston 4 Orchestral Flute 50 scale at 8 C, harmonic at 1 C ′ 4′ Dulciana 12 pipes Swell to Choir 4 Swell to Pedal reversible piston 2 Choir to Choir 16′ Choir to Pedal reversible piston 2⁄3′ Nazard 61 pipes, helical metal to metal koppel-type canisters 1 Choir to Choir 4′ Swell to Great reversible piston 2′ Piccolo 61 pipes, 70 scale, ⁄5 m, harmonic at 1′C 3 1 Choir to Great 16′ Swell to Choir reversible piston 1⁄5′ Tierce 61 pipes, baroque type, ⁄6 m, breaks back one octave at G56 ′ Choir to Great 4′ Choir to Great reversible piston 8 Clarinet com. ′ 8′ English Horn com. Great to Great 16 Pedal to Manual combinations “On” and “Off” Great to Great 4′ for each manual Harp ′ ′ Celesta (61 bars total) 16 Stops and 16 Couplers off, to work on Chimes (25 notes) Pedal Couplers Crescendo and Sforzando Tremolo Great to Pedal Tracker touch on keys Swell to Pedal Setter button with lock Positiv Organ – 61 notes – 3″ wind Choir to Pedal 8′ Nachthorn 1–12 zinc with felted canisters, Positiv to Pedal All metal fl ues are zinc and spotted metal Swell to Pedal 4′ from 4′C up with the exception of the Swell 8′ 13–61 spotted metal with felted canisters ′ 4′ Koppel Flute helical metal to metal koppel-type canisters Choir to Pedal 4 Flauto Dolce, Flute Celeste, and 50–73 of the 2 Great to Pedal 4′ Flute Triangulaire. 2⁄3′ Nazard “baroque” 2’ Blockfl öte “baroque” 3 ′ Combinations All reeds are zinc and spotted metal with 1⁄5 Tierce “baroque” ′ III Cymbel as Germanic Positiv opus 951 Great 1–6 the exception of the Choir 8 Clarinet and 29-33-36 12 notes Swell 1–6 the Pedal Posaune unit, which are common 26-29-33 6 notes Choir 1–6 metal. 22-26-29 6 notes 19-22-26 6 notes 15-19-22 12 notes 12-15-19 6 notes 8-12-15 13 notes 183 pipes The Diapason Pedal Organ – 32 notes – 5″ wind 32′ Bourdon (electronic) 2012 Resource Directory 16′ Contre Basse #1 16′ Bourdon #1A ′ 1 16 Viola 42 scale, ⁄5 m • The only comprehensive directory for the organ and 16′ Dulciana (Choir) 16′ Quintaton (Great) church music fi elds 16′ Gedeckt (Swell) 2 • Includes listings of associations, suppliers, and the 8′ Spitzprincipal 32 pipes, 43 scale, ⁄9 m, straight pipes 8′ Flute 12 pipes – Bourdon products and services they provide 8′ Dulciana (Choir) 8′ Gedeckt (Swell) 4′ Choral Bass 32 pipes, 56 scale, ¼ m, ½ on 17th, slotted and slided Reserve advertising space now III Mixture 96 pipes, all 46 scale at 8′C, ¼ m 1 2 5⁄3′, 2 ⁄3′, 2′ no breaks Deadline: November 1 32′ Bombarde (electronic) 32′ Fagott (electronic) 16′ Posaune 8″ scale at 16′C, English shallots To reserve advertising space, contact Jerome Butera 16′ Hautbois (Swell) 847/391-1045; [email protected] 8′ Tromba 12 pipes 4′ Clarion 12 pipes Chimes
22 THE DIAPASON
Oct 2011 pp. 20-22.indd 22 9/14/11 11:40:21 AM Franjo Dugan Croatian Organist, Teacher, and Composer Chris Krampe
Franjo Dugan: A forgotten composer Croatian history shares a commonali- ty with western European countries and simultaneously retains very different ex- periences from those countries further west. Without getting too historically involved, it is fair to say that the past century of Croatia’s historical experi- ence has vastly infl uenced the historical consciousness the modern country at large experiences today. This produces a specifi c cultural paradigm, which af- fects all areas of scholarly research, in- cluding music. A musical fi gure almost completely overlooked in Croatian history is the organist, composer, and teacher Franjo Dugan (1874–1948). Many of Dugan’s students went on to play very infl uential roles in Croatian musical culture; for ex- ample, Croatian composer Boris Popan- Dugan portrait dopulo not only received acclaim within his own country, but in his lifetime also University of Zagreb. He was appointed received international attention for his assistant organist at the Zagreb Cathe- compositions. Within information avail- dral in 1895. In 1897, he completed his able about these musicians, Franjo Du- studies at the University of Zagreb and gan is rarely mentioned. was accepted as a teacher at the Zagreb The reasons for this are not always grammar school, where he remained un- clear or concise. Dugan was primarily til 1907. interested in composing for the church, He married Ana Jagiþ, daughter of and he played an important role in the well-known Croatian linguist Vatroslav growth of Croatian liturgical music, Jagiþ, in 1907; in the same year he began which most defi nitely placed his work formal musical studies for the fi rst time at odds with the former Yugoslav com- at the Berlin Hochschule für Musik. His munist government. The suppression professors included Max Bruch, at that of art by governmental structures is no time the director of the composition new research topic, and although it is an Franjo Dugan in the Zagreb Cathedral, 1935 department, Robert Kahn, Johannes important subject, nonetheless it will not Wolf, and Karl Krebs. During this time be emphasized within the scope of this music also manifested during his gram- the various music periodicals of the time, his work was fi rst published in the Croa- article due to the sheer complexity and mar school years, though he had not yet most notably those that were primarily tian liturgical periodical Saint Cecilia. In range of that issue. received formal organ instruction. He involved with the current trends in the 1908, upon completion of the composi- Political motivation aside, another ma- acquired enough facility at the instru- Cecilian movement, a European liturgi- tion exam in Berlin, he was named pro- jor reason that this man has been largely ment to take a small position at a village cal movement that sought to reform late fessor of the Croatian Music School, a forgotten outside Croatian organ circles church, where he accompanied Mass on nineteenth-century church music, pri- preparatory school for the study of music. lies in the language barrier; virtually no Sundays and also practiced. In 1889, at marily music within the Catholic church, During his time at the school he repeat- information about Dugan exists in Eng- the age of 15, he took a larger position by using Gregorian chant as a model for edly came into confl ict with the board of lish, and therefore all information on him at St. Peter Church in Gotolovnac. He worship.2 The Cecilian movement re- directors over differing opinions of what must be translated from Croatian. The met Zagreb cathedral organist Vatroslav verberated strongly with Franjo Dugan’s direction the school should take, and existing records on Dugan at this time Kolander during this time, and under his own ideas about Croatian liturgical music he was transferred to the Osijek School are few, though a renewed interest in his instruction briefl y studied organ tech- and the directions he felt should be taken for Math and Science.3 He returned to life could produce biographical informa- nique and repertoire. by the Croatian Catholic Church musi- Zagreb in 1910 when he took the posi- tion that currently has not surfaced. The After grammar school, Dugan was ac- cally, and thus in later years he would be- tion of Professor of Mathematics at the primary purpose of this article is to intro- cepted into the Zagreb Archbishop Semi- come a major Croatian proponent of the fi rst, and then second, math and science duce Franjo Dugan as a reformist and as nary in 1890. At the seminary he made the movement’s ideals. grammar schools. one of the most important fi gures in the acquaintance of Janko Barlé, archivist of In 1893 Dugan decided to abandon He became the cathedral organist in creation and elevation of Croatian musi- the music society “Vijenac”. It was Barlé his seminary studies and pursue stud- Zagreb after the death of his fi rst or- cal culture, and to discuss Dugan’s role in who fi rst introduced the young Dugan to ies in mathematics and physics at the gan teacher, Kolander, in 1921. He was helping to produce a generation of musi- cians who were then able to disseminate his instruction to an even higher level. With respect to international scholarly interest, Franjo Dugan’s life and work are /44/ (%533 /2'!. 0!243 very important subjects in that his music represents a melding of late nineteenth- century musical ideals with Croatian folk 4RADITION AND 0ROGRESS music and melodic principles. Study of his music enables the international com- munity to better understand European &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN cultural trends that are already estab- CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND lished; Croatian musicological research is ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS still quite new outside of the Republic of Croatia, and scholarly understanding of Franjo Dugan will eventually help schol- /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY ars understand how music before and MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR after him also fi ts into a larger European EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP framework. In order to gain an apprecia- MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES tion of Dugan’s style and compositional skill, this article will fi rst give a brief bi- ography of Franjo Dugan, and will then 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING discuss three organ compositions by him: 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS Fantasy on the Folk Song “Pozdravleno budi telo Jezuša” (Greeted Is the Body %VERYWHERE AND AROUND THE WORLD of Christ), Prelude and Fugue in B ma- jor, and fi nally Prelude and Variation on /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING the Advent Song “PtiĀice lijepo pjevaju” (The Little Birds Sing Beautifully). Life, work, and infl uence Franjo Dugan was born in Krapinica, /44/ (%533 'MB( n 'ERMANY Croatia, on September 11, 1874. He at- 0HONE n s &AX n tended the Zagreb grammar school, dur- E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE ing which time he was fi rst introduced to basic music theory and musical prin- ciples.1 Interest in the organ and organ
OCTOBER, 2011 23
Oct 2011 pp. 23-25.indd 23 9/14/11 11:41:37 AM Example 1. Fantasy on the Folk Song ‘Greeted Is the Body of Jesus’
Final photograph taken of Franjo Du- gan, 1944
er contrapuntal devices with chromatic harmony. He also studied Croatian folk song, and the combination of these ele- ments in his early life would become the foundation of his compositional style Franjo Dugan (left) and fellow Croatian later in life. Broader stylistic elements composer Krsto Odak in front of Kast- found in Dugan’s compositional output, ner and Öhler Department Store, Za- such as his interest in imitative forms greb, 1943 and in polyphonic composition in gen- eral, his interest in Croatian folk music named a professor at the Conservatory and Croatian hymnody, and his melding of Music in Zagreb in 1920 after serv- of Baroque musical forms with late ro- ing in the grammar schools for 23 years. mantic harmony are all identifi ed in his His duties at the conservatory included compositions for organ. Example 2. Prelude in B Major teaching organ, music theory, and coun- Dugan’s organ compositions largely terpoint. He gave classes on Bach’s most represent his early stage of composi- important organ works, and introduced tion before he attended the Hoch- the students to late nineteenth-century schule in Berlin. With the exception European organ music to which they had of three works—Prelude and Fugue not previously been exposed.4 in B (1908–09), Prelude and Variation He served as department chair of on ‘The Birds Sing Beautifully’ (1941), composition from 1927–1940, and he Christmas Prelude (1942)—the rest retired in 1941. He passed away on De- of his 46 organ works were composed cember 12, 1948. Dugan and his wife before his Hochschule study. The in- had six children, two of whom became fl uence of his Berlin education is quite prominent musicians in Croatia during apparent in these works; the pieces are the next generation. more masterfully crafted than earlier, Dugan can be credited with pioneer- more passionate works. The later works ing the Cecilian movement in Croatia place a stronger emphasis on thematic and advocating it throughout his life, development, whereas the earlier works composing new Croatian music intend- are more improvisatory in nature, and ed for liturgical use that adhered to the use numerous, sometimes unconnected movement’s ideals, educating a genera- melodic motives. tion of Croatian organists and church musicians, and promoting the organ as Dugan’s Fantasy on a Folk Song a concert instrument by regularly giving Fantasy on the Folk Song ‘Greeted Is concerts throughout his lifetime. the Body of Jesus’ was composed in 1895. Franjo Dugan also conducted several The piece opens with a slow, grave intro- choral ensembles throughout his life- duction seven measures long. Dugan’s time. He conducted the Zagreb choral early compositions frequently make use ensemble “Kolo” (1901–02), “Sloga” of a slower introduction followed by a (1910–1913), “Serbian Singing Society” faster, more virtuoso treatment of the (1921–1922), and most notably, the Ora- main melodic material from the intro- torio Choir of St. Mark’s Church (1923– duction (Example 1). At the moderato 1925). Under his direction, the Oratorio section in m. 8, Dugan places the melody Choir performed works by Palestrina, di in the tenor voice; the next six measures Lasso, and Bach cantatas, very exclusive function as an answer to the opening repertoire for Zagreb musical circles question phrase. Dugan then dovetails during that time period.5 the end of this phrase with the beginning Dugan’s early musical infl uences rep- of the actual folk song arrangement, a resent both Croatian and western Euro- technique common in his organ works. Prelude and Fugue in B Major with a chromatic harmonic progres- pean musical traditions. Dugan taught The fantasy proper is fairly strict po- Dugan’s Prelude and Fugue in B sion into a B-major resolution. himself the organ by using books writ- lyphony, and constantly moves forward Major was composed during the pe- ten by Christian Louis Heinrich Kohler, in tension until the end of the work. He riod of compositional study in Berlin. Dugan’s late compositional style: Franjo KuhaĀ, Johann Christian Hein- creates this tension by using mixture This work, along with his Toccata in G Prelude and Variation on an rich Rinck, and Vjenceslav Novac. He chords at important cadential points, and Minor and the Prelude and Fugue in Advent Song also had opportunities to study Bach’s by moving from an eighth-note fi guration C Minor (“chromatic”), is considered Prelude and Variation on the Advent organ scores, and was very fond of his to a faster triplet fi guration for the fi nal, his most masterful composition for Song ‘The Birds Sing Beautifully’ is rep- music. Dugan’s own style was highly in- short codetta of the last eight measures. organ.7 From the opening two mea- resentative of Dugan’s late compositional fl uenced by Bach’s polyphony6; much in The main melodic material he uses from sures, Dugan takes a very different style. A very different type of work than the vein of other late nineteenth-century the actual folk song is primarily the open- harmonic approach to composition the Prelude and Fugue in B Major, the composers for organ such as Joseph ing phrase; he breaks this theme up and than in earlier works (Examples 2 and piece is much shorter, and in many ways Rheinberger and Max Reger, Dugan’s creates short, imitative motives, which 3). He employs chromaticism more represents a return to earlier composi- music represented a combination of old- he then combines in counterpoint. frequently in this work, and develops tional ideas and infl uences. The phrase melodic motives into longer, soaring structure follows the general model of a ideas instead of the short, folk-influ- folk song, and the use of chromaticism enced ideas of his earlier work. He is less prevalent and more subdued than does not abandon the playfulness and the Prelude and Fugue. Croatian folk element of his earlier The piece opens with a chorale ar- work; he merely stretches out musical rangement of the main theme typical ideas with compositional devices that of the style (Example 4). The melody create the sense of a formalized folk is not embellished and remains in the song. His early works employ forms soprano voice. The variation is in the that closely relate to the folk song idi- alto voice and the accompaniment oms on which they are based. makes use of sixteenth-note figuration Structurally, the work has much in in the soprano voice. The variation is common with the op. 59 organ pieces a very clear, straightforward arrange- of Max Reger. The prelude is a de- ment of the original folk melody, and velopment of one short melodic idea, could easily be used as a hymn accom- which then becomes the fugue motive. paniment for congregational singing, There is no pause between movements; for which it was probably composed the end of the prelude dovetails with (Example 5). Dugan ends the piece the beginning of the fugue. The fugue with a short, contrapuntal treatment uses rhythmic diminution to build into of the folk tune much in the manner of a finale-type coda, and the piece ends his opening arrangement.
24 THE DIAPASON
Oct 2011 pp. 23-25.indd 24 9/14/11 11:41:59 AM Example 3. Fugue in B Major Example 4. Prelude on an Advent Song
Example 5. Variation on an Advent Song
3. Ibid. where he is director of Men’s Glee and Col- 4. Ibid. legium Musicum. 5. Ibid. Krampe recently directed a choral/dance 6. Raca, 163–165. collaboration of the Medieval mystery play As previously mentioned, the piece to do so, or unable to draw suffi cient in- 7. Ibid. “Ordo Virtutum” by Hildegard of Bingen with was written later in life (1941), and is a ternational interest from researchers, members of the KC Ballet and Storling Dance good example of Dugan’s attempt to cre- the complexities of European musical Chris Krampe received his undergraduate Theater. Krampe’s main research areas are ate “Croatian” church music for Croatian development and culture will be further degree in church music from Drake University Croatian organ and choral music, for which Catholic services. Dugan wished to re- examined and understood. Q in Des Moines, Iowa, in 2004, and a master’s he has received grants to conduct research move overtly secular foreign music from degree in church music from the University of along the Croatian Dalmatian coast. During church services and replace it with music Notes Kansas in 2009. He has studied and coached the summer of 2009, he gave a presentation on that he felt represented the conservative 1. Sanja Raca, “Biography of Franjo Dug- with Marie Claire-Alain, Karel Paukert, James Croatian music at the College Music Society Cecilian ideals, and his own native Croa- an,” Complete Organ Works of Franjo Dugan Higdon, and Carl Staplin. In 2003 he took International Conference in Zagreb, Croatia. (Zagreb: Grafa, d.o.o., Društvo za promicanje second place for organ at the Music Teachers’ He has also presented his research at several tian folk music. It is important to avoid la- orguljske glazbene umjetnosti Franjo Dugan National Association (MTNA) competition in conferences throughout the United States. beling this desire as nationalistic; this was [The Society for the Advancement of the Mu- Salt Lake City, Utah. He is currently work- Chris Krampe currently serves as director of not politically motivated, nor can it be ob- sic of Franjo Dugan], 1998): 167–169. ing on a doctoral degree in choral conducting music at Prairie Baptist Church in Prairie Vil- served from any available correspondence 2. Ibid. with Paul Tucker at the University of Kansas, lage, Kansas. that Dugan was interested in promoting Croatian nationalism. He was absolutely aware of the nationalistic movements in music throughout Slavic lands during his time, but he was primarily motivated by Yale University the belief that Croatian music deserved to be elevated to an equal level in the church with the foreign church music then being used in Croatia. GRADUATE STUDY IN ORGAN PERFORMANCE at Yale Institute of Sacred Music and School of Music Conclusion Franjo Dugan’s life work and compo- sitional output represents a major con- tribution to the Croatian and European FACULTY musical heritage. Until quite recently, this composer, performer, and scholar has Thomas Murray, Professor of Organ been nearly completely overlooked. His- Martin Jean, Professor of Organ torical developments in Croatia’s recent past combined to prevent the study and Jeffrey Brillhart, Organ Improvisation dissemination of Franjo Dugan’s compo- Walden Moore, Liturgical Keyboard Skills sitions, specifi cally those for the church, which are a large portion of his overall output. As events within the past 15 DEGREES OFFERED years have allowed for a more deliberate study of church music and compositions Master of Music expressly written for Croatian Catholi- Artist Diploma cism, the time for examining this man’s musical development, compositional Doctor of Musical Arts output, and pedagogical infl uence has arrived. This research will produce not only a better understanding of Croatian Full tuition scholarships awarded to all Institute students. music history and musical development in the early 20th century, but will also *HQHURXVVWLSHQGVDYDLODEOHWRTXDOL¿HGDSSOLFDQWV strengthen international understanding of European musical development at large. As research begins to develop in Yale Institute of Sacred Music / 409 Prospect Street / New Haven, CT 06511 tel www.yale.edu/ism countries and societies previously unable
OCTOBER, 2011 25
Oct 2011 pp. 23-25.indd 25 9/14/11 11:42:21 AM Cover feature
Anabel Taylor Chapel Cornell University Baroque Organ Ithaca, New York GOArt / Parsons / Lowe Selection In 2003 Cornell University began plan- ning for a new Baroque organ that would complement the existing Aeolian-Skinner organ in Sage Chapel (Opus 1009 III/68, 1940), as well as other smaller instru- ments located on campus. The decision was made to place the new instrument in an enlarged rear gallery, constructed with heavy timbers, in the intimate acoustic of Anabel Taylor Chapel. The new Baroque Manual Mixtur pipes with burned rack organ would be built by the Gothen- holes burg Organ Art Center (GOArt), part of Gothenburg University in Gothenburg, Sweden, under the primary leadership of researcher and organbuilder Mun- etaka Yokota. This would not merely be an organ in “Baroque style,” but as much as possible, a reconstruction of an organ that could have been built in the late 17th or early 18th centuries by the German builder Arp Schnitger. The or- gan that Schnitger built in 1706 for the Charlottenburg Schlosskapelle (Palace Chapel) in Berlin was used as the prima- ry model. This instrument is unique in that it blends the usual characteristics of Schnitger’s instruments built for the area around Hamburg (northwest Germany and the Netherlands), and characteris- tics of instruments in eastern and central Germany similar to what Johann Sebas- tian Bach would have known. It was also View from the front of Anabel Taylor Chapel a sizable instrument for the Palace Cha- pel in which it stood. The Charlottenburg organ was unfor- tunately destroyed during World War II, but there are recordings of the organ in addition to several photographs and doc- Matthew Parsons burning rack holes umentation data, which allowed GOArt outside of Anabel Taylor Chapel (photo to use the original organ as a model. credit: Jason Koski) Because the Charlottenburg organ was confi ned in an unusual space, it was de- cided to follow a different model for the case design. The organ built by Schnit- ger in 1702 for the church of St. Salvator in Clausthal-Zellerfeld was chosen as a model for the case. Although its mecha- nism has been replaced several times since, the original Schnitger case is still in existence. During the planning for this project, it was also decided to research how Schnit- ger built instruments in a city that was some distance from his home in Ham- burg. This prompted GOArt and Cornell to enlist cabinetmaker Christopher Lowe of Freeville, New York, and Parsons Pipe Organ Builders of Canandaigua, New York, as local collaborators on the project. GOArt would design the organ, make the pipes, and build the keyboards, pedalboard, music rack, and bench, and provide all of the blacksmith work. Chris Lowe would construct the case, mold- ings, and balcony structure, and Parsons would build all of the internal mecha- Manual key action behind the console nism: bellows, foot pumping mechanism, wind trunks, sperrventile, tremulant, key action, stop action, and windchests. The Parsons fi rm, Chris Lowe, and Munetaka Yokota would all work together to install the completed organ once the organ was set up and tested at Parsons’ Canan- daigua workshop. Parsons’ participation Each new project brings its own set of challenges, and when a project involves three primary collaborators working for a university that demands perfection, those challenges could become over- whelming. However, working carefully through each new challenge, the fi nal re- sult speaks for itself as to the dedication to quality brought by each party. One of the fi rst challenges that we The console area, produced by GOArt, is modeled after the original in Charlottenburg were presented with was the process of Schlosskapelle communicating design drawings. The design team in Gothenburg created a computer modeling provides us with a especially useful during this project, as 3D CAD model of the organ. This model greater sense of how all of the compo- this construction style was new to our could be imported to our own 3D soft- nents relate to each other, allowing us to staff and different from that to which we ware, enabling us to measure compo- look at any combination of components were accustomed. Detail view of tracker ends with hand- nents and create our own supplemental and to rotate the computer model, and Although the communication of CAD bent brass wires hooked into the technical drawings. Three-dimensional examine it from many angles. This was fi les across platforms provided challenges, squares
26 THE DIAPASON
Oct 2011 pp. 26-28.indd 26 9/14/11 11:43:09 AM Organ tented for ammonia fuming in Parsons’ workshop
other modern forms of communication trundles are made of white oak, with iron were invaluable to this project, and are arms and levers. The iron arms are heat- something that we guess Schnitger might ed red-hot and then pounded into the have appreciated if it had been available oak trundles and are secured by quickly to him. The use of Internet video confer- peening the iron. encing allowed us to demonstrate and ask The organ is winded from four large questions about specifi c shop techniques wedge bellows located in an isolated while allowing us to watch as Munetaka room in the tower of Anabel Taylor Cha- addressed these questions through dem- pel, approximately 30 feet above and onstration, sketches, and gestures. These behind the organ. The bellows can be calls became daily occurrences during foot pumped, or an electric blower can the latter part of the project and were be used for practice without an assistant. crucial to its success. Solid oak windlines connect these bel- This project was to be a “Process lows to the organ. Windlines are joined Reconstruction”—a term coined by the with splines or inserted with tenons, and GOArt research team to describe the all joints are sealed with leather. A single method used to discover unknown con- Schnitger-style tremulant affects the en- struction techniques, through the pro- tire organ. cess of actually building the organ, rather Five windchests are located through- than just through scholarly discussion. In out the organ. The Manual and Pedal other words, sometimes we cannot know each have two chests, and the Rucwerk Manual pipework, including lead tubes to façade pipes the specifi c process or the correct way of has one. All of the chests are built of building a component until we have ex- solid quarter-sawn white oak. Given the perimented. In the end, this required us wide humidity swings common to New to learn many new skills and gave us an York State, leather slider seals are used appreciation for the process that we may to eliminate runs and provide consis- not have otherwise known. tent wind to the pipes through changing The use of woodworking techniques climatic conditions. This required that consistent with the period was essential each individual toeboard be carefully for the project’s success. We were per- shimmed to allow the sliders to move mitted to use power equipment to mill with the correct freedom. lumber and cut it to size, but the fi nal surface needed to show the traces of Casework hand planing and scraping. As modern The casework was made by Christo- woodworkers, we are more likely to reach pher Lowe and Peter DeBoer in Chris’s for our router or palm sander than for workshop outside of Ithaca, New York. our hand plane. The necessity of using As the parts were made over an eleven- hand planes and scrapers in this project month period, they were assembled in a has re-trained us to reach for those tools nearby barn. The case is made almost en- and complete the task at hand before we tirely of quarter-sawn white oak, mostly could have gotten the router set up. The domestic. The oak in the long pedal tow- organ is made entirely of quarter-sawn er frames and the thick posts at the con- white oak. This construction style relies sole sides was imported from Germany. heavily on joinery, some nails, and some The rear panels are made of unfi nished glue. Long nails, ranging in length from pine. Traditional joints hold the frame 4 to 5 inches, were hand-forged by a together: dovetails, splines, and pegged Reed boots mortised into the toeboards. The tops of the boots have a strip of blacksmith in Sweden, along with all the mortise and tenon. The panels are held parchment wrapped around them for reinforcement other ironwork required for the key and together with clenched wrought-iron stop action, the bellows pumping mecha- nails and have hand-forged iron hinges nism, and the casework hinges and locks. where access is needed for tuning. The Leather was provided by a German sup- molding profi les taken from the Schnit- plier, using period tanning techniques. ger organ in Clausthal-Zellerfeld were The key and stop actions are made in smoothed with an array of old wooden a manner consistent with Arp Schnit- molding planes and custom-made planes ger’s practice. The key action rollers are and scrapers. made of white oak. Key action squares When Chris asked for guidance on are made of iron and were supplied by what the fi nished surface of the mold- GOArt. Most trackers and stickers are ings should be like, Munetaka respond- made of white oak, and the ends are ed, “We want to see the tool marks . . . hand wrapped with twine for strength. but they have to be nice tool marks.” All metal trackers are of brass wire, and The insides of the panels are fi nished all trackers and stickers have hand-bent with an extra deeply scooped texture brass wire ends inserted. The key ac- for its acoustic property. All the oak has tion is suspended, which means that the been fumed with ammonia to darken it, keys pivot at the tail and hang from the and the exterior surfaces were rubbed trackers or rest on the stickers from the with linseed oil with iron-oxide pig- chest. The Manual key action travels up ment. The pipe shades are of basswood from the key to the rollerboard, which scroll-sawn to leafy shapes, and were is nailed to the back frame of the organ. painted by Joel Speerstra and his moth- The Rucwerk keyboard pushes stickers er, Karen, with shadows and details to that carry the action to a rollerboard, appear three-dimensional. which is located under the organist. The The casework was dismantled from Pedal key action also relies on stickers the barn and moved to our Canandaigua that transfer motion to a rollerbox, which workshop in November 2008. The inte- carries the motion, via trackers rather rior components were installed over the than rollers, to the Pedal chests on either next year, and the entire organ was en- side of the organ. closed in a tent and fumed with ammo- The stop knobs are made of pear that nia. Following this process, three wooden Jacques van Oortmerssen and Annette Richards examine completed components has been dyed black, with a bone button in Parsons’ workshop with Peter Geise during a shop inspection in the center. The stop action traces and ³ page 28
OCTOBER, 2011 27
Oct 2011 pp. 26-28.indd 27 9/14/11 11:43:33 AM ³ page 27: Cornell cover feature The artistic endeavor of building the organ now gives way to the artistic en- stops were installed for testing, and the deavor of using it to teach and to enrich New Organs organ was featured in an open house the lives of people for generations to event at our facility on January 10, 2010. come. For Parsons Pipe Organ Build- ers, there is a single underlying purpose David Petty & Associates, a local colleague of the builder, in coop- Installation to creating these beautiful instruments: Eugene, Oregon eration with the organ committee of St. Installation of the organ began in that this organ will be used by Cornell Seattle University, Ignatius Chapel. The carvings comple- February 2010. This process required students to glorify God through weekly Seattle, Washington ment the architectural lines of the mod- more on-site construction than to what services of worship. David Petty & Associates of Eugene, ern chapel. The organ is used daily for we are accustomed. Because the pipes —Parsons Pipe Organ Builders Oregon have recently delivered their devotions and Masses and complements were shipped directly to Cornell Uni- 4820 Bristol Valley Road Opus 5 to St. Ignatius Chapel at Seat- the existing Steinway grand piano. versity, the racking process had to be Canandaigua, NY 14424-8125 tle University. The organ contains four Readers are invited to visit the build- completed on-site. This required burn- 888/229-4820 stops, all made of wood. The 8′ Gedackt er’s site (www.davidpettyorgans.com) to ing the rack holes to the correct size, for www.parsonsorgans.com and 4′ Spitzprincipal are quarter-sawn view color photographs of the instru- each pipe, in a tent outside the chapel white oak, the Nasard is cherry, and the ment under construction. in the frigid February air. The various To view a descriptive video pro- 2′ Principal is made of purpleheart, for Manual tapered irons were carefully heated in duced by Cornell University, visit tonal and visual reasons. The entire case, 8′ Gedackt a hand-crank coal forge; monitoring
twice to allow more people to experi- Pitch: a1 = 415 Hz ence the new instrument in the intimate Compass: Manuals C, D–d3 space of Anabel Taylor Chapel. The fi rst Pedal C, D–d1 inaugural concert also featured the new Temperament: Werckmeister III composition Anacrusis by Kevin Ernste. This piece featured the organ with elec- The stop names are presented as on the stop tronic sounds as well as live organbuild- labels. Note that the “x” has been replaced ing sounds made by numerous students by a “p” in both the Rucwerk Sepquialt and Pedal Miptur, possibly as a nod to the division and organbuilders who had worked on names Rückpositiv and Pedal. the instrument. We would like to thank Professor An- 30 stops, 40 ranks, with one preparation. nette Richards, University Organist, who was the impetus behind this proj- ect and the glue that held it all together. Professor David Yearsley also provided Advertise in welcome support and encouragement The Diapason throughout the project. The support of 2012 Resource Directory Jacques van Oortmerssen, who served as Deadline: November 1 inspector for Cornell during the project, Jerome Butera was crucial to its success, and his perfor- 847/391-1045 mance during the festival was a tribute to [email protected] his contributions.
28 THE DIAPASON
Oct 2011 pp. 26-28.indd 28 9/14/11 11:43:51 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH David Enlow, masterclass; Indiana University, This calendar runs from the 15th of the month of Pickle Piano & Church Organs Bloomington, IN 2 pm NEW YORK issue through the following month. The deadline is Isabelle Demers; Church of the Gesu, Milwau- Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. kee, WI 7:30 pm issue). All events are assumed to be organ recitals unless otherwise indicated and are grouped within 23 OCTOBER each date north-south and east-west. •=AGO chap- Christopher Babcock ter event, • •=RCCO centre event, +=new organ dedi- Ken Cowan; Woolsey Hall, Yale University, cation, ++= OHS event. New Haven, CT 8 pm Information cannot be accepted unless it speci- Christopher Houlihan; St. Barnabas Episco- St. Andrew’s by the Sea, pal, Irvington-on-Hudson, NY 5 pm fi es artist name, date, location, and hour in writ- Hyannis Port ing. Multiple listings should be in chronological order; James Lazenby; Church of the Resurrection, please do not send duplicate listings. THE DIAPA- New York, NY 3 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for The Renaissance Singers; Church of St. Igna- the accuracy of calendar entries. tius Loyola, New York, NY 4 pm Choral Evensong; St. James’ Church, New York, NY 4 pm Douglas Kostner; St. Patrick’s Cathedral, New UNITED STATES York, NY 4:45 pm East of the Mississippi Richard Sutton; Cathedral Church of St. John the Divine, New York, NY 5 pm 15 OCTOBER Frederick Teardo; St. Thomas Church Fifth Av- Gail Archer; Wapping Community Church, enue, New York, NY 5:15 pm South Windsor, CT 4 pm Mendelssohn Choir of Pittsburgh; Shadyside Michael Hey; St. Norbert Abbey, De Pere, WI Presbyterian, Pittsburgh, PA 4 pm 2 pm AGO PipeSpectacular; Washington National Cathedral, Washington, DC 5:15 pm 16 OCTOBER John Scott; St. John’s Episcopal, Lynchburg, AVIN LACK Janette Fishell; First Presbyterian, Ilion, NY VA 4 pm Dean W. Billmeyer G B 3 pm Jean-Baptiste Robin; Christ Church, Pensa- Princeton Early Keyboard Center Judith Hancock; St. James’ Church, New cola, FL 3 pm University of Minnesota York, NY 3 pm Paul Jacobs; Samford University, Birming- 732/599-0392 Ulrike Northoff; St. Thomas Church Fifth Av- ham, AL 2:30 pm Minneapolis 55455 • [email protected] www.pekc.org enue, New York, NY 5:15 pm Todd Wilson; East Lake United Methodist, Bir- Charles Tompkins; Washington National Ca- mingham, AL 2:30 pm thedral, Washington, DC 5:15 pm Choral Evensong; Cathedral Church of St. Katherine Hunt, with soprano; Cathedral of Paul, Detroit, MI 4 pm Mary Our Queen, Baltimore, MD 5 pm Stephen White; Cathedral Church of St. Paul, THOMAS BROWN Detroit, MI 5 pm Byron L. Blackmore David Lang; Mount Calvary Church, Balti- UNIVERSITY more, MD 5:15 pm David Jonies; Cathedral of the Holy Angels, Crown of Life Lutheran Church Hector Olivera, with Virginia Beach Sym- Gary, IN 3 pm PRESBYTERIAN CHURCH phony; Sandler Center for the Performing Arts, •David Enlow; 91st Street Christian Church, Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Bloomington, IN 4 pm Virginia Beach, VA 3 pm 623/214-4903 ThomasBrownMusic.com Wilma Jensen; Duke University Chapel, Dur- Richard Hoskins; St. Simon’s Episcopal, Ar- ham, NC 5 pm lington Heights, IL 3:30 pm Robert Heath, harpsichord; Plymouth Congre- Anita Werling; First Presbyterian, Macomb, IL gational, Coconut Grove, FL 4 pm 3 pm The Chenaults; First Presbyterian, Gaines- 24 OCTOBER David Chalmers ville, GA 3 pm DELBERT DISSELHORST Organized Rhythm (Clive Driskill-Smith, or- Robert Knupp; Elliott Chapel, Presbyterian Concert Organist Homes, Evanston, IL 1:30 pm gan and Joseph Gramley, percussion); Vineville GLORIÆ DEI CANTORES Professor Emeritus United Methodist, Macon, GA 4 pm University of Iowa–Iowa City Westminster Cathedral Choir; Cathedral of St. 25 OCTOBER Orleans, MA Peter in Chains, Cincinnati, OH 3 pm Douglas Cleveland; Savage Chapel, Union Barbara MacGregor & David Fisher; Kent University, Jackson, TN 7:30 pm United Church of Christ, Kent, OH 4 pm 26 OCTOBER Craig Cramer; St Joseph Cathedral, Colum- AMES ORROH, AAGO, PhD STEVEN EGLER bus, OH 3 pm John Scott; Highland Presbyterian, Lancaster, J D PA 7 pm Central Michigan University Diane Bish; First Presbyterian, Birmingham, Saint Luke’s Episcopal Church Mt. Pleasant, Michigan MI 3 pm 27 OCTOBER Samford University Artist in Residence Richard Newman; Cathedral Church of St. First Congregational Church Paul, Detroit, MI 3 pm Choir of St. Luke in the Fields, music of Byrd; Birmingham, Alabama Church of St. Luke in the Fields, New York, NY Saginaw, Michigan Choral Evensong; Cathedral Church of the Ad- Organ Consultant Organ Recitals vent, Birmingham, AL 4 pm 8 pm [email protected] Jerry Taylor Thomas Murray; Memorial Chapel, Culver ; Westminster Presbyterian, Day- Academies, Culver, IN 4 pm ton, OH 12:10 pm Steven Betancourt, with choirs and dance; Organist / Pianist 28 OCTOBER Madonna della Strada Chapel, Loyola University, OHN ENSTERMAKER Scott Foppiano J F Chicago, IL 3 pm ; Merrill Auditorium, Portland Michael Gailit Robert Woodworth Jr., with piano; The Feder- City Hall, Portland, ME 7:30 pm Stephen Kalnoske; Trinity Church, Boston, TRINITY-BY-THE-COVE www.gailit.at ated Church, Paxton, IL 3 pm [email protected] Stephen Hamilton; St. James Lutheran, St. MA 12:15 pm Paul, MN 4 pm David Higgs; Slee Hall, SUNY Buffalo, Am- NAPLES, FLORIDA Konservatorium Wien University herst, NY 7:30 pm University of Music, Vienna 17 OCTOBER Donald Sutherland, with horn; St. Paul’s Epis- •Hector Olivera; First Presbyterian, Virginia copal, Chattanooga, TN 7:30 pm Scott Hyslop; St. Lorenz Lutheran, Franken- Beach, VA 7:30 pm A Professional Card in Westminster Cathedral Choir; Cathedral of St. muth, MI 7 pm John the Evangelist, Cleveland, OH 7:30 pm The Diapason STEPHEN HAMILTON 29 OCTOBER For rates and digital specifi cations, 18 OCTOBER Bruce Neswick; St. Bede’s Chapel, Green- contact Jerome Butera recitalist–clinician–educator wich, CT 7:30 pm Chris Dekker; Park Congregational, Grand 847/391-1045 www.stephenjonhamilton.com Rapids, MI 12:15 pm Alan Morrison; Spivey Hall, Clayton State Uni- [email protected] versity, Morrow, GA 3 pm 19 OCTOBER Todd Wilson, silent fi lm accompaniment; Audrey Timm-Rhinehart; Cathedral of St. Stambaugh Auditorium, Youngstown, OH 2 pm John the Evangelist, Milwaukee, WI 12:15 pm Halloween Pipes Spooktacular; St. Mary’s Episcopal Cathedral, Memphis, TN 5:30 pm ANDREW HENDERSON, DMA 20 OCTOBER David Lamb; St. Christopher’s Episcopal, Car- WILL HEADLEE Elizabeth Wareham; Westminster Presbyte- mel, IN 7 pm 1650 James Street Madison Avenue Presbyterian Church rian, Dayton, OH 12:10 pm New York, NY 30 OCTOBER Syracuse, NY 13203-2816 21 OCTOBER Lubbert Gnodde; Unitarian Universalist (315) 471-8451 www.andrewhenderson.net Janette Fishell; Methuen Memorial Music Church, Woodstock, VT 7 pm Hall, Methuen, MA 8 pm Julie Vidrick Evans; St. John’s Church Lafay- Brandon Santini; Trinity Church, Boston, MA ette Square, Washington, DC 12:10 pm 12:15 pm Gail Archer, works of Liszt; Vassar College, LORRAINE BRUGH, Ph.D. Kelly Jensen, solo handbells; Cathedral Poughkeepsie, NY 3 pm Church of the Advent, Birmingham, AL 12:30 pm Emmanuel Duperrey; Cathedral Church of St. Jean-Baptiste Robin; St. James Episcopal, John the Divine, New York, NY 5 pm Associate Professor Fairhope, AL 7 pm Frederick Teardo; St. Thomas Church Fifth Av- Westminster Cathedral Choir; Overture Hall, enue, New York, NY 5:15 pm University Organist Madison, WI 7:30 pm Karl Moyer, pipe organ walk; Zion Church, Millersville, PA 2 pm Valparaiso University 22 OCTOBER Jeremy Filsell; Calvary Episcopal, Pittsburgh, Valparaiso, IN Ken Cowan, masterclass; Yale University, New PA 4 pm www.valpo.edu Haven, CT 12 noon Schola Cantorum de Venezuela; Cathedral of Felix Hell; Longwood Gardens, Kennett St. Peter in Chains, Cincinnati, OH 3 pm Square, PA 8 pm Jonathan Ryan; First Baptist Church of Great- 219-464-5084 Haig Mardirosian, with piano and soprano; er Cleveland, Shaker Heights, OH 3 pm Sykes Chapel, University of Tampa, Tampa, FL David Lamb; St. John Presbyterian, New Al- [email protected] 7:30 pm bany, IN 6 pm
OCTOBER, 2011 29
Oct 2011 pp. 29-33.indd 29 9/14/11 11:44:46 AM CALIFORNIA LUTHERAN UNIVERSITY Christopher Houlihan; Wisconsin Lutheran Grant Hellmers; Old Salem Museums & Gar- College, Milwaukee, WI 1:30 pm dens, Winston-Salem, NC 12 noon MICHELE JOHNS •Tom Trenney, recital plus silent fi lm accompa- A.Mus.D Dr. Kyle Johnson niment; Glenview Community Church, Glenview, 11 NOVEMBER IL 7:30 pm Brian Jones; Trinity Church, Boston, MA Organ — Harpsichord University Organist Nathan Laube; Westminster Presbyterian, 12:15 pm The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV Rockford, IL 3 pm Gerre Hancock, lecture; Christ Church, Roch- School of Music ester, NY 11:15 am www.callutheran.edu 31 OCTOBER Gerre Hancock; Third Presbyterian, Roches- Mark Steinbach; Sayles Hall, Brown Univer- ter, NY 4:30 pm sity, Providence, RI 12 midnight Olivier Latry; Lincoln Center, Alice Tully Hall, Michael Britt, silent fi lm accompaniment; Mc- Starr Theater, New York, NY 7:30 pm Brian Jones KIM R. KASLING Daniel College, Westminster, MD 7 pm D.M.A. 12 NOVEMBER Director of Music Emeritus 1 NOVEMBER Joan Lippincott, masterclass; St. John’s Lu- St. John’s University Nathan Laube; St. Stephen’s Episcopal, Rich- theran, Sudbury, MA 10 am TRINITY CHURCH mond, VA 7:30 pm Singing Boys/Keystone Girls Choir; Hemlock BOSTON Collegeville, MN 56321 Jeffrey Roland; Park Congregational, Grand Farms Concert Association, Hawley, PA 7:30 pm Rapids, MI 12:15 pm Raúl Prieto Ramírez, masterclass; Zion Evan- gelical United Church of Christ, Indianapolis, IN 2 NOVEMBER 10 am Richard Frey; Camp Hill Presbyterian, Camp JAMES KIBBIE Hill, PA 12:15 pm 13 NOVEMBER Kent Jager; Cathedral of St. John the Evange- Joan Lippincott; Parish of All Saints Ashmont, The University of Michigan list, Milwaukee, WI 12:15 pm Boston, MA 4 pm Ann Arbor, MI 48109-2085 Christopher Urban; First Presbyterian, Arling- Bruce Neswick; Sacred Heart Cathedral, ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 ton Heights, IL 12:10 pm Rochester, NY 2 pm www.gabrielkney.com Mannes College of Music students, works of email: [email protected] 3 NOVEMBER Liszt and Bach; Madison Avenue Presbyterian, Giuseppe Schinaia, harpsichord; First Church, New York, NY 3 pm Boston, MA 12:15 pm Ross Wood; Cathedral Church of St. John the Benjamin Hutto; St. John’s Church Lafayette Divine, New York, NY 5 pm David K. Lamb, D.Mus. Square, Washington, DC 12:10 pm Tom Bell; St. Thomas Church Fifth Avenue, Director of Music/Organist ARTHUR LAMIRANDE New York, NY 5:15 pm 4 NOVEMBER Stefan Engels; Grace Lutheran, Lancaster, First United Methodist Church [email protected] Heinrich Christensen; Trinity Church, Boston, PA 3 pm Columbus, Indiana MA 12:15 pm Kenneth Danchik & Donald Fellows; St. Paul 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 Raúl Prieto Ramírez; Trinity College, Hartford, Cathedral, Pittsburgh, PA 4 pm CT 7:30 pm Olivier Latry; Leith Symington Griswold Hall, Nathan Laube; Grace Episcopal, Utica, NY 7 Baltimore, MD 4 pm pm Bradley Hunter Welch; St. Mary’s Episcopal, Daniel Sansone, with Peabody Orchestra; Ca- Richmond, VA 3 pm David Lowry thedral of Mary Our Queen, Baltimore, MD 8 pm Andrew Unsworth; Duke University Chapel, Isabelle Demers; Christ United Methodist, Durham, NC 5 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Greensboro, NC 7:30 pm Laura Ellis; Queen of Peace Catholic Church, 1512 BLANDING STREET, COLUMBIA, SC 29201 David Enlow; St. Petersburg College, St. Pe- Ocala, FL 3 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY tersburg, FL 7:30 pm David Lamb; Cathedral of St. Philip, Atlanta, ROCK HILL, SC 29733 Sarasota-Manatee Bach Festival; Christ GA 3:15 pm Church, Bradenton, FL 7:30 pm Isabelle Demers; Emory University, Atlanta, Jeremy McElroy; Peachtree Road United GA 4 pm Methodist, Atlanta, GA 4:30 pm, 5 pm Evensong Craig Cramer, works of Buxtehude; St. Joseph Cathedral, Columbus OH 3 pm 5 NOVEMBER Choral Vespers; Westminster Presbyterian, ANDREW PAUL MOORE Marilyn Keiser; Verizon Hall, The Kimmel Dayton, OH 4 pm A.S.C.A.P. Center, Philadelphia, PA 3 pm Christopher Houlihan; Samford University, FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH David Lamb, with oboe; First Presbyterian, Birmingham, AL 4 pm Columbus, IN 7:30 pm Jeremy David Tarrant; Cathedral Church of 345 SADDLE LAKE DRIVE St. Paul, Detroit, MI 3 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS (770) 594-0949 6 NOVEMBER Nathan Laube; Mayfl ower Congregational, Choral Art Society Masterworks Chorus; Mer- Grand Rapids, MI 3 pm rill Auditorium, Portland City Hall, Portland, ME Pierre Pincemaille; St. Boniface Church, Lou- 3 pm isville, KY 3 pm OUGLAS EILL Christopher Houlihan; St. John’s Episcopal, Christopher Urban, with trumpet; First Pres- LEON NELSON D O’N Waterbury, CT 3 pm byterian, Arlington Heights, IL 4 pm Cathedral of the Madeleine Choral Evensong for All Saints’ Day; Cathedral Gail Archer; St. John Cantius Church, Chi- University Organist of the Incarnation, Garden City, NY 4 pm cago, IL 2 pm North Park University Salt Lake City, Utah Stephen Davies; St. Patrick’s Cathedral, New Linda Andrews; First Presbyterian, Macomb, Chicago, Illinois [email protected] York, NY 4:45 pm IL 3 pm 801/671-8657 Frederick Teardo; Cathedral Church of St. John the Divine, New York, NY 5 pm 15 NOVEMBER Rhonda Edgington; St. Thomas Church Fifth Isabelle Demers; Durham Community Church, Avenue, New York, NY 5:15 pm Durham, NH 7:30 pm MARILYN MASON Ken Cowan; Evangelical United Methodist, Olivier Latry; St. Matthew Lutheran, York, PA CHAIRMAN, DEPARTMENT OF ORGAN New Holland, PA 4 pm 7:30 pm UNIVERSITY OF MICHIGAN Andrew Meagher; Washington National Ca- Helen Hawley; Park Congregational, Grand ANN ARBOR thedral, Washington, DC 5:15 pm Rapids, MI 12:15 pm Sarasota-Manatee Bach Festival; Church of Raúl Prieto Ramírez; Hope College, Holland, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it the Redeemer, Bradenton, FL 7:30 pm MI 7:30 pm with awesome technique and a thrilling command of its daring writing.” Gail Archer; St. Philip’s Cathedral, Atlanta, GA Yun Kyong Kim; Church Street United Meth- The American Organist, 1980 3 pm odist, Knoxville, TN 7:30 pm Jeremy McElroy; Peachtree Road United Methodist, Atlanta, GA 4:30 pm 16 NOVEMBER Feast of All Saints Evensong; Peachtree Road Paul Jacobs; Church of St. Ignatius Loyola, SYLVIE POIRIER United Methodist, Atlanta, GA 5 pm New York, NY 7:30 pm LARRY PALMER Yarbrough & Co., African-American Gospel Regina Pozzi; Old Salem Museums & Gar- concert; Our Lady, Queen of the Most Holy Ro- dens, Winston-Salem, NC 12 noon Professor of PHILIP CROZIER sary Cathedral, Toledo, OH 4 pm ORGAN DUO Rutter, Requiem; First United Methodist, Co- 17 NOVEMBER Harpsichord and Organ lumbus, IN 9 am Gail Archer; Harvard University, Cambridge, 3355 Queen Mary Road, Apt 424 Craig Cramer; Good Shepherd Institute, MA 12 noon Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Kramer Chapel, Concordia Theological Semi- Craig Cramer; First Presbyterian, Greenwood, nary, Fort Wayne, IN 4:30 pm SC 7:30 pm SOUTHERN METHODIST UNIVERSITY Canada Bruce Neswick; St. Luke’s United Methodist, Indianapolis, IN 3 pm 18 NOVEMBER (514) 739-8696 Dallas, Texas 75275 Loralee Culbert; St. John Presbyterian, New Rosalind Mohnsen; Trinity Church, Boston, Fax: (514) 739-4752 Albany, IN 4 pm MA 12:15 pm Janette Fishell; St. Peter Catholic Church, Isabelle Demers; The United Methodist Musical Heritage Society recordings [email protected] Memphis, TN 4 pm Church, Saratoga Springs, NY 7:30 pm Nathan Laube; West End United Methodist, Stephen Tharp; Grace Church Brooklyn Nashville, TN 4 pm Heights, Brooklyn, NY 7:30 pm Isabelle Demers; St. Mary’s-on-the-Highlands David Enlow; National City Christian Church, Episcopal, Birmingham, AL 4 pm Washington, DC 12:15 pm VocalEssence; Fitzgerald Theater, St. Paul, •David Enlow & John Walker, orchestral re- MN 4 pm duction accompaniment masterclass; Holy Trinity A four-inch Professional Card Catholic Church, Washington, DC 7 pm 7 NOVEMBER Olivier Latry; Sykes Chapel, University of in THE DIAPASON Janette Fishell, masterclass; Calvary Episco- Tampa, Tampa, FL 6 and 8 pm pal, Memphis, TN 7:30 pm Alabama School of Fine Arts Orchestra and For rates and specifi cations Choir; Cathedral Church of the Advent, Birming- 8 NOVEMBER ham, AL 12:30 pm contact Jerome Butera Raúl Prieto Ramírez; Peachtree Presbyterian, Bruce Neswick; Illinois College, Jacksonville, Atlanta, GA 7:30 pm IL 7:30 pm 847/391-1045 Robert Bozeman; Ransdell Chapel, Camp- bellsville University, Campbellsville, KY 12:20 pm 20 NOVEMBER [email protected] Simon Preston; Woolsey Hall, Yale University, 9 NOVEMBER New Haven, CT 8 pm Hampus Lindwall; St. Paul Cathedral, Pitts- Choral concert; Cathedral of the Incarnation, burgh, PA 7:30 pm Garden City, NY 4 pm
30 THE DIAPASON
Oct 2011 pp. 29-33.indd 30 9/14/11 11:45:08 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM •Wilma Jensen; Grace Episcopal, Elmira, NY 29 NOVEMBER 4 pm Organ, choir, and brass concert; Cathedral of A Professional Card in Stephen G. Schaeffer Felix Hell; Cadet Chapel, United States Mili- Mary Our Queen, Baltimore, MD 7:30 pm tary Academy, West Point, NY 4 pm Peter Kurdziel; Park Congregational, Grand The Diapason Recitals – Consultations Saint Andrew Chorale, works of Vivaldi & Mon- Rapids, MI 12:15 pm For rates and digital specifi cations, teverdi; Madison Avenue Presbyterian, New York, contact Jerome Butera Cathedral Church of the Advent NY 3 pm 30 NOVEMBER 847/391-1045 Birmingham, Alabama Jonathan Dimmock; Cathedral Church of St. Terry Yount; Morrison United Methodist, Lees- [email protected] John the Divine, New York, NY 5 pm burg, FL 12 noon www.AdventBirmingham.org Kevin Kwan; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm Ken Corneille, with fl ute; St. Patrick’s Cathe- UNITED STATES dral, New York, NY 6:30 pm Stephen Tappe West of the Mississippi ROBERT L. Dongho Lee; Shadyside Presbyterian, Pitts- Organist and Director of Music burgh, PA 4 pm Tom Bell; Washington National Cathedral, SIMPSON Saint John's Cathedral Washington, DC 5:15 pm 15 OCTOBER Christ Church Cathedral Denver, Colorado Ted Dix, with Masterworks Chorale of Car- Paul Jacobs; Brigham Young University-Idaho, 1117 Texas Avenue roll County; McDaniel College, Westminster, Rexburg, ID 7:30 pm Houston, Texas 77002 www.sjcathedral.org MD 3 pm •David Arcus, improvisation workshop; Christ David Lawrie; Mount Calvary Church, Balti- Episcopal, Tacoma, WA 10 am more, MD 5:15 pm Janette Fishell; River Road Presbyterian, 16 OCTOBER ORGAN MUSIC OF THE SPANISH BAROQUE Richmond, VA 5 pm Chelsea Chen; Cathedral Church of St. Paul, Olivier Latry; Westminster Presbyterian, Des Moines, IA 4 pm Joe Utterback Lynchburg, VA 4 pm David Troiano Westminster Cathedral Choir; Cathedral Ba- DMA MAPM Raúl Prieto Ramírez, with piano; Greene Me- silica of St. Louis, St. Louis, MO 8 pm COMMISSIONS & CONCERTS morial United Methodist, Roanoke, VA 4 pm Donald Sutherland; Bates Recital Hall, Uni- 586.778.8035 732 . 747 . 5227 Patrick Kreeger, with orchestra; First United versity of Texas, Austin, TX 4 pm [email protected] Methodist, Wilson, NC 3 pm Choral Evensong; St. John’s Cathedral, Den- Craig Cramer; Vanderbilt Presbyterian, Na- ver, CO 3:30 pm ples, FL 4 pm David Arcus; Christ Episcopal, Tacoma, WA Mozart, Missa brevis in F Major, K. 192; Christ 4 pm Church, Bradenton, FL 7:30 pm Janine Johnson, harpsichord; Resurrection David Wagner Brian Taylor, with choirs of St. John’s Episco- Marcia Van Oyen Parish, Santa Rosa, CA 3:30 pm DMA pal, Savannah; St. Peter’s Episcopal, Savannah, Rexphil Rallanka; St. Mary’s Cathedral, San First United Methodist Church, GA 4 pm Madonna University Francisco, CA 3:30 pm Capitol City Madrigal Singers; Peachtree Road Plymouth, Michigan Livonia, Michigan Frederick Swann; First Congregational, Los United Methodist, Atlanta, GA 5 pm mvanoyen.com Jeremy Filsell; Episcopal Church of the As- Angeles, CA 3 pm [email protected] cension, Vestavia Hills, AL 4 pm Los Angeles Master Chorale; Walt Disney Con- Christopher Houlihan; Central College Pres- cert Hall, Los Angeles, CA 7 pm byterian, Westerville, OH 4 pm Carol Williams; Spreckels Organ Pavilion, Bal- University of Cincinnati Chamber Choir; St. Pe- boa Park, San Diego, CA 2 pm ter in Chains Cathedral, Cincinnati, OH 1:30 pm Robert Bates; All Souls Episcopal, San Diego, Kevin Walters KARL WATSON David Lamb, with brass; St. Boniface Church, CA 4 pm Louisville, KY 11 am M.A., F.A.G.O. Karen Beaumont; Cathedral of St. John the 19 OCTOBER SAINT LUKE’S Evangelist, Milwaukee, WI 4 pm Westminster Cathedral Choir; Cathedral Ba- Rye, New York North Shore Choral Society; Glenview Com- silica of St. Louis, St. Louis, MO 8 pm METUCHEN munity Church, Glenview, IL 3 pm James Russell Brown; Madonna della Strada 21 OCTOBER Chapel, Loyola University, Chicago, IL 3 pm Wilma Jensen; First Congregational, Greeley, Bruce Neswick, hymn festival; Westminster CO 7:30 pm Presbyterian, Springfi eld, IL 4 pm Davis Wortman John Scott; Episcopal Church of the Trans- RONALD WYATT fi guration, Dallas, TX 8 pm 21 NOVEMBER James David Christie; Our Lady of Fatima St. James’ Church Trinity Church Wilma Jensen, masterclass; First Presbyte- Parish, Seattle, WA 7:30 pm rian, Binghamton, NY 7 pm New York Galveston 22 OCTOBER 25 NOVEMBER David Higgs, masterclass/lecture; Edythe Joshua Lawton; Trinity Church, Boston, MA Bates Old Recital Hall, Rice University, Houston, 12:15 pm TX 1 pm •Wilma Jensen, masterclass; First Congrega- Charles Dodsley Walker, FAGO 27 NOVEMBER John Robinson; Church of the Advent, Bos- tional, Greeley, CO 9:30 am Artist-in-Residence Founder/Conductor ton, MA 4:30 pm, Lessons & Carols 5 pm Saint Luke’s Parish Canterbury Choral Society Joby Bell; St. Thomas Church Fifth Avenue, 23 OCTOBER 1864 Post Road 2 East 90th Street New York, NY 5:15 pm Westminster Cathedral Choir; St. John’s Abbey Darien, CT 06820 New York, NY 10128 Advent Lessons & Carols; Cathedral of St. Pe- Church, Collegeville, MN 3 pm (917) 628-7650 (212) 222-9458 ter in Chains, Cincinnati, OH 3 pm Andrew Peters, silent fi lm accompaniment; Advent Procession; Cathedral Church of St. Second Presbyterian, St. Louis, MO 4 pm Paul, Detroit, MI 4 pm Gail Archer; St. Peter’s Episcopal, St. Louis, MO 5 pm William Webber, C.A.G.O. 28 NOVEMBER •Chelsea Chen; First Lutheran, Fargo, ND 4 pm Lorraine Brugh; Elliott Chapel, Presbyterian James Metzler; Trinity Episcopal Cathedral, Organist/Director, First Christian Church, Danville, KY Homes, Evanston, IL 1:30 pm Little Rock, AR 3 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]
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OCTOBER, 2011 31
Oct 2011 pp. 29-33.indd 31 9/14/11 11:45:24 AM Dorothy Young Riess, M.D.; Nichols Hills Ty Woodward; First Congregational, Fresno, Mark Brombaugh; Lagerquist Hall, Pacifi c Lu- 16 OCTOBER United Methodist, Oklahoma City, OK 4 pm CA 3 pm theran University, Tacoma, WA 3 pm Camille Deruelle, with fl ute; Basilique Saint- David Higgs; Edythe Bates Old Recital Hall, Jeannine Jordan, with visual artist; First Bap- Sernin, Toulouse, France 12 noon Rice University, Houston, TX 7 pm 4 NOVEMBER tist, Portland, OR 2 pm Martin Stacey; Westminster Cathedral, Lon- Clive Driskill-Smith; Our Lady of Lourdes Mozart, Requiem; Cathedral Basilica of St. Los Angeles Master Chorale; Walt Disney Con- don, UK 4:45 pm Church, Sun City West, AZ 3 pm Louis, St. Louis, MO 8 pm cert Hall, Los Angeles, CA 7 pm Paul Bowen; Westminster Abbey, London, UK J. Melvin Butler, with soprano; Thomsen Cha- David Pickering; All Faiths Chapel, Kansas Carol Williams; Spreckels Organ Pavilion, Bal- 5:45 pm pel, St. Mark’s Cathedral, Seattle, WA 2 pm State University, Manhattan, KS 7:30 pm boa Park, San Diego, CA 2 pm Ken Cowan; Knox Presbyterian, St. Thomas, Sietze DeVries; Grace Lutheran, Tacoma, WA Kyle Johnson; Samuelson Chapel, California ON, Canada 2:30 pm 3 pm Lutheran University, Thousand Oaks, CA 7 pm 17 NOVEMBER Elna Johnson; St. Mary’s Cathedral, San Stefan Engels, masterclass; Caruth Audito- 17 OCTOBER Francisco, CA 3:30 pm 5 NOVEMBER rium, Southern Methodist University, Dallas, TX Thomas Trotter; St. Andrew’s Church, Ottawa, ON, Canada 7:30 pm Carol Williams; Spreckels Organ Pavilion, Bal- +Paul Jacobs; St. John’s Cathedral, Denver, 8 pm boa Park, San Diego, CA 2 pm CO 8 pm 18 OCTOBER 18 NOVEMBER Nicholas Hare; Marlborough Road Methodist, 24 OCTOBER 6 NOVEMBER Vienna Boys Choir; Cathedral Basilica of St. St. Albans, UK 12:30 pm Robert Bates; Winspear Hall, University of Dong-ill Shin; Coker United Methodist, San Louis, St. Louis, MO 8 pm North Texas, Denton, TX 8 pm Antonio, TX 3 pm Peter Wright; St. Lawrence Jewry, London, UK Stefan Engels; Caruth Auditorium, Southern 1 pm Davies, A Short Requiem in D; St. John’s Ca- Methodist University, Dallas, TX 8 pm thedral, Denver, CO 3:30 pm 25 OCTOBER Raúl Prieto Ramírez; St. John’s Cathedral, Chelsea Chen; Cathedral of the Madeleine, 19 OCTOBER Jean-Baptiste Robin; Visitation Parish, Kan- Denver, CO 7:30 pm Salt Lake City, UT 8 pm Iain Simcock; Westminster Cathedral, Lon- sas City, MO 7 pm Christopher Houlihan; Pinnacle Presbyterian, Hans Fagius; Trinity Lutheran, Lynnwood, WA don, UK 7:30 pm Scottsdale, AZ 7:30 pm 7 pm Thomas Trotter; Cathedral Church of the Re- 28 OCTOBER Ezequiel Menendez; St. James Cathedral, Durufl é, Requiem; St. Mary’s Cathedral, San deemer, Calgary, AB, Canada 8 pm David Jonies; St. Raphael’s Cathedral, Seattle, WA 8 pm Dubuque, IA 7 pm Francisco, CA 3:30 pm Carole Terry; Christ Episcopal, Tacoma, WA 20 OCTOBER Helen Wiley; Bates Recital Hall, University of Carol Williams; Spreckels Organ Pavilion, Bal- 12 noon Diego Innocenzi; St. Margaret Lothbury, Lon- Texas, Austin, TX 7:30 pm boa Park, San Diego, CA 2 pm don, UK 1:10 pm Ars Nova Singers, with Boulder Chamber Or- 7 NOVEMBER 20 NOVEMBER Thomas Trotter, masterclass; Wyatt Recital chestra; St. John’s Cathedral, Denver, CO 7:30 pm Stefan Engels; Christ the King Lutheran, Hall, Mount Royal University, Calgary, AB, Can- Martin Olson; Spanaway Lutheran, Span- S. Wayne Foster; Benaroya Hall, Seattle, WA 7:30 pm Houston, TX 6 pm ada 9:30 am away, WA 12 noon Choral Evensong; St. John’s Cathedral, Den- ver, CO 3:30 pm 21 OCTOBER 29 OCTOBER 8 NOVEMBER Angela Kraft Cross; St. Mary’s Cathedral, San Tim Byram-Wigfi eld; University Great Hall, Houston Chamber Choir; St. Philip Presbyte- Dongho Lee; St. Paul’s United Methodist, Francisco, CA 3:30 pm Reading, UK 7:30 pm rian, Houston, TX 7:30 pm Houston, TX 7:30 pm Gail Archer; Cathedral of Christ the Light, William Ness; Pacifi c Union College, Angwin, 22 OCTOBER 11 NOVEMBER Oakland, CA 5 pm CA 4 pm Roger Fisher; All Saints, Marlow, UK 7:30 pm Nathan Laube; Broadway Baptist, Fort Worth, László Fassang; Walt Disney Concert Hall, Los Angeles, CA 7 pm 30 OCTOBER TX 7:30 pm Carol Williams; Spreckels Organ Pavilion, Bal- 23 OCTOBER +James Dorroh; Cathedral of St. John Berch- Ezequiel Menendez; St. James Cathedral, boa Park, San Diego, CA 2 pm Richard Lester; Westminster Cathedral, Lon- mans, Shreveport, LA 3 pm Seattle, WA 8 pm don, UK 4:45 pm Marie Rubis Bauer; Trinity Lutheran, Lynn- 21 NOVEMBER James McVinnie; Westminster Abbey, Lon- wood, WA 7 pm 12 NOVEMBER Bruce Neswick; St. James Episcopal, Alexan- don, UK 5:45 pm John Cannon; St. Mary’s Cathedral, San Fran- Paul Jacobs, masterclass; Bethlehem Luther- Thomas Trotter; Westminster United Church, dria, LA 7 pm cisco, CA 3:30 pm an, Minneapolis, MN 10:30 am Winnipeg, MB, Canada 7:30 pm Cameron Carpenter; Louise M. Davies Sym- Stefan Engels, workshop; University of Hous- ton, Houston, TX 12 noon phony Hall, San Francisco, CA 8 pm 13 NOVEMBER 25 OCTOBER Clark Wilson, silent fi lm accompaniment; Walt Paul Jacobs; Bethlehem Lutheran, Minneapo- Peter Hopkins; Marlborough Road Methodist, 25 NOVEMBER Disney Concert Hall, Los Angeles, CA 7 pm lis, MN 4 pm St. Albans, UK 12:30 pm Ken Cowan & Lisa Shihoten, organ and vio- Carol Williams; Spreckels Organ Pavilion, Bal- +Todd WIlson; Arborlawn United Methodist, Thomas Trotter; Cathedral Church of St. boa Park, San Diego, CA 2 pm Fort Worth, TX 7 pm lin; First Presbyterian, Little Rock, AR 8 pm George, Kingston, ON, Canada 7:30 pm Herbert Buffington; Bates Recital Hall, Uni- Laura Ouimette; Spanaway Lutheran, Span- 3 NOVEMBER versity of Texas, Austin, TX 4 pm away, WA 12 noon 27 OCTOBER Jeannine Jordan, with visual artist, Bach and Alan Morrison; St. Mark’s Episcopal, San An- Christophe Mantoux; St. Marienkirche, Osna- Sons; St. John’s Episcopal, Tulsa, OK 7:30 pm tonio, TX 4 pm 27 NOVEMBER brück, Germany 8 pm Advent Lessons & Carols; St. John’s Cathedral, Denver, CO 3:30 pm 29 OCTOBER Tim & Cheryl Drewes; Grace Lutheran, Ta- Simon Hogan; Bloomsbury Central Baptist, martin ott pipe coma, WA 3 pm organ London, UK 4 pm company David Hatt; St. Mary’s Cathedral, San Fran- inc. cisco, CA 3:30 pm 30 OCTOBER 7408 Somerset Ave. Advent Organ Series; Trinity Episcopal, Santa Carolyn Shuster Fournier; The American St. Louis, MO 63105 Barbara, CA 3:30 pm Church, Paris, France 5 pm 314-504-0366 Phone 314-569-3879 Fax Carlo Curley; Albert Hall, Nottingham, UK 801-756-5777 Martin Ott [email protected] 2:45 pm www.bigeloworgans.com Orgelbaumeister www.ottpipeorgan.com INTERNATIONAL Andrej Kouznetsov; Westminster Abbey, Lon- don, UK 5:45 pm Dong-ill Shin; Saint-Hyacinthe Cathedral, 15 OCTOBER Saint-Hyacinthe, QC, Canada 7:30 pm Parkey Ian Tracey; Liverpool Cathedral, Liverpool, UK 3 pm, with Festival Evensong 31 OCTOBER OrganBuilders Samuel Liégeon; St. Saviour’s Church, St. Al- Frederick Stocken; St. Michael’s Cornhill, Distinguished Pipe Organs bans, UK 5:30 pm London, UK 1 pm 3870 Peachtree Ind. 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32 THE DIAPASON
Oct 2011 pp. 29-33.indd 32 9/14/11 11:45:41 AM 1 NOVEMBER 23 NOVEMBER Mignonne, op. 142, no. 2, Karg-Elert; Intro- Is Done, Traditional; The Ash Grove, Anony- Andrew Benson-Wilson; St. Giles-in-the- Timothy Wakerell; Concert Hall, Reading, UK duction, Passacaglia and Fugue, Willan; Toc- mous, 18th century. Fields, London, UK 1:10 pm 1 pm cata and Fugue in d, BWV 538, Bach; Danse Macabre, Saint-Saëns, arr. Cowan; Prelude to CHRISTA RAKICH, St. Cecilia Cathe- 3 NOVEMBER 24 NOVEMBER Die Meistersinger von Nürnberg, Wagner, arr. dral, Omaha, NE, May 19: Fantasia in C, Hartmut Leuschner-Rostoski; St. Margaret Gerard Habraken; St. Margaret Lothbury, Lon- Lemare/Warren. Byrd; Vater unser im Himmelreich, Böhm; Lothbury, London, UK 1:10 pm don, UK 1:10 pm Komm, Gott Schöpfer, heiliger Geist, BWV JULIE M. FORD, The Cathedral of the 667, Bach; Prelude in festo Pentecostes, 4 NOVEMBER 26 NOVEMBER Holy Angels, Gary, IN, May 1: March Tri- Woodman; Toccata (12 Chorale Preludes, Martin Ellis; St. Peter & St. Paul, Godalming, Joonho Park; St. Albans Cathedral, St. Al- omphale on “Nun Danket Alle Gott”, Karg- op. 8), Demessieux; Homage à Pachelbel: UK 1 pm bans, UK 5:30 pm Elert; An Wasserfl üssen Babylon, Reincken; Partita on Lobe den Herren, Rakich; Sonata Tim Byram-Wigfi eld; Concert Hall, Reading, A Rejoicing, Fedak; Waltz in D-fl at, Chopin; No. 5 in C, BWV 529, Praeludium in E, BWV 6 NOVEMBER UK 7:30 pm Prelude and Fugue in c, BWV 549, Bach; 566, Bach. Petra Veenswijk, with choir, Fauré, Requiem; David Dunnett; Bloomsbury Central Baptist, There Is a Happy Land, Shearing; Scher- Maria van Jessekerk, Delft, Netherlands 3 pm London, UK 4 pm zetto, Lied, Carillon (24 pieces en style li- DOROTHY YOUNG RIESS, University of Huw Morgan; Westminster Cathedral, Lon- bre), Vierne. Nevada, Las Vegas, NV, May 6: Fête, Langlais; don, UK 4:45 pm 27 NOVEMBER Kyrie, Gott heiliger Geist, BWV 671, Bach; Je- Daniel Cook; Westminster Abbey, London, UK sus bleibet meine Freude, BWV 147, Bach, arr. 5:45 pm James Sherlock; Westminster Cathedral, STEPHEN HAMILTON, with Ken- London, UK 4:45 pm neth Hart, narrator, First United Methodist Biggs; Herzlich thut mich erfreuen, op. 122, no. 4, Brahms; Bourrée (Suite for Cello, No. 7 NOVEMBER Gail Archer; St. Luke’s Anglican Church West, Church, Richardson, TX, April 7: Sonata de Ottawa, ON, Canada 4 pm 1° tono para clave I para órgano con trom- 3), Bach, arr. Riess; Jesu meine Freude, op. 87, Nicolas Kynaston; Methodist Central Hall, no. 2, Karg-Elert; Waltz 2 (Suite for Variety Westminster, London, UK 7:30 pm pete real, Lidón; Praeludium in e, Bruhns; 29 NOVEMBER Litanies, JA 119, Le Jardin suspendu, JA 71, Orchestra), Shostakovich, arr. Riess; Maple Jonathan Hope; St. Lawrence Jewry, London, Alain; Toccata, Villancico y Fuga (BACH), Leaf Rag, Joplin, arr. Riess; Transports de Joie 10 NOVEMBER (L’Ascension), Messiaen. Tim Byram-Wigfi eld; Concert Hall, Reading, UK 1 pm Ginastera; I: Jesus Is Condemned to Death, UK 7:30 pm VIII: Jesus Comforts the Women of Jerusa- 30 NOVEMBER JEREMY DAVID TARRANT, with the lem, XI: Jesus Is Nailed to the Cross, XII: Michigan Sinfonietta, Christopher James 12 NOVEMBER Nicolas Kynaston; Westminster Cathedral, Jesus Dies upon the Cross (Le Chemin de la Lees, conductor, The Cathedral Church of Christophe Mantoux; Cathédrale Ste-Cécile, London, UK 7:30 pm Croix, op. 29), Prelude and Fugue in B, op. 7, Albi, France 8:30 pm St. Paul, Detroit, MI, February 25: Choral no. 1, Dupré. III en la mineur, Franck; Scherzo, Durufl é; Andante sostenuto (Symphonie gothique, op. 13 NOVEMBER JACK W. JONES, The Episcopal Church of Hayo Boerema; Laurenskerk, Rotterdam, 70), Widor; Impromptu, Andantino, Carillon Organ Recitals Bethesda-by-the-Sea, Palm Beach, FL, May de Westminster (Pièces de fantaisie), Vierne; Netherlands 3 pm 1: Heraldings, Hebble; Aria, Rawsthorne; Peter Stevens; Westminster Cathedral, Lon- Concerto in g for organ, strings, and tym- don, UK 4:45 pm Fantasia in f, K. 608, Mozart; Psalm-Prelude pani, Poulenc. Ilja Kudrjavtsev; Westminster Abbey, London, GAVIN BLACK, harpsichord, Christ II, Howells; Toccata Giocosa, Mathias. UK 5:45 pm Episcopal Church, Norwich, CT, May 15: STEPHEN THARP, St. Cecilia Cathe- Toccata in d, BWV 913, Bach; Suite in e, AARON DAVID MILLER, with Sarah dral, Omaha, NE, April 8: Stations of the 14 NOVEMBER Froberger; The Death and Burial of Jacob Carmack, oboe, and Seth Keeton, bass, The Cross, Dupré. Catherine Ennis; St. Michael’s Cornhill, Lon- (Biblical Sonata No. 6), Kuhnau; Sonata in House of Hope Presbyterian Church, St. don, UK 1 pm G, Handel; Thirty-two variations on “La Ca- Paul, MN, April 3: The Water’s Edge, 11th THOMAS WIKMAN, Lutheran School pricciosa”, Buxtehude. century; Aberystwyth, Y Corn Hirla, Su Gan, of Theology, Chicago, IL, April 5: Prelude 20 NOVEMBER Welsh folk songs; Sonatina in a, Byrn; Petit in b, BWV 544, Erbarm’ dich mein, o Herre Stephen Hamilton; Church of St. Sulpice, KEN COWAN, Grace Episcopal Church, March, Canzonetta, Mathias; Rhosymedre, Gott, BWV 721, Fugue in b, BWV 544, Bach; Paris, France 11:30 am Charleston, SC, May 29: Fantasia in f, K. Ebenezer (Three Chorale Preludes on Welsh Adagio (Symphony No. 3 in f-sharp, op. 28), Stephen Disley; Westminster Cathedral, Lon- 608, Mozart; Canon in A-fl at, op. 56, no. 4, Folk Songs), Vaughan Williams; Two Welsh Allegro risoluto (Symphony No. 2 in e, op. don, UK 4:45 pm Canon in b, op. 56, no. 5, Schumann; Valse Folk Variations, Anonymous, ca. 1780; Day 20), Vierne.
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Grieg’s Peer Gynt Suite (Gaul) remains Certifi ed appraisals—Collections of organ Like the harpsichord? Harpsichord Tech- The Chicago-based Gaudete Brass Quin- well known today. The movements describe: books, recordings, and music, for divorce, es- nique: A Guide to Expressivity, second edi- tet (www.gaudetebrass.com) joined musical Morning in the Sahara, Peer at the bedside tate, gift, and tax purposes. Stephen L. Pinel, tion, by Nancy Metzger is a hands-on guide forces with organist Robert Benjamin Dobey of his dying mother, encounters with an Arab Appraiser. [email protected]; 609/448-8427. for touch and historically informed perfor- to record premieres of newly composed and dancer and trolls, and fi nally his fl ight from the mance. www.rcip.com/musicadulce. newly commissioned works for organ with Mountain Troll King. (Young people will rec- brass quintet. The Chicago-based quintet has ognize this one!) michaelsmusicservice.com; The OHS Catalog is online at www.ohscata- quickly gained favor in chamber music circles, 704/567-1066. log.org. More than 5,000 organ and theatre or- and the ensemble has been seen in perfor- gan CDs, books, sheet music, and videos are mance at key chamber music festivals. The listed for browsing and easy ordering. Use a The Organ Historical Society has released ensemble recorded their album at Grace Epis- Fruhauf Music Publications is pleased to link for adding your address to the OHS Cata- Historic Organs of Indiana, 4 CDs recorded at copal Church, Sheboygan, Wisconsin, with Dr. highlight two new seasonal choral selections: log mailing list. Organ Historical Society, Box the OHS National Convention in Central Indiana Dobey at the Schoenstein organ. The location Unnumbered Through the Ages—a Verse An- 26811, Richmond, VA 23261. E-mail: catalog@ in July 2007. Nearly 5 hours of music features recording was made with the ultra-high-fidelity them for All Saints (SATB & organ, 9 pp.); A organsociety.org. 31 pipe organs built between 1851–2004, by multi-channel DSD (Direct Stream Digital) for- Starlit Night It Was in Bethlehem—a Verse An- Aeolian-Skinner, Skinner, Henry Erben, Felge- mat and was produced by Frederick Hohman. them for Lessons & Carols, Christmas (SATB, maker, Hook & Hastings, Kilgen, Kimball, and The Pro Organo recording is available at www. SAB, unison & organ, 10 pp.). Both selections The Mother Church Aeolian-Skinner is played many more builders. Performers include Ken proorgano.com. are moderately difficult. Visit www.frumuspub. by John Near on 2 CDs. This amazing collection Cowan, Thomas Murray, Bruce Stevens, Carol net for complete listings and details, e-mail or- of major works superbly played by Mother Church Williams, Christopher Young, and others. A 40- ders or download printable .PDF order form. associate organist John R. Near (Widor’s biog- page booklet with photos and stoplists is includ- Refl ections: 1947–1997, The Organ Depart- [email protected]; 805/682-727, mornings rapher, editor of the defi nitive edition of Widor’s ed. OHS-07 4-CD set is priced at $34.95 (OHS ment, School of Music, The University of M–F, PDST; send USPS inquiries to: Fruhauf Mu- organ works, and professor at Principia College, members, $31.95) plus shipping. Visit the OHS Michigan, edited by Marilyn Mason & Mar- sic Publications, P.O. Box 22043, Santa Barbara, Elsah, Illinois) documents in excellent sound the Online Catalog for this and over 5,000 other or- garete Thomsen; dedicated to the memory CA 93121-2043. 237-rank Aeolian-Skinner op. 1203 before more gan-related books, recordings, and sheet music: of Albert Stanley, Earl V. Moore, and Palmer than 2,000 of its 13,389 original Aeolian-Skinner www.ohscatalog.org. Christian. Includes an informal history-memoir pipes (including 35 ranks of principals, mixtures, of the organ department with papers by 12 Eight Historic Pipe Organs of the Copper and chorus reeds) were discarded, along with current and former faculty and students; 11 Country located in towns on Michigan’s upper several ranks of subsequent additions by oth- Historic Organs of Seattle: A Young Yet Vi- scholarly articles; reminiscences and testimo- peninsula, surrounded by Lake Superior, are ers, during the renovation completed in 1999. brant History, the latest release from OHS, is a nials by graduates of the department; 12 ap- played by Christina Harmon on a new CD, Ra- Substantial CD booklet notes relate the unfi n- four-disc set recorded at the 2008 OHS national pendices, and a CD recording, “Marilyn Mason ven OAR-928. The repertoire includes the fi rst ished condition in which the organ was left in convention, held in the Seattle, Washington in Recital,” recorded at the National Shrine of recording of a Theme with Variations composed 1952 and subsequent tonal fi nishing and addi- area. Nearly fi ve hours of music feature historic the Immaculate Conception in Washington, by the late Dallas pedagogue Robert T. Anderson tions undertaken by Jack Steinkampf, Jr., and organs by Aeolian-Skinner, Casavant, Hook & DC. $50 from The University of Michigan, Prof. and unusual works by Langlais, Powell Weaver Jason McKown during the period of Near’s ten- Hastings, and Hutchings-Votey, Kilgen, Tallman, Marilyn Mason, School of Music, Ann Arbor, (Copper Country Sketches), Everett Titcomb, ure with colleague Thomas Richner, organist of Woodberry, Hinners, Cole & Woodberry, plus in- MI 48109-2085. and many others. The organs are by builders The Mother Church. Raven OAR-620, 2 CDs struments by Flentrop, C. B. Fisk, and Rosales, Garret House (1874) of Buffalo, NY; 1893 Lan- for the price of one: $14.98 postpaid worldwide and Pacifi c Northwest organbuilders Paul Fritts, cashire-Marshall of Moline, IL; Carl Barckhoff from Raven, Box 25111, Richmond, VA 23261, Martin Pasi, John Brombaugh, Richard Bond, REED ORGANS (1899) of Latrobe, PA; William Schuelke (1902) www.RavenCD.com. and many more! Renowned organists Douglas FOR SALE of Milwaukee; Kilgen (1905) of St. Louis; Estey Cleveland, Julia Brown, J. Melvin Butler, Carole (1908) of Brattleboro, VT; Austin (1913) of Hart- Terry, Bruce Stevens, and others are featured in ford, CT; and one of 52 organs built by Casa- Request a free sample issue of The Diapa- live performances on 24 pipe organs built be- Story & Clark turn of the century reed organ vant (1916) at the South Haven, Michigan, plant son for a student, friend, or colleague. Write to tween 1871 and 2000. Includes a 36-page book- and stool, fully restored. Excellent casework and which operated 1912–1918). $14.98 postpaid the Editor, The Diapason, 3030 W. Salt Creek let with photographs and stoplists. $34.95, OHS playing condition. $1800. Restoration documen- worldwide from Raven, Box 25111, Richmond, Lane, Suite 201, Arlington Heights, IL 60005; or members: $31.95. For more info or to order: tation provided with sale. cranevalerie@gmail. VA 23261, www.RavenCD.com. e-mail: [email protected]. http://OHSCatalog.com/hiorofse.html. com; 770/335-4564.
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
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Oct 2011 pp. 34-35.indd 34 9/14/11 11:46:35 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33
PIPE ORGANS PIPE ORGANS MISCELLANEOUS ANNOUNCEMENTS FOR SALE FOR SALE FOR SALE
1929 Estey “Minuette” with 3 unifi ed One small pipe organ for sale. Great price. Wood pipes. Missing pipes made to match. The East Texas Pipe Organ Festival will be ranks, a very rare 2-manual instrument in For more information, please go to our website, Damaged pipes in any condition repaired. held November 14–17 at First Presbyterian a grand piano style case. Completely re- www.milnarorgan.com. Over 25 years experience. Filip Cerny, Church, Kilgore, Texas. Featuring the Aeolian- built including case refi nishing and a new 814/342-0975. Skinner pipe organs designed and fi nished by Roy Perry (1906–1978) at First Presbyterian blower. $20,000. Contact Box JU-6101, Moeller Artiste, 3 ranks, very good condition, Church and St. Luke’s United Methodist Church THE DIAPASON. some renovation completed, builder ready to SERVICES/ in Kilgore; First Baptist Church, Longview, Tex- assist in moving for additional cost. $10,000/ as; First Baptist Church, Nacogdoches, Texas; best offer. 414/228-8737; jennifer.ankerberg@ SUPPLIES and St. Mark’s Episcopal Cathedral, Shreveport, sbcglobal.net. Louisiana, the festival’s guests include Frances Wilhelm studio organ—New six-stop, two-man- Anderson, Robert Brewer, Charles Callahan, ual instrument with Pedal Bourdon 16′. Wilhelm Neal Campbell, Casey Cantwell, James Lynn 1967 organ built for a monastery chapel—Two Rieger pipe organ—This tracker organ was built Need help with your re-leathering Culp, Richard Elliott, Norman Fisher, Lorenz manuals, 10 stops with Pedal Bourdon 16′. Very in Austria in 1952. It has 24 ranks over 21 stops. project? All pneumatics including Maycher, Albert Russell, Donald Smith, William good condition. For additional information, please Fully rebuilt, cleaned and regulated. Dimensions: Austin. Over 45 years experience Teague, Brett Valliant, the choir of St. Mark’s Cathedral, Shreveport, and others. Events in- e-mail: [email protected]. ′ ′ ″ ′ (on the job assistance available). 6 wide, 7 6 deep, 8 tall. Stoplist, photos, and clude visits to the Shreveport Scottish Rite information packet available. Can be seen and 615/274-6400. Cathedral (4-manual Pilcher), the Church of played in Troy, Michigan by appointment. Ask- Hand-built residence/small church pipe the Holy Cross, Shreveport (3-manual 1920 ing $39,000. Contact: John at 586/871-7099 or E. M. Skinner), and an opening night gala re- organ—2-manual console, custom-made wind- e-mail: [email protected]. ception at the Malcolm Crim mansion in Kilgore. chest, good condition. Principal 8′, 4′, 2′; Flute Highest quality organ control systems since ′, ′, ′ ′, ′ ′ 1989. Whether just a pipe relay, combination For schedule and registration information, visit 8 4 2 ; Dulciana 8 4 ; Oboe (Haskell) 8 ; Sali- www.easttexaspipeorganfestival.com. cional 8′; Flute 16′ (complete). Additional pipes action or complete control system, all parts (not installed): 8′ Flute; Melodia (complete); 8′ MISCELLANEOUS are compatible. Intelligent design, competitive pricing, custom software to meet all of your Salicional. Buyer to remove. $5,995. Will consider FOR SALE Receive THE DIAPASON E-News—Visit www. donation to a qualifi ed non-profi t. 603/926-0549; requirements. For more information call Westa- TheDiapason.com, click on Newsletter, and [email protected]. cott Organ Systems, 215/353-0286, or e-mail enter your contact information. We’ll maill you [email protected]. Atlantic City Pipe Organ Company—2- the monthly newsletter, plus a monthly listing of manual, 3-rank, 5 Walker stops, free-standing our web classifi ed ads. For assistance, contact Free: Choice of two thirteen-rank pipe organs Joyce Robinson, [email protected]. DE chest and pipes with detached console, Aeolian/Robert Morton-style maroon in climate controlled storage in Austin, Texas. Peterson relay, 10 years old; $9,500 or best of- leather is now available from Columbia Or- Contact Norman Holmes at holmesnw_44@ fer. 16′ reeds, principals, strings. 609/641-9422; gan Leathers! Highest quality. 800/423-7003, Postal regulations require that mail to yahoo.com. mywebpages.comcast.net/acorgan. www.columbiaorgan.com. THE DIAPASON include a suite number to assure delivery. Please send all corre- 1981 Lauck Residence Organ—2-manual, 3 Consoles, pipes and numerous miscellaneous ′ ′ ′ Austin actions recovered. Over 40 years spondence to: THE DIAPASON, 3030 W. ranks, 16 Gedeckt 97, 4 Principal 73, 8 Oboe parts. Let us know what you are looking for. experience. Units thoroughly tested and fully Salt Creek Lane, Suite 201, Arlington TC 49. Unifi ed to 19 stops. Expression, tremu- E-mail [email protected] (not comcast), guaranteed. Please call or e-mail for quotes. Heights, IL 60005. lant, combination action. Natural ash casework: phone 215/353-0286 or 215/788-3423. ″ ″ ″ Technical assistance available. Foley-Baker, 94 high, 72 wide, 24 deep. Movable. Presently Inc., 42 N. River Road, Tolland, CT 06084. being restored. $18,000. Lauck Pipe Organ Co. Phone 1-800/621-2624. FAX 860/870-7571. 269/694-4500; e-mail: [email protected]. 16′ Principal pipes, wooden, small scale, [email protected]. It’s time to check your listing for THE DIA- Moller low 12 notes, cost $4000. 8′ Tuba, large PASON 2012 Resource Directory—or cre- scale, Tellers, cost $1200. Deagan Xylophone, ate a listing if you haven’t already done 1969 Möller Double-Artiste. 2 manuals, 9 37 notes, needs releathering, cost $800. 24- Releathering all types of pipe organ ac- so! Visit www.TheDiapason.com, and at ranks (including Mixture and 16′ Trompette), 28 note Harp needs releathering, $600. Reisner tions and mechanisms. Highest quality ma- left select Supplier Login. For assistance, stops. Newly releathered and renovated. $44,500 direct action magnets, 77 3/4, 66 1-1/8, 159 terials and workmanship. Reasonable rates. contact Joyce Robinson, 847/391-1044; plus installation. [email protected]; 5/8, cost $350 each. Siedle Organ Company, Columbia Organ Leathers 800/423-7003. [email protected]. 617/688-9290. 412/221-5484. www.columbiaorgan.com/col.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in -+ &62GHOO The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS odellorgans.com s 860-365-8233 contact Jerome Butera P.O. Box 405, East Haddam, Connecticut 06423 847/391-1045 518-761-0239 2 Zenus Dr., Queensbury, NY 12804-1930 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected]
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
OCTOBER, 2011 35
Oct 2011 pp. 34-35.indd 35 9/14/11 11:46:51 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