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The American Bach Society the Westfield Center
The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance. -
A Pictoral History of the Boston Music Hall and the Great Organ
A PICTORIAL HISTORY OF THE BOSTON MUSIC HALL AND THE GREAT ORGAN by Ed Sampson, President, Methuen Memorial Music Hall, Inc. 2018 Few instruments in the history of pipe organs in America have had as long, or as distinguished, a career as the Boston Music Hall Organ. The first concert organ in the country, it remains today one of the outstanding organs in America. The need for a large and centrally-located concert hall for Boston was discussed at the annual meeting of the Harvard Musical Association, founded in 1837 (Henry White Pickering (1811-1898), President) on January 31, 1851. A "Music Hall Committee", comprised of members Robert East Apthorp (1812-1882), George Derby (1819-1874), John Sullivan Dwight (1813-1893), Charles Callahan Perkins (1822-1886), and Dr. Jabez Baxter Upham (1820- 1902), was appointed to address the matter. The Boston Music Hall was built in 1852 by the Boston Music-Hall Association, founded in 1851 (Jabez Baxter Upham, President) and by the Harvard Musical Association, that contributed $100,000 towards its construction. It stood in the center of a block that sloped downward from Tremont Street to Washington Street; and was between Winter Street on the south and Bromfield Street on the north. Almost entirely surrounded by other buildings, only glimpses of the hall's massive granite block foundation and plain brick walls could be seen. There were two entrances to the Music Hall: the Bumstead Place entrance, (named after Thomas Bumstead (1740-1828) a Boston coachmaker), off Tremont Street (later Hamilton Place) opposite the Park Street Church; 1 and the Central Place or Winter Place (later Music Hall Place) entrance off Winter Street. -
Composers for the Pipe Organ from the Renaissance to the 20Th Century
Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today. -
JUNE 2018 Andover Organ Company Seventieth Anniversary Cover Feature on Pages 26–28
THE DIAPASON JUNE 2018 Andover Organ Company Seventieth Anniversary Cover feature on pages 26–28 www.concertartists.com 860-560-7800 [email protected] PO Box 6507, Detroit, MI 48206-6507 ,Z>^D/>>Z͕WƌĞƐŝĚĞŶƚĐŚĂƌůĞƐŵŝůůĞƌΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ W,/>>/WdZh<EZK͕&ŽƵŶĚĞƌƉŚŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER 50th Anniversary Season THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 6, Summer schedules, summer travel Whole No. 1303 With warmer months and the end of the choir and academic JUNE 2018 year, many of us are looking forward to summer travel. Perhaps Established in 1909 you will attend a convention, workshop, or take classes for con- Stephen Schnurr ISSN 0012-2378 tinuing education. Our April issue contained a list of many oppor- 847/954-7989; [email protected] tunities to attend conferences around the country and abroad. www.TheDiapason.com An International Monthly Devoted to the Organ, Our Here & There section contains announcements of many the Harpsichord, Carillon, and Church Music summer organ and carillon recital series. Several of these are in In this issue the Midwest: Indiana, Michigan, and Iowa, in particular. For June, we present an interview with Stephen Cleobury of CONTENTS Many of our readers will take advantage of summer abroad. -
THE DIAPASON an INTERNATIONAL MONTHLY DEVOTED to the ORGAN, Tile HARPSICHORD and CHURCH MUSIC
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, TilE HARPSICHORD AND CHURCH MUSIC S;xty-Si.<tlll rear, No. I - W"oIe No. 781 DECEMBER. 1974 Lynnwood Farnam - Master Organist of the Century by Jeanne Rizzo "When Lynnwood Fam3m died he attached a hea,,}' chain to his 2nkle. took into the grave with him a peculiar With hea\'} boots crashing to the Door. perfection of 3rt which has nc\'cr been and his puffing to imitate a locomotive. duplicated ..... This statement by T. Scott he took the famil}' by surprise by mak BlI.h~JDan. expresses. the consensus of ing a great noisel optmon of Farnam 5 contcmporariC5. Around the farm. he helped with the :"I:cw -York Times critic Richard Ald. chores and was a good milker. At school, rich, in a tribute to Farnam after his Greene relates that he was remembered death. refe rs to him as having been per. as not particularly hright in his studio haps the greatest organist in the nit(.>tl and impatient (or fC{"e5.'i when he could St:ltcs, "in executi\'e power, in artistic 1.'0 to the school organ and pretend In ~nsc . and in ,the range and comptchcn. play 011 it. He kept notebooks of adver· SI\'CIICS.'i of hiS knowledge of Ofbr:lll lit. tisement photos of organs, and he wrote ernturc.''2 to rl."Cd organ builders for specifications He is remembered loda)' as the £irst against the advice or his parents. He did Amcric.m organist to give a COIuplctc 1I0t discontinue the practice until one performance of the Bach organ works. -
An Historical Timeline of Events Concerning the Boston Music Hall, the "Great Organ" and the Methuen Memorial Music Hall
AN HISTORICAL TIMELINE OF EVENTS CONCERNING THE BOSTON MUSIC HALL, THE "GREAT ORGAN" AND THE METHUEN MEMORIAL MUSIC HALL 1837 The initial development of the organization that was later to become known as "The Harvard Musical Association" was started by a group of Harvard College graduates in July. As students, these graduates had been members of the Pierian Sodality, established in 1808. The graduates met with some fifty prominent citizens of Boston to form a new society, the chief goals of which were to be "...the promotion of musical taste and science in the University, ...to enrich the walls of Harvard with a complete musical library, ...and to prepare the way for regular musical instruction in the College". The new society was initially known as "The General Association of Past and Present Members of the Pierian Sodality". 1840 The society known as "The General Association of Past and Present Members of the Pierian Sodality" changed its name to "The Harvard Musical Association". 1851 The need for a large and centrally-located concert hall for Boston was discussed at the annual meeting of The Harvard Musical Association on Friday, January 31. A Music Hall Committee, comprised of members Robert E. Apthorp, George Derby, John Sullivan Dwight, Charles Callahan Perkins and Dr. Jabez Baxter Upham, was appointed to address the matter. The Music Hall Committee of The Harvard Musical Association selected a site for the proposed hall in the center of the block bounded by Tremont Street, Washington Street, Winter Street and Bromfield Street in February. The Music Hall Committee of The Harvard Musical Association engaged architect George Snell to draw up plans for the proposed hall in April. -
Waack C Karl Waack C KARL VAHAHK Waart C Edo De Waart C
Waack C Karl Waack C KARL VAHAHK Waart C Edo de Waart C AY-doh duh WAHAHRT Waart C Hendrikus Aloysius Petrus de Waart C henn-DREE-küss ah-LO-sihüss PEH-trüss duh WAHAHRT Wach auf C VAHK AHÔÔF (Awaken) C (anonymous poem set to music by Ludwig Spohr [LOOT-vihh SHPOHR] — also known as Louis Spohr [lôôee spawr]) Wach auf wach auf du deutsches land C Wach auf, wach auf, du deutsches Land C VAHK AHÔÔF, VAHK AHÔÔF, doo DOYT-shuss LAHNT C (excerpt from the Sacred Songbook of Wittenberg [VITT-tunn-pehrk] by Johann Walter [YO-hahn VAHL-tur]) Wachet auf ruft uns die stimme C Wachet auf, ruft uns die Stimme C VAH-kett AHÔÔF, RÔÔFT ôôns dee SHTIMM-muh C (Awake cries the voice of the watchman in the tower) C (title of a chorale and also the title given to a cantata [kunn-TAH-tuh] containing the chorale by Johann Sebastian Bach [YO-hahn {suh-BASS-tihunn BAHK} zay-BAH-stihahn BAHK]) Wachs C Judith Wachs C JOO-duth WAHKSS Wachs C Paul Étienne Victor Wachs C pohl ay-teeenn veek-tawr vahkss Wachsmann C Klaus P. Wachsmann C KLAHÔÔSS (P.) VAHKSS-mahn C (known also as Klaus Philipp [FEE-lipp] Wachsmann) Wachtel C Theodor Wachtel C TAY-o-dohohr VAHK-tull Wachter C Eberhard Wächter C AY-bur-hart VEHH-tur Wachtmeister C Count Axel Raoul Wachtmeister C (Count) ACK-sell rahAHÔÔL VAHKT- mayss-tur Wackernagel C Philipp Wackernagel C FEE-lipp VAH-kur-nah-gull Wadsworth C Charles Wadsworth C CHAH-rullz WAHDZ-wurth Waechter C Eberhard Waechter C AY-bur-hart VEHH-tur Waefelghem C Louis van Waefelghem C lôôEE vunn WAH-fell-kemm Waelput C Hendrik Waelput C HENN-drick WAHL-püt -
May 1944) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1944 Volume 62, Number 05 (May 1944) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 62, Number 05 (May 1944)." , (1944). https://digitalcommons.gardner-webb.edu/etude/217 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THEIR FIRST RECITAL r THE AMERICAN GUILD OF ORGANISTS will hold a convention and spring music festival in New York City from May 15 to 19. The various events for the five days will include services at several of the leading churches, organ recitals by CoLLg^g outstanding artists, and lectures on topics UmusuaL of interest by leaders in their respective AmemcA's most fields of activity. A partial list of those taking part includes Carl Weinrich, Dr. T. Edgar Shields, E. Power Biggs, Walter Baker, Norman Coke-Jephcott, Dr. T. Frederick Candlyn, Dr. T. Tertius Noble, and Dr. Curt Sachs. An Ascension Day Service will be held at St. Bartholomew’s Church with the combined choirs under the direction of Dr. David McK. Williams. HERE, THERE, AND EVERYWHERE THE FIFTH ANNUAL PHILADELPHIA BACH FESTIVAL will be held on May 12 IN THE MUSICAL WORLD and 13 in St. -
Organ Virtuoso
THE MAKING OF AN ORGAN VIRTUOSO HAIG MARDIROSIAN AMERICAN GUILD OF ORGANISTS MONOGRAPH SERIES • NO. 3 THE MAKING OF AN ORGAN VIRTUOSO THE MAKING OF AN ORGAN VIRTUOSO haig mardirosian AMERICAN GUILD OF ORGANISTS MONOGRAPH SERIES no. 3 American Guild of Organists 475 Riverside Drive, Suite 1260 New York, NY 10115 212.870.2310 [email protected] Agohq.org © 2019 by American Guild of Organists No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the American Guild of Organists. front cover: A photo from the publicity kit of legendary virtuoso, Virgil Fox, with the inscription, “The patent-leather shod feet in this picture are those of world-renowned organ virtuoso, Virgil Fox, as famous and skilled as those of a José Greco, Fred Astaire or Gene Kelly in that they are able to play entire musical works by great composers on the organ’s 2½-octave pedal keyboard with ‘Look, Ma, no hands’ as they will do when Fox appears in person at…”. photo from the collection of: Len Levasseur back cover: Damin Spritzer contemplating the Cavaillé-Coll organ of the Abbey Church of Saint-Ouen, Rouen, France. Summer 2018. photo: Daniel Schwandt production design: Len Levasseur American Guild of Organists Monograph Series Haig Mardirosian, general editor This series of short e-books on topics about the organ and the organ-playing community is published by the American Guild of Organists as a service to its members and the general public. -
Modern Music a Collection of Manuscripts and First & Early Editions
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 90 | November 2020 modern music a collection of manuscripts and first & early editions 20TH CENTURY PART I MODERN MUSIC a collection of manuscripts and first & early editions 20TH CENTURY PART 1 TABLE OF CONTENTS in order by composer’s surname 1 Auric - Burleigh 11 Castelnuovo-Tedesco - Honegger 21 Jacob - Milhaud 30 Orff - Satie 43 Schoenberg 62 Schoop - Trillat 70 Vaughan WIlliams - Wolfsohn 81 References 82 Conditions of Sale All items in the catalogue include a link to the item’s listing on our website with further details and purchasing options. Please see our Conditions of Sale notice at the back of the catalogue for further information. J & J Lubrano Music Antiquarians LLC 6 Waterford Way Syosset, NY 11791 U.S.A. (516) 922-2192 | [email protected] www.lubranomusic.com Front cover illustration detail from item #5 AURIC - BARTО`K AURIC, Georges 1899-1983 2. 1. Petite Suite [Solo piano] Paris: Heugel [PNs H. 29,832-29,836], 1928. Original publisher’s ivory printed wrappers. Unbound as issued. 15 pp. I. Prélude – II. Danse – III. Vilanelle et Entrée – IV. Sarabande – V. Voltes “Les nos. 2 et 3 sont écrits d’après des pièces de luth polonaises du XVIe siècle.” Wrappers slightly browned and soiled; publisher’s handstamps to upper, “Hommage de l’Editeur” to title. Small hole to pp. 3-4 just touching text. First Edition. Schmidt GA56, I, pp. 282-283. $100 (33799) 2. Printemps [Solo piano] inspired fashion designers including Christian Paris: Durand & Cie [PN D. & F. 12,621], Dior and Elsa Schiaparelli; he also designed 1935. -
On Bach's Rhythm and Tempo
Ido Abravaya Does tempo, as a variable parameter, conform to any laws; can any general theory on the behaviour of tempo, i.e., its range and modes of change, be formulated? Was the concept of a standardized tempo unit still accepted in On Bach’s Rhythm and Tempo the Baroque? Is the tempo of a given piece directly derived from other parameters, such as its formal, rhythmic and metric structure, distribution of note values and similar factors? Durational strata – a strategy of viewing a composition, or an entire style, through a “cross section” of its various note durations – is offered here. Its clearest example is found in the “Palestrina style”, but a similar phenomenon can be observed also in Baroque styles, which has some repercussions on tempo. Other tempo-determining factors, such as time signatures and tempo words in the music of J. S. Bach are surveyed and compared against tempo theories of Bach’s time, by Quantz and Kirnberger. The conclusions are used in the evaluation and critique of some present-day tempo philoso- On Bach’s Rhythm and Tempo phies. The aim of the present work is not to establish prescriptions for the “right” tempo in Bach’s music, but rather, from the angle of tempo, to gain a perspective on the much broader field of rhythm and rhythmic texture. Abravaya · BÄRENREITER HOCHSCHUL SCHRIFTEN Ido Abravaya On Bach‟s Rhythm and Tempo Bochumer Arbeiten zur Musikwissenschaft Herausgegeben von Werner Breig Band 4 II On Bach‟s Rhythm and Tempo by Ido Abravaya III Bibliografische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. -
Joan Lippincott
AMERICAN GUILD OF ORGANISTS ENDOWMENT FUND DISTINGUISHED ARTIST AWARD RECITAL AND GALA BENEFIT RECEPTION HONORING Joan Lippincott FRIDAY, APRIL 21, 2017 PHOTO CHRISTIAN STEINER PHOTO JOSEPH ROUTON PRINCETON UNIVERSITY CHAPEL PRINCETON, NEW JERSEY Lippincot_AD_MGZN.indd 1 4/12/17 7:56 AM April 21, 2017 Dear Friends, ELCOME TO THE 2017 AGO Endowment Fund Distinguished W Artist Award Recital and Gala Benefit Reception honoring our beloved friend and colleague, Joan Lippincott. We extend our heartfelt gratitude to the Office of Religious Life at Princeton University for allowing us to share their beautiful Chapel and magnificent pipe organ with you this evening. We are deeply blessed by Joan’s lifelong career as a teacher and performer. Through her performances, recordings, and students, she has touched the hearts and stirred the souls of millions of people she will never know. We are forever grateful for her gift of music and her enthusiastic support of the American Guild of Organists. We are also grateful for your support of the AGO—the largest organization of its kind in the world promoting a single musical instrument and the performers and listeners who enjoy organ music—through your gifts to the AGO Endowment Fund this evening. Although many organ degree programs at institutions of higher education are being threatened—even in Princeton—the American Guild of Organists, founded in 1896, is here to stay. Your support of the AGO Endowment Fund helps to ensure that we will. The AGO Endowment Fund secures the future of the Guild through educational programs such as Pipe Organ Encounters that introduce young people to the organ and encourage their study of the instrument.