THE DIAPASON SEPTEMBER 2013

The Episcopal Church of the Good Shepherd Lexington, Kentucky Cover feature on pages 30–32 CHRISTOPHER HOULIHAN

(The American Organist, 2012)

(The Diapason, 2013) THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fourth Year: No. 9, In this issue Whole No. 1246 This month’s issue of The Diapason includes Maxim SEPTEMBER 2013 Serebrennikov’s analysis of Baroque fugal improvisation, a Established in 1909 process that has not been widely explored in English-language Joyce Robinson ISSN 0012-2378 theoretical literature. Serebrennikov demonstrates that the 847/391-1044; [email protected] improvisation of fugue grew out of fi gured bass, often using a www.TheDiapason.com An International Monthly Devoted to the Organ, strophic-form compositional model. the Harpsichord, Carillon, and Church Music We also present Steven Egler’s interview of well-known in our fi eld. Each year we publish the Directory and mail it composer Robert J. Powell, whose music many of us have with the January issue of The Diapason. It includes complete played. Powell was interviewed during weekend festivities that information on providers of products and services related to CONTENTS celebrated both his music and his 80th birthday, and discusses the organ and all facets of church music. The deadline for composition, working relationships, and balancing musical advertising in the 2014 Resource Directory is November 1. To FEATURES styles. John Bishop’s latest installment of “In the wind . . .” reserve advertising space, please send an e-mail to advertis- A Conversation with Robert Powell Celebrating his 80th birthday concerns leaps in technology—and art—that had their roots in ing sales manager Jerome Butera at [email protected], or by Steven Egler 20 traditional techniques and styles, how the past can enhance the phone him at 847/391-1045. Fugal Improvisation in the Baroque Era— future, and how “the end of the world as we know it” can be Company and association listings in the Directory are Revisited a positive thing. And Gavin Black’s latest chapter of his organ free, so there’s no reason to exclude your organiztion! If your On material from German sources by Maxim Serebrennikov 24 method deals with practice techniques when beginning to play company is already listed in the 2013 Directory, please take with hands together. a moment to check the information. Should your information NEWS & DEPARTMENTS Our cover feature this month spotlights the new four-manual be in need of updating (our apologies, but we do not always Editor’s Notebook 3 organ at the Episcopal Church of the Good Shepherd in Lex- know when someone moves!), contact me at 847/391-1044 or Here & There 3 ington, Kentucky, Goulding & Wood’s Opus 50. at [email protected]. Nunc Dimittis 6 All this is in addition to our regular departments of news, Carillon News 11 reviews, new organs, an international calendar, organ recital Im preparation On Teaching by Gavin Black 16 In the wind . . . by John Bishop 18 programs, and more. Future issues of The Diapason will include feature articles on speech control in mechanical action pipe organs, the 2013 REVIEWS 2014 Resource Directory national convention of the Organ Historical Society, the McGill Music for Voices and Organ 12 The preparation of The Diapason 2014 Resource Directory Summer Organ Academy, Iberian battle music for organ, an Book Reviews 12 has begun. This valuable publication is the only one of its kind interview with Gerald Near, and more. Q New Recordings 12 New Organ Music 14 Here & There NEW ORGANS 32 CALENDAR 33 Events ORGAN RECITALS 36 First Church of Christ, Wethers- CLASSIFIED ADVERTISING 38 fi eld, Connecticut, presents its 2013–14 concert series: September 6, Albert Schweitzer Organ Festival concert; November 17, David Spicer; December 8, Christmas concert; January 26, Super Bell XXII; February 23, concert of spiri- tuals; March 23, Showcase for Youth; April 13, Palm Sunday concert; June 8, ASOF winners’ concert. For information: 860/529-1575 x209; www.fi rstchurch.org.

COVER Goulding & Wood Organ Builders, Inc., Indianapolis, Indiana; The Episcopal Church of the Good Shepherd, Lexington, Kentucky 30 Houston Chamber

Editorial Director JOYCE ROBINSON Houston Chamber Choir opens its 18th season with a concert inspired by the [email protected] 847/391-1044 election of Pope Francis as head of the Roman Catholic Church, and features works associated with the papacy, including Palestrina’s Pope Marcellus Mass, Francis Pou- Editor-at-Large STEPHEN SCHNURR lenc’s Four Prayers of St. Francis of Assisi, and Mulet’s organ work Tu es Petrus. The [email protected] 219/531-0922 concert will be presented September 15 at 4 p.m. at Holy Rosary Catholic Church (Rosenberg, ), and 9/17 at 7:30 p.m. at the Co-Cathedral of the Sacred Heart, Sales Director JEROME BUTERA Houston. For information: www.houstonchamberchoir.org. [email protected] Aeolian-Skinner Opus 1472 by Parkey 847/391-1045 OrganBuilders Designer DAN SOLTIS Resounding Art in a Sacred Space” con- dedication of its Schantz . The Contributing Editors LARRY PALMER Providence United Methodist cert series: September 6, Such Sweete organ preserves the heritage of its pre- Harpsichord Church, Charlotte, North Carolina, Melodie early music quintet; October 11, decessors, with ten different pipemakers presents a series of concerts, celebrating Walt Strony accompanies the silent fi lm represented in the ensemble, including JAMES MCCRAY Choral Music the installation of its Aeolian-Skinner “The General”; November 24, Rhodes Kimball, Kilgen, Wangerin, Johnson and Opus 1472 by Parkey OrganBuilders College Christmas at St. Mary’s; January Schantz. September 10, Rob McWilliam; BRIAN SWAGER (Opus 14, three manuals, 66 ranks): Sep- 31, Nordic Choir; March October 8, Larry Wheelock; November Carillon tember 6, dedication by Alan Morrison; 21, Paul Jacobs performs for the Ten- 12, Wyatt Smith; December 10, Mark JOHN BISHOP October 18–19, festival; Novem- nessee AGO centennial celebration. For Konewko. For information: In the wind . . . ber 3, Durufl é, Requiem; December 8, information: 901/527-6123, www.gesuparish.org. Handel, Messiah. For information: [email protected], GAVIN BLACK On Teaching www.ProvidenceUMC.org. www.stmarysmemphis.org. First Baptist Church, Washington, D.C., announces 2013–2014 concerts, Reviewers Jay Zoller St. Mary’s Episcopal Cathedral, The Church of the Gesu, Milwau- Sundays at 4 p.m.: September 15, Law- John Collins Memphis, , announces kee, Wisconsin, announces upcoming rence P. Schreiber; October 20, Ken David Herman its 2013–14 “Music at St. Mary’s: concerts (7:30 p.m.), celebrating the ³ page 4

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2013. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 ( and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 3 Here & There

³ page 3 May 9, Baroque favorites. For informa- Cowan; November 24, Christopher tion: www.arslyricahouston.org. Houlihan; April 27, Hector Olivera. For information: www.fi rstbaptistdc.org. Trinity Episcopal Church, Santa Barbara, , announces its The Cathedral Church of the 2013–2014 music series, Sundays at 3:30 , Birmingham, Alabama, p.m.: September 22, Katya Gotsdiner- announces its 2013–14 music events: McMahan; April 27, Kirkin’ o’ Tartans; September 20, Stephen Tharp, May 11, Young Artists in Concert; June Alfonso Lopez, violin, and Michelle 15, Musical Fireworks; August 2, Old Tabor, piano; October 6, New York Spanish Days Fiesta Concert. Additional Polyphony; 10/25, Birmingham Boys concerts, to be specifi ed later, will take Choir; November 8, Frederick Teardo; place October 6, November 3, February 11/22, Samford String Quartet, Stephen 9, and March 23. For information: Cary, tenor, and Cindy St. Clair, piano; www.trinitysb.org. January 31, Montevallo Early Music Ensemble; February 2, Charles Ken- The third season of the revived “Great nedy; 2/28, Leon W. Couch, III; April Music in a Great Space” series at the 6, Georgia Tech Chamber Choir; 4/13, Cathedral of St. John the Divine Frederick Teardo, Dupré, Le Chemin includes choral concerts with the per- de la Croix; May 2, Leslie C. S. Teardo; formers placed at various locations within 5/18, Cathedral Choir. For information: the cathedral: September 25, “Prayers of adventbirmingham.org. the Animals”; October 16, Kent Tritle, organ; November 20, concert celebrating Crescent Avenue Presbyterian the musical legacy of Andrew Carnegie; Church, Plainfi eld, New Jersey, December 14, Christmas concert; 12/31, announces its 32nd concert season: Sep- Concert for Peace with guests Judy tember 20, Harmonic Brass; November Collins and Harry Smith; February 19, 9, Crescent Choral Society; December music from Renaissance ; April 8, 15, Yuletide by Candlelight carol sing; Bach, St. John Passion. For information: VocalEssence Ensemble Singers March 9, organists Joseph Arndt, Ste- www.stjohndivine.org/GMGS.html. phen Williams, Carol Weber, Jim Little, VocalEssence announces its 45th concert season: October 27, There Was a and Peter Calabro; April 12, Crescent Gloriae Dei Cantores presents their Child (Whitacre, Clausen, Hovland, Christiansen, Dove); November 18, Cocktails Choral Society; 4/18, Good Friday Tene- 25th anniversary concert season at the & Cabaret; December 7–8, 13–15, Welcome Christmas; 12/14, Star of Wonder; brae; May 18, spring choral concert. For Church of the Transfi guration, Orleans, February 9, Witness: Stomp & Sing; March 21 and 23, Jubilee; April information: crescentconcerts.org. Massachusetts: September 27 and 28, 27, Tchaikovsky for Voices; May 20, ¡Cantaré! Community Concert. For informa- works of Bach, Ives, Vaughan Williams, tion: www.vocalessence.org. Advent Lutheran Church, Mel- and Walton; December 6 and 7, works of bourne, Florida, announces its 2013–14 Martin, Eben, Schoenberg, and Starer. organ concert series, Sundays at 3 p.m.: For information: www.gdcchoir.org. September 22, Betty Jo Couch, hymn festival; November 17, Boyd Jones; Feb- The John F. Kennedy Center for ruary 23, Silviya Mateva; May 18, Josiah the Performing Arts, Washington, Armes. Christmas season mid-week D.C., announces programs for the new mini recitals, Wednesdays at 12 noon: Rubenstein Family Organ (Casavant December 4, Thomas Ingui; 12/11, Frères, Opus 3899, 85 ranks) in its fi rst David Vogeding; 12/18, Michael Rick- full season at the Kennedy Center: man. For information: September 29, Season Opening Ball www.adventsuntree.com. Concert; October 3–5, Saint-Saëns, Symphony No. 3; 10/16, Cameron Car- Camp Hill Presbyterian Church, penter; 10/27, Halloween Spooktacular; Camp Hill, Pennsylvania, presents its February 5, Paul Jacobs; May 21, Iveta music series: September 22, Carol Wil- Apkalna. Additional performances will liams; October 2, Beth Palmer; Novem- be announced later. For information: ber 6, Nicholas Basehore; December www.kennedy-center.org. 4, Timothy Braband; 12/8, Advent Les- sons & Carols; 12/24, Lessons & Carols; St. Mark’s Cathedral, Seattle, February 5, Beth and Ron Sider; March announces its 2013–14 concert season: 5, David Binkley; April 2, Eric Riley. October 6, Mel Butler; November 1, Craighead-Saunders Organ For information: Jonathan Biggers; 11/24, Jiyoung Lee, www.thechcpc.org. with Meg Brennand, baroque cello; The Eastman Rochester Organ Initiative (EROI) presents its twelfth annual February 2, John Stuntebeck, with EROI Festival September 26–29. Highlights include performances, papers, and Ars Lyrica Houston announces Brian Fairbanks, fl ute; March 7, Alan masterclasses by Edoardo Bellotti, William Bolcom, Hans-Ola Ericsson, Jon Gil- its 10th anniversary concert season: De Puy; 3/23, Clint Kraus, with Linda lock, David Higgs, Nathan Laube, Peter Planyavsky, Christa Rakich, Douglas Reed, September 20, 22, 23, Menus-Plaisirs; Strandberg, soprano; May 23, Jonathan and others; the Westfi eld International Organ Competition; and Spirits Within, a December 31, February 21, Venetian Dimmock, all-Bach program. For infor- Rochester Fringe Festival show of organ improvisation and light projections. For Carnival; February 8, Scarlatti, La sposa mation: www.saintmarks.org. information: www.esm.rochester.edu/eroi/. dei cantici; March 29, Handel, Susanna; ³ page 6

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

4 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Michael's, Boise, ID Battipaglia, Paris, Ann Arbor, Michigan

Paul Cienniwa Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Concert Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Organist Boston, Massachusetts Dijon, France Milwaukee, Wisconsin Bloomington, MN University of Florida Birmingham, England

Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer University of Alabama Hasselt, Belgium Stuttgart, Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Christopher Marks Katherine Meloan Scott Montgomery Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist/Professor of Music Organist Organist/Presenter Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX U of Nebraska-Lincoln New York, New York Champaign, Illinois

Shelly Moorman-Stahlman Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Organist/Pianist Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Lebanon Valley College University of Kansas Atlanta, Georgia Southern Methodist University Luther College William Jewell College

Brennan Szafron Timothy Tikker Michael Unger Beth Zucchino Rodland Duo Vinaccesi Ensemble Organist/Harpsichordist Organist/Composer/Improviser Organist/Harpsichordist Organist/Harpsichordist/Pianist Organ and Viola Voice and Continuo Spartanburg, S. Carolina Kalamazoo College, MI Cincinnati, Ohio Sebastopol, California St.Olaf College/ San Francisco, CA Eastman School of Music www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Associate Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 26th year of operation Here & There Nunc Dimittis served as organist at Fair Oaks Presbyterian Church in Fair Organist and musicologist Oaks, California for 29 years, and as an accompanist for ³ page 4 Walker Evans Cunningham music programs of local elementary schools. Carol Hawk St. Mary’s Cathedral, San Francisco, died unexpectedly at his home served the Sacramento AGO chapter in many capacities, continues its organ recitals, Sundays at in San Francisco on May 14. He including as dean for six years, and was a member of Mu 3:30 p.m.: October 6, Marco Cadeario; was 65. Cunningham grew up in Phi Epsilon International Music Fraternity and the Sac- 10/13, Emanuele Cardi; 10/20, Hans Blackstone, Virginia, where his ramento Choral Society. Carol Newton Hawk is survived Uwe Hielscher; 10/27, David Troiano. mother encouraged him to pursue by her husband, two daughters, four grandchildren, her For information: [email protected]. his love of music. He won a schol- mother, and a brother. arship to Oberlin, where in 1970 The Cathedral Basilica of St. he earned a Bachelor of Music Douglas L. Rafter, Portland’s Louis, St. Louis, Missouri, announces degree in organ performance from longest-lived municipal organist, its 2013–14 concert season: October 11, the Conservatory and a Bachelor Walker Evans died July 3 in Portland, Maine. He Jane Parker-Smith; December 7 and 8, of Arts degree in music and Ger- Cunningham was 97. A native of Wilmington, Christmas at the Cathedral; February man from the College. Vermont, Rafter moved to Portland 8, Cantus; 2/23, Organ and Brass Spec- Cunningham then taught at Emma Willard School in in 1971. A concert organist, he had tacular; March 15, Stile Antico; April 8, Troy, New York, where he was awarded an Andrew Mellon a repertoire of about 275 pieces of St. Louis Symphony and Chorus; May 2, Foundation faculty grant to study with Marie-Claire Alain at organ music memorized. He also The Alleluia Ringers. For information: the Haarlem Summer Organ Academy, and to do research taught music at St. Paul’s School in www.CathedralConcerts.org. in France. He spent 1973–74 as a research and performance Concord, New Hampshire, at the fellow at the Institut de Musicologie, University of Fribourg, University of Southern Maine, and Douglas L. Rafter Switzerland, where he studied organ with Luigi Tagliavini. privately. Rafter served as organist He earned both an M.A. and Ph.D. in musicology at the and choir director at Immanuel Baptist Church for 13 years, University of California, Berkeley, where he was awarded and then worked at other Portland-area churches until his multiple fellowships. retirement in 2005. Walker Cunningham performed many organ concerts Over the years, he gave 1,700 concerts throughout in the United States, including a keynote concert for the the United States, playing his fi rst concert in Portland in Columbia Bach Symposium in New York City, and in Spain, 1936, right after earning his associate’s certifi cation from Germany, Switzerland, Sweden, , and . He the American Guild of Organists. In March 2010, he was took second prize at the Hofhaimer Competition in Inns- honored by the AGO for 75 years of consecutive member- bruck, Austria. Also a harpsichordist, he was a continuo ship, all but the last fi ve of which had been in uninterrupted player and accompanist with chamber, choral, and sym- service as a church organist and concert performer. phonic organizations such as the Berkeley Pro Musica Cho- Douglas Rafter was Portland’s municipal organist from rus, California Bach Society, and San Francisco Symphony. 1976 until 1981, playing both classical and popular works. He served as organist and music director for St. Mark’s He played summer series concerts for 68 years, and was also Episcopal Church in Berkeley, organist and choirmaster for noted for his Christmas preludes before the annual Magic Restored von Beckerath organ at the St. John the Evangelist Episcopal in San Francisco, and at of Christmas concert. University of Nevada, Las Vegas (photo other churches in the U.S. and . He authored The by Dorothy Young Riess M.D.) Keyboard Music of John Bull (UMI Research Press, 1984). Musician and organbuilder In 1992, he co-edited with Charles McDermott Canzoni John A. Schantz, 93 years The Music Department at University d’intavolatura d’organo, a collection of Claudio Merulo old, passed away at his home in of Nevada, Las Vegas, and the Rudolf organ intabulations. He recorded and produced the CD The Orrville, Ohio, on July 4. Born on von Beckerath Company of Hamburg, Historic San Francisco Organ of the Church of St. John the June 14, 1920, he was the youngest Germany, will celebrate the completion Evangelist (Arkay Records, 1993), and was a reviewer for child of Victor and Bess Schantz. of the restoration of the 53-rank Mau- The Diapason. His studies in piano and organ reen Jackson Smith Memorial Organ Thanks to his own research and the help of his doctors, he at the Oberlin Conservatory of built by that fi rm in 2004 with a gala survived two bouts with AIDS and 29 years of HIV. When Music were interrupted by service re-inauguration recital sponsored by AIDS brought an end to his performing career, Cunningham in the U. S. Army during World the Southern Nevada AGO chapter on became a technical editor and writer at Cisco Systems, and War II. Upon completion of his John Schantz (circa October 11 at 7:30 p.m. in Doc Rando later a consultant. Walker Evans Cunningham is survived by undergraduate degree in 1947, he 1947) at the console of Aeolian, Opus 1223 Recital Hall on the university campus his sister Joy Cunningham of Austin, Texas. joined the staff of Schantz Organ (1915), Stan Hywet in Las Vegas. (See The Diapason, July Contributions in Walker Cunningham’s memory may be Company. With his brother Bruce Hall & Gardens, 2007, cover feature.) made to the Oberlin Conservatory of Music Scholarship and cousin Paul, John Schantz Akron, Ohio. This On May 24, 2012, a failed sprinkler Fund, either online at https://new.oberlin.edu/offi ce/devel- was part of the third generation organ was restored by Schantz Organ head on the stage of Doc Rando Hall opment/donate or by check to Oberlin College, Depart- of the family business. During his Company in 2009. rained down water on the instrument ment of Development, Room 005, 50 West Lorain Street, tenure, the Schantz Organ Com- for 20 minutes before the system could Oberlin, OH 44074. pany rose in prominence from a be shut off, causing extensive damage. regional concern to an organbuilding fi rm of national (and Restoration work included replacement Carol Newton Hawk died March 5 at age 64. Born later international) standing. He served as tonal director of of Great, Positiv, and Pedal chests, all into a family of teachers and the fi rm for many years, and as corporate secretary/trea- trackers, the console, some wooden musicians, she began piano study surer, and chairman of the board of directors. pipes, and the entire façade of the instru- at age fi ve, and organ study, with Beyond work with the organ company, he was a lifelong, ment. A team from Beckerath, headed her older brother, the late Rob- active member of Christ United Church of Christ in Orrville, by Holger Redlich, manager of the com- ert Newton, at age 12. She later an offi cer with the Orrville Chamber of Commerce, Orrville pany, came in January 2013 to prepare studied with Roger Nyquist. After United Way, and the Orrville Public Library Board. He was the instrument for the restoration work attending DeAnza College in a long-time member and offi cer of the MacDowell Club of that would follow in May. The recital hall Cupertino, California, she mar- Wooster, Ohio. John A. Schantz is survived by his spouse of remained in full operation during the ried John Hawk and they moved 60 years, Marilyn, a son Timothy, daughters Molly, Melanie, spring academic term. to the Sacramento area. She Carol Newton Hawk and Suzanne, and ten grandchildren. Q ³ page 8

AHIGHER L EVEL of E XCELLENCE

Great musicians need extraordinary instruments AUSTINORGANS.COM to deliver magnificent performances. t8PPEMBOE4U)BSUGPSE$5

P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com

6 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM REJOICE! Here & There

³ page 6 stations broadcast 24-hour streams of The Pew Center for Arts & Heri- Sony Classical has signed Cameron Five artisans from Beckerath arrived classical organ music. tage has awarded over $6.5 million in Carpenter to a long-term multi-album at the end of May and completed the The broadcast library currently holds grants supporting 52 upcoming projects recording contract; his debut Sony work in early July. The restoration over 16,000 tracks from more than 1,200 by local Philadelphia cultural organiza- album will be recorded on his touring process involved many people from albums of music, including pairings of tions of varying size and stature. Projects organ for 2014 release. The album will the university; Jonathan Good, Chair organ and orchestra, solo instruments, will bring major international artists and include Carpenter’s transcriptions and of the Department of Music, coordi- choir, or vocal solos. Recordings come cultural leaders to the city, engage local settings of classical and modern music nated that effort. Formal acceptance from commercially produced albums, communities in participatory cultural and the world premiere recording of his of the restored organ occurred on both old and new, and a collection of experiences, and ensure that Philadel- new work for organ, Music for an Imagi- July 4. Insurance covered the cost of digitally archived LPs and 78s. phia remains a destination for diversity nary Film (2013). For information: the restoration. Broadcasts are completely free to and excellence in the arts. In addition, www.cameroncarpenter.com. Isabelle Demers, who had presented a anyone with a broadband Internet the center, which is funded by the Pew recital on the instrument just two weeks connection. Organlive and Positively Charitable Trusts, is providing fellow- prior to the disaster, will be the featured Baroque are also available on Apple and ships of $60,000 each to 13 artists in the artist at the October 11 gala. Her pro- Android devices, through iTunes Radio, region, including one collaborative team. gram will be the fi rst in the Southern and on Internet audio devices such as For information: www.pcah.us. Nevada chapter’s 2013–14 organ recital the Roku or Logitech Squeezebox. series. Other performers scheduled The stream is heard in more than 100 People for the season are Jonathan Dimmock, countries by more than 15,000 unique Karen Beaumont announces Pamela Decker, and Nathan Laube. For listeners each month. autumn concerts: September 24, King’s information: www.sncago.org. While tuned into the broadcast, lis- Chapel, Boston; November 3, St. John —Paul S. Hesselink teners can browse the entire library and Cantius, Chicago; November 18, Sum- Jonathan Dimmock request specifi c tracks to be played on merfi eld United Methodist Church, The Church Music Association Organlive. Listeners can search by work Milwaukee, Wisconsin; December 7, St. Jonathan Dimmock is featured of America will hold a conference title, composer, album title, organist, Paul’s Episcopal Church, Milwaukee. on a new recording, Bach at Haarlem exploring liturgical and sacred music and by organ. Information is presented For information: (Gothic LRCD-1131, $16.98), recorded renewal movements October 13–15 about what is being played, as well as http://karenbeaumontorganist.mysite.com. on the 1738 Christian Müller organ in at the Church of St. Agnes and the links to read more or to purchase the the Bavokerk, Netherlands. Grammy® Cathedral of St. Paul in St. Paul, Min- album, sheet music, or MP3 fi le when Award winner (for his work with the nesota. The event, marking the 40th available. Links to public-domain librar- San Francisco Symphony) Jonathan anniversary of the residence of the ies of sheet music allow listeners to Dimmock has recorded more than 35 Twin Cities Catholic Chorale, founded follow along with the music, or save and CDs and concertized extensively on six by Msgr. Richard J. Schuler, will print scores for themselves. continents. This recording features some explore former and present efforts to This year the foundation also provided of Bach’s most popular works, including revive the Church’s sacred liturgy and live audio coverage of concert events for Toccata in d minor, BWV 565. For infor- music, particularly as exemplified by the dedication of the recently restored mation: www.gothic-catalog.com. Msgr. Schuler’s work. organ of Third Baptist Church in St. The conference will include the cel- Louis, and is planning future live events. A new recording by David Goode, A ebration of vespers (Mozart’s Vesperae During the past year announcements Parry Collection, has been released on Solennes de Confessore) and sung were made of the added support of the Regent Records. The CD (REGCD365) Masses, featuring Haydn’s Paukenmesse, record labels Pro Organo, and Regent features ’s large-scale organ classical works for organ, chanted Grego- Records. For further information, visit works, played on the historic 19th- rian propers, and a modern polyphonic www.organmedia.org. century William Hill organ in the Chapel setting of the Mass ordinary (Yves Cast- of Eton College (where Parry was edu- agnet’s Messe Salve Regina). Presenters The Library of Congress announces cated). For information: include William Mahrt, Dom Alcuin “The Library of Congress National Cameron Carpenter (photo: Scott Gordon www.regentrecords.com. Reid, and Jeffrey Tucker. For informa- Recording Preservation Plan,” a blue- Bleicher) tion: www.cmaa.org. print for saving America’s recorded sound heritage for future generations. Cameron Carpenter announces the Dialogues Mystiques, an international The congressionally mandated plan spring 2014 launch of his international organ festival at the Benediktinerabtei spells out 32 recommendations involv- touring organ. Currently under con- Unserer Lieben Frau zu den Schot- ing both public and private sectors and struction in the USA, the organ, built by ten in Vienna, continues: October 15, covering infrastructure, preservation, Marshall & Ogletree LLC of Needham, Michael Gailit; November 5, Thomas access, education, and policy strate- Massachusetts, includes a modular fi ve- Trotter; December 10, Zuzana Ferjen- gies. The cumulative result of more keyboard console, a parallel processing cikova. For information: than a decade of work by the library system utilizing samples from several www.dialogues-mystiques.info. and representatives from professional organs, and a proprietary “geographic” organizations of composers, musicians, concert audio system scalable to venues The Organ Media Foundation has musicologists, librarians, archivists, and of all sizes and to television. Charles Dodsley Walker, Christopher completed its annual fund-raising drive, the recording industry, the plan’s recom- Carpenter will offi cially open the Houlihan and is now planning into 2014 as funds mendations address such problems as a organ on March 9, 2014 in a day-long have been raised to continue all of its lack of storage capacity and preservation festival at Lincoln Center’s Alice Tully Organist Christopher Houlihan, current projects, including its largest, expertise, rapidly changing technology, Hall, after which the organ will fl y to Trinity College Class of 2009, presented the audio station Organlive.com, now in and disparate copyright laws governing Europe in advance of his May 2014 tour a homecoming performance to an esti- its tenth year of broadcasting. This past historical recordings. The preservation of European concert halls, including mated crowd of 650 people at the Trin- year the foundation installed new Euro- plan is available as a download from the Baden-Baden Festspielhaus, Vienna ity College Chapel on July 2. Houlihan pean servers and rolled out its second www.clir.org/pubs/reports/pub156; for Konzerthaus, Cologne Philharmonie, performed works by Bach, Durufl é, and audio station, Positively Baroque. Both further information, visit www.loc.gov. Frankfurt Alte Oper, and others. ³ page 10

MANDER ORGANS

A. E. Schlueter Pipe Organ Company New Mechanical is pleased to announce the contract Action Organs to build a new 50-rank pipe organ for Iglesia ni Cristo, Central Temple, in Quezon City, Philippines. The resources of this instrument will be controllable from a IV-manual drawknob console. Several divisions of the organ will have chamber openings into side chapels which ³ St. Peter’s Square - London E 2 7AF - England can be closed off from the main Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Temple to allow the organ to also Continuo Organs [e] [email protected] be playable as two separate two- www.mander-organs.com manual instruments.

Imaginative Reconstructions

8 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM American Classic 770 Meet the king of instruments

The American Classic 770 is one of the newest crown jewels in the Johannus family. Draped in a console fi t for a king, this majestic organ is adorned with seven divisions, graced with an astonishing number of voices and enriched with such a full range of orchestrals that the unique 64-foot Diaphone seems merely an encore. Have a seat and meet the king of instruments. Here & There

³ page 8 Organist of Trinity Church since 1999, Lucerne. He played jazz piano for by René Becker (1882–1956), is Com- Liszt, as well as the world premiere of Thomas Scheck began his church music guests at the Hotel Hauser in St. Moritz, munion music, nearly sight-readable. Steel Symphony, by Patrick Greene, a career July 14, 1963, as organist of Zion Europe Hotel & Spa in Zermatt, and Bells across the Meadows, by Albert fellow Trinity alumnus who graduated in Evangelical Lutheran Church, Danville, Hotel Schweizerhof in Grindelwald. His Ketelbey (1875–1959), was arranged 2007, and from the Boston Conservatory Ohio. He has served churches in Geor- new piece, My Lord, What Morning! for by Gatty Sellars (1887–c1943). in 2010. Greene’s work was commis- gia, New Jersey, Ohio, and Virginia. A organ and soprano sax (or B-fl at clarinet For information: sioned by Trinity College Chapel Music graduate of Westminster Choir College, or trumpet), dedicated to Lois Toeppner, michaelsmusicservice.com. for this occasion. Organist and composer Princeton, New Jersey, Scheck studied is available for $12 at Jazzmuze.com. Charles Dodsley Walker, Class of 1940, organ with Mary Krimmel and Eugene Sunnyside Press announces pub- was in attendance for the special event. Roan, and conducting with David Agler, Christopher Wells is featured on lication of Only His Organs Remain, John Kemp, and Dennis Shrock. Prior a new recording, Fanfare: Christopher a biography by Richard Triumpho of organ study was with Jane Mayer and Wells plays the organ music of Craig Robert S. Rowland (1898–1995), whose Mabel Zehner in his native Ohio. Phillips, on the Pro Organo label (CD organbuilding career was centered in 7256). Recorded on the Casavant organ eastern New York State, beginning in Martin Schmeding will lead courses at Christ Church, Bronxville, New York, 1920 in Utica, working with the Clar- on pedal piano and organ in Alsace, the program includes Fanfare, Suite ence Morey Organ Company and the France, September 19–22. Topics include Breve, Tribute, Archangel Suite, Psalm Buhl Organ Company, continuing in Bach, Mendelssohn, Franck, Schumann’s Prelude, Four Hymn Preludes, Song of Ossining, New York, and ending, at age works for Pedalklavier, and Albert Peace, Partita on ‘Veni Creator’, Aria, 80, with a free-standing organ for the Schweitzer and the organ. Instruction and Fantasy Toccata. For information: Old Palatine Church, near St. Johns- will be provided on the original pedal www.proorgano.com. ville, New York. Hardcover, 242 pages, J. Michael McMahon, Gordon Truitt piano owned by Albert Schweitzer in the with photos, illustrations, an Appendix Albert Schweitzer House in Gunsbach, Publishers containing stoplists, and copies of The National Association of Pastoral the Albert Schweitzer organ in the Bärenreiter announces new publi- organ contracts; $24.95 plus $4.00 ship- Musicians (NPM) board of directors has church in Gunsbach (1961 Alfred Kern), cations. Johannes Brahms, Sacred Cho- ping. Available from Sunnyside Press, announced that J. Michael McMahon the 1771 Andreas Silbermann organ in ral Music a cappella, is an Urtext edition 297 Triumpho Road, St. Johnsville, left his position August 3. McMahon’s Walbach, and on the 1918 Charles Mutin by Peter Schmitz (BA 7575, € 22.95), NY 13452; [email protected]; earned degrees include master’s degrees organ in Wihr au Val. For information: based on reliable sources that include 518/ 568-7853. in liturgical studies (University of Notre www.organpromotion.org. autograph manuscripts, engraver’s cop- Dame) and divinity (Washington Theo- ies, and fi rst editions. The collection Recordings logical Union), and doctor of ministry Ulfert Smidt is featured on a new contains the seven Marienlieder, op. (Catholic University of America). He recording, Bach at Three Organs, on the 22; Two , op. 29; Three Sacred has taught at the Catholic University Rondeau label (Rondeau Productions Choruses for female voices, op. 37; of America, Washington Theological ROP6046). A variety of Bach works are Two Motets, op. 74; Fest- und Gedenk- Union, and Georgetown University, performed on the three organs at the sprüche, op. 109; and the Three Motets, and served as NPM president and chief Marktkirche in Hannover, Germany. For op. 110. executive offi cer from 2001–2013. information: www.naxosusa.com. Gerard Bunk: Sacred Choral Music Gordon E. Truitt will serve as (BA 7548, €12.95) is an Urtext edition interim coordinator while a national Jeremy David Tarrant will present by Jan Boecker and Klaus Eldert Mül- search is conducted for NPM’s new chief a recital at St. Mary Cathedral, Lan- ler of important choral works from the executive offi cer. Dr. Truitt has been sing, Michigan, on October 6 at 4 p.m. late-Romantic composer: Der 1. Psalm, senior editor of Pastoral Music and other On October 7, 2013, 7:00 p.m. Tarrant op. 47; Weihnachtslegende, op. 62; and NPM publications. His years of experi- will conduct a masterclass at Plymouth the motets Selig seid ihr Armen, op. 77, ence and involvement with the national Congregational Church in Lansing. Both and Sollt ich meinem Gott nicht singen, offi ce will ensure program continuity. events are sponsored by the Greater op. 83. These range from three-part For information: www.npm.org. Lansing AGO chapter. female choir to eight-part mixed choir. For information: Words with Wings CD www.baerenreiter.com. The Church Music Association of Fruhauf Music Publications is cel- America has released an audio CD of ebrating their tenth year with a newly Words with Wings, a series for teaching redesigned website, and with two chant and music generally to children. complimentary online publications, Suitable for a small program for any both based on the hymn Picardy: a parish, school, or home, the CD is an quiet four-verse unison , and essential complement to the books in the an organ postlude. The scores are series, which together make it possible intended for download, reprint, and to have a children’s choir program. For Thomas Scheck performance, and are available along information: musicasacra.com. with a third new PDF fi le, Catalog Thomas Scheck was honored July 2014. Visit www.frumuspub.net, or Naxos has released a new recording, 14 at a reception at Trinity Episcopal e-mail [email protected]. Vol. 6 Heinrich Scheidemann (c.1595– Church, Upperville, Virginia, on the occa- 1663) Organ Works, Vol. 6. Organist sion of his fi ftieth anniversary as a church Joe Utterback Michael’s Music Service announces Julia Brown plays the Brombaugh musician. To commemorate the occasion, new sheet music publications. Bible Organ Opus 35 at First Presbyterian Scheck played a recital, with works by Joe Utterback traveled in Switzer- Poems, by Jaromir Weinberger (1896– Church, Springfi eld, Illinois. The pro- Bach, Chauvet, Guilmant, Honegger, land at the end of June 2013, taking sce- 1967), is the original edition from 1939 gram includes early works refl ecting Howells, Lefébure-Wély, Manz, Rhein- nic trains that originated from St. Moritz, now again in print, through Alfred the infl uence of Scheidemann’s teacher berger, Walther, Widor, and Willan. Zermatt, Montreux, Grindelwald, and Music. Communion, op. 80, from 1926 Sweelinck, along with transcriptions and

Follow us on The Diapason

Photo: Michael Timms Facebook 2014 Resource Directory

ORGUES LÉTOURNEAU LTÉE • The only comprehensive directory for the organ and church music fi elds CANADA UNITED STATES 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 • Includes listings of associations, suppliers, and the St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 products and services they provide Tel: 450-774-2698 Tel: 800-625-PIPE [email protected] [email protected] Reserve advertising space now—new color rates Photo: David Morrison Deadline: November 1 letourneauorgans.com To reserve advertising space, contact Jerome Butera 847/391-1045; [email protected]

10 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Here & There

on carillons and bells, an excellent from the sets of thin-walled tubular reference site. He sent this information bells found in pipe organs, long-case about tower chimes as well as a plea chiming clocks, etc. for information to keep the site as cur- Prior to a discovery last year, it was not rent as possible. Zimmerman has been known that Rowland H. Mayland also a carillonneur member of the Guild produced tubular tower chimes, playable of Carillonneurs in North America for from an organ console. One such chime more than half a century, and a handbell survives in a church on Long Island. ringer, change ringer, and researcher Though it is no longer playable from into the history and products of Ameri- the organ console, its original electric can bellfounders. His website, www. action still works, now under control of TowerBells.org, covers all these topics a modern clock mechanism. Mayland’s and more. It will eventually present own descendants, while quite familiar technical details about every carillon, with the organ chime business, were chime, zvon, and great bell (over 4 tons) totally unaware of their ancestor’s work in the world, as well as all rings and tubu- on tower chimes until this discovery was lar tower chimes outside of the United reported to them. Kingdom. It is already complete, as far A single Mayland tower tube also sur- as is known, in some respects for many vives in the great Wanamaker organ in areas of the world. Philadelphia. Its acquisition is undocu- Many organists are familiar with the mented, but there is speculation that it names of Deagan and Mayland, inven- might have been submitted as a sample tors of distinct types of organ chimes when the addition of a tower chime to that are still available today, albeit not that organ was being planned. In the from the original manufacturers. Some end, a 37-note Deagan tower chime, the may know that John C. Deagan also only one of that size ever built, became Bedient Opus 89 produced tower chimes, sets of 10 to the present Major Chimes stop on that 32 tubular bells weighing up to several organ. There is also a Minor Chimes Bedient Pipe Organ Company has published its latest newsletter, eNotes. The hundred pounds each, made from the stop, which is a set of regular organ-style July issue describes the progress of Opus 89, for Lincoln, Nebraska’s St. Joseph Catho- same material as conventional bronze tubular bells. lic Church, an unusual installation. Most of the pipework is located behind the crucifi x bells. All have electric actions, and Mayland’s work with tower chimes in the above photo; the only visible part of the pipework will be the Ancillary Choir many were equipped to be played from preceded that of Deagan, whose fi rst division, shown at top left. The issue also offers information on Opus 88, in a Southern the organ console as well as by other such installation was in 1916. Very little California residence, and an interview with Gene Bedient in the Lincoln JournalStar. means. Over 400 such tower chimes is known of this period of transition For information: www.bedientorgan.com. were made by Deagan, and many of from the manually operated tubular them are still in more or less regular tower chimes of Walter H. Durfee and use today. the U.S. Tubular Bell Company to the variations on secular tunes and Lutheran currently serves as organist at Palmer The word “chimes” can be either sin- electrically operated tubular tower chorales. Naxos CD 8.573118; for infor- Memorial Episcopal Church, accompa- gular or plural, depending on context. chimes of Mayland, Deagan, and pos- mation: www.naxos.com. nist and organist for the Bach Society In the archaic singular usage, “chimes” sibly also McShane. Houston, as well as instructor of improvi- means “a group of bells,” but there All tubular tower chimes that Organ Builders sation and hymn playing at the University is no singular equivalent. Example: are currently known are listed and of Houston. The recital included selec- “I heard the chimes pealing out on described at www.TowerBells.org. If tions by composers from Sweelinck to Christmas Eve.” In present-day plural your church has such a chime, or if you Sløgedal, as well as an improvisation and usage, “chimes” means “more than one know of one nearby, you may be able to “congregational” hymn-singing. chime,” i.e., more than one set of bells, contribute to improving those listings which can be used to play melodies and descriptions and the related his- but are not large enough to qualify as a tory. Friends of tubular tower chimes carillon. Example: “Our town has three will thank you! Carillon News chimes—one in each of the three prin- by Brian Swager cipal churches.” Without the qualifi er “tubular,” a chime is always assumed to Send items for “Carillon News” to Dr. Brian Swager, c/o THE DIAPASON, 3030 be made of conventional cast bronze, W. Salt Creek Lane, Suite 201, Arlington TowerBells website tower bells, as a carillon is. With the Heights, IL 60005-5025; or e-mail brian@ Campanologist Carl Zimmerman qualifi er “tubular,” it is important to allegrofuoco.com. For information on the has for many years maintained a web- use the additional qualifi er of “tower” Guild of Carillonneurs in North America: site with a huge amount of information in order to distinguish such instruments www.gcna.org.

graduate study in Sigurd Øgaard at Noack Opus 98 shop recital organ performance

The Noack Organ Co., Inc. has at Yale Institute of Sacred Music and Yale School of Music refurbished its Opus 98, which will be installed in Hertz Hall at the University of California, Berkeley. The instrument was originally located in Wilmington, Delaware, where it enriched worship at the Episcopal Cathedral of St. John. In November 2012 it was moved to the Noack shop in Georgetown, Massachu- setts. The case was cleaned, repaired, and reinforced for its new home in earthquake-prone California. To accommodate the layout of the hall, the Positive was moved closer to the main case, and the instrument was raised several feet by means of a plinth. There was one tonal change: a new Contra- bass 16′ in the Pedal division. This rank, made from white oak, was added behind the main case. All pipes in the Office of Admissions instrument were voiced for consistency and speech, and damaged pipes were Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 repaired as necessary. tel 203.432.9753 fax 203.432.9680 · yale.edu/ism/admissions/admissions.html Sigurd Øgaard played Opus 98 in its [email protected] shop recital on June 22, 2013. Øgaard

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 11 Reviews

Music for Voices and Organ Thanksgiving, Dan Locklair. SATB Come, Ye Thankful People, Come, self-evaluation. The lessons deal with by James McCray and organ, Subito Music Publishing, Charles V. Stanford. SATB and organ, appreciating beauty, developing a per- 9140510, $2.25 (M+). Galaxy Music (Stainer & Bell), SATB sonal passion for the music ministry, Thanksgiving: a holiday for all Based on Psalm 65, the text has been and organ, W67, $1.45 (M-). being a real person—being vulnerable, adapted by the composer. Although it Stanford composed new music for this organizing your time, organizing the Enter into his gates with thanksgiving, is not a traditional Thanksgiving text, it popular Henry Alford text, rather than program, becoming relevant, the text in and into his courts with praise: be thankful unto him, and bless his name. does convey the message. The music is use the traditional tune St. George’s youth choral music, taking road trips with For the Lord is good; his mercy is ever- challenging, with an extended unaccom- Windsor. The setting is straightforward your choir, having compassion, and hav- lasting, and his truth endureth to all gen- panied verse. The organ part, on three and pragmatic, with a simple organ part ing an entrepreneurial spirit as opposed erations. staves, has some linear dissonances, yet on two staves. Easy, tuneful music. to a custodial one. The follow-up ques- —Psalm 100 creates warm harmonies. Sophisticated tions, entitled “Take It to the Next Level,” music that is very expressive. Give Thanks to the Lord, Lloyd help readers analyze their ministry. Our national holiday of Thanksgiving Larson. SATB and keyboard, Beck- The second half of the book is devoted will be problematic for church choir A Psalm of Thanksgiving, Timothy enhorst Press, BP 1935, $1.95 (M). to what Edwards calls “personal diag- directors in 2013. This year it falls on Shaw. Unison/two-part with piano This rhythmic 3/4 setting incorpo- nostics.” The areas that he covers are November 28, and the First Sunday and optional C treble instrument, rates the Kremser, giving worth mentioning: the pace of a choir of Advent is only three days later on Choristers Guild, CGA 1321, $2.10 a popular familiarity to the setting. The rehearsal, a pre-season organizational December 1. The combination of a (M-). keyboard part is on two staves, and there checklist, how to sustain a strong begin- late Thanksgiving and an early Advent This children’s anthem is based on are frequent unison choral passages and ning, pre-fi rst rehearsal reminder, what will require careful planning to satisfy Psalm 100; it has a fl owing piano accom- key changes. Simple music. students need from a youth choir direc- musical requirements in most churches. paniment with tuneful melodies for the tor, giving students personal time, con- Many singers may be gone for that holi- choir. The score contains a part for the Now Thank We All Our God, Paul D. ducting a mini-clinic for student choir day, and many normally rehearse optional treble instrument, found on the Weber. SAB and organ, Concordia directors, overcoming inertia, the char- on Thursdays, which adds to the back cover. Highly recommended for a Publishing House, 98-4153, $1.75 (M-). acteristics of a relevant director, teach- dilemma. Rehearsals and repertoire will skilled children’s choir. The lively 6/8 setting has a rolling, ing a choir to sing with better dynamics, be squeezed into a shrinking time period dancelike texture for the fi rst two verses, a lesson from Texas public schools, the that may fl ummox the most ardent and Now Thank We All Our God, J. S. which are followed by a strong, loud how-to and benefi ts of a student choir responsible organizer. Bach, arranged by Hal Hopson. keyboard setting of the familiar Johann repertoire system, keeping students Thanksgiving is an American tradition SATB and organ with optional con- Crüger chorale tune. The choir then engaged for the whole rehearsal, rally- that transcends religions and denomi- gregation, brass quartet and tim- returns with a unison setting of the third ing students to commitment, and fi nd- nations. It is also the beginning of the pani, MorningStar Music Publishers, verse in the opening musical style of the ing a good balance between rehearsal holiday season in our country. From the MSM-50-6080, $1.70 (E). fi rst two verses. and ‘performance’. Macy’s Thanksgiving parade in New York Only one verse is used in Hopson’s Pertinent quotations are used until the January 1 Rose Bowl parade arrangement. The chorale is boldly stated Sing to the Lord of Harvest, Bob throughout the book; they are helpful in California, Americans happily slide over a pulsating rhythmic accompani- Burroughs. SATB and piano, GIA in getting the points across. Edwards’s into festive, albeit exhausting, activities. ment that has brief interludes between Publications, G-6794, $1.50 (M). book is easy to read and understand and However, we must never forget to give the phrases. There is a seven-measure This an exciting and creative set- contains some very helpful advice; if you thanks for all the many blessings we instrumental introduction that is bal- ting characterized by a quick, staccato are going to take his message seriously, enjoy as Americans. It is important to anced at the end with a modifi ed instru- accompaniment for the more lyric choral expect to do some real soul-searching pause and refl ect on how fortunate most mental passage. This setting includes a lines. The music sounds more diffi cult of your own. I recommend this book to of us really are. reproducible page for congregational than it really is as it builds to a dramatic anyone who conducts a choir. The reviews this month feature music use. Very practical and easy arrangement. coda. Highly recommended. —Jay Zoller for Thanksgiving services in November Newcastle, Maine (Sunday the 24th or Thursday the 28th). A Simple Song of Thanks, Susan N. Keep in mind that singing of Callaway. Unison and piano, Choris- Book Reviews thanksgiving throughout most of the year ters Guild, CGA 1139, $1.85 (M-). Lessons Learned: Practical Insights New Recordings is also appropriate, so a choral work in this The pervading feature of this setting into Developing an Effective Adult Wolfgang Kogert, Johann Caspar genre has many future uses. Next month’s is its syncopated melody. There are two or Student Choir Ministry, by Randy Kerll Complete Free Organ Works. column will review works for Advent. verses that include a brief quotation of Edwards. MorningStar Music Pub- Membran Music Ltd., order no. the Crüger chorale, Nun danket alle lishers, ISBN 978-0-944529-56-0, 60248, €19.99; available from www. Now Thank We All Our God, Jeremy Gott, which was the basis of the Bach MSM-90-43, $15.00, membran-online.de. Bankson. SATB, congregation, and work listed above. The keyboard music www.morningstarmusic.com. Although highly regarded almost up organ with optional brass quartet/ is a harmonic setting of the melody, also Randy Edwards has had plenty of to the 19th century in England as well quintet, timpani, and handbells, emphasizing syncopated rhythms. experience working with youth choirs. as in his native Germany, the keyboard MorningStar Music Publishers, As founder and director of programs for works of Johann Caspar Kerll (1627–93) MSM-60-7016A, $1.75 (M-). O Clap Your Hands Together, All Ye a multi-denominational ministry called are today virtually unknown in the U.K. There are three verses, with the con- People (A Thanksgiving Anthem), YouthCUE, he now has over 600 youth outside of a small circle of players spe- gregation singing on the fi rst and third; . SATB and organ, choirs in 24 states. This handy little book cializing in the south German organ to accommodate different , two Novello and Company, 29-0141, of 91 pages deals with an area of choir music of the 17th century. Organist at different texts are provided. The middle price not available (item out of print, work that gets little attention. If you the Brussels court in 1647–56, Kerll was verse is an elaborate, unaccompanied but may be specially ordered and are looking for a book on how to beat a a pupil of Carissimi in Rome in 1648–49, setting for the choir. If brass is not used, reproduced) (M). fi ve pattern or on how to achieve choral returned to Vienna, moved to Munich in the organ, on three staves, has a festive Martin’s spirited setting of Psalm 47 blend, then this is not the book for you. 1656, and then went back to Vienna in and busy accompaniment. The full score is bold, loud, and festive. The organ part Edwards instead concentrates on those 1674, where he became principal court (MSM-60-7016) and instrumental parts is on two staves and somewhat indepen- attributes of a youth music ministry that organist to Leopold I. He published a (MSM-60-7016B) are available. On the dent, often with a bravura character. The will help attract teenagers to singing—to collection of verses for the Magnifi cat back cover is a reproducible page for the music is well crafted and will be useful at help them appreciate the beauty around entitled Modulatio Organica in 1686, congregation. An easy and useful setting. other times of the year. them and in the music, and to develop and a relatively small corpus of material a passion for spreading the Gospel has been preserved in manuscript. The through singing. fi rst canzona was included in Arresti’s Celebrate the Legacy The fi rst half of the book is broken anthology ca. 1687 in Bologna, one toc- down into ten lessons, followed by cata and three canzonas were printed in questions for the director in a type of anthologies in Amsterdam and London

Whole & Fast Half Sizes in 3 Widths Shipping! Skinner Organ Co. Opus 695 (1928) restored and Try our suede soles and experience installed at St. Mark’s Lutheran Church, the perfect combination of Marion, Iowa slide and grip on the pedals!

Specialists in Restoration, Mens & Unisex Conservation, Voicing & Tonal Finishing Women’s Mary Oxford $60.50* and up Jane $52.50* of High-Pressure Pipe Organs *plus postage 1845 South Michigan Avenue #1905 TOLL FREE: 1 (888) 773-0066 organmastershoes.com JL Weiler , Inc. Chicago, Illinois 60616 PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS 312-842-7475 44 Montague City Rd, Greenfield, MA 01301 USA [email protected] | www.jlweiler.com

12 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Reviews between 1698–1719, and two of his Two works based on ostinato basses First and Grand. Walt Disney Con- there were some delightful mutation canzonas were copied by John Reading are included: the ciaccona is a relatively cert Hall Organ, premiere recording stops featured in the solo sections. Bar- into a manuscript ca. 1728, when he was short work based on the tetrachord C-B- by Christoph Bull. Bull Run Music ber’s Adagio for Strings had, naturally, a organist at Dulwich College. A-G, while the much longer passacaglia 00706; www.christophbull.com. full complement of string sound, which This recording by Wolfgang Kogert is based on the descending D-C-Bb-A; in I am not fond of the appearance of was warm and expressive. Although most contains 19 works, comprising all eight both of them rapid fi guration and motifs the Disney organ, but it has nice sounds, of the piece was tenderly rendered, I of the extant toccatas (one on each of are spun over the bass. Both are played some of which are heard on this disc. didn’t feel it was necessary to get all the the tones or modes), six canzonas, a without change of register, the former on Built by Orgelbau Glatter-Götz and way up to full organ in the crescendo. ciaccona, passacaglia, ricercata, capric- the 8′ Principal, the latter on the 4′ Copl, Manuel Rosales, the organ contains The addition of a soft 32′ in the fi nal bars cio on the cucu, and the battaglia. They which makes a change from the usual much that is worth hearing. However, was a nice touch. are played on the oldest surviving organ bravura and bombast. The ricercata is on this CD, Bull does not play enough Christoph Bull switched over to the in Vienna. Originally constructed for the a gentle, purely contrapuntal piece in variety to adequately show off the organ. pop idiom in his rendition of “A Day in Franciscan church in 1642 by Johann the archaic style, here played on just the Only two pieces on the disc are authen- the Life” from the Beatles’ Sgt. Pepper’s Wöckherl, it suffered alterations dur- Hauptwerk Principal. tic organ literature, the remainder being Lonely Hearts Club Band album. The ing the 19th century and again in 1951, The fi nal piece on the CD is the either a transcription or an improvisation organ was at once jazzy, then dramatic. when it was reassembled following stor- battaglia. Found in a manuscript in by Bull. In Bach’s A-minor Prelude and I chuckled when the voice came in— age during the war. Fortunately, much the Biblioteca Nacional de Catalunya Fugue, he began softly and added stops Christoph himself singing? I couldn’t has survived, including the fl ue pipes in in Barcelona, it has been claimed as a every half measure; the buildup of sound fi nd that a soloist was mentioned any- the Hauptwerk and some of the Pedal, work by the Spanish maestro Cabanilles made the tempos inconsistent. The fugue, where, but words from the song were the bellows, and certain parts of the although it is included in Kerll’s own cat- likewise, began on a single fl ute and built sung here and there between glissandos tracker action. The Swiss builder Kuhn alogue of his keyboard works, appended up to full organ, with the Llamada reeds crashing and a couple of sections where restored the instrument to its 1642 state to the Modulatio, and is quiet, unlike added at the end. The other organ piece he, admittedly, aimed to make the organ in 2009–11; it is tuned in meantone at Cabanilles’s authentic battle pieces. was Nicolaus Bruhns’s “little” Prelude in sound like a Hammond. A=457, and the Brustpositiv has split Here the lack of a manual Trumpet E Minor. Some of the contrasting epi- There were two improvisations. keys for the subsemitones, i.e., D#/Eb and does not diminish the overall effective- sodic sections were delightful, though the One, the “Beethoven Improvisation,” G#/Ab. Even so, there is a splendidly way- ness of this piece on this organ, and the forte sections between them seemed a included four of Christoph Bull’s favorite ward effect to our ears not accustomed concluding section brings the CD to a little heavy-handed and too loud. Beethoven themes. After a passage on full to meantone. There are eight stops on thoughtful conclusion. Bull enjoys improvising on older com- organ, Für Elise appeared, followed in due the Hauptwerk, including a principal Kogert’s playing is soundly assured, positions, making them sound “mod- time by the themes from the fi rst move- chorus up to 2′ and a six-rank Mixtur, the articulation and ornamentation ern.” Retrové, by an anonymous 1325 ment of the Fifth Symphony, the Seventh 8′ Quintadena, and 8′ and 4′ Copls. The clear throughout, even in such passages composer, at fi rst hearing was dramatic Symphony second movement, and fi nally, Brustpositiv contains six stops: 8′ and 4′ as the rapid repeated notes forming and exciting; but on a second and third the Ninth Symphony last movement. The fl utes, 4′ and 2′ principals, a three-rank the subject of the third canzona. The run-through it was repetitious, a fault other improvisation, A Minor Trance, Zümbl, and the only reed on the manu- technical demands of many of the that threatened more than one of Bull’s explores various fl ute sounds of the organ. als, an 8′ Khrumphörner. The Pedal divi- pieces—including fast passages in arrangements. Winnetou-Melodie by Gradually adding octave stops, Bull builds sion comprises six stops from 16′ to 2′, a parallel tenths, scalar runs in contrary Martin Böttcher is based on the Italian to a crescendo using repeated chords cul- four-rank Mixtur, and 8′ Pusaunnen. motion, big leaps, many written-out spaghetti Westerns of the 1960s. This minating on a grand C-major chord that The track arrangement on the CD trills (which certainly appear daunt- piece featured some nice melodies on one assumes to be the end. However, a presents a toccata followed by a canzona, ing on the page, particularly when softer reeds. The music was meditative, single fl ute has a short coda on a single with the remaining pieces inserted at they occur in internal voices)—are all as the jacket said, and one of my favorite note, sounding much like Morse code. appropriate times, fi nishing with the undertaken with panache and dextrous pieces on the album. Since the program notes say it is sending ricercata and the battaglia. The toc- vitality that brings these works to life. Couperin’s Récit de Cornet served off a message, perhaps it is. In any event, catas show their clear indebtedness to The one surprise is that the opening only to inspire Christoph and had little it was a puzzling ending. Frescobaldi and Froberger, although chords of toccatas are subjected to a to remind one of the original. However, ³ page 14 they do not include fugal sections; they sweeping, lengthy arpeggiated treat- exceed the latter in the large number ment with plenty of passing notes, of written-out trills and sweeping runs. which is now thought to be out of keep- The sectional nature of some of them ing with Frescobaldi’s comments on the enables Wolfgang Kogert to display a opening of toccatas. The registrations varied registration; the slightly rasping are well chosen, allowing us to hear the Khrumphörner is heard in no. 3, both many varieties of tonal blending and by itself and with the 4′ Principal. No. contrast possible on even a small organ; 3 opens with a more refl ective imitative the overall effect is of transparency section before the rapid passagework. and clarity, particularly in the lower No. 5 is an adroitly composed exercise in compass, which enables us to hear the proceeding by leap rather than conjunct intricacy of the part-writing in the can- motion. No. 6 is entitled “per il pedale” zonas and the impact of chords against (although the pedal is used where appro- virtuoso passagework in the toccatas. priate in the other toccatas), and no. 4 is The CD includes a booklet in Ger- a hauntingly beautiful work “cromatica man, English, and French, which gives a con durezze e ligature,” in which the general introduction to Kerll, a detailed rather rapid tremulant is featured to description of the keyboard works, full great effect. In this piece the meantone details of the organ, including several tuning is particularly noticeable. color photos and of the registrations The canzonas, again sectional (the used in each piece, and a biography of repeats are not observed), are pre- the performer. Wolfgang Kogert and dominantly fugal in character, with the Membran Music deserve our thanks occasional rapid fi guration; the registra- for undertaking this project to bring the tion chosen refl ects the individuality of music of Kerll alive in such a vibrantly each. The Capriccio sopra il Cucu is exciting recording on an instrument of one of three versions Kerll produced, his time; it is very much to be wished a witty work based on the falling minor that it will act as a stimulus to players to third so popular in the 17th century and explore this little-known repertoire. sounding appealingly charming on the —John Collins Brustwerk 4′ Spitzfl öte. Sussex, England

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 13 Reviews

³ page 13 , 24 ricercars, two fugues, 30 The complete keyboard works will to give four quarter notes instead of a A Disney classic concluded the album: canzonas, 14 Magnifi cat settings in six comprise two volumes in the com- half note and two quarters; the compass When You Wish upon a Star. It took verses, an organ Mass, and several indi- plete works series now published by of the subjects is quite varied. Lively me back to my childhood and was an vidual versets/chorale settings, as well as Breitkopf & Härtel, of which the fi rst passagework occurs in nos. 19 and 23, appropriate way to pay tribute to the two large-scale sets of variations. volume, subdivided into two parts, has and there are many instances of running great man himself for whom the hall was Although a somewhat smaller output been available for a while. This volume eighth notes against sustained chords. named. Bull did not play full organ and than that of his Augsburg contemporary is devoted entirely to those works that The second part of no. 27 contains the ending was lovely. Christian Erbach, the sheer scale of his appear only in the 16-volume collection some vigorous strettos and echo effects. The small booklet was helpful in compositions far outweighs Erbach’s of manuscripts compiled ca. 1637–40 Much lighter in style than the ricercars, explaining the performer’s thoughts and works. No autographs have survived and for the Fugger family in Augsburg and these delightful pieces are more read- included many nice photographs of the the great majority of Hassler’s keyboard which are now in Turin. The fi rst part ily approachable and less technically artist. For a recording that purports to be output is to be found in four manuscripts (186 pages of music) includes an , demanding. There is relatively little a premiere, I would have expected more now in Berlin, Padua, Munich, and Turin; six toccatas, 12 ricercars, two fugues, 13 part-crossing in these pieces, the Ger- of the mainstream literature putting the in addition, there are many intabulations canzonas, and 17 versets that form the man tablature being more a method organ through its paces. As it is, for a fi rst of his vocal works in contemporary prints organ Mass. The introit and majority of of recording the score than concern- recording on the organ, it is not the one I and manuscripts. Problems of attribution toccatas consist of stately chordal open- ing itself too much with the niceties of would want to buy. are frequent, with some pieces ascribed ings leading to passages of rapid fi gura- accurate voice-leading. A frequently —Jay Zoller to Hassler in one source being attributed tion over sustained chords passing from occurring rhythm in the toccatas and Newcastle, Maine to Erbach or even Sweelinck or Merulo hand to hand, followed by a central fugal canzonas is the short-short-long, usually in others; it is also quite possible from the section (lacking in nos. 4 and 6) before a as eighth-eighth-quarter note. style that some of the anonymous pieces return to the rapid fi guration. The versets include the sections of the New Organ Music in the sources may also be by Hassler. They clearly show their indebtedness alternatim organ Missa de Apostolis as Hans Leo Hassler, Sämtliche Werke, There are very few modern editions to Andrea Gabrieli’s toccatas, but some used in the Protestant liturgy (including Band XIII, Orgelwerke, Teil I/II, of his works; since the Denkmäler der of Hassler’s pieces surpass them in tech- the introit Mihi autem nimis, Domine edited by Ulrich Wethmüller and Tonkunst in Bayern volume of over a nical demands and length; the toccatas probasti, two , a Christe, a further Wolfgang Thein. Breitkopf & Härtel, hundred years ago (which printed only on the sixth, seventh, and ninth tones run , Et in terra pax, Agnus Dei, Cum €140 and €186, respectively. 16 pieces), there have been editions of to 220, 233, and 311 bars respectively. Sancto Spiritu, , Pleni sunt coeli, Far better known today for his the organ Mass from Bärenreiter, the Some of the fugal sections also include Benedictus, Agnus, Responsorio, and numerous publications of vocal music variation set on Ich ging einmal spazieren sequential passages in which short rhyth- Calicem Domini, with fi ne settings of both sacred and secular, Hans Leo (Schott), some of the toccatas (American mic or melodic motifs are developed. Ach Gott von Himmel sieh darein and the Hassler (1564–1612) was a south Institute of Musicology), the Magnifi cats The ricercars are written predomi- Credo in unum Deum. Almost all of the German contemporary of the north (Il Levante Libreria, Italy), and a small nantly in the fl owing vocal style, but versets, most of which are quite lengthy at European composers John Bull, Jan but valuable selection published by enlivened from time to time with 16th- over 70 bars, contain rapid passagework Pieterszoon Sweelinck, Pieter Cornet, Schott, which included examples from note passages, especially at cadences— in a manner similar to Claudio Merulo and Jean Titelouze. He studied with the main genres and is still the best again a feature of some of Andrea Gabri- and Andre Gabrieli’s organ Masses, the Andrea Gabrieli in Venice, where he introduction to Hassler’s eclectic style. A eli’s own contributions to this genre, but Agnus Dei being akin to a small-scale met Andrea’s nephew Giovanni, with small selection of 25 keyboard intabula- without suffering from the occasional toccata. Comparison with the surviving whom he maintained a cordial friend- tions is also available from Breitkopf, Venetian excess in incorporating diminu- contemporary and slightly later Italian ship throughout his life. Employed as but these pieces, although fascinating as tions into contrapuntal pieces. No. 2 on organ Masses will prove time well spent. organist in Augsburg, Nuremberg, Ulm, basic examples of an art in its own right, the 1st tone and no. 6 on the 4th tone are The second part (266 pages of music) and Dresden, his reputation as a virtuoso almost certainly do not derive from Has- more refl ective, slower-moving pieces. contains the 14 Magnifi cat settings, the is attested to by many of his numerous sler himself and cannot be compared The subject of No. 5 on the 3rd tone two sets of variations, and a handful of compositions, which, according to Willi with the sublime technical skills shown ascends with the sharpened F and G, attributed pieces. The Magnifi cat settings Apel, include about 16 toccatas, seven in his original keyboard works. and descends with them fl attened, and (one of which is found in the appendix) makes much of this interplay, includ- cover over 165 pages; each tone is repre- ing a section that modulates through sented by at least one setting, the fourth remote keys of B and C# major and F# tone by four, one of which is compara- minor. No. 9 is based on the hexachord, tively slight, with the average number of which is heard in ascending, followed by bars being only ca. 40. These groups of descending, form; curiously, this piece settings, probably the most comprehen- lacks a triple-time section, although one sive from one composer, must rank as does appear in nos. 5, 10, and 11. (There the longest as well, and each set contains is also an extended appearance of the great textural and stylistic variety. hexachord in the Toccata on the Sixth Each tone opens with either a toccata Tone.) Many pieces exceed 300 bars, in its own right (2nd, 4th, 6th, and 8th BACH’S FEET with the Ricercar on the 7th Tone reach- tones) or with a toccata-like setting of ORGAN PEDALS IN ing the monumental length of 668 bars. the fi rst verse, the verses following being In the style of the Venetians, these composed in a wide range of styles with EUROPEAN CULTURE pieces are plurithematic; in some pieces toccata, bicinia, full chordal passages, and the second subject appears as a continu- contrapuntal writing being represented; ation of the fi rst before being developed the subjects of the latter, which sometimes CAMBRIDGE UNIVERSITY PRESS in its own right. The two fugues, also includes toccata elements at cadences lengthy works, show little distinction from and as a coda, are usually in longer note the ricercars; the subject of the second values, but some contain written-out was used by de Macque and Frescobaldi ornaments in the style of Andrea Gabrieli WINNER OF THE 2012 JOHN OGASAPIAN BOOK PRIZE among others, and this piece also contains and Merulo. The chant appears in various a triple-time section. A compendium of forms and in different voices. all the learned devices of counterpoint, The toccata that opens the set on including stretto and double augmenta- the 3rd tone contains modulations in a tion, these pieces are among the fi nest chordal passage through B minor, F# examples of the genre in the literature. minor, C# minor, Bb major, and C minor. The majority of the canzonas are also This section is completed by six verses contrapuntally conceived, the openings on In exitu Egypt (the Tonus peregri- being in the usual dactylic rhythm, with nus) and sixteen individual verses, again occasionally the opening note repeated exploiting varied textures and styles. The   035DWKNH,QF 3LSH2UJDQ%XLOGHUV Fruhauff Mussiic Publliicattiionss Compositions, Historical Transcriptions,   Hymn Tune Settings & Liturgical Music $99.00 3RVW2IILFH%R[  Scores for Organ, Voices, Carillon & Ensembles  6SLFHODQG,QGLDQD86$ www.frumuspub.net 7HO)D[ D P.O. Box 22043 E IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM OVER 5,000 TITLES! ZZZUDWKNHSLSHRUJDQVFRP Santa Barbara, CA 93121-2043 ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG

ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we CLAYTON ACOUSTICS GROUP Music of Ed Nowak P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. 2 Wykagyl Road Carmel, NY 10512 Choral, hymn concertatos, psalm Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire 845-225-7515 [email protected] settings, organ, piano, orchestral order. Shipping outside U.S. is $4.50, plus www.claytonacoustics.com and chamber ensembles Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA ACOUSTICS AND SOUND SYSTEM CLAYTON http://ednowakmusic.com [email protected] SHIPPING or MasterCard. ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

14 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Reviews latter follow the order of the tones up is very much to be hoped that the fi nal inventive. There are few harmonic sur- organization, and musical contents. to no. 12, and nos. 13 and 16 on the 3rd volume containing works found in other prises so, given the traditional texture Works range in diffi culty from mod- and 14 and 15 on the 4th. Most verses sources will appear before too long. and harmony, certain oddities of voice erately easy to moderately diffi cult— contain ca. 40–45 bars, but no. 14 weighs —John Collins leading and phrase design stand out. something for everyone. Each piece in at 103; no. 15, at 169 bars, combines Sussex, England is based upon a New Testament text. elements of the toccata, chromatic ricer- Pavane pour une infante défunte, Biographies of the composers are car, and full chordal writing and may Ragtime Pipes: Music of Scott Joplin, by Maurice Ravel, transcribed for included as well as brief comments on have served as an alternative opening transcribed for organ by Gregory organ by Dennis Janzer. Wayne the works. These portraits of scripture toccata. No. 16, written almost entirely Eaton. Wayne Leupold Editions, Leupold Editions, WL600263, $9.00. are an unusual and welcome resource in a chordal style, covers 173 bars. No. 10 WL600209, $30.00. Dennis Janzer writes that he drew to those who seek to wed their music to opens in triple time, and nos. 11 and 13 I don’t quite understand the need for upon both the solo piano and the orches- lections or the liturgical year. include a short triple-time section, but “transcriptions” of Joplin’s rags, as they tral scores in devising this version for The committee chose well in awarding all the others are in cut C time. seem to transfer so readily and directly organ. The transcriber has included the fi rst prize to the work by Robert J. Greene, The three sets of variations that fol- from piano to the organ (with the pedals composer’s indications of time, in italics, Jr. This piece really has something to say, low include the enormous set of 31 on making easier work for the left hand’s throughout the score. However, these and does it with panache. At 82 measures Ich ging einmal spazieren; the melody “ragged” part, and the very occasional plus the abundance of phrasing and artic- of 12/8, it is the longest and most ambi- is well known through being sung to the thinning of the right hand texture). None- ulation marks throughout make it rather tious of the set. Expressive, creative, text of Von Gott will ich nicht lassen; theless, for those who don’t enjoy “do it diffi cult to see the notes themselves. imaginative and with admirable attention each variation runs to ca. 48 bars. The yourself” projects, this volume will be to musical detail, the piece is especially song Susanne un jour by Lassus, a great useful. To begin with, the extensive, thor- Morning Songs for Organ Solo, remarkable in that it is the composer’s favorite with Renaissance composers ough, and interesting introduction has Gwyneth Walker. ECS Publishing, fi rst work for organ! The jazzy rhythmic for instrumental settings, is subjected much useful material on history and per- no. 7620, $18.40. pattern in the right hand is easily learned. to 29 variations, of which the fi rst three formance practice, including a reminder The composer offers helpful explana- Left hand and pedal are repetitive, in a average 28 bars, and the fourth extends about tempo: “Do not play this piece fast. tions for the three songs in her preface. minimalist way—very interesting. Tricky, to some 52 bars, but the succeeding 25 It is never right to play Ragtime fast,” The fi rst, Welcome, Day!, is quite fast and but the patterns are easy to pick up. average just nine bars each. These two wrote Joplin. There is a good division of requires nimble fi ngers. Marked “With a The meditation on Matthew 20 (“The sets cover a wide range of compositional roles between left hand and pedal in this joyful bounce,” and lasting for only one last will be fi rst and the fi rst will be last”) techniques and again reach the pinnacle edition, though there are a few passages minute (at the composer’s tempo), it is by Philip M. Young is written as a pal- of variation form for the time. A short of fast notes in the pedal (Easy Winners a delight to hear and play. The second, indrome, which is its most interesting galliard concludes this section. and others) that I would give instead to In This Still Room (Are Angel Voices), aspect. It is an admirable concept, but In the appendix we fi nd a Ricercar the left hand. The editor wisely reduces is deceptively ambitious in technical diffi cult to bring off unless you are Bach, primi toni, two canzonas, a set of verses passages calling for rapid octave doublings requirements, though not too diffi cult, Bartók, or a serial composer. The trum- on the Magnifi cat 1st tone transposed to a single octave. Registrations, some providing you are/were good at Hanon pet tune (“Rejoice in the Lord Always”) up a fourth, and a further set on In exitu fi ngering and pedal indications as well as exercises. The piece has many good ideas by Jeff Enns has a nice musical idea, Israel. All are found anonymously in the dynamic indications are provided. The but I am not sure that they adequately perhaps repeated too often. It is a sturdy source but have been tentatively assigned volume includes many of the standards sustain the weight of its length. Go Forth enough trumpet tune in the 18th-century to Hassler through their position in the (Maple Leaf Rag; The Entertainer; Weep- With Joy! begins sturdily and with prom- style and format. “The Peace of Christ” manuscript. The ricercar is gentler than ing Willow; The Ragtime Dance; Pine ise, but the going forth, with its many (Clif Cason) is a benediction, moving on many of the ascribed examples, with ani- Apple Rag; Solace; Magnetic Rag) as well sections, takes a bit too long. a pilgrimage through many keys. mated passagework at cadences. The two as at least one new to me: Bethena—A The evocative “Come, Follow Me” canzonas are quite lengthy examples, the Concert Waltz. And, appropriate to our Biblical Sketches (The Lexington (Bernard Sanders) pits a canon in two second one having a triple-time section time, The Wall Street Rag with its inserts Organ Book). MorningStar Music parts above an ostinato that suggests before the fi nal, more rhythmically vig- of texts within the score: “Panning in Wall Publishers, MSM-10-746, $20.00. the path trodden. A sense of direction is orous section. Street”; “Brokers feeling melancholy”; These eight pieces by seven composers impelled by way of its 5/4 meter. “The The two volumes are in large portrait “Good times have come”; etc. comprise the winning entries in a compe- Call” (Raymond Weidner) beckons. Wil- format on high-quality paper, with six or tition devised by the Lexington, Kentucky liam Bryant’s prelude on “The Transfi gu- seven systems to each page; the printing Eight Psalm Impressions for Organ, AGO chapter. The collection is dedicated ration” is mysterious, as is that event itself; is clear with the notes sensibly spaced. Vol. III, Douglas E. Wagner. Hope to the late John Courter, a chapter mem- this is the most “modern”-sounding in the Many of the pieces demand a fi rst-rate Publishing Company, no. 8522, ber who designed the competition for the collection. Rhythmically interesting, it technique and make taxing demands $12.95. 2011 Region V convention in Lexington. beckons the listener into a dance, colored in some places. The player will have to There are eight pieces of three to From the Introduction: Carter’s idea with 4ths and 5ths in the melody and consider applying accidentals in several four pages each. Following the titles “was to request pieces based on Biblical propelled by rhythmically complex and places, and decide where to use the are references to the Psalm texts that themes because of the diffi culty of fi nding frequently changing meters. The ecstatic pedals—sometimes the big stretches each refl ects. They are well written, of organ pieces closely tied to specifi c, yet ending is a challenge to understand, but in the LH may require other imagina- medium diffi culty, and all playable on common, scriptural passages.” so is the Transfi guration. tive solutions on today’s instruments. a two-manual instrument of modest The volume has very much to —David Herman The introduction and extensive critical resources, but they are not particularly commend it, including its purpose, The University of Delaware commentary are in German only, and there are no helpful comments on PIPE-DIGITAL COMBINATIONS • DIGITAL VOICE EXPANSIONS • SOLUTIONS FOR OLD PIPE ORGANS performance practice or specifi cations of contemporary organs (fortunately this information is available in several Thanks to the success of the other publications both contemporary “Growing Into God’s Vision” and modern) to assist in a historically informed performance today. campaign at First United Although the very high price will Methodist Church of Colleyville, undoubtedly deter the great majority of Texas, the congregation is now players (why do these monument edi- tions have to be priced so far beyond the singing with a new Rodgers individual player?), I do encourage those Infinity 361. Dr. Jung Won Kim, interested in at least looking at and play- organist, was instrumental in the ing through these splendid pieces to order a copy via the interlibrary loan system. two-year organ selection process. They will not be disappointed at the time The speakers went in behind spent with this south German master. It the pipe façade to create an installation of both musical and visual beauty. The installation was completed in June 2013 by Church Organ Gallery of Plano, Texas.

Visit The Diapason Rodgers invites you to call for details website: about new hybrid organ solutions. For more information, please contact www.TheDiapason.com Rodgers Marketing at 503-648-4181. www.rodgersinstruments.com

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 15 On Teaching

Organ Method XII putting both hands together.) In any but, since the notes don’t range very last—start playing the two hands case, since the purpose of this exercise far, almost any fi ngering that respects together. Again, the tempo for this will I begin this column with the last two right now is to help you become increas- the right way of playing the repeated have to be slower than the tempo at paragraphs of the previous, for better ingly comfortable putting the two hands notes will work well. For the left hand which you were able to play each hand continuity and to allow the reader to together, there is nothing to be gained one good pattern is 4-3-4-3-4-2-4-5-4- separately, since the level of complex- follow the process I am describing easily by speed. There is a lot to be gained by 3-2-1-2-1-2-1, and of course there are ity has gone up. To fi nd an appropriate without having to refer to last month’s good focus. other possibilities.) beginning practice tempo, try starting issue. Also, I have again included the In putting the hands together in a Even though you have practiced with a steady slow beat in your head Scheidt piece (Example 1) as this dis- passage, make sure that you remind each hand separately well enough to that represents the shortest (quickest) cussion continues. My book will contain yourself in advance of the note on which consider it learned, you should begin note value that is found in the passage. a repertoire list with annotations at the each hand will start—especially if the the process of putting the two hands In this case, that is the sixteenth note. end of the method, and students will be two hands do not come in together. In together by playing through each hand Get used to this beat before you start given guidelines to fi nd further two- the beginning of this piece, the right once, starting with whichever hand you playing. (A slowly dripping water faucet voice pieces for practicing, as well as hand comes in well after the left hand, think is less diffi cult. As you do this, you is the image that I like to use for this for other purposes. so you should be thinking ahead a little should hear or imagine the other voice, kind of slow, steady beat.)

Example 1

Example 2 Example 3

Once you have chosen fi ngering and bit to avoid hesitation at that spot. It is practiced the same measure (or measure not necessary to have the correct fi nger and a half) of each hand—remember- actually touching the note before playing ing that the left hand will require more it, but it is important to be conscious of attention and repetition, and remem- what the note will be and to keep your bering to practice each hand enough hand nearby. that it is really learned—then you are I will use the section starting at the end ready to put the two hands together. of measure three of the piece, shown in Example 4 You will probably have to reduce the Example 2, to discuss some details of the tempo a bit from whatever speed each procedure for practicing hands together. especially its rhythm. With the passage You will fi nd yourself counting four of hand separately had reached while First, there are two assumptions: that shown in Example 3, that is most impor- these slow sixteenth notes between the practicing them individually. (It is all you have already worked out fi ngering, tant while running through the right time that you play the fi rst note in the right for the two hands to have reached and that you have practiced each hand hand part, since the left hand rhythm is right hand and the moment when you different tempos in separate practicing, separately until it is thoroughly learned. more challenging are supposed to play the fi rst left hand as long as you now slow things down to (A very suitable fi ngering pattern for After you have run through the note, and then the same again before accommodate the extra complexity of the right hand would be 2-3-2-3-2-3, hands separately—more diffi cult hand it is time to play the next note in each

The Diapason Thousands of titles, top-tier publishers... 2014 Resource Directory

• The only comprehensive directory for the organ and OneLicense.net church music fi elds forSUNDAY • Includes listings of ANNUAL and ONE-TIME associations, suppliers, BULLETINS, CHURCH COPYRIGHT and the products and WEDDINGandFUNERAL services they provide PROGRAMS, PERMISSIONS Reserve advertising space PROJECTION, now—new color rates Deadline: November 1 SPECIALSERVICE BOOKLETS, To reserve advertising space, PRACTICE TRACKS, Log on and take the tour today! contact Jerome Butera and PODCASTS 847/391-1045 800.663.1501 [email protected]

16 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM By Gavin Black hand. Take advantage of this time to along with the metronome, but rather to the other out. Notice that in the middle look ahead to what the next note(s) is/ call on yourself to keep a steady beat in of measure 5, the fi ngering will be in are: be ready to play it (them) on time. If your head. I will discuss various aspects effect a little bit different depending it is impossible to do so, or if it feels like of metronome use later on.) on whether you are playing on one an emergency or a scramble, the tempo When you have worked carefully keyboard or on two. That is, on one is too fast. If it happens comfortably, the on two adjacent short excerpts from keyboard you need not play the f′ with tempo is right. It is important that the this piece, then it is time to put them both hands: choose one. slow beat in your head be steady; it is together: to start at the beginning of the Example 4 is an excerpt from a not important for it to have numbers or fi rst one and play both without stopping. two-voice piece by Jan Pieterszoon syllables that relate it to the measures In this way you will build up the whole Sweelinck (1562–1621) in which the or to the time signature. If you want to piece. Of course, this is very careful and two hands are in canon with each other, do that sort of counting—one-eh-and- systematic, as practicing should always and therefore play parts that are similar eh, or something similar—that is fi ne. be. You will not, however, always have in complexity. You can work on this in However, it is not necessary or particu- to break pieces up into small chunks. the way that I have described above. larly relevant to this sort of practicing, That is a good, effective way to begin, A list of further repertoire suggestions and if it is even a little bit distracting and you will always go back to it for for work on putting together two-voice or confusing, then you should certainly pieces that are complex, long, or just pieces is found in an appendix near the of the next chapter. What follows here not do it. A steady beat just needs to be plain hard. end of the book. is a discussion of playing more than a steady beat. As you work on this Scheidt piece, When you have become comfortable one note in a hand, with some exercises During this systematic early practic- alternate playing both hands on the putting the hands together in pieces in and examples. ing, you should look at your hands as same keyboard with playing each hand which each hand plays one line, there (This discussion will be continued in little as possible. In fact you probably on a different keyboard, in all of the are two next steps that can be worked next month’s column). Q don’t need to look at your hands at all. arrangements that are available on the on at the same time as one another: If you think you have to look to fi nd organ that your are using: adjacent or learning exercises and pieces in Gavin Black is Director of the Prince- a particular note, you should challenge non-adjacent keyboards, right hand which each hand plays more than one ton Early Keyboard Center in Princeton, yourself not to: at least try not look- higher, left hand higher. Practice with note, and beginning to put the hands New Jersey. He can be reached by email ing every other time, or two times out all sorts of different registrations—just together with the pedals. Putting at [email protected]. He writes a of three. One purpose of not looking make sure that neither hand drowns hands and feet together is the subject blog at www.amorningfordreams.com. at your hands is to look at the music: to be very conscious and purposeful about knowing what notes come next. The cause of most wrong notes in key- board playing is not knowing what the next note is supposed to be. The other compelling reason for not looking at your hands is that every time you fi nd a note by looking, you pass up a chance to improve your kinesthetic sense of the keyboard and thus the security of your playing. The next step in putting the hands North America’s Premier together is to increase the tempo gradu- Pipe Organ Building and Service Firms ally. After you have played through the passage several times at your extremely slow and comfortable starting tempo, and only when you feel that that has become really easy, you should increase The Pipe Organ the tempo a little bit. Let yourself hear your slow beat get a little bit faster in Performance measured your head, and then start the passage at in centuries, not years that new tempo. If you have increased the tempo by a small enough amount, then that new tempo should work: that An affordable is, playing the passage at that tempo investment in pipes should be possible with accuracy and without a sense of emergency, though The sound that is often it won’t at fi rst be as easy or as nearly imitated - but never automatic as the slower tempo was. If duplicated the passage falls apart, then you hadn’t practiced enough at the slower tempo, The original “Green” or (more likely) you increased the tempo by too large an amount at once. solution If this happens, play the passage a few more times at your slow starting tempo, A “sound” financial then increase that tempo by less than investment you did on the fi rst attempt. After you have become accustomed to your new (second) tempo, you can increase the tempo a little bit more. An asset to your This is the basic process for practicing Worship Experience anything, and any passage that you can & your Balance Sheet play very slowly you can learn to play at any tempo. For the purpose of becom- BUILDERS SUPPLIERS ing comfortable putting two hands ANDOVER LÉTOURNEAU A.R. SCHOPP’S together, there is no reason to play this BEDIENT NOACK HARRIS BERGHAUS PARKEY IOTI Scheidt piece (or other pieces) very fast. BOND PARSONS SOLID STATE However, it is important to work on the BUZARD PASI OSI process of speeding up gradually. You C.B. FISK PATRICK J. MURPHY PETERSON should expect to take each measure or CASAVANT FRÈRES PAUL FRITTS DOBSON QUIMBY measure-and-a-half section of the piece GARLAND RANDALL DYER through three or four noticeable (though GOULDING & WOOD SCHANTZ slight) increases in tempo. HOLTKAMP SCHOENSTEIN ODELL TAYLOR & BOODY (It is certainly fi ne to organize your KEGG practice tempos with the help of a metronome: that is, to fi gure out the metronome marking of the tempo at which you start the practicing process, APOBA.COM 800-473-5270 and then use the metronome to fi nd the next tempo, and each of the subsequent slightly faster tempos. At this stage, however, it is better practice not to play

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 17 In the wind...

The start of a century Cell phones, ATMs, airplanes, power At 10:24 a.m. on October 15, 1947, plants, railroads, and thank goodness, Air Force test pilot Chuck Yeager fl ew icemakers just kept on running. However the X-1 experimental aircraft faster than accurately that moment was defi ned, it the speed of sound. That’s 761.2 miles was meaningless—a randomly identifi ed per hour at 59-degrees Fahrenheit. It milestone amongst the multitude. was quite a technological achievement. Then we worried about what we call You have to generate a lot of power to those years. The oughts? The Ohs? move a machine that fast. But there was Shifting from ninety-seven, ninety-eight, a spiritual and metaphysical aspect to ninety-nine to oh-one, oh-two, oh-three that feat. Engineers were confi dent that seemed impossible. I managed, and so they could produce suffi cient power, but did you. they were not sure that a machine would survive the shock wave generated by a Centennials machine outrunning its own noise. They The twentieth century started with- supposed that the plane would vaporize, out the computer-induced hoopla, but or at least shatter, scattering Yeager-dust I suppose that our heroes—Widor, Puc- across the landscape. cini, Saint-Saëns, Dvorák, and Thomas In his swaggering ghost-written Edison—watched in suspense as the autobiography, Yeager, he casually men- clock ticked past the witching hour. tions that he had broken ribs (probably The real upheaval happened more than Cass Gilbert’s Woolworth Building Frank Gehry’s 8 Spruce Street garnered in a barroom brawl) and had thirteen years later. On May 29, 1913, to rig a broomstick to close the cockpit Ballets Russe danced the premiere of water more than 700 feet up. Just think (Episcopal). Three blocks west on the hatch. He took off, fl ew the daylights out Igor Stravinsky’s The Rite of Spring at of that: pulling up to the curb in a shiny corner of 10th and Fifth Avenue stands of the thing, and landed, pretty much Théâtre des Champs-Élysées. Stravinsky new 1913 Chalmers Touring Car, and Church of the Ascension (Episcopal). just like any other fl ight. By the noise, had used traditional and familiar instru- stepping in an elevator to go up fi fty- Both are “Gothicky” buildings—Grace and by the cockpit instruments, he knew ments and all the same notes that people seven stories. Those folks in Kansas City is whitish with a tall pointed spire, while he had broken the sound barrier, but to were used to, but the way he arranged would have fl ipped their wigs. Ascension is brownish with a stolid Yeager’s undoubted pleasure and later the tonalities, the maniacal organization The Woolworth building is still there square tower with fi nials. Both have comfort, the worries of the skeptics of rhythms, the angular melodies, and a hundred years later. Like The Rite pretty urban gardens. Both are prosper- proved untrue. the radical orchestration set the place of Spring, it’s a staple in our lives, and ous, active places. And both have radical in an uproar. The bassoon that played it seems a little less radical than it did new 21st-century organs. Invisible barriers those haunting melismatic opening solos a century ago. After all, a few blocks Taylor & Boody of Staunton, Virginia, Remember Y2K? As the fi nal weeks could have been used to play continuo away at 8 Spruce Street, by the foot of is coming toward completion of the of 1999 ticked by, residents of the world in a Bach cantata the same day. Legend the Brooklyn Bridge, the new tallest installation of their Opus 65 at Grace wondered if we would survive the magi- has it that the audience couldn’t contain residential building in the Americas Church, where Patrick Allen is the cal, mystical moment between Decem- itself and there was wild disturbance. (seventy-six stories and 876 feet), Organist and Master of the Choristers. ber 31, 1999, and January 1, 2000. Of How wonderful for a serious musical designed by Frank Gehry, towers like a In 2011, Pascal Quoirin of Saint-Didier, course, the world has survived some composition to stir people up like that. maniacal grove of polished corkscrews. Provence, France, completed installa- twenty-fi ve changes of millennia since I haven’t seen people so worked up Gehry took the functional aesthetic of tion of a marvelous instrument at Church we started to count time, but this would since the Boston Bruins failed to win the the glass-and-steel Seagram Building of the Ascension, where Dennis Keene is be the fi rst time with computers. The Stanley Cup. (375 Park Avenue, designed by Mies Organist and Choirmaster. myth that computers would not be able van der Rohe and Philip Johnson, built Both of these organs have as their to count to 2000 had us hyperventilat- Everything’s up to date in in 1958), and gave it a Cubist ethic by cores large tracker-action organs based ing as we ran to ATMs to grab as much Kansas City twisting the surfaces to create the sig- on historic principles—and Principals. cash as we could. People refused to About fi ve weeks before Stravinsky nature rippling effects. And both have large romantic divisions make plans that would have them aloft tried to ruin the theater in Paris, the How poetic that the Woolworth inspired by nineteenth- and twentieth- in airplanes at that horrible moment, Woolworth Building designed by Building and 8 Spruce Street, opened century ideals. Both are exquisite pieces supposing that cockpit computers would Cass Gilbert was opened on Lower almost exactly a century apart, stand just of architecture and furniture, and both fail and planes would fall from the sky. Broadway in New York, April 24, 1913. a few blocks apart, trying to out-loom have been built by blending the highest The collapse of the world’s economy was Like Stravinsky, Cass Gilbert used a each other. I took these photos of them levels of traditional craftsmanship with predicted. Public utilities would cease to traditional vocabulary—the prickles while standing in the same spot on City modern materials and methods. function. Nuclear power plants would and arches given us by the Gothic Hall Plaza. At Church of the Ascension you can overheat, and souffl és would fall. cathedrals. But Rodgers & Hammer- Frank Woolworth made a fortune in play the core organ from a three-manual As the clock ticked closer to midnight stein’s “gone and built a skyscraper retail, the Sam Walton of his day. F. W. mechanical keydesk, and the entire on New Year’s Eve, we waited breath- seven stories high” was not as high as Woolworth stores dotted the country, instrument from a separate four-manual lessly. Fifteen, fourteen, thirteen…some- a building ought to go. Cass Gilbert making goods of reasonable quality electric console. At Grace Church, the times it causes me to tremble…eleven, went fi fty-seven stories—792 feet; the available to residents of small towns. whole organ plays from a four-manual ten, nine, eight, seven…all good children building remained the tallest in the However, I doubt that anything sold detached mechanical console, and con- go to heaven…four, three, two, one… world until 1930. Gilbert hung those in his stores would have been found in tacts under the keyboards allow access Humpf. classic Gothic features on a high-tech his houses. His principal residence, also to electric couplers and the few high- I have no idea how the venerable structure and startled the world of designed by Cass Gilbert, was at the pressure windchests that operate on astronomers settled on how to organize architecture and commerce. corner of Fifth Avenue and 80th Street electric action. the calendar and defi ne our concept of Besides the technical achievement of in Manhattan, across the street from the A more detailed account of the time. I imagine a committee of bearded supporting a massive structure that tall, Metropolitan Museum of Art. Among organ at Church of the Ascension has and wizened wise men gathered in a pub, the building had thirty-four newfangled dozens of priceless artifacts was a large been published (see The Diapason, throwing darts at a drawing of a clock. elevators. The engineers executing Gil- three-manual Aeolian organ. Woolworth November 2011) and no doubt, we can However they did it, they didn’t fool us. bert’s design had to fi gure out how to get was one of Aeolian’s prime customers, expect one about the Grace Church and, rare among that heady clientele, he organ—so I’ll limit myself to general could play the organ. observations, and let the organbuild- Saving organs throughout His estate Winfi eld (the “W” of F. W. ers and musicians involved speak for Woolworth) on Long Island boasted the themselves. I admire the courage and fi rst full-length 32-foot Double Open inventiveness exhibited in the creation America....affordably! Diapason to be built for a residence of these two remarkable instruments. organ. Now that would shake your cham- I expect that purists from both ends pagne glasses. of the spectrum will be critical, or at Woolworth’s funeral was held in the least skeptical of these efforts to bridge Fifth Avenue mansion. Frank Taft, artis- the abyss. But I raise the question of tic director of the Aeolian Company, was whether purism or conservative attitudes on the organ bench. are the best things for the future of our instrument. We study history, measure The twenty-fi rst-century pipe organ pipes, analyze metal compositions, and There’s a lot going on here in lower study the relationships between ancient Manhattan. South of Union Square at instruments and the music written for 14th Street, Broadway stops its disrup- them. We have to do that, and we must tive diagonal path across the city, and do that. assumes a more reliable north-south ori- After fi nishing the restoration and 1-800-621-2624 entation, forming the border between relocation of a beautiful organ built by Greenwich East Village and Greenwich E. & G. G. Hook (Opus 466, 1868) foleybaker.com West Village. On the corner of 10th for the Follen Community Church in and Broadway stands Grace Church Lexington, Massachusetts, I wrote an

18 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM By John Bishop

Christ, Claremont, California, has • Cass Gilbert used 500-year-old been released on iTunes. Buy it. This iconography to decorate a technologi- is a smashing recording of wonderful cal wonder. playing on a really thrilling organ. It’s • Frank Gehry gave the familiar sky- a big, three-manual instrument with scraper a new twist. mechanical action and a wide variety of • Taylor & Boody and Pascal Quoirin tone color. The recording has long been have morphed seventeenth- and eigh- a favorite of mine—I transferred it from teenth-century languages into twenty- the original CD to my iPhone and listen fi rst-century marvels. to it in the car frequently. • Timothy Tikker painted for us a por- The fi rst piece on the recording, Tiento trait of the march of time. Woolworth Building, street-level detail de Batalla sobre la Balletto del Granduca by Timothy Tikker, was commissioned by Organists are very good at lamenting essay in the dedication book under the the organbuilder to showcase the organ’s the passage of the old ways. Each new title, The Past Becomes the Future. In it extraordinary collection of reed voices. translation of the bible or the Book of I wrote about the experience of working The piece opens with a statement of a Common Prayer is cause for mourning. on such a fi ne instrument, marveling measured dance, familiar to organists I won’t mention the introduction of new denomination introduces a new hym- at the precision of the workers’ pencil who grew up listening to the recording hymnals. (Oops!) nal—the end of the world as you know lines, and the vision of conceiving an of E. Power Biggs, and proceeds in a We recite stoplists as if they were the it. So, learn the new , decide for instrument that would be vital and dignifi ed fashion from verse to verse. I essence of the pipe organ. We draw the yourself what are the strong and weak exciting 140 years later. I saw that proj- picture a large stone hall lit by torches, same fi ve stops every time we play the points, and get on with it. ect as a metaphor for a combination of with heavily costumed people in parade. same piece on a different organ. And we Chuck Yeager broke the sound bar- eras. And I intended the double mean- But about three minutes in, things start criticize our colleagues for starting a trill rier, and kept fl ying faster and faster. ing for the word becomes. The past to go wrong. It’s as though someone on the wrong note. On October 15, 2012, at the age of 89, not only transfers to the future, but it threw funky mushrooms into one of the I don’t think Igor Stravinsky cared a Chuck Yeager reenacted the feat, fl y- enhances the future. I could carry the torches. An odd note pokes through the whit about which note should start a trill. ing in a brand new F-15 accompanied play on words further by misquoting the stately procession—you can forgive it by a Navy captain. But imagine this: it title of a popular movie, Prada Becomes because you hardly notice it. But oops, The end of the world as we know it was the same day that Austrian Felix the Devil! there’s another—and another—and Together we have witnessed many Baumgartner became the fi rst person Another tense of that use of the word pretty soon the thing has morphed into doomsday predictions. I’ve not paid to break the sound barrier without at become is familiar to us from Dupré’s a series of maniacal leaps and swoops close attention to the science of it, but airplane! He jumped from a helium Fifteen : I am black but as the reeds get more and more bawdy. it seems to me that the Mayan calendar balloon at an altitude of twenty-four comely, O ye daughters of Jerusalem. We Tikker established a traditional frame has come and gone in the news several miles, and achieved a speed of 843.6 don’t typically use the word that way in on which he hung a thrilling, sometimes times in the last few years. A predicted miles per hour as he fell before deploy- conversation, but if you read in a Vic- terrifying essay on the power of those doomsday passes quietly and someone ing his parachute. Both men lived to see torian poem, “she of comely leg,” you’d Rosales reeds. takes another look at the calendar and another day. know exactly what it meant! announces a miscalculation. Maybe the A Taylor & Boody organ with multiple New threads on old bones world will end. If it does, I suppose it will pressures and expressions, powerful Speaking of the ballet… • Igor Stravinsky used an ancient end for all of us so the playing fi eld will voices on electric actions, and seething Recently, renowned organist Diane vocabulary of notes and sounds to cre- remain equal. symphonic strings—the end of the world Belcher mentioned on Facebook that ate revolutionary sounds. The same old But we can apply this phrase, the end as we know it. Embrace the thoughtful- the recording she made in 1999 (JAV sharps and fl ats, rhythmic symbols, and of the world as we know it, to positive ness and creativity that begat it. And for 115) on the Rosales/Glatter-Götz organ every-good-boy-deserves-fudge were developments in our art and craft as goodness’ sake, stop using archaic words in the Claremont United Church of rejigged to start a revolution. the twenty-fi rst century matures. Your like comely and begat. Q

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 19 Interview

A Conversation with Robert Powell Celebrating his 80th birthday

By Steven Egler Robert Powell and Steven Egler

Introduction Louisiana State University and later a Greenville, South Carolina, in 2003, would be an organ interlude, and the sec- On October 13, 2012, Robert Powell Master of Sacred Music degree from but you are still playing. Is that ond verse would be sung by the choir in was interviewed as part of a weekend Union Theological Seminary in New correct? unison, and then the oboe and the organ celebration of his music and in honor of York as a student of Alec Wyton. From That’s right. I’m playing in a small would play. So I did all of those things his 80th birthday (July 22, 2012). Special 1958–1960 he was Wyton’s assistant Methodist church. I started out to and fi lled in the blanks. It was great fun. thanks to First Congregational Church, organist at St. John the Divine in upper retire, and I managed three weeks. The Saginaw, Michigan, where the interview Manhattan, and from 1960–1965 was fi rst week I played for the Presbyterian If you had said “no,” it wouldn’t have was conducted; recording technician organist-choirmaster at St. Paul’s Epis- church, and the second week I played happened. Kenneth Wuepper of Saginaw; Dr. Rich- copal Church, Meridian, . for the Episcopal church I now attend. No. On the other hand, people have ard Featheringham, Professor Emeritus For three years (1965–1968), he served The third week I stayed home and wrote come up with ideas for years, and I haven’t in the School of Business, Central Michi- as director of music at St. Paul’s School, songs on Mary Baker Eddy texts for a always agreed; but many projects have gan University, Mt. Pleasant, Michigan, Concord, New Hampshire, and then lady who came later to Greenville as turned out to be blessings in disguise. who transcribed the interview; Robert from 1968–2003 served as organist- one of the actors in the Phantom of the Barker, photographer; and Nicholas choirmaster at Christ Episcopal Church, Opera. She came over and we played You just go forward and never stop Schmelter, director of music at First Greenville, South Carolina, until his through some songs. She gave us free composing. Congregational Church. retirement in 2003. tickets to Phantom of the Opera and Oh, yes. I go to the church in the morn- The weekend included a recital Octo- A longtime member of the Association took us backstage to show us how they ing and always write at the keyboard. I ber 13 at First Congregational Church, of Anglican Musicians, Powell holds the made the boats go around and how the just write notes, so writing at the key- Saginaw, featuring Nicholas Schmelter Fellow and Choirmaster certifi cates of mechanics worked. That was enough board of an organ is the same as writing performing the fi rst portion of the con- the American Guild of Organists, and retirement for me. at the piano keyboard. I am not thinking cert on the church’s chapel organ, Aeo- is a member of the American Society that this will use a 16-foot stop here, a lian-Skinner Op. 1327 (1956), and the of Composers, Authors, and Publishers So it may be moot to ask if you miss cromhorne or fl ute. I just push General 3 second portion on piano with fl utist Katie (ASCAP), from which he has received being in church work, whether it’s and hope for the best. (laughter) Welnetz and soprano Rayechel Nieman. the Standard Award for the past twenty full time or part time. A concert of choral and organ music years. His well-known and popular ser- It’s different being in full-time church You are still very prolifi c. on October 14 at Trinity Episcopal vice for the Episcopal Eucharistic liturgy work. When I went to Christ Church, Some people don’t know when to put Church, Bay City, Michigan, featured appears in of the Epis- membership was about 1,500; when I the pencil down! the Exultate Deo Choral Ensemble, con- copal Church. left it was 4,000. There were lots of staff Austin Lovelace told me one time ducted by Robert Sabourin of Midland, He and his wife Nancy recently cel- meetings and such. I felt like I never that this writing thing cycles. There are Michigan. Steven Egler and Nicholas ebrated their 50th wedding anniversary worked a day in my life, except at staff times when you are writing things and Schmelter were the organists, and fl ut- and are the parents of three, grandparents meetings. (laughter) Otherwise, I was it is going really well. Sometimes you ists Robert Hart and Lauren Rongo of four, and great-grandparents of one. writing, directing the choirs, and all that. get to some part and you can’t do it; you performed on several compositions. Robert Powell was interviewed by Jason I don’t miss it, but at the same time I go to sleep at night and the next day it’s These events were co-sponsored by Overall shortly before his retirement (see do. I went straight into a small position already done because the subconscious First Congregational Church, Saginaw; The Diapason, November 2002). where I don’t worry about choir mem- takes care of it. Trinity Episcopal Church, Bay City; bers coming or going, and just play the and the Saginaw Valley Chapter of the Steven Egler: We are happy to have organ—that is great fun. We have a good Are you writing more music now? American Guild of Organists. you with us this weekend for a late choir director, too; she and I are great That’s right. I have more time to write. celebration of your 80th birthday friends. It’s fi ve minutes from home, and I just go down to the church; I spend less Robert Powell, born July 22, 1932, in and to enjoy your music. they keep the church at 72 degrees all time at it but write more. I am not as care- Benoit, Mississippi, has approximately Thank you. It’s a wonderful celebra- day and all night year round. ful as Durufl é or someone like that would 300 compositions in print for organ, tion for me. be. My teacher, Searle Wright, would say, instrumental ensembles, handbells, We discussed that you were going “Write it down as fast as you possibly can choir, and fl ute and organ. He earned You retired as organist-choirmas- to learn how to say “no” by the time and go back and correct it later.” a Bachelor of Music degree from ter at Christ Episcopal Church, you were 75. Have you learned how? So I do it as fast as I possibly can and I have NOT learned how to say “no,” then I go back and correct my work. I but it’s led to some interesting things. have six publishers to submit music to. If One time someone wanted me to write they don’t want an anthem, I turn it into a setting of “Abide with Me” and to an organ piece and send it somewhere include the Agnus Dei. I didn’t think that else. Sometimes that is accepted, so this the Agnus Dei had any relationship to recycling continues. “Abide with Me,” but I wrote it anyway and it was published. What are your current projects? Another instance was at the library For the AGO Region IV Convention snack shop. A man came over with a in Columbia, South Carolina, in 2013, stack of papers. On the music paper he I wrote a set of variations on “On This had written down a tune by Louis Bour- Day” (tune: Personent hodie). It’s geois, and on the other stack a French a wild tune and was a challenge, but poem he had translated and wanted me I managed to get six variations on the to set to the tune. This would have been theme. It’s going to be played by Charles a wonderful opportunity to say “no,” Tompkins: he suggested me for the com- and I said “Ah,” but I did think that it mission. I’m also working on some pieces would be a challenge. I set the text and it for GIA for brass and organ. worked out because the poem was good. He told me exactly what to do. He How much does improvisation play wanted an introduction, a soprano solo into your composing? in French, and then the choir—a tenor/ A lot. John Ferguson told me one bass choir—would sing in English; there time what he does—I don’t know if he

20 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Nicholas Schmelter, Robert Powell, Exultate Deo Chamber Choir at Trinity Episcopal Church, Bay City, Michigan Katie Welnetz composes at the piano, but he must because he improvises and he writes his improvisations down. The hard thing about writing is getting an initial idea. Steven Egler performing Powell’s Sona- John Rutter said that. Get the initial ta for Organ at Trinity Episcopal Church, idea—a little motive—and improvise on Bay City, Michigan a theme to get the initial idea and fi ll in the blanks. Now, in regard to the clergy, I have always had collegial relationships; I have Improvisation has become more always been able to say let’s have a cup of important both in organ playing in coffee and talk about something. I have general and also in academia, where always worked with good clergy who a certain amount of improvisation is were very supportive. expected. The church secretary/administrative Organists must improvise sooner or assistant is absolutely wonderful. She’s later. The wedding is going to start late from Mississippi like me and she will and you have played all your music twice, do things outside of her job description. the second time with different registra- In the Methodist church right now the Front row: Robert Sabourin, Steven Egler, Kenneth Wuepper; middle row: Nicholas tions, and the bride still hasn’t arrived, so minister, of course, and the secretary are Schmelter, Patricia Bowen, James Rabideau; top row: Robert Powell, James Hill you have to play something. You will feel Methodists, and the two Episcopalians better if you add something besides a C are the choir director and the organist. congregation—it’s hard to do that. But I was forgiven. Then one time I played major chord, an F major chord, or a G We have a great relationship—all four of you can do it in small churches, where a hymn in the wrong place, and the major chord. In Searle Wright’s course, us—and we don’t have staff meetings. everybody knows each other. I am as for- clergyman whose name was Howard we had to learn how to improvise in dif- tunate as anybody could be. My advice Johnson—a wonderful fellow—said ferent situations. It was fun and he was That makes it even better. to church musicians is to get to know when I told him this sad story, “The such a great teacher. He would use stu- You’re absolutely right. Sometimes everybody you can, work as hard as you heavens didn’t fall.” dents’ names at graduations at Columbia the pastor, the choir, and organist can can, and be cognizant of relationships at the cathedral [St. John the Divine] be very distant from everyone else. In with everybody in the parish—not just And yet playing the text is impor- and he improvised on the names of three the church where I am serving now, the choir. tant. I have students who come in boys who had gotten doctorates: Cline, before the service starts we go down in and all the notes are just right, but Davis, and Harrison. He would impro- the congregation and “play the crowd.” I love the story about your playing they haven’t read any of the text and vise on the syllables in their names. It was Then the minister gets up and says the too many verses of “O Come, O don’t know where to punctuate or so clever, and then he’d throw in a fugue announcements, the call to worship, and Come, Emmanuel.” breathe. at the end. It was wonderful and so good. then I play the prelude, which means Bishop Pike was at St. John the They’ll do something like “Thy king- We were all pleased to be in his class. they have to listen. Divine before he became a bishop. I dom come! On bended knee” (author: played “O Come, O Come, Emman- Frederick Hosmer). I don’t want the Did those people know that was That is a wonderful way to establish uel” and played and played and lost kingdom to come on bended knee par- happening? rapport with your church members. my place and wasn’t looking, and ticularly. My mentor told me to breathe No, of course not. Only he knew it. It It works better in a small church. I played 13 verses before I finally with the congregation and to make was so clever. I was fortunate to have such Going out into a church with 600 in the decided maybe I had better end. But them breathe and leave the same time teachers in New York. I had Seth Bingham, too, after Harold Friedell died. Friedell played at St. Bartholomew’s Church and taught us all to improvise. Improvising is so important not just for weddings and EAST TEXAS PIPE ORGAN FESTIVAL funerals and things, but there are people who must have music to move from one place to another in the service—they must November 10-14, 2013 have some kind of walking music. You can just fl op around or you can make some kind of form out of it. When the little kids come down for a kids’ sermon, then you Honoring the Life and Work of can really have fun with that. It is always Roy Perry fun to create something on the spot. I was very curious about your com- Thirteen recitals ment in The Diapason’s 2002 article on five Aeolian-Skinners concerning relationships. If you have a good relationship with your choir, they will sing for you no matter what. with Alec Wyton said that the choir director is Joby Bell, Charles Callahan, 90 percent personality and 10 percent Ken Cowan, Isabelle Demers, musical ability. So I have been fortunate in Nathan Laube, Lorenz Maycher, that I like the choir and the choir seems to East Texas Pipe Organ Festival Bruce Power, Jason Roberts, Chandler Teague, like me, and we get along very well. P. O. Box 2069 I was watching Bob Sabourin rehearse Tom Trenney, Thomas Trotter, this morning—he is mentoring the entire Kilgore, Texas 75663 choir, and thus they want to sing for him. Brett Valliant, Bradley Welch, He works them hard, which they should and special exhibits and presentations do; they don’t just chatter and carry on. www.EastTexasPipeOrganFestival.com honoring the life and career of They work hard because they want to, [email protected] and come back because they like to. William Teague. That’s the relationship that we organists and choir directors need with our choirs.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 21 Interview between verses. I found the trick to that here entirely different, let’s try that and is to hold onto the last chord. When I let see what happens—it was as if we were it go they know that I am trying to start. learning them together. That is true mentoring. It is diffi cult to be a mentor. Tell us about your time with Alec I’m not that. It is probably easier for Wyton. people who are full-time teachers. We had every day except Monday, so I played the Evensong along I use the term “psyching out” the with Morning Prayer. He wanted to choir for a Sunday morning: that is make sure I knew how to play Anglican mentoring. You are doing something chant, so he didn’t play every service. that might be more diffi cult, and Of course, he conducted many services they’re hesitant about it. and I played a lot of them when he was They have the full confi dence in conducting and that was a diffi cult task: you as the choir director. They will do but he was down on the fl oor, and I was their best, but they are not confi dent. up in the loft. One terrible thing happened during the Bach cantata “Praise Our God.” We Let’s discuss teaching and mentoring. were singing it in English and the choir I was fortunate to have people who got lost—completely lost in the fi nal saw something in me that I didn’t see. movement. Somewhere along the line a The fi rst one I had in high school was soprano came in and had the right place, Robert Powell at the Möller organ, Trini- Robert Powell at age 14 (1946) an organist named Walter Park. He and they all picked it up. I didn’t stop, ty Episcopal Church, Bay City, Michigan was a wonderful fellow. He became the I just kept on going. That kind of thing band director to just keep eating, but it is challenging. Another time we did the What are their criteria for selecting on-the-job supervisor [at Union Theo- didn’t suit him very well. He played in St. John Passion with half the orchestra music for publication? logical Seminary]. All I had was just one a small Episcopal church and I had a on this side and half the orchestra on I would say how they set the text, tenor, a few women, and a couple of one-hour organ lesson every week. After the other side. Half the orchestra had where the accents fall, and what kind of basses. And the tenor anthem was “Seek the organ lesson, we would then have a gotten one-half beat behind the other voicing they have. I can write for college Ye the Lord” by J. Rollins—one of the three-hour composition lesson—all for half, and so we got through the fi rst 26 choirs sometimes and make it interest- two anthems that I had. The other one the same price. I fi nally learned to write pages and they had this extra beat. We ing, but I don’t have a college choir to was Wallingford Rieger’s “Easter Pas- a little march like a Sousa march, and I started in for the da capo and we did experiment with, and I never really had. sacaglia,” which was for 16 parts. If they used these ancient books that taught you it right the second time. I wasn’t going I have always had between 15 and 20 had had two sets of choirs, they couldn’t voice leading. It was wonderful. Preston to stop! people, so you write for what you have. have sung that one. So in the end, I Ware Orem was the author of the book, Is the range bad or good, does it have an wrote two parts real quick. You know Harmony Book for Beginners (1919). What would you say afterward to independent organ accompaniment? what sounds good and what doesn’t. You Mr. Park was a great person and your choir members when things Publishers respond to various trends, don’t have to make a canon of it, but you encouraged me to write things, and I didn’t go well? and they are watching what happens. have to make the sound good. would bring them and we would look I told them that it’s ok to make a mis- Right now it seems that organ compos- at them and talk about them. He made take; I don’t dwell on it. “The heavens ers are writing music based upon gospel In the 2002 interview, you men- me feel that what I was doing was didn’t fall.” We have something else . I have recently published three tioned that a balance between worthwhile. That is what mentors do. to do next week anyway. Don’t say too of my favorite gospel song arrangements. “renewal” and “classical” music is Later, of course, I studied with Alec much about the mistakes. Think about I enjoyed doing the gospel settings—I more desirable. Can you elaborate? Wyton who thought that I could be an the good things and move on. had fun with them. We had that at Christ Church. They assistant without falling completely to It’s great to have them, and particularly had everything—classical, Anglican; but pieces. I told him at one time that I was What are your thoughts on the status the churches where they sing these hymns. the other service—the bigger one—had scared of that place—blocks of stone! of things in the church today? To play “Sleepers Awake” is one thing, but plenty of guitars, basses, fl utes that would You know it scares you to death. There I try to keep up with what is going on. not if they don’t know the hymn. They play during the communion or special were other people who over the years There is some good writing among the DO know “Fairest Lord Jesus,” “Open occasions, offertory or something, and were kind and helpful. But those two church composers today, and I could My Eyes That I May See,” and “Standing the rest of it would be traditional. We are the main ones. name ten of them. One publisher told on the Promises,” and they can relate to used Hyfrydol or some of the tradi- me a long time ago that they had put the these old favorites. Publishers may choose tional hymns. I didn’t play for it since So a teacher isn’t always a mentor? music submissions in three piles: some of these arrangements in particular. they didn’t use organ; they had a piano These people and I were working them they certainly don’t want, and the player. It worked out very well. together—we were learning the pieces middle one could go either way. So much When you were in the Bronx, you together, writing the pieces together. I of that stuff is ok, and those tend to be had two anthems in the choir library. That parish was large enough to wrote the pieces and we would go over both boring and exciting; and so choos- On-the-job training. That’s what we accommodate different services. them. You might have done something ing music is very diffi cult. would do, and Everett Hilty was the A small parish would probably end up going one way or the other. We attended a service in a nearby city, and we expected it to be a traditional Epis- copal service and it wasn’t. It was the GOT guitars and a singer with a microphone RESULTS? NO WEB? up front. I think they had a string of eight GOT guitars, too. Flashed the words on the E-COMMERCE? screen. Some classical person might be GOT GOT A turned off, but it didn’t turn me it off. It SEO? GOT STRATEGY? ONLINE was a very devotional service, and there TRAINING? was nothing wrong with it. It was just unusual—going in expecting something and coming out having experienced something else. I tried different things when I was a GOT WEB? NEED choir director. If I had to advise anybody, HELP? it would be to try different things. One A highly functional website is your 24/7 sales force — keeping potential time we had handbells, and we were customers informed and engaged, even when your offi ce is closed for the day. going to do “Of the Father’s Love Begot- To compete in the global marketplace, a sophisticated website that is fully ten.” The handbells and singers were responsive, content rich and totally device independent not only puts you in the going to come in and play something, race — it positions you in the lead. and on the other side of the church they SEO? Search Engine Optimization ensures that your website content is ranked would come in from the other transept high enough in the search results that it is found more often. singing and playing the handbells. We At MediaPress Studios, we apply now + tomorrow solutions to “now” problems, were supposed to have been together all whether enhancing existing sites or building new device-independent websites. the time. Well, it didn’t work. Nobody Building websites for tomorrow was together. Handbells were playing, the people were singing, and there wasn’t much happening! Content Strategy Custom Coding E-Commerce SEO Training Then another time we had 40 in the www.mediapressstudios.com [email protected] choir and were going to do the Schütz Want to know more? Check us out at or e-mail . Psalm 100. We had three choirs that were echoes—one choir and two echoes. The piece is wonderful, but I did it

22 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM doing about it; and they usually have Would you change anything? very good sermons. Jeffrey Smith, the I would do it all over again. I can’t late Gerre Hancock, Marilyn Keiser, and think of anything I would want to others—always concerned with preserv- change. I would not go to staff meetings, ing good Episcopal church music. It is a if I didn’t have to. great organization. How do you see your legacy as a Tell me about your ASCAP award. church musician and as a composer? Alec Wyton asked if I wanted to be I don’t know what to say. I don’t think in ASCAP. They have a list of approved people should copy what I do specifi - pieces for each composer—I have 170 cally, because everybody has his/her own pieces approved by ASCAP. When so style—they should focus on what they many of my pieces are performed each are doing and hope that what they do year, I receive an award. They have given will be memorable or useful to their gen- me the same award for the last 20 years. eration and to following generations. You just don’t know what you have done that Your biography mentions restoring a is going to be appreciated, such as with link to St. James. my communion service. I am pleased St. James, the oldest Episcopal and fl attered, and nothing can be better church in the country, is in New Lon- than to have your music sung. Robert Powell during the 1980s Robert Powell today don, Connecticut. They asked me to I hope that people who continue after write a Magnifi cat and Nunc Dimittis me will write for real people. Craftsman- 35 years ago. As far as I know they never ship is important, but music should be wrong. I put the main choir down front some enterprising organist will want to performed it. Then about fi ve years ago easy for real people to sing, not so com- facing each other, and I put the fi rst echo make them better known in their parish. a group of people called me up there, plicated that only the collegiate choir can choir in the back, facing the congrega- I think they should be there. and they performed my music. It was sing it. tion, and I put the third echo choir in great, but it has taken them 35 years. Erik Routley commented that he the anteroom. We had loud, moderately Tell us about your involvement with It was discovered in the church base- knew that there would be other hymn- loud, and soft, but we did it anyway. organizations. ment—when they were cleaning out the books and yet hoped they will keep a lot We experimented with Richard Fel- Oh, yes. I was with the Choristers church basement, which they clean out of the traditional material. ciano’s pieces, and they went very well. Guild board for six years and that was once every 35 years! But they were kind We had gospel choirs come in and sing a wonderful thing. I was on the AGO enough to perform it, and they asked Traditional is good, and it fi lls that with us, and we did all of this wonder- certifi cation committee for four years me to write another piece for them, so criteria—to be singable by real ful community stuff. It is good fun to and that was fun, too. There were some I ended up writing the Benedictus es, people, not just choirs. try these different experiments and see wonderful people there—Joyce Shupe Domine. I set the text in English, and Congregations do not know how to what might happen. I had a brass group Kull and Kathleen Thomerson—and they said they took it to Bristol Cathe- read music that is going to jump a ninth come in to play—half downstairs and I enjoyed meeting in New York at the dral in England. They are wonderful or a seventh—not unless they are really half in the balcony and it did work. All AGO headquarters. I was involved with people out there and very good group lucky. You do want to make the congre- these experiments worked out. Doing the orchestration portion of the exam. of singers. gation happy—they DO pay the salaries. the same anthem six times a year: that’s I was on the National Council for six Yet you don’t want to go overboard and not good fun. years (Councillor for Region V), and Tell us a little about your family. dumb down to them; you want to meet Right now we’re in a situation where there were so many very good people I’m going to be a great-grandfather. them at their same level. You don’t want the congregation likes a wide variety of who conducted the examinations. We Yes, we have three kids—one of them to take something like “Open My Eyes” anthems—and sometimes you use the divided the responsibilities according to is still going to school, and he is about and make a caricature of it. That is not a junior choir. We have a choir of 12 when our areas of expertise and discussed the 50. The oldest one is married and has good thing. they are all there—no tenors, and four questions/answers. two children. She is a nurse practi- good basses, and the sopranos are great. tioner in San Diego. My wife was a This has been a huge pleasure. I For a junior choir, you take an SATB You have been involved with the nurse, and my mother was a nurse. will look forward to the next major anthem and make an SAB anthem out Association of Anglican Musicians. The granddaughter works in a hospital. birthday. of it. You have to experiment; it is good They met in Greenville last year. I You can’t be sick in our family with all That’s right. At 90 we’ll do this all over training—you have eight people here wrote them two anthems (published those nurses. Of the three children, again! Q in the choir and none of them tenors; by Selah), and I was very pleased and the youngest works for the patent what do you do? You can do all kinds excited. Some other people wrote music offi ce. They have sent him to Tokyo Steven Egler is Artist in Residence at First of things. and then there was talk about profes- fi ve times and to St. Petersburg and Congregational Church, Saginaw, Michigan, sional concerns: problems that we all . He’s had a happy career. His and Professor of Music (Organ) at Central One has to have an eye [and ear] for have, such as getting fi red without due wife works for a defense contractor, Michigan University, Mt. Pleasant, Michigan, what will work. notice—to know what the people are and they have two kids. a position that he has held since 1976. You have to compose FOR them. Same thing as playing a descant in something; for instance, everybody knows Fairest Lord Jesus and it has a descant fl oating above, just for organ—that makes you sort of a minor composer compared to a major composer.

Regarding hymnals—you worked with the 1982 book for the Episcopal Church. I thought The Hymnal 1940 was a treasure; Leo Sowerby was the general editor. The Hymnal 1982—my good friend Ray Glover was general editor—is very good. Other good infl uences upon the 1982 book were James Litton, David Hurd, and Marilyn Keiser, among oth- Seoul Sungrak Church - Korea - 2010 ers. Most of the hymns I fi nd are very fi ne, including some of the hymns by Calvin Hampton. Some of the other denominational hymnals have included more Spanish hymns in their hymnals.

What do you have to say about that in terms of the future of hymnbooks? We just don’t know what’s going to happen with the hymnbooks. It depends on how big your congregation is and if you have people from different cultures. I think there should be hymns for every- body—American hymns, Spanish hymns and Mexican hymns, Scandinavian hymns—because you never know when St. George‘s Anglican Church, Parktown - South Africa - 2012

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 23 Baroque Performance Practice Fugal Improvisation in the Baroque Era—Revisited On material from German sources1

By Maxim Serebrennikov

But the basis for all improvisation must be preparation. If I haven’t prepared, I very program of the liturgical service. can’t improvise. If I’ve made careful prepa- Beginning in the second half of the rations I can always improvise. 17th century, the role of the organist, —Ingmar Bergman, 1968 on whose shoulders rested the burden of the musical life of the church, grew The question of fugal improvisation in remarkably.6 The organ, which had at the Baroque era has been raised in the one time humbly accompanied church pages of musicology literature more than ritual, became a most important attri- once.2 It still remains topical today; yet bute of the church service—almost its in the practice of Baroque improvisation, main participant. This was especially the improvisation of fugue has rarely true in the northern regions of Germany, become an object of independent study. where the organ gained such acoustic Example 1. G. Kirchhoff, L’A.B.C. Musical, Prelude and Fugue in C Major: Fugue Besides William Renwick’s book, The strength and richness of register that it Langloz Manuscript: Fugal Improvisa- became like “a second minister,” and the tion through Figured Bass (2001), it is musical compositions that it “delivered” diffi cult to name any widely known work were self-contained “texts” addressed to that is specifi cally dedicated to the art of the congregants. Mattheson emphasized fugal improvisation in the Baroque era.3 that fugal presentation of the chorale Much valuable and interesting informa- subject on the organ helped “to arouse Example 2. Fugue answer + countersubject, and fourth statement tion about this performance practice reverence within the listeners.”7 (Kirchoff, L’A.B.C. Musical, Prelude and Fugue in B-fl at Major) of baroque musicians is scattered For musicians in the secular sphere, throughout various books and articles, fugal improvisation as a skill was not as according to our notion fugue and fi gured relevant to musical improvisation, it whose subject matter is not even directly necessary as it was for church organists, bass represent distinct types of musical would be remiss to ignore the oppor- related to improvisation. but the ability, nevertheless, was always thinking and observe a different tradi- tunity to quote Sergey Prokofi ev, in an The present article therefore aims: appreciated. In the circle of experts and tion of notation. However, the discovery interview published by the New York 1) to summarize the existing research enlightened amateurs, fugal improvisa- during the last decade of a large number Times in 1930: on partimento practice; tion on a subject proposed by someone of examples of so-called partimento Three melodies remain about the limit 2) to describe all the stages of fugal among those present could become one fugue or thoroughbass fugue shows that the average ear can grasp and follow at improvisation, beginning with the mas- of the most intriguing and entertaining that improvisation of fugue during the one time. This can be done when the melo- tery of separate elements and fi nishing elements of a musical program. Success Baroque epoch—just like the improvisa- dies are clearly sounded and contrasted in with an organization of the whole, as in such improvisation provided the per- tion of homophonic forms—actually had pitch and tone color. For a short time the recorded in German sources of the fi rst former with the established reputation of its foundation in the practice of fi gured ear may perceive and assimilate the effect 11 of four different parts, but this will not be half of the 18th century. master of the highest order (a reputation bass. The detailed study and compari- long continued, if the four parts, or melo- that could help in a further promotion). son of these examples, strengthened by dies, are of equal importance. Listening to Introduction Although fugal improvisation was a the testimony of contemporary treatises, a four or fi ve or even six-part fugue, the ear is conscious, possibly, of the presence of all Today the ability of an academically widespread practice among Baroque allow us to take another step forward on the voices, but it only perceives and follows trained musician to create “on-the-fl y” musicians, we are forced to gather infor- the path to understanding the Baroque precisely the most important of the melo- is thought of as exceptional—for the mation on its technique literally in bits technique of fugue ex tempore. dies being sounded. The other parts fi ll in, gifted only. Yet it is well known that in and pieces. As early as 1702, Andreas That the overwhelming majority of enrich the musical background and har- mony, but they become as blurred lines of the Baroque era every professional musi- Werckmeister, in his treatise Harmonolo- improvised fugues during the Baroque the picture. They are not clearly recorded cian was expected to possess this “gift.” gia musica, points out the reason: “many epoch were thoroughbass fugues can in the listener’s consciousness as separate Within the rich diversity of improvisa- musicians are secretive and reticent be explained from the point of view of melodic strands in the tonal fabric. This tional genres and forms that made up with their knowledge.”8 Possibly, musi- psychology. The texture of a “contra- being true, it behooves the composer to realize that in the polyphonic as well as in the standard set for which a Baroque cians divulged their knowledge about puntal fugue” (i.e., polyphonic texture) the structural sense he must keep within improviser was to be prepared, fugue improvisation very unwillingly because is formed by combining individualized certain bounds.14 held the greatest place of honor. they considered it a unique commodity, melodic lines, each vying for our atten- providing a constant supply of students. tion. In contrast, the texture of thorough- Such is the point of view of a professional At that time it was not just the great mu- sicians who were skilled at improvisation; Perhaps they did not wish to destroy bass fugue is predominantly two-dimen- musician who possessed extraordinary every church organist had to be able to im- the myth of the divine origin of the gift sional—that is, it can be clearly divided musical faculties. As for specialists in provise a fugue on a given theme. . . . The of improvisation. In any case, even in into the leading voice and a complex of the fi elds of psychology and physiology, ability to improvise fugue was considered a treatises that are dedicated specifi cally accompanying voices. Consequently, they have yet to come to a single opinion requirement for every serious musician to such a degree then that the lack of that skill to improvisation and fantasieren, there improvisation of a multi-part “contra- concerning the volume and capabilities could serve as reason for ridicule. . . . And, are no concrete instructions that would puntal fugue” necessitates the division of human attention. although the testing of organists did not allow us today to understand how fugue of attention into three or more channels, always include fugue improvisation, both was improvised.9 whereas performance of a multi-part Analysis Mattheson and Adlung think that no one should be taken as an organist who has not Nonetheless, some secrets of Baroque thoroughbass fugue demands division The modern theory of improvisation proved his right to such a post through the fugal improvisation have already been into just two. Experience shows that the is based on these principles: 1) “impro- improvisation of fugue.4 revealed by scholars. David Ledbetter attention of even a well-prepared musi- visation is based on memory” and “the writes about one of them: cian is capable of maintaining control improviser does not create the material, In the 18th century if you couldn’t im- over only two (a maximum of three) but builds it from prepared blocks, from provise you couldn’t call yourself a key- By the early eighteenth century, instruc- 15 board player. Worse than that, you couldn’t simultaneously proceeding streams of long-memorized musical segments”; tion in fugue in Bach’s tradition grew out of 12 get a job, since all organist auditions re- the fi gured bass, rather than contrapuntal information. As such, for objective (psy- and 2) the improviser always works from quired extemporaneous performance of a treatises, and so was approached as an im- 16 5 cho-physiological) reasons, improvisation a given model. fugue on a given subject. provised genre. The technique of this was of thoroughbass fugue is attainable for a What were the building blocks that practised by using fugato movements ex- pressed as fi gured basses, called in Italian broad mass of musicians, whereas impro- Baroque performers utilized in the Truly, the ability to improvise fugue partimento fugues.10 visation of a multi-part “contrapuntal process of fugue improvisation? In what was a necessary skill for organists, fugue” is negotiable to a rare few.13 sequence could they combine them? To because a fugal statement of musi- To the uninitiated musician such a Having touched on the issue of the answer these questions, let us turn to cal material was stipulated by the statement may seem paradoxical, since limits of human attention, which is so concrete musical material.17

24 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Playing sequences had to become an obvious “home preparations” reveal automatic skill, something that was sim- themselves in the second half of the ply “in the hands” of the performer. The fugue, which is made up of four autono- automation of playing skills allowed the mous sections resembling, in their func- improviser to free his attention consider- tion, additions in the tonic key (Example ably so as to be directed instead to solving 4). At fi rst, Simon builds a sequence on upcoming tasks. In other words, while the the harmonic formula 7–7, embellishing hands played out the episode, the mind the bass line with melodic fi guration. He could be planning out the next set of then builds a second sequence on the operations. Given this, the hands had to harmonic formula 2–6 in strict chordal be able to play for as long as was neces- texture. Further, he inserts a toccata-like sary for thinking out. For this reason, the fragment pulled from the fugue’s preced- inert nature of sequential development ing prelude, a fragment that is also in its was not a detriment to fugue played ex nature a sequence. Finally, he concludes tempore. The existing unspoken rule the piece with a decisive cadence in solid in musical practice that the number of chordal presentation (Grave). Compar- segments in a sequence (in the case of ing the “specifi c gravity” of thematic and exact repetition) should not exceed three non-thematic material in Simon’s fugue, was not observed too strictly during the the conclusion suggests itself. Essentially, fugue improvisation. Theoretically, there if the improviser were not restricted by could be any number of segments in a concrete devices of thematic work, then sequence, as it was defi ned less by artistic the entire fugue, excepting statements needs than by technical ones. In practice, within the exposition, could be designed episodes, composed of sequences made from elements prepared in advance. of four to fi ve segments, were the norm Judging by some samples of thorough- for thoroughbass fugue. bass fugue, the “stock” material could The unity of thematic material was not penetrate straight into the group of state- also a problem for thoroughbass fugue. ments, replacing separate statements or The episode could smoothly continue pulling them out. For example, in Fugue the subject, but could also introduce no. 21 (F major) from the Langlo(t)z new musical material. In any case, the Manuscript, the second strophe begins Example 3. Ph. Ch. Hartung, Musicus Theoretico-Practicus, Musical supplement: primary task of the improviser in moving not with the restatement of the subject, a) Tabl. No. XLII; b) Tabl. No. XLVI; c) Tabl. No. LXIII from one syntactic unit to another was but with non-thematic counterpoint, and to transition as naturally as possible. It only the bass part enters with the theme The overwhelming majority of Ger- to the answer (the fi rst countersubject) follows then that the greater the active (Example 5). man samples of thoroughbass fugue fol- was drawn out of this same “counter-har- memory capacity of the performer and In the D-minor Fantasy from the low strophic form in their composition.18 mony.” This is easily affi rmed by noting the more formulae he could recall and Mylau Tabulaturbuch, a straightforward In addition, organization of the musical the numeral for the harmonic intervals have “in his hands,” then the higher the “home preparation” in the form of a material inside the strophes is very between the answer and countersubject likelihood of attaining agreement of into- typical sequence 6/5–5/3 appears in the often based on the typical Baroque-era and then comparing the result to the nation between the suggested subject fi rst strophe between the fourth and fi fth structure of “head and tail,” where the author’s own fi gures for analogous multi- and episodes selected from among those statements (Example 6a). Viewed sepa- role of the “head” is played by a group part statements (Example 2).20 prepared during the process of his musi- rately, this fragment appears optional— of statements (more rarely by a single In many samples of thoroughbass cal training. The ability to competently since the other statements work success- statement) of the subject and the role of fugue, all entries of the subject are con- use these preparations from “homework fully without it (Example 6b). the “tail” by sequence based on standard centrated at the beginning of a strophe. assignments” was very likely a basic craft The energy expended by a performer harmonic formulae of thoroughbass. The Following one after another without known to the improviser. for fugue improvisation could be con- conclusion of each strophe is marked by dividing episodes, the statements form The degree to which the improviser served by using the same episode for a cadence. Such is the method used by a compact thematic group that serves as relied upon such materials prepared in various strophes. This repetition could Kirchhoff, for example, in his C-major an entire syntactic unit larger than just advance can be judged by examining, be identical, but it could also be modi- fugue from L’A.B.C. Musical (c. 1734), a single statement. The tendency toward for example, the B-fl at-major fugue fi ed by means of various textural clichés. which clearly presents three strophes an increase in the hierarchical degree of from Johann Caspar Simon’s collection For example, the second and third (Example 1): unit complexity is another specifi c qual- Leichte Præludia und Fugen (1746). Of episodes of the anonymous G-major Strophe 1 includes fi ve statements of ity of improvisatory technique. The com- its total 37 bars, 20.5 bars (i.e., more than Prelude (which is in fugue form) from the subject (bars 1–9), a 2–6 sequence bination of smaller syntactic units into half) are based on material connected the Mylau Tabulaturbuch are based (bars 9–11), and a 7–6 cadence (bar 12); larger ones helps to expand the general neither with the fugue subject, nor on a single harmonic formula, the 7–7 Strophe 2 includes two statements of volume of information accessible within with its countersubject. The especially progression, though the shapes of their the subject in the upper part in immedi- short-term memory.21 ate succession (bars 12–15), a statement The similarity among the strophes of in the bass (bars 16–17) and the 2–6 thoroughbass fugue is also increased by sequence already used in strophe I (bars the uniformity of the order of entries. 18–20), and a 7–6 cadence (bars 20–21); In all strophes, a descending order of A Precious Gift Strophe 3 contains a statement of the entries of the parts predominates as subject in the bass (bars 21–22), a 2–6 the most convenient and intrinsic with sequence that shifts to 7–7 (bars 22–25), respect to technical considerations and from the Past and the more explicit 5–6/4–5/3 cadence notation of thoroughbass.22 (bars 25–26). The next syntactic unit of the strophe, for the Present The structural similarity among the following the group of statements, is the strophes is evidence of the improvisa- episode. This section of the fugue was tory nature of thoroughbass fugue, the the most comfortable for the improviser, and the Future result of work that uses a single model. It since here he could use patterns that Supremely beautiful and blendable was specifi cally the strophe that served he had learned. Judging from extant as the universal compositional unit, by samples of thoroughbass fugue, episodes tonal color – a Gift from the Venetian which through duplication the impro- most often consisted of sequential rep- School of organbuilding, a monumental part of our viser assembled his fugue. The number etition of one, more rarely two, harmonic JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH of strophes was varied, according to how formulae stereotypical to thoroughbass. SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN long the improvisation should last. The This observation is supported by the structure of the strophe, though, did not theoretical works of that time. As such, vary. In this way the improviser’s task to attain success in the improvisation of Intriguing? Let us build your dream. was to quickly and neatly fi ll out this fugue, Philipp Christoph Hartung, in preassembled structure with concrete Musicus Theoretico-Practicus (1749), musical material. recommends learning entire musical Obviously, the improvisation of a fugue progressions, which one should be able had as its starting point the harmoniza- to freely and confi dently play from mem- tion of the chosen or suggested subject. A ory, and not just read from sheet-music.23 harmony, as a rule, was kept for all multi- Many of the fragments he suggests are part statements of the subject, becom- nothing more than textural elaborations ing, might we say, a retained “counter- of standard thoroughbass sequences. Builders of Fine Pipe Organs to the World harmony” (Gegenharmonie).19 Changes The thoroughbass nature of Hartung’s to the harmonization were made only in sequences appears especially clear if we www.ruffatti.com cases where a tonal answer was neces- extract their harmonic scheme and sup- Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 sary. Frequently, even the counterpoint ply it by fi gures (Example 3).

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 25 Baroque Performance Practice texture are distinct. In the fi rst case, the lower voice is diminished; in the second, the pair of upper voices (in regular imi- tative counterpoint). Incidentally, this prelude demonstrates direct application of Hartung’s aforementioned recommen- dations: the prelude’s second episode (Example 7a) differs from his sequence shown in Example 3a only by key. The existence of a single stockpile of thoroughbass harmonic formulae inevi- tably led to the appearance of universal sequences that traverse the pages of thor- oughbass literature from one composition to the next, regardless of authorship. Comparison of the episode sections of numerous thoroughbass fugues makes clear that of the great variety of harmonic formulae offered in contemporary thor- oughbass treatises and manuals, a pre- cious few sequential patterns predomi- nate: 7–7, 6/5–5, 6–6, 4/2–6. The manner of sequential motion also deserves special comment. In many sam- ples of thoroughbass fugue, the episodes are based on diatonic sequences that descend stepwise down the scale. On one hand, descending motion step-by-step possesses a certain inertness, which under the conditions of improvisation (i.e., men- tal and psychological tension and temporal defi cit) just plays into performer’s hands. On the other hand, diatonic motion step- by-step provides the sequence freedom in the selection of the target tonality. In reality, the great tonal mobility is hidden in diatonic sequence; a trajectory of such a sequence could be easily and organically turned at any moment into one of closely related keys. Here is a small experiment: Example 4. J. C. Simon, Leichte Præludia und Fugen, Prelude and Fugue in B-fl at Major : Fugue, a) bars 1–4, b) bars 23–37 the test of the key possibilities of a 2–6 sequence from the second strophe of the C-major fugue from Kirchhoff’s L’A.B.C. Musical (Example 8). As these examples demonstrate, it is possible to conclude the sequence in any closely related key without apply- ing much effort. Understandably, the target key will infl uence the length of the Example 5. Langlo(t)z Manuscript, Fugue No. 21 in F Major, bars 11–14 sequence. Here it is very important not to lose a sense of balance and good mea- sure. Although the versions represented in Examples 8e and 8f are technically no different than the remaining ones, these two are much less suited to actual artistic use due to their extended monotony. Should Kirchhoff have needed, in the process of improvisation, to expand the fugue by adding another strophe, he likely would have followed version c) or d) in place of the cadence on the C-major tonic.24 Once the fugue’s continuation took a concrete shape in the mind of the impro- viser, he could stop the potentially endless development of a sequence via the most convenient cadential formula. The play- ing of cadences (as well as sequences) in any key of the instrument—literally, with closed eyes—was also a necessary skill for every professional keyboardist of the Baroque era. In the opinion of many 18th- century musicians, cadential formulae are the basis, the foundation of thoroughbass; it is specifi cally this skill that forms the starting point for practical study of the trade. The number and types of cadential Example 6. Mylau Tabulaturbuch, No. 35, Fantasia in D Minor formulae varies with each source. The Precepts and Principals (1738) attributed aroused the feeling of monotony, which, only playing the naked chord, as if it were a of the theme. There is no order, and the to Johann Sebastian Bach, for example, naturally, stirred up criticism from con- thoroughbass.30 number of voices one can only surmise count seventeen patterns among the most temporaries. Mattheson, who regularly at the end, when as, per forma, it ought frequently used (Example 9). attended testing of organists, wrote: Here are the impressions produced to be clear directly after the fi rst exposi- tion of the theme through different voices Immediately following the cadence, on Marpurg by a certain organist who of the fugue. The theme is will never be occasionally commencing upon its fi nal One should restrict oneself even less to attempted to play fugue ex tempore: wisely advised in the middle voices. You the practice of some organists, who fi rst tones, the new strophe begins and all quite respectably, without the slightest em- only ever hear it above or below—as one events of the described process are bellishment, perform the theme four times Someone often has the good intention hand accompanies another as in an aria. repeated. The similarity of the strophes through on the entire keyboard in nothing to make it better. But what does he do? One never hears the theme as comfortable, imparts to the unfolding of the fugue’s but consonances and pastoral thirds; then He slams out the fi gured bass, and this is nor at the appropriate time, expressively begin again just as circumspectly with the terrible to hear. There are no suspensions and sensitively for the mind and the ear form a character of repeated exposi- consequent from its beginning; always pro- which make the harmony pleasant, fl uent in a sustained and affecting way. It is but a tions. The formal approach to realiza- ducing the same tune; interposing nothing and coherent. It is a jolting harmony. One senseless din and tumult—not to mention tion of the strophic scheme inevitably imitative or syncopating; but constantly hears no stretto, no motivic development the discord within the harmony.31

26 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Example 7. Mylau Tabulaturbuch, No. 123, Prelude in G Major

progressions and cadences, but the development of a defi nite set of concrete approaches to working with the most common types of subjects. Describing the demands placed on candidates for the vacancy of organist at the Hamburg cathedral, Mattheson noted: I don’t consider it art to concern people [organists] with unknown themes; rather, it is better to take something well-known and fl owing in order to work it out even better. That is what matters, and the listener will like it better than some chromatic piddling about.26 If one allows for the possibility that Mattheson was not alone in this opinion, then the chances of being tested on a subject built of familiar melodic patterns, or even on a known subject, were not so small, and thus the entire improvisation could come down to a combination of prepared materials. Let us recall, for example, the subject that King Frederick the Great suggested to J. S. Bach for an improvised fugue in Potsdam (Example 10). It is not known with certainty whether Frederick him- self composed this subject or borrowed it, but judging by its melodic profi le, the monarch had chosen to demonstrate to Bach his knowledge in the “learned style” (gelehrter Stil).27 It must be noted that the subject contains four thematic elements, and all of them are conven- tional within Baroque style: a) move- ment in the tonic triad, b) a jump of a seventh (saltus duriusculus), c) descend- ing chromatic movement (passus duriusculus), and d) melodic cadence. Any Baroque musician would certainly Example 8. G. Kirchhoff, L’A.B.C. Musical, Prelude and Fugue in C Major: Fugue. 4A?RRCPCBJC?TCQDPMKMSP4AP?N@MMI

Example 9. J. S. Bach, Precepts and Principals, the most-used fi nal cadences

The picture described by Matthe- (i.e., a skipping of two or more register son and Marpurg was characteristic of pitches where the subject can enter), and improvisations by mediocre organists. the use of stretto in the fi nal strophe. The more talented and gifted performers Although the opinion does exist that avoided precise repetition of strophes “the part of the fugue related to state- and brought to each new strophe a cer- ments of the subject was created dur- tain degree of newness, to which extant ing improvisation,”25 there is reason to samples of thoroughbass fugue elo- suggest that even during these sections quently testify. In addition to the afore- the performer could sometimes refer to Schoenstein & Co. mentioned tonal reinvention of strophes, prepared material. Judging from extant one can quite often fi nd such methods of samples of thoroughbass fugue, the refashioning as introducing a new coun- study of fugal improvisation included e terpoint to the subject, “register leap” not just the regular practice of sequential

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 27 Baroque Performance Practice know these melodic patterns, along with exercises for mastering the harmonic the methods of their elaboration within formulae most common to thorough- a fugue. The elements listed here are bass. Surprisingly, all these exercises Example 10. J. S. Bach, Musical Offering, BWV 1079: Ricercar a 3, bars 1–9 well represented both in didactic and are precisely identical in form—all are artistic samples of thoroughbass fugues, strophic (Example 12). and what is especially important is that The outer strophes are in the tonic, their musical realization (counterpoint, while the central ones are in the closely harmonization) often coincides. related keys (in dominant and parallel). Depending on the conditions of It is not diffi cult to imagine how many improvisation, “home preparations” distinct fi guration preludes could be could have various degrees of concreti- created on the basis of only one model, zation. In those cases where a fugue was varying merely harmonic content and improvised on the occasion of a public textural formulae.32 If one involves meth- challenge or competitive auditions, the ods of structural transformation (exten- performer had to hold his prepared mate- sion or compression of strophe), then the rials in his memory. In everyday practice, number of variants is multiplied. however, it was acceptable to use the Examples of such preludes can be preparations written out on paper. We found among the sources discussed in fi nd examples of such preparations in this article. Thus, in analyzing some a Daniel Magnus Gronau manuscript, pieces from the Langlo(t)z Manuscript which is held today in the Library of Pol- or Kirchhoff’s L’A.B.C. Musical, one gets ish Academy of the Sciences (Gdansk) as the impression that the authors had the MS. Akc. 4125.28 This manuscript con- structure of Bach’s exercises specifi cally tains 517 (!) sets of preparatory sketches in mind while they composed, so strong for fugue improvisation in all twenty- are the similarities. The C-minor Pre- four keys. Each set holds three thematic lude from the Langlo(t)z Manuscript, for records, written one below the next on example, differs from Bach’s exercises individual staves (Example 11). On the due only to one additional strophe and upper staff in soprano clef, the subject short melodic links between the strophes with fi gures is written out, and the begin- (Example 13). The F-major Prelude ning of the answer with countersubject is from Kirchhoff’s L’A.B.C. Musical also Example 11. D. M. Gronau, MS Akc. 4125, No. 1: Allegro, a) original, b) modern outlined in small notes.29 On the second contains an additional strophe, but the transcription staff in bass clef, the counterpoint to the development within the third and fourth C. Taylor; introduction and explanatory notes nauchno-prakticheskoy konferencii (Moscow: subject with fi gures is recorded. On the strophes is dynamicized thanks to struc- by Pamela L. Poulin (Oxford: Clarendon Prest. 1999), pp. 117–128. third staff, also in bass clef, the answer tural transformations: the sequential Press, 1989), pp. 48–49. 7. Johann Mattheson, Grundlage einer Eh- with fi gures is fi xed. In this way, every set development is truncated in the third, “Pral: Kirchhoff” (Staatsbibliothek zu ren-Pforte (Hamburg, 1740), S. XXXIII, § 48. encompasses all necessary material for and the “head” motive is withdrawn in Berlin—Preussischer Kulturbesitz, Musik- Based on the study of ecclesiastical protocols, planning any statement of the subject, abteilung, Mus. ms. 11605), published in Reinhard Schäfertöns concluded that the free the fourth (Example 14). Kirchhoff, Gottfried, Prelude and fugue for prelude and the organ chorale prelude and whether alone or with multiple voices, The list of works of an improvisatory organ from the manuscript Mus. ms. 11605: fugue were central points of organ playing at whether in the tonic or in the dominant. character that have strophic form with fi rst edition, edited and with a preface and the time of worship (Reinhard Schäfertöns, Thanks to such preparations, the variations of its solutions can be further commentaries by Maxim Serebrennikov (St. “Die Organistenprobe— Ein Beitrag zur Ge- process of fugue improvisation is con- Petersburg: Polytechnical University Publish- schichte der Orgelmusik im 17. und 18. Jah- extended, but this would be a topic for a ing House, 2009), 16 p. rhundert,” in Die Musikforschung, 1996, 49, siderably simplifi ed, since the need to separate article. Q Simon, Johann Caspar. Leichte Praeludia Jg. Hf. 2, S. 143). search for a harmonization of the sub- und Fugen durch die Tone: C. D. E. F. G. A. 8. “Denn viel Musici sind heimlich ject, a counterpoint to it, and a suitable The list of German sources, containing B. dur (Augsburg [1746]), 14 S. und rahr mit ihren Wissenschaften,” An- samples of thoroughbass fugue Simon, Johann Caspar. Leichte und dreas Werckmeister, Harmonologia musica answer is taken care of. Essentially, the wohlklingende Praeludia und Fugen durch performer must only care for the episode “39. PRAELUDIA et FUGEN del Signor (Franckfurth und Leipzig, 1702), S. 95. Johann Sebastian Bach” (Staatsbibliothek zu die Tone: C. D. E. F. G. A. H. moll (Augsburg 9. In Part I of his Musicalische Handlei- material, and the fugue, necessary for Berlin—Preussischer Kulturbesitz, Musikab- [1747]), 14 S. tung (1700), F. E. Niedt promises to give a the church service, is ready. teilung; shelf mark: Mus. ms. Bach P 296). Simon, Johann Caspar. Musicalisches A. “proper instruction on how Fugues are to be B. C. in kleinen und leichten Fugetten (Augs- improvised” in the next parts (Cap. X). Unfor- In summary, the improvisation of Published in The Langloz Manuscript: Fugal burg, 1749), 24 S. Improvisation through Figured Bass, With tunately, his death prevented him from fulfi ll- fugue during the Baroque epoch was not “TABULATUR Buch 1750” (Mylau, Archiv ing his intention. Introductionary Essay and Performance der Evangelisch-lutherischen Kirchgemeinde; necessarily the spontaneous nor extem- Notes by William Renwick. (New York: 2001), 10. David Ledbetter, Bach’s Well-tempered poraneous fruit of inspired fancy. Much shelf mark: MS H 3a). Transcribed in Shan- Clavier: The 48 Preludes and Fugues (New pp. 35–187. non, John R., The Mylauer Tabulaturbuch: a more often it was soundly prepared and “Des König[lichen] Hoff-Compositeurs Haven and London: Yale University Press, Study of the Preludial and Fugal Forms in the 2002), p. 99. planned on all levels: from the syntactic und Capellmeisters ingleichen Directoris Hands of Bach’s Middle-German Precursors. Musices wie auch der Thomas- 11. For more details about the difference to the compositional. Even before the Ph.D., Music, University of North Carolina at between the terms partimento fugue and Schule Herrn Johann Sebastian Bach zu Chapel Hill, 1961. Vol. 2, iii, 184 p. start of improvisation, the performer Leipzig Vorschriften und Grundsätze zum thoroughbass fugue, see Maxim Serebren- could clearly imagine the compositional vierstimmigen spielen des General-Bass oder Notes nikov, “From Partimento Fugue to Thorough- structure that he must fi ll out using his Accompagnement. für seine Scholaren in 1. I wish to express my deep gratitude to bass Fugue: New Perspectives,” in BACH: Journal of the Riemenschneider Bach Insti- musical material, the bulk of which could der Music. 1738” (Brussels: Bibliothèque du Prof. David Ledbetter (Royal Northern Col- Conservatoire royal; shelf mark: mr. FRW lege of Music), who read the fi nal draft of this tute, vol. XL, no. 2 (2009), pp. 22–44. be prepared during “home” practice. 27.244). Published in J. S. Bach’s Precepts article and kindly provided me with helpful 12. It is also important to realize that there One of the most widespread composi- and Principles for Playing the Thorough-Bass comments and constructive suggestions. is a notable difference between the resourc- tional models was strophic form, where or Accompanying in Four Parts, Leipzig, 2. The topic has been actively discussed es demanded for perception of information as opposed to its creation (which is precisely the structure of each strophe had identi- 1738, translation with facsimile, introduction, especially in the last two decades in con- and explanatory notes by Pamela L. Poulin. nection with awakened interest in the Ital- what improvisation requires). The latter cal organization and included three syn- (Oxford, 1994), pp. 41–45. ian improvisational practice of partimento, takes much more energy, and therefore, tactic units: the group of statements, the Händel, Georg Friedrich. Aufzeichnun- which spread throughout Europe in the 18th resources for attention are more quickly ex- sequential unfolding, and the cadence. gen zur Kompositionslehre: aus den Hand- century. Currently the study of partimento pended. As a result, the entire improvisation schriften im Fitzwilliam Museum Cambridge is gaining incredible momentum. The most 13. One musician alive today who pos- (Composition Lessons: from the Autograph comprehensive study of this fi eld at the mo- sesses a phenomenal gift for improvising could be boiled down to fi nding the Collection in the Fitzwilliam Museum Cam- ment is Giorgio Sanguinetti’s book The Art in any style and genre is Richard Grayson. right harmonization for the given subject bridge), Hrsg. von Alfred Mann. Leipzig: of Partimento: History, Theory, and Practice Some of his improvisations (including fugue) and thinking up a tonal structure for the Veb Deutscher Verlag für Musik, 1978. S. (New York: Oxford University Press, 2012). on a subject proposed by an audience can be strophes; all the rest—textural formulae, 53–70 (Hallische Händel-Ausgabe: Kritische 3. Although Renwick’s book contains a spe- viewed on YouTube. Gesamtausgabe. Suppl. Bd. 1). Republished cial subheading, Fugal Improvisation through 14. From an interview with Olin Downes, cadences, sequences—the performer in Continuo Playing According to Handel: His Figured Bass, he does not treat the actual in New York Times, February 2, 1930, Arts & took from his memory practically in Figured Bass Exercises, With a Commentary process of improvisation. His work is not a Leisure, p. 112. ready form. by David Ledbetter (Oxford: Clarendon theoretical study about fugal improvisation, 15. Mikhail Saponov, Iskusstvo improvizat- Press, 1990), pp. 44–61. but an anthology of authentic musical samples sii: Improvizatsionnye vidy tvorchestva v Heinichen, Johann David. Der General- for practical mastery of this skill. In fairness, zapadnoevropejskoj muzyke srednikh vekov i Postscript Bass in der Composition. Dresden, 1728, S. the article “On the fugue improvisation” by Vozrozhdeniya (Moscow, 1982), p. 57 [in Rus- It stands to reason that the strophic 516–520. the Russian musicologist Sergey Maltsev also sian]. Similar statements can be found also in form described in this article was not Kellner, Johann Christoph. Grundriss des should be mentioned: Sergey Maltsev, “Ob Maltsev, “Ob improvizacii i improvizacionnos- the only compositional model used for Generalbasses. Op. XVI. Erster Theil. Cassel, improvizacii i improvizacionnosti fugi,” in Teo- ti fugi,” p. 6; David Schulenberg, “Composi- [1783], S. 41–45. riya fugi: sbornik nauchnish trudov, otv. red. tion and Improvisation in the School of J. fugal improvisation during the Baroque. Kirchhoff, Gottfried. L’A.B.C. Musical A.P. Milka (Leningrad: Izd-vo LOLGR, 1986), S. Bach,” in Bach Perspectives I, 1995, p. 5; The discovery of this model, though, (Amsterdam [c. 1734]), 34 S. Republished as pp. 59–60. Unfortunately, this work containing William Renwick, Analyzing Fugue: A Schen- in other improvisatory genres of the Kirchhoff, Gottfried, L’A.B.C. Musical, Hrsg., many valuable observations about the process kerian Approach (Stuyvesant, NY: Pendragon Baroque era gives reason to consider kommentiert und Generalbaß realiziert von of fugal improvisation, because of a language Press, 1995), p. 17; Pamela Ruiter-Feenstra, Anatoly Milka (St. Petersburg: Musikverlag barrier, did not gain wide circulation. “J. S. Bach and Improvisation Pedagogy: Ex- it as universal within the improvisation “Compozitor,” 2004), XXVIII, 104 S. 4. Maltsev, “Ob improvizacii i im- temporaneous Composition,” in Keyboard practice of that time. Niedt, Friedrich Erhardt. Musicalische provizacionnosti fugi,” pp. 59–60. Perspectives II (2009), ed. by Annette Rich- There is reliable evidence that the Handleitung. Erster Theil. Handelt vom Gen- 5. David Yearsley, “Spontaneous fugue,” in ards, p. 43; Michael Richard Callahan, Tech- strophic form was purposefully worked eral-Bass, denselben schlecht weg zu spielen Early Music, 2001, Vol. XXIX (3), p. 452. niques of Keyboard Improvisation in the (Hamburg, 1700), Cap. X. Republished as 6. See Marina Nasonova, “Prakticheskaya German Baroque and their Implications for out in the process of musical training. Niedt, Friedrich Erhardt, The Musical Guide, deyatelnost severonemetskogo organista Today’s Pedagogy (Ph.D. dissertation, Uni- For example, Precepts and Principles Parts 1 (1700/10), 2 (1721), and 3 (1717), XVII veka,” in Starinnaya muzyka: praktika, versity of Rochester, Eastman School of Mu- contains a set of fourteen keyboard translated by Pamela L. Poulin and Irmgard aranzhirovka, rekonstrukciya: Materialy sic, 2010), p. 10.

28 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Department

auswendig auf das fertigste und deutlichste gelernt werden,” in Philipp Christoph Har- tung, Musicus Theoretico-Practicus, Zweyter Theil (Nuremberg, 1749), S. 12, § 42). 24. Sometimes the tasks that were given to organists for the purpose of testing were lim- ited by a time-frame. For example, the testing of organists for the post at the Hamburg Ca- thedral (24 October 1725) included the pre- sentation of an entire fugue “created for four minutes,” a prelude of “about two minutes,” a chaconne of “about six minutes,” etc. See Jo- hann Mattheson, Grosse General-Baß-Schule (Hamburg, 1731), S. 33. It is very diffi cult to improvise a piece with continuous devel- opment and at the same time fi t everything within a given time-frame. It is much easier to fi ll the established time limits with standard- size strophes, adding a necessary number. 25. Anatoliy Milka, Muzikalnoye prinosh- eniye I. S. Basha: k rekonstrukzii I interpre- tazii (Moscow, 1999), p. 151 [in Russian]. 26. “Denn mit fremden Sätzen die Leute zu scheeren, halte ich für keine Kunst; lieber was Example 12. J. S. Bach, Precepts and Principles: a) Exercise 7, b) Exercise 13 bekanntes und fl iessendes genommen, damit es desto besser bearbeitet werden möge. Da- rauf kommt es an, und es gefällt dem Zuhörer besser, als ein chromatisches Gezerre” in Mattheson, Grosse General-Baß-Schule, S. 34–35. 27. For more details on the authorship of Thema Regium see Milka, Muzikalnoye pri- nosheniye I. S. Basha, pp. 153–167. 28. For more details about the manuscript MS. Akc. 4125 see Andrzej Szadejko, “Daniel Magnus Gronau (1700–1747)—didaktische Aspekte in Orgelwerken am Beispiel der Sig- natur MS. Akc. 4125 aus der Danziger Bib- liothek der Polnischen Akademie der Wissen- schaften,” in Musica Baltica (Gdansk, 2010), S. 351–361. It is interesting that Szadejko views the given source solely from a didactic perspective: as exercises in counterpoint. In my opinion, considering its intended purpose, MS. Akc. 4125 has more in common with such collections as the Langlo(t)z Manuscript and the Mylau Tabulaturbuch; it is also an anthol- ogy containing musical material necessary for the church organist’s everyday activity. 29. Indeed, the written-out fi gures concern themselves not with the single-part statement at the beginning of a fugue, but to the latter Example 13. Langlo(t)z Manuscript, Prelude and Fugue No. 45 in C Minor: Prelude (multi-part) statements. 30. “Vielweniger darff man sich an den Ge- brauch einiger Organisten binden, die das Thema erst, ohne die geringste Verblümung, fein ehrbar und viermahl durchs gantze Cla- vier in lauter Consonantzien und Lämmer- Tertzien hören lassen; hernach wieder mit dem Gefährten eben so bescheidentlich von oben anfangen; immer einerley Leier treiben; nichts nachahmendes oder rückendes daz- wischen bringen; sondern nur stets den blos- sen Accord, als ob es ein General-Baß wäre, dazu greiffen” in Johann Mattheson, Der Vollkommene Capellmeister (Hamburg, 1739), S. 388, § 97. 31. “Ein anderer hat öfters den guten Wil- len, es besser zu machen. Aber was thun er? Er dreschet den Generalbaß, und dieses ist sehr erbaulich anzuhören. Da sind keine Bindungen, die die Harmonie angenehm, fl iessend und zusammenhängend machen. Es ist eine holperichte Harmonie. Da höret man keine enge Nachahmung, keine Zerglieder- ung des Satzes. Da ist keine Ordnung, und die Anzahl der Stimmen erfähret man zur Noth am Ende, da man solche gleich nach der er- sten Durchführung des Satzes durch die ver- schiedenen Stimmen hätte empfi nden sollen. Dieser Satz wird niemahls in den Mittelstim- men klüglich angebracht. Man höret ihn nur immer oben oder unten wozu beständig die eine Hand die andere, so wie eine Arie, ac- compagnirt. Man hört das Thema niemahls bequem und zur rechten Zeit auf eine den Verstand und das Ohr nachdrücklich rüh- Example 14. G. Kirchhoff, L’A.B.C. Musical, Prelude and Fugue in F Major: Prelude rende Art eintreten. Es ist ein hanbüchenes Gelärme und Gepolter; der unharmonischen 16. “The improviser, let us hypothesize, al- appeared in Abhandlung von der Fuge by activity of this mechanism: “For example, Gänge nicht zu gedenken” in Marpurg, Ab- ways has something given to work from—cer- Friedrich Wilhelm Marpurg, where it is given short-term memory can retain around seven handlung von der Fuge, Theil II (Berlin, tain things that are at the base of the perfor- the following defi nition: “Counterharmony. different letters (perhaps, X, J, D, B, G, U, 1754), S. XXIII–XXIV). mance, that he uses as the ground on which Thus is named the material in the remaining S), but the number of letters drastically in- 32. About the use of ars combinatoria he builds. We may call it his model.” Bruno parts which is set against the subject.” (“Die creases if we try to remember seven words, techniques in the 18th-century, see Leonard Nettl, “Thoughts on Improvisation: A Com- Gegenharmonie. So heißt diejenige Kompo- and will increase even more drastically if we G. Ratner, “Ars Combinatoria: Chance and parative Approach,” in The Musical Quar- sition, die dem Fugensatze in den übrigen try to remember seven sentences.” (Maltsev, Choice in Eighteenth-Century music,” in terly, 1974, Vol. LX, No. 1, p. 11. Stimmen entgegengesetzt wird.”) Friedrich “Ob improvizacii,” p. 69.) As Michael Calla- Studies in Eighteenth-Century Music: A Trib- 17. A list of German sources, containing Wilhelm Marpurg, Abhandlung von der Fuge han emphasizes: “Experts recognize relevant ute to Karl Geiringer on his Seventieth Birth- samples of thoroughbass fugue, appears at the (Berlin, 1753), S. 18. patterns, and therefore perceive stimuli in day, ed. by H. C. Robbins Landon and Roger end of the article. 20. Since all standard harmonic structures larger and more meaningful units than nov- E. Chapman (New York: Da Capo Press), pp. 18. The strophic form of the thoroughbass in thoroughbass are noted in shorthand, we ices do; expert improvisers notice patterns in 343–363. fugue has roots in the verset fugues tradi- have added to the original fi guring (where music and conceive of musical units in large tion and to the sectional structure of motets necessary) those signatures within brackets, spans (e.g., entire voice-leading structures Maxim Serebrennikov is a lecturer in music and ricercar. What we say about strophes of which were implied by default. and phrases, rather than individual notes).” theory at the Rimsky-Korsakov College of thoroughbass fugue is closely related to Joel 21. By way of numerous experiments, it has (Callahan, Techniques of Keyboard Improvi- Music (St. Petersburg) and a head of the Rare Lester’s “parallel sections” and David Ledbet- been shown that the capacity of short-term sation, p. 22.) Book Department at the St. Petersburg Con- ter’s “series of expositions.” See Joel Lester, (active) memory, without which the process of 22. We remind the reader that the harmonic “Heightening levels of activity in J. S. Bach’s improvisation is simply impossible, is limited vertical in thoroughbass is constructed up- servatory of Music Library. His research inter- parallel-section constructions,” in Journal of to 7 ± 2 units of information (the so-called wards from a given note, therefore the part ests concern keyboard and organ music of 17th the American Musicological Society, Vol. 54, Miller’s number). This can be increased only entering with the subject must always be the and 18th centuries. He is currently preparing No. 1 (Spring 2001), p. 49–96; and Ledbetter, by uniting disparate elements into groups. lowest one. a Ph.D. thesis on the keyboard thoroughbass Bach’s Well-tempered Clavier, p. 100. We refer to a very illustrative example from 23. “Alle in bissherigen Numern mues- fugue of the Baroque era. 19. The term “Gegenharmonie” fi rst Maltsev’s article in order to demonstrate the sen nicht nur vom Papier, sondern auch

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 29 Cover feature

Goulding & Wood Organ Builders, Inc., Indianapolis, Indiana Opus 50 The Episcopal Church of the Good Shepherd, Lexington, Kentucky

From the organbuilder “Worship the LORD in the beauty of holiness” could well serve as the motto for the organ project at the Episcopal Church of the Good Shepherd in Lex- ington, Kentucky. The Gothic revival building holds a wealth of architectural and design detail, culminating in an extravagance of carved furnishings in the chancel. Wainscot paneling in the sanctuary depicts scenes from the life of Christ, and the reredos displays a large tableau of the Last Supper. Liturgical worship in the parish matches the opulence of the setting, with an unusually well-developed choral program encompassing all ages. Over the past twelve years, organist and choir- master John Linker has built a music department known throughout the area for excellence. The Good Shepherd choirs have held residencies in English cathedrals and this summer made their fi rst concert tour of continental Europe. Throughout this period of musical Antiphonal case with Festival Trumpet expansion, the congregation has been served by a 1970s neo-Baroque organ of volume. A new chamber was created by a strong desire among the committee. allowing the upper lips of mouths to rise. modest resources. Although the instru- renovating a second-story storage room, Thanks to the effi cacy of the fund-raising This imparts a tone with generous funda- ment was a fi ne example of its aesthetic allowing organ on both sides of the chan- campaign and the generosity of the mental development. With diapason cho- approach and served the parish well for cel for the fi rst time. The existing cham- Miller and Wrigley families, the com- rus stops, this yields 8′ and 4′ stops with forty years, the organ was inadequate for ber, formerly housing the Swell, now mittee was able to avoid any limitations. compelling and distinctive personalities. the scope of the music program as it has holds the Choir in intimate proximity Twin cases frame the majestic western Higher-pitched stops and mixtures step evolved. It contained only one manual to the voices it accompanies. The Swell lancet window, and the polished display back in scaling and broaden in mouth reed and no celeste rank. In short, the resides within the new chamber, high in pipes refl ect the colorful light from the width to permit more upper partial organ struggled to keep up with the the chancel where its robust voice can stained glass. The polished brass Festival development. Volume and speech are demands of accompanying Anglican speak freely into the room. The Great Trumpet completes the visual effect with reserved in these stops, preventing them chant psalmody and the choral music of is divided in twin cantilevered cases fac- a regal touch. from dominating the texture. The result Stanford and Howells. ing each other, with the plenum stops Any student of organ design will rec- is a chorus with sheen but whose power Conversation about replacing the on the cantoris side and color stops on ognize the predictable nature of stop lists comes from the fundamental. organ began nearly a decade ago, yet the decani. Maximizing the versatility of from instrument to instrument across The reed stops of the organ traverse while the need was never in dispute, this arrangement, the two halves of the styles of organ building. The distinctive a wide spectrum of musical effect. The external forces seemed to derail the Great can be silenced through individual quality of tonal design lies in the careful Great Trumpet has lead resonators of discussion at every turn. Building on the Unison Off controls and coupled to the specifi cation of scales, mouth widths, generous scale and shallots with sharply foundation laid by Fr. Robert Sessum, fourth manual separately. This allows, and voicing techniques. All of these tapered openings. These combine for a interim rector Fr. Ron Pogue seized the for instance, the Great principal cornet details are meticulously overseen by sound rich and heavy, blending into the opportunity during the time of transi- to dialogue with the Great Trumpet. our head voicer, Brandon Woods, who principal chorus seamlessly. The Swell tion in leadership to force the issue. Early on, the committee determined works with each stop through design reed chorus features parallel openings The committee moved quickly under that having a division in the back of the to fi nal regulation in the room. In this on the shallots for a full-throated bril- the focused leadership of chair Joseph room would be a top priority. For all he is ably assisted by David Sims, who liance that pours from its chamber. The Jones, and a contract was signed after a the storied choir-centric nature of the contributes to each step of the process. Choir’s Clarinet is gentle and voluptuous brief fl urry of activity. Anglican tradition, worship in America This instrument features a weight in tone in the style of E. M. Skinner stops. The The organ is thus designed primarily as resoundingly seeks to involve the and variety in color consistent with the instrument is crowned by two solo reeds, a handmaiden for musical liturgy in the assembly in song. With the acoustically demands of accompanying voices in a the Choir Tuba and the Antiphonal Fes- Anglican tradition as it has been received compromising arrangement of chancel sensitive, supportive manner. Each divi- tival Trumpet. The Tuba is a typical high- by the American church. The instru- chambers off the central axis of the sion includes an 8′ principal stop, each of pressure reed, in the style of Willis, with ment’s resources are uniquely tailored room, an Antiphonal organ on the back varying volume and personality. The ple- a broad, enveloping tone. The Festival to the setting it serves in every regard. wall would help unify music-making num choruses complement each other in Trumpet is commanding, speaking from Recognizing the value of a wide tonal throughout the church. Whenever the combination as well as stand individually its dramatic position, yet mild enough to palette, the chancel instrument is double issue of funding was raised, the Antipho- with integrity. As with many of our recent use (sparingly) in chords. the size of the previous organ, gaining nal division was widely recognized as the instruments, mouth widths below 1′ C on Celeste ranks are of particular note in variety in tone rather than increase in most palatable sacrifi ce, yet it remained principal pipes are kept fairly narrow, this organ. In addition to the ubiquitous

Goulding & Wood Organ Builders, Inc., Opus 50

GREAT (II) SWELL (III) CHOIR (I) ANTIPHONAL (IV) 16′ Gedeckt (from Swell)* 16′ Gedeckt (wood) 8′ Open Diapason 8′ Open Diapason 8′ Open Diapason* 8′ Violin Diapason 8′ Chimney Flute 8′ Diapason Celeste (from Tenor C) 8′ Gamba† 8′ Gedeckt (extension of 16′) 8′ Dulciana 8′ Stopped Diapason 8′ Harmonic Flute (1–12 common 8′ Viole de gambe 8′ Unda maris (from Tenor C) 4′ Octave with Bourdon)† 8′ Voix celeste (from Low G) 4′ Principal 4′ Spire Flute 8′ Bourdon (metal)† 4′ Principal 4′ Spindle Flute 2′ Fifteenth 2 1 4′ Octave* 4′ Traverse Flute 2⁄3′ Nazard 1⁄3′ Mixture II–III 4′ Open Flute† 2′ Octave 2′ Block Flute 8′ Tuba (from Choir) 2 3 2⁄3′ Twelfth* 2′ Piccolo 1⁄5′ Tierce Tremulant 1 2′ Fifteenth* 2′ Mixture III–IV (draws 2′ Octave) 1⁄3′ Larigot Antiphonal Sub–Unison Off–Super 3 1⁄5′ Seventeenth* 1′ Cymbale III 8′ Clarinet 8′ Festival Trumpet 1 1⁄3′ Fourniture IV* 16′ Bassoon-Oboe 8′ Tuba 8′ Trumpet† 8′ Trumpet 8′ Festival Trumpet (from Antiphonal) 8′ Tuba (from Choir) 8′ Oboe (extension of 16′) Tremulant 8′ Festival Trumpet (from Antiphonal) 8′ Vox Humana Choir Sub–Unison Off–Super Great Sub and Super couplers 4′ Clarion Great A Unison Off (stops marked *) 8′ Tuba (from Choir) Great B Unison Off (stops marked †) 8′ Festival Trumpet (from Antiphonal) Zimbelstern Tremulant Swell Sub–Unison Off–Super

30 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Cantilevered cases Chancel viewed through rood screen Console strings in the Swell and Dulciana in the and Robert Heighway, culling elements it enlivens the worship at Church of the Michael Vores, structure, expression Choir, the Antiphonal contains a Dia- from the room, such as the Tudor roses Good Shepherd and enriches the musi- boxes, general shop construction pason Celeste. Both unison and celeste that adorn the rood screen and orna- cal life of Lexington. Brandon Woods, tonal design, voicing, ranks use slotted pipes to encourage mental bosses featured in the reredos. —Jason Overall and fi nishing. the undulation, and the keen tone that The console uses marquetry to separate Goulding & Wood, Inc. derives from the slots makes for a distinc- the divisions within the stop jambs and Indianapolis, Indiana From the organist & choirmaster tive sound. The timbre is unapologeti- to frame the burled central panel of Goulding & Wood Opus 50 (named cally diapason in quality, and the vigorous the music desk. Throughout the organ, Robert Duffy, casework, cabinetry, “The Miller and Wrigley Organ”) is sound of the two ranks together fi lls the both internal and visible details are and wood carvings the physical manifestation of many room in a luxuriant wash of sound. fi nished with an attention to detail con- John Goulding, reed racking years of consideration, consultation, Windchests throughout the organ fea- sistent with the quality of woodworking Mark Goulding, shop foreman, gen- site visits, fundraising, and, of course, ture our unique electro-pneumatic slider in the church. eral shop construction prayer. On my appointment to the and pallet design. The combination of The sum of all these disparate parts Chris Gray, general shop construction Church of the Good Shepherd in 2001, tone channels running across stops and is an instrument that truly speaks forth, Robert Heighway, console cabinetry, it was immediately apparent that the wholly pneumatic action enables the carrying the people’s song and support- casework cabinetry, and slider chests previous neo-Baroque instrument had pipework to speak incisively yet without ing the choir in their leadership. While Jerin Kelly, wind chests, general shop limited resources for accompanying any harshness in attack. Further, the our intention was for it to be specifi cally construction the Anglican liturgy. As more and more stops meld together as they draw wind suited to the worship of this congrega- Phil Lehman, offi ce manager electro-magnets and memory capture from a common source. Arranging the tion, we made no attempt to embody Tyler MacDonald, wind chests components failed, it was decided to mechanics and structure proved to be an shallow or derivative notions of English Jason Overall, offi ce support and tonal replace the instrument with an organ extremely challenging task, particularly organ building. This is an American design more suitable to the fi ne Gothic archi- as the new Swell chamber’s dimen- instrument embracing the gamut of Kurt Ryll, case design and engineering tecture of Good Shepherd, and having a sions continued to be a moving target organ literature, hymnody, and choral David Sims, system wiring, tonal more diverse tonal palette, rather than throughout design and even construction music employed by the congregation. fi nishing to restore the previous instrument. of the organ. Staff design engineer Kurt In realizing this goal we gratefully Ryll and shop manager Mark Goulding acknowledge the contributions of organ- nonetheless arrived at a layout that, if ist and choirmaster John Linker and not commodious, certainly supports committee chair Joseph Jones. We also maintenance access to every component. recognize the steady leadership of the Moving about the organ for routine tun- rector, Fr. Brian Cole, who inherited a ing is remarkably simple, belying the project already underway and oversaw complexity of the design necessary to the completion with a dedication and achieve this. enthusiasm as if it were his own. We look The cabinetry of the organ and forward to sharing with the congregation console was executed by Robert Duffy in the upkeep of the organ, watching as

The Episcopal Church of the Good Shepherd, Lexington, Kentucky

PEDAL ACCESSORIES 32′ Contrabass (digital ext 16′ Principal) Great–Choir Manual Transfer 32′ Bourdon (digital ext 16′ Subbass) Great divisionals with Pedal divisional toe 16′ Principal studs 16′ Subbass Swell divisionals on General toe studs 16′ Gedeckt (from Swell) Typical couplers and combination action pis- 8′ Octave (ext 16′ Principal) tons 8′ Subbass (ext 16′ Subbass) 8′ Gedeckt (from Swell) Four manuals, 58 ranks 4′ Octave (extension) 4′ Gedeckt (from Swell) Photo credit: Hans Flueck 32′ Trombone (digital extension) 16′ Trombone (wood resonators) 16′ Bassoon (from Swell) 8′ Tromba (extension) 8′ Bassoon (from Swell) 4′ Schalmey 8′ Tuba (from Choir) 8′ Festival Trumpet (from Antiphonal) Pedal Divide 12/13 Antiphonal cases

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 31 Cover feature New Organs

Upon his retirement in 2009, former the beauty of the choir, the architectural rector Fr. Robert Sessum suggested to environment, and the mighty singing of the congregation that the next project in the congregation, we eagerly anticipate the immediate future of Good Shepherd reaching new heights in our spiritual should be to replace the organ. The and musical journeys, and discovering congregation heeded the advice of Fr. new ways in which we are all able to see Sessum, and over the next two years an glimpses of heaven right here on earth. organ committee and organ capital cam- —John Linker paign committee were formed under the guidance of the interim rector, Fr. Ron From the organ committee Pogue. Our new rector, Fr. Brian Cole, The organ committee consisted of oversaw installation of the new instru- a cross-section of the congregation, ment. It is a privilege to have worked Dr. Schuyler W. Robinson, professor with these three clergymen in seeing of organ at the University of Kentucky, the dream of a new instrument for Good and our church organist/choirmaster. Shepherd come true. The committee’s charge was to deter- In selecting a builder, the committee mine the type, size, and placement of had their work cut out for them. My the future instrument, and to set the personal preference favors mechanical budget. Its most important task was to action, as I have found tracker instru- fi nd the perfect fi t between the church Chancel ments to be superior tools of artistic and the company selected to build the expression. Early on in the process, instrument. The committee hired a con- Berghaus Pipe Organ Builders, Inc. chancel. Because the church decided to however, our committee had to dismiss sultant to help it identify the best North Bellwood, Illinois keep the choir and console in the rear this as an option due to Good Shepherd’s American organ builders, and we invited Luther Memorial Chapel, balcony, a fl oating Choir division was architecture and our desire to have sym- fi ve of them to Lexington to present Shorewood, Wisconsin created to support accompaniment roles, metrically balanced cases on both sides preliminary designs and cost estimates The 35-rank organ for Luther Memo- as well as providing tonal enhancement of the chancel, as well as an Antiphonal for the project. The committee then sent rial Chapel contains several elements of to the front divisions. A new façade con- division at the west end to better support our two organists to play instruments diverse origins that have been combined taining a new 8′ Pedal Principal was con- hymn singing. After reviewing numerous representative of each builder. to serve as a liturgical instrument for this structed to beautify the tonal opening to designs, specifi cations, and participating After careful deliberation, we chose Lutheran church located in suburban the chancel. The console was refurbished in site visits, the committee unanimously Goulding & Wood of Indianapolis. Their Milwaukee. The nucleus of the organ from the original Casavant organ, and chose Goulding & Wood. plan was exciting and seemed to fi t our comes from the 1951 Casavant that origi- outfi tted with solid-state components. Over many months we worked closely needs perfectly. When the instrument nally served the Church of the Epiphany Scott Riedel, of Scott R. Riedel & with Goulding & Wood president Jason was ready for installation, Goulding & in Providence, Rhode Island. Other ele- Associates Ltd. in Milwaukee, Wiscon- Overall and head voicer Brandon Woods Wood issued an invitation to the con- ments such as pipework and chests were sin, served as the consultant. The organ on a specifi cation that would meet Good gregation to come to their workshop in taken from viable resources in Luther was dedicated in recital on April 22, Shepherd’s liturgical needs and be Indianapolis to hear the organ before Memorial Chapel’s existing organ. 2012 by Alexander Post, Rev. Michael unique. We agreed to reuse some of the their team dismantled it and began to The instrument contains Great, Swell Henrichs, and Jonathan Oblander, tonal fi nest pipework from the old instrument transfer it to Lexington. A few weeks and Pedal divisions at the front of the director of Berghaus. in the new organ. The former Great 8′ later, the fi rst pipes arrived and were Principal and 4′ Octave were revoiced paraded into the nave of the church, led and now reside in the Choir as 8′ Open by our bagpiper, and were blessed dur- Diapason and the 4′ Principal. The ing a short service. The new and exciting former 16′ Subbass (which was, in fact, musical voice of the Church of the Good from the parish’s Pilcher organ from the Shepherd is a dream come true. 1920s) was revoiced and at home again in —J. R. Jones Good Shepherd. The Pedal 4′ Schalmey Organ Committee Chair as well as the Zimbelstern were also wor- thy of recycling. From the rector As its primary function is to accom- One of the real gifts of the Episcopal/ pany the Anglican liturgy, a complete Anglican tradition is the ability to keep and powerful Swell division is a must. a healthy tension between tradition and The new Swell boasts a complete prin- change. At Good Shepherd, the arrival of cipal chorus, luscious strings, and har- Goulding & Wood Opus 50 (the “Miller monic fl utes at 4′ and 2′ pitches, as well and Wrigley Organ”) is a fi ne example of as a full complement of 16′ through 4′ that gift. reeds. While the Swell, Choir, and Pedal The builders from Goulding & Wood divisions appear fairly standard in speci- were very sensitive to the change that fi cation, it is the Great and Antiphonal takes place when an instrument like this divisions that have the most innova- is placed in an historic space. Through- tive design and function. The Great is out the weeks of building on site, we divided on both sides of the quire, and welcomed parishioners and community as such, each side can be coupled sepa- members to visit our church during con- rately to the fourth manual to solo out struction. Numerous photographs and Console melodies of hymns or other innovative videos, both formal and informal, were uses. In addition to having a complete taken to record the work. Even though principal chorus, the Antiphonal also the builders were guests to our space, boasts a “Diapason Celeste.” While a they served as good hosts, as long-time Berghaus Pipe Organ Builders, Inc. Voce Umana or a Fiffaro might be com- members and newcomers asked questions Luther Memorial Chapel, Shorewood, Wisconsin mon in Italian organs, a stop such as while the installation process unfolded. this is rarely found on English-inspired Now that it is in place, the organ GREAT 4′ Geigen Octave American organs. Furthermore, this stop appears to have always been in our litur- 8′ Open Diapason 4′ Flute 8′ Rohrfl öte 2′ Piccolo is indeed an open, full-bodied, English- gical space. The antiphonal division now 1 4′ Octave 1⁄3′ Larigot style Diapason. Though its use in reper- frames the glorious Abbott Window in 4′ Gedeckt Pommer 1′ Scharf III 2 toire is extremely rare (it is likely not the the rear of the church and accentuates 2⁄3′ Sesquialtera II TC 8′ Trumpet 1 ′ ′ sound Frescobaldi had in mind!), it is the colors of the stained glass. The new 1⁄3 Mixture III 8 Oboe incredibly useful in improvisations. The organ has also already been a catalyst for Tremulant Tremulant sound of this celeste is rich and embody- more vigorous congregational singing. CHOIR PEDAL ing. Indeed, the entire instrument draws The old organ console has been refash- 8′ Holz Principal 32′ Resultant a new level of musicality and creativity ioned to make a smaller altar for our 8′ Gamba 16′ Open Diapason 8′ Gedeckt 16′ Bourdon from those fortunate to play it, and it is Sunday evening Eucharist. 4′ Octave 16′ Lieblich Gedeckt (Sw) the prayerful congregant who receives We are all blessed to be a part of 4′ Harmonic Flute 8′ Principal (façade) the greatest benefi t. Good Shepherd’s story at this time. The 2′ Blockfl öte 8′ Stopped Flute (ext) 8′ Oboe 4′ Fifteenth (ext) The people of Good Shepherd take Miller and Wrigley Organ, while new, ′ great pride in our choir program, which affi rms the great strengths of traditional Tremulant 16 Posaune has attained a high degree of interna- Anglican worship. Because of its incred- SWELL CHOIR PEDAL tional recognition over the past decade. ible versatility, this instrument will serve 16′ Lieblich Gedeckt 16′ Bourdon Attention to and participation in congre- as an anchor as we expand the musical 8′ Geigen Principal 8′ Bourdon (ext) 8′ Viola da Gamba gational hymn singing is now at an all- life of the parish in arts offerings to the 8′ Voix Celeste TC 36 stops, 34 ranks, 2,072 pipes time high for this parish. Now that this Lexington community. 8′ Stopped Diapason glorious instrument is in place, matching —The Rev’d Brian Cole

32 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 28 SEPTEMBER Park Ridge Presbyterian Church This calendar runs from the 15th of the month John & Marianne Weaver, organ and Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline fl ute, with Susan Poliacic, reed organ; Pickle Piano & Church Organs is the fi rst of the preceding month (Jan. 1 for NEW YORK East Craftsbury Presbyterian, East Crafts- Bloomingdale, IL Feb. issue). All events are assumed to be organ bury, VT 7:30 pm recitals unless otherwise indicated and are grouped Gloriae Dei Cantores; Church of the within each date north-south and east-west. •=AGO Transfi guration, Orleans, MA 7:30 pm chapter event, • •=RCCO centre event, +=new organ Peter Planyavsky; Third Presbyterian, dedication, ++= OHS event. Rochester, NY 8 pm Christopher Babcock Information cannot be accepted unless it John Gouwens, carillon; Memorial Cha- specifi es artist name, date, location, and hour in pel, Culver Academies, Culver, IN 4 pm writing. Multiple listings should be in chronological St. Andrew’s by the Sea, order; please do not send duplicate listings. 29 SEPTEMBER Hyannis Port THE DIAPASON regrets that it cannot assume Victor Hill, harpsichord, Bach works; responsibility for the accuracy of calendar entries. Clark Art Institute, Williamstown, MA 3 pm Stephen Hamilton; St. John the Divine, UNITED STATES New York, NY 5 pm East of the Mississippi Alan Morrison; First Trinity Presbyterian, Dean W. Billmeyer GAVIN BLACK Laurel, MS 4 pm Princeton Early Keyboard Center University of Minnesota 15 SEPTEMBER 1 OCTOBER 732/599-0392 Vincent Dubois; Hendricks Chapel, Syr- Tom Trenney; Hill Auditorium, University acuse University, Syracuse, NY 4 pm of Michigan, Ann Arbor, MI 8 pm Minneapolis 55455 • [email protected] www.pekc.org Lawrence Schreiber; First Baptist, Kathrine Handford; Church of St. Louis, Washington, DC 4 pm King of France, St. Paul, MN 12:35 pm Pierre Zevort; Washington National Ca- thedral, Washington, DC 5:15 pm 2 OCTOBER Byron L. Blackmore THOMAS BROWN Tom Trenney; Myers Park United Meth- Beth Palmer; Camp Hill Presbyterian, UNIVERSITY odist, Charlotte, NC 4 pm Camp Hill, PA 12:15 pm Crown of Life Lutheran Church PRESBYTERIAN CHURCH David Arcus; Duke University Chapel, Durham, NC 5 pm 3 OCTOBER Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA David Higgs; St. John United Methodist, Manhattan School of Music Symphonic 623/214-4903 ThomasBrownMusic.com Augusta, GA 3 pm Chorus, with orchestra; Avery Fisher Hall, Craig Cramer; Christ Church Cathedral, New York, NY 7:30 pm Indianapolis, IN 4:30 pm Thomas Murray, with orchestra; Woolsey Choral Evensong; Cathedral Church of Hall, Yale University, New Haven, CT 7:30 pm the Advent, Birmingham, AL 3 pm William Neil, with National Symphony ROBERT CLARK DELBERT DISSELHORST Orchestra; Kennedy Center Concert Hall, Houston Texas 17 SEPTEMBER Washington, DC 7 pm Master Classes, Consultation Professor Emeritus [email protected] +Wesley Roberts; Campbellsville Uni- University of Iowa–Iowa City versity, Campbellsville, KY 12 noon 4 OCTOBER 513/478-0079 James David Christie; Alumni Hall, Indi- Etherea Vocal Ensemble; First Presbyte- ana University, Bloomington, IN 8 pm rian, Lockport, NY 7:30 pm Manhattan School of Music Symphonic Philip Brisson; Church of St. Louis, King Chorus, with orchestra; Avery Fisher Hall, of France, St. Paul, MN 12:35 pm JAMES DORROH, AAGO, PhD STEVEN EGLER New York, NY 8 pm Central Michigan University 20 SEPTEMBER Marilyn Keiser; Trinity United Methodist, Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Madison, IN 7 pm Kent Tritle, with orchestra and fi lm; Av- Samford University Artist in Residence Nathan Laube, with orchestra; Laura First Congregational Church ery Fisher Hall, New York, NY 8 pm Birmingham, Alabama Turner Concert Hall, Nashville, TN 10:30 Saginaw, Michigan F. Allen Artz, III, with brass; Crescent Av- am, 8 pm Organ Consultant Organ Recitals [email protected] enue Presbyterian, Plainfi eld, NJ 7:30 pm William Neil, with National Symphony Stephen Tharp; Cathedral Church of the Orchestra; Kennedy Center Concert Hall, Advent, Birmingham, AL 7:30 pm Washington, DC 8 pm JOHN FENSTERMAKER STEPHEN HAMILTON 21 SEPTEMBER 5 OCTOBER Kent Tritle, with orchestra and fi lm; Av- Manhattan School of Music Symphonic TRINITY-BY-THE-COVE recitalist–clinician–educator ery Fisher Hall, New York, NY 8 pm Chorus, with orchestra; Avery Fisher Hall, Patrick Allen and friends; Grace Church, www.stephenjonhamilton.com New York, NY 8 pm NAPLES, FLORIDA New York, NY 3 pm Nathan Laube, with orchestra; Laura Paul Jacobs, masterclass; Stambaugh Turner Concert Hall, Nashville, TN 8 pm Auditorium, Youngstown, OH 10:30 am William Neil, with orchestra; Kennedy Andrew Scanlon; Washington Street Center Concert Hall, Washington, DC 8 pm United Methodist, Alexandria, VA 3 pm WILL HEADLEE ANDREW HENDERSON, DMA 6 OCTOBER 22 SEPTEMBER Diane Meredith Belcher; Chapel of the 1650 James Street Madison Avenue Presbyterian Church Gail Archer; St. Joseph of Arimathea, Holy Spirit, Worcester, MA 7 pm New York, NY White Plains, NY 2 pm Alan Morrison; Swarthmore Presbyte- Syracuse, NY 13203-2816 Carol Williams; Camp Hill Presbyterian, rian, Swarthmore, PA 4 pm (315) 471-8451 www.andrewhenderson.net Camp Hill, PA 4 pm Tom Bell; Washington National Cathe- Isabelle Demers; Trinity Lutheran, dral, Washington, DC 5:15 pm Reading, PA 4 pm Jane Parker-Smith; Calvary United Brian Mathias; Washington National Ca- Methodist, Frederick, MD 3 pm thedral, Washington, DC 5:15 pm Jeremy David Tarrant; St. Mary Cathe- David Herman The Chenaults; Hayes Barton United dral, Lansing, MI 4 pm Methodist, Raleigh, NC 3 pm Ken Cowan; First Presbyterian, Royal Trustees Distinguished Professor Emeritus of Music and University Organist Betty Jo Couch, hymn festival; Advent Oak, MI 4 pm Lutheran, Melbourne, FL 3 pm New York Polyphony; Cathedral Church The University of Delaware Q [email protected] Christopher Houlihan; Forrest Burdette of the Advent, Birmingham, AL 3 pm United Methodist, Hurricane, WV 3 pm Mary Gifford & Edward Kroll; Our Lady Paul Jacobs; Stambaugh Auditorium, of Sorrows Basilica, Chicago, IL 3 pm Youngstown, OH 4 pm Daria Burlak; University of St. Thomas, St. Paul, MN 3 pm The Diapason 24 SEPTEMBER Karen Beaumont; King’s Chapel, Bos- 7 OCTOBER 2014 Resource Directory ton, MA 12:15 pm Jeremy David Tarrant, masterclass; Reserve advertising space now! Plymouth Congregational, Lansing, MI 7 pm Kathleen Lee & Brian Carson; Church Dennis Janzer; Scottish Rite Cathedral, Contact Jerome Butera • 847/391-1045 • [email protected] of St. Louis, King of France, St. Paul, MN Memphis, TN 7:30 pm 12:35 pm Craig Cramer; Wheaton College, Ed- man Chapel, Wheaton, IL 7:30 pm 25 SEPTEMBER LORRAINE BRUGH, Ph.D. Cathedral Choir; Cathedral of St. John 8 OCTOBER the Divine, New York, NY 7:30 pm Manhattan School of Music Symphonic Associate Professor David Jonies; Queen of the Rosary Chorus, with orchestra; Avery Fisher Hall, University Organist Chapel, Sinsinawa, WI 7 pm New York, NY 7:30 pm Larry Wheelock; Church of the Gesu, Valparaiso University 27 SEPTEMBER Milwaukee, WI 7:30 pm Gloriae Dei Cantores; Church of the Raymond Johnston; Church of St. Lou- Valparaiso, IN Transfi guration, Orleans, MA 7:30 pm is, King of France, St. Paul, MN 12:35 pm www.valpo.edu Peter Planyavsky, lecture & master- class; Downtown Presbyterian, Rochester, 9 OCTOBER NY 1:30 pm Manhattan School of Music Symphonic 219-464-5084 Rhonda Sider Edgington; St. Paul Ca- Chorus, with orchestra; Avery Fisher Hall, [email protected] thedral, Pittsburgh, PA 8 pm New York, NY 7:30 pm

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 33 Gary L. Jenkins CALIFORNIA LUTHERAN UNIVERSITY Calendar Central Presbyterian Church Director, Schmidt Concert Series Kyle Johnson, DMA 11 OCTOBER 24 OCTOBER Carmelite Monastery University Organist Andrew Peters; Olivet Nazarene Univer- +Olivier Latry; Cathedral of St. Paul, St. Curator of Organs  rLFKPIOT!DBMMVUIFSBOFEV sity, Bourbonnais, IL 12:10 pm Paul, MN 7:30 pm Rose-Hulman Institute of Technology Walt Strony; St. Mary’s Episcopal Ca- www.callutheran.edu Terre Haute, Indiana thedral, Memphis, TN 7 pm 25 OCTOBER Birmingham Boys Choir; Cathedral 13 OCTOBER Church of the Advent, Birmingham, AL Gail Archer; Cathedral Church of St. 12:30 pm Brian Jones KIM R. KASLING Paul, Burlington, VT 3 pm D.M.A. Director of Music Emeritus Nathan Laube; Greene Memorial United 26 OCTOBER St. John’s University Methodist, Roanoke, VA 4 pm Todd Wilson; Stambaugh Auditorium, TRINITY CHURCH Andrew Scanlon; First Presbyterian, Youngstown, OH 2 pm BOSTON Collegeville, MN 56321 Washington, NC 4 pm Aaron David Miller; St. Mark’s Evangeli- 27 OCTOBER cal Lutheran, Jacksonville, FL 5 pm Diane Ames & Paulette Fry; United Chelsea Chen; Westminster Presbyte- Presbyterian, Cortland, NY 3 pm rian, Dayton, OH 4 pm Donald Fellows; St. Paul Cathedral, JAMES KIBBIE Pittsburgh, PA 4 pm The University of Michigan 15 OCTOBER Nathan Laube; St. John’s Episcopal, Ann Arbor, MI 48109-2085 Douglas Murray; Ransdell Chapel, Georgetown, Washington, DC 5 pm ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 Campbellsville University, Campbellsville, All Hallows Concert; Brevard-Davidson www.gabrielkney.com email: [email protected] KY 12 noon River Presbyterian, Brevard, NC 6:30 pm Jean-Baptiste Robin; All Saints Episco- Jeannine Jordan, with media artist, From pal, Atlanta, GA 7:30 pm Sea to Shining Sea; Hyde Park Community Timothy Strand; Church of St. Louis, United Methodist, Cincinnati, OH 4 pm David K. Lamb, D.Mus. A Professional Card in King of France, St. Paul, MN 12:35 pm Andrew Schaeffer; Cathedral of the Holy Angels, Gary, IN 3 pm Director of Music/Organist The Diapason For rates and digital specifi cations, 16 OCTOBER David Jonies; Immaculate Conception, First United Methodist Church contact Jerome Butera Gail Archer; St. Agnes Cathedral, Rock- Chicago, IL 3 pm Columbus, Indiana 847/391-1045 ville Center, NY 8 pm 812/372-2851 [email protected] Kent Tritle; Cathedral of St. John the Di- UNITED STATES vine, New York, NY 7:30 pm West of the Mississippi Jonathan Ryan, with brass; St. Mary’s Roman Catholic Church, Nutley, NJ 7:30 pm Jean-Baptiste Robin, masterclass; First 15 SEPTEMBER Presbyterian, Atlanta, GA 10 am Norman Mackenzie, with brass; St. An- Cameron Carpenter; Kennedy Center drew’s Lutheran, Mahtomedi, MN 4 pm Concert Hall, Washington, DC 8 pm Isabelle Demers; Boston Avenue United Methodist, Tulsa, OK 5 pm 17 OCTOBER Bradley Welch & Ken Cowan; Highland +Jean-Baptiste Robin; Cathedral of St. Park United Methodist, Dallas, TX 6 pm Paul, St. Paul, MN 7:30 pm Matthew Dirst, harpsichord, Goldberg Variations; Christ the King Lutheran, Hous- 18 OCTOBER ton, TX 6 pm ANDREW PAUL MOORE Christian Lane; Old West Church, Bos- Houston Chamber Choir; Holy Rosary A.S.C.A.P. ton, MA 8 pm Catholic Church, Rosenberg, TX 4 pm FELLOW, AMERICAN GUILD OF ORGANISTS CHRIST CHURCH +Olivier Latry; Our Lady of Refuge, Paul Tegels; Lagerquist Hall, Pacifi c Lu- theran University, Tacoma, WA 3 pm 345 SADDLE LAKE DRIVE Brooklyn, NY 7 pm ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS James Welch; Mt. Pleasant Retirement (770) 594-0949 Village, Monroe, OH 7 pm 16 SEPTEMBER Hymn festival; Providence United Meth- •Carol Williams; St. Mary’s College of odist, Charlotte, NC 8 am California, Moraga, CA 7:30 pm Andrew Peters; St. Paul United Church LEON NELSON DOUGLAS O’NEILL of Christ, Belleville, IL 7:30 pm 17 SEPTEMBER Stephen Tharp; Church of the Incarna- Director of Traditional Music Cathedral of the Madeleine Salt Lake City, Utah 19 OCTOBER tion, Dallas, TX 7:30 pm Southminster Presbyterian Church Nathan Laube, masterclass; Hosmer Houston Chamber Choir; Co-Cathedral Arlington Heights, IL 60005 [email protected] Hall, State University of New York, Pots- of the Sacred Heart, Houston, TX 7:30 pm 801/671-8657 dam, NY 3 pm Hymn festival; Providence United Meth- 19 SEPTEMBER Christian Lane odist, Charlotte, NC 8 am ; First Christian Church, MARILYN MASON Jean-Baptiste Robin; St. Norbert Ab- Stillwater, OK 8 pm CHAIRMAN, DEPARTMENT OF ORGAN bey, De Pere, WI 2 pm UNIVERSITY OF MICHIGAN 20 SEPTEMBER Ars Lyrica Houston; St. James Episco- ANN ARBOR 20 OCTOBER pal, Alexandria, LA 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Nathan Laube; Hosmer Hall, State Uni- with awesome technique and a thrilling command of its daring writing.” versity of New York, Potsdam, NY 3 pm The American Organist, 1980 21 SEPTEMBER Choir of Men and Boys; Grace Church, Craig Cramer; Our Lady of Fatima Par- New York, NY 4 pm ish, Seattle, WA 7:30 pm Joan Lippincott; Cathedral Basilica of James Welch; Bethania Lutheran, the Sacred Heart, Newark, NJ 4 pm Solvang, CA 1 pm LARRY PALMER SYLVIE POIRIER Gail Archer; First United Methodist, Her- shey, PA 3 pm 22 SEPTEMBER Professor of PHILIP CROZIER Olivier Latry; Calvary Episcopal, Pitts- Ars Lyrica Houston; Zilkha Hall, Hobby ORGAN DUO burgh, PA 4 pm Center for the Performing Arts, Houston, Harpsichord and Organ Ken Cowan; First Baptist, Washington, 3355 Queen Mary Road, Apt 424 TX 6 pm DC 4 pm Katya Gotsdiner-McMahan; Trinity Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Verdi, Requiem; Washington National Episcopal, Santa Barbara, CA 3:30 pm Cathedral, Washington, DC 4 pm SOUTHERN METHODIST UNIVERSITY Canada Scott Dettra; Episcopal Church of the 24 SEPTEMBER (514) 739-8696 Holy Comforter, Vienna, VA 4 pm Daryl Robinson; St. Philip Presbyterian, Dallas, Texas 75275 Annette Richards & David Yearsley Fax: (514) 739-4752 ; Houston, TX 7:30 pm Duke University Chapel, Durham, NC 5 pm Musical Heritage Society recordings [email protected] University of Florida Concert Choir; First 29 SEPTEMBER United Methodist Church, Ocala, FL 3 pm Douglas Cleveland; Bridges Hall of Mu- Boyd Jones; St. Luke’s Episcopal, An- sic, Claremont, CA 3 pm chorage, KY 5 pm Choral Evensong; Cathedral Church of 6 OCTOBER the Advent, Birmingham, AL 3 pm Daryl Robinson; Lagerquist Concert Hall, Tacoma, WA 3 pm 22 OCTOBER Mel Butler; St. Mark’s Cathedral, Se- Laura Edman; Church of St. Louis, King attle, WA 2 pm of France, St. Paul, MN 12:35 pm +Jean-Baptiste Robin; Cathedral of the Madeleine, Salt Lake City, UT 8 pm WARREN D. HOOD II, DSM 23 OCTOBER Marco Cadario; St. Mary’s Cathedral, Musica Sacra; Cathedral of St. John the San Francisco, CA 3:30 pm Organist and Director of Music Divine, New York, NY 7:30 pm James Welch, works of Richard Purvis; Th e Historic Sharon Baptist Church Jeannine Jordan, with media artist, Grace Cathedral, San Francisco, CA 4 pm Bach and Sons; First Methodist, Wooster, Baltimore, MD 21217 OH 7 pm 8 OCTOBER Anita Werling; First Presbyterian, Ma- Tom Bell; Luther College, New Ulm, MN comb, IL 3 pm 8 pm

34 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar BRUCE POWER Stephen G. Schaeffer Recitals – Consultations 9 OCTOBER Emanuele Cardi; Resurrection Parish, Organist Director of Music Emeritus Jean-Baptiste Robin, masterclass; St. Santa Rosa, CA 3:30 pm Christ Church Cathedral James Cathedral, Seattle, WA 7:30 pm Cathedral Church of the Advent 25 OCTOBER Houston Birmingham, Alabama 10 OCTOBER Andrew Peters; Third Baptist, St. Louis, Steven Egler; Slagle Auditorium, Univer- MO 12:30 pm sity of South Dakota, Vermillion, SD 7:30 pm Jonathan Dimmock; Parker Chapel, Wong-Chen Duo, organ & violin; St. An- Trinity University, San Antonio, TX 7:30 pm ROBERT L. drew’s Episcopal, Amarillo, TX 7:30 pm Nicholas E. Schmelter Jean-Baptiste Robin, masterclass; Uni- 26 OCTOBER Director of Music and Organist SIMPSON versity of Washington, Seattle, WA 7:30 pm Marilyn Keiser; St. David’s Episcopal, First Congregational Church San Antonio, TX 9 am Christ Church Cathedral Saginaw, Michigan 1117 Texas Avenue 11 OCTOBER Houston, Texas 77002 Douglas Cleveland; B. J. Haan Auditori- 27 OCTOBER um, Dordt College, Sioux Center, IA 7:30 pm Carolyn Diamond & Mark Sedio, with Jane Parker-Smith; Cathedral Basilica piano; Central Lutheran, Minneapolis, MN of St. Louis, St. Louis, MO 8 pm 12:35 pm Stephen Tappe Visit The Diapason Wong-Chen Duo, organ & violin class; VocalEssence, St. Olaf Choir, & North- Organist and Director of Music St. Andrew’s Episcopal, Amarillo, TX 10 am fi eld Youth Choir; Orchestra Hall, Minne- Saint John's Cathedral website: Isabelle Demers; Doc Rando Hall, Uni- apolis, MN 4 pm versity of Nevada, Las Vegas, NV 7:30 pm Gail Archer; First United Methodist, Bel- Denver, Colorado www.TheDiapason.com Jean-Baptiste Robin; St. James Cathe- la Vista, AR 3 pm www.sjcathedral.org dral, Seattle, WA 7:30 pm John & Marianne Weaver, organ & fl ute; St. Andrew’s Lutheran, Bellevue, WA 3 pm 12 OCTOBER David Troiano; St. Mary’s Cathedral, James Welch; Immanuel Lutheran, Los San Francisco, CA 3:30 pm Marcia Van Oyen Altos, CA 7 pm Joe Utterback Olivier Latry; Davies Symphony Hall, 31 OCTOBER First United Methodist Church COMMISSIONS & CONCERTS San Francisco, CA 3 pm Aaron David Miller, silent fi lm accompa- Plymouth, Michigan niment; Helzberg Hall, Kauffman Center for 732 . 747 . 5227 13 OCTOBER the Performing Arts, Kansas City, MO 7 pm mvanoyen.com Ken Cowan; First Presbyterian, Roches- James Welch, Halloween concert; St. ter, MN 4 pm Mark’s Episcopal, Palo Alto, CA 8 pm Emanuele Cardi; St. Mary’s Cathedral, San Francisco, CA 3:30 pm INTERNATIONAL David Wagner Jean-Baptiste Robin; St. James Epis- DMA Kevin Walters copal, Los Angeles, CA 6 pm 15 SEPTEMBER Madonna University M.A., F.A.G.O. Craig Cramer; St. Albert Priory, Oak- Stefan Kagl; Herforder Munster, Herford, Livonia, Michigan land, CA 3 pm Germany 6 pm [email protected] Rye, New York Christophe Mantoux; Cathédrale St 14 OCTOBER Charles de Saint-Etienne, Saint-Etienne, Olivier Latry; Cathedral Church of St. France 4 pm John, Albuquerque, NM 7 pm 18 SEPTEMBER Davis Wortman 15 OCTOBER Markus Willinger; Kathedrale, Dresden, KARL WATSON Armonia Celeste; Church of the Incarna- Germany 8 pm St. James’ Church tion, Dallas, TX 7:30 pm Michele Croese, with trumpet; Chiesa di SAINT LUKE’S S. Pietro, Gattinara, Italy 9 pm New York 18 OCTOBER Edward Dean; St. Michael & All Angels, METUCHEN Kent Tritle; St. Andrew’s Lutheran, Co- West Croydon, London, UK 1:10 pm lumbia, MO 7:30 pm Frederick Swann; First Presbyterian, Ya- 19 SEPTEMBER Stephanie Burgoyne & William kima, WA 7 pm RUDOLF ZUIDERVELD Vandertuin; St. Peter’s Anglican, Missis- RONALD WYATT 20 OCTOBER sauga, ON, Canada 8 pm Illinois College, Jacksonville Kent Tritle; First Congregational, Spen- Trinity Church 20 SEPTEMBER Galveston First Presbyterian Church, cer, IA 3 pm Mario Duella; Chiesa di San Lorenzo, Springfi eld John Weaver; Mount Olive Lutheran, Ponderano, Italy 9 pm Minneapolis, MN 4 pm Episcopal Diocese of Texas Adult Choral 21 SEPTEMBER Festival; Christ Church Cathedral, Hous- Ton van Eck; St. Bavo’s Cathedral, Charles Dodsley Walker, FAGO ton, TX 6 pm Haarlem, Netherlands 3 pm Artist-in-Residence Founder/Conductor Hans Uwe Hielscher; St. Mary’s Cathe- Per Ahlman; Ovansjö Church, Kungs- Saint Luke’s Parish Canterbury Choral Society dral, San Francisco, CA 3:30 pm gården, Sweden 6 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. , Organist/Choirmaster, St. John s Episcopal Church, Versailles, KY Instructor of Music & Religious Studies, Maysville Community College Contact Bill at

A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact Jerome Butera: ) [email protected] 847/391-1045 , 9 DAVID SPICER  First Church of Christ  Wethersfi eld, Connecticut  

House Organist The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 35 Calendar

24 SEPTEMBER Wolfgang Kogert; Kreuzkirche, Störm- 20 OCTOBER STEPHANIE BURGOYNE & WILLIAM Stephanie Burgoyne & William thal, Germany 7:30 pm Stephanie Burgoyne & William VANDERTUIN, St. Paul’s United Church, Vandertuin; Cathedral of St. Paul, London, Georgina Sherriff; St. Michael & All An- Vandertuin; St. Paul’s United Church, Par- Paris, ON, Canada, April 13: Tuba Tune in ON, Canada 12:15 pm gels, West Croydon, London, UK 1:10 pm is, ON, Canada 3 pm D, Lang; Theme and Variations, Bylsma; Cat Jean-Baptiste Robin; Westminster Unit- Suite, Bédard; Sonata in D, Torelli; Flute 25 SEPTEMBER 3 OCTOBER ed Church, Winnipeg, MB, Canada 7:30 pm Piece, Bylsma; Toccata in C, Mushel. Martin Strohhäcker; Frauenkirche, Thomas Lacôte; St. Wenzel’s Church, Dresden, Germany 8 pm Naumburg, Germany 12 noon 23 OCTOBER PAUL CIENNIWA, harpsichord, Resur- Marc Baumann; St. Michael & All An- Bach, Mass in B Minor; St. Wenzel’s Thomas Dahl; Frauenkirche, Dresden, rection Parish, Santa Rosa, CA, May 5: Sonata gels, West Croydon, London, UK 1:10 pm Church, Naumburg, Germany 7:30 pm Germany 8 pm in C, K. 513, Scarlatti; Prelude and Fugue No. Per Thunarf; St. Michael & All Angels, 1 in C, BWV 846, Prelude and Fugue No. 2 26 SEPTEMBER 4 OCTOBER West Croydon, London, UK 1:10 pm in c, BWV 847, Prelude and Fugue No. 3 in Andrew Lucas; Wells Cathedral, Wells, Mario Hospach-Martini; St. Wenzel’s C-sharp, BWV 848 (Well-Tempered Clavier, UK 7:30 pm Church, Naumburg, Germany 12 noon 25 OCTOBER Book I), Bach; Suite No. 7 in g, HWV 432, Air Jonathan Dimmock; St. Paul’s Church, Samuel Kummer, Bach, Art of Fugue; Stephanie Burgoyne & William and variations (The Harmonious Blacksmith), Canberra, Australia 8 pm St. Wenzel’s Church, Naumburg, Germany Vandertuin; Waterford United Church, Wa- HWV 430, Handel; Prelude and Fugue No. 9 7:30 pm terford, ON, Canada 7:30 pm in E (Well-Tempered Clavier, Book II), BWV 27 SEPTEMBER Gail Archer; Basilica Cathedral of Can- 878, Bach; Sonata in b, K. 27, Sonata in C, K. David Briggs, silent fi lm improvisation; tu, Cantu, Italy 8 pm 27 OCTOBER 461, Sonata in d, K. 517, Scarlatti. St. Wenzel’s Church, Naumburg, Germany Jonathan Dimmock; Wellington Cathe- Michael Radulescu; Eglise des Jé- 7:30 pm dral, Wellington, New Zealand 8 pm suites, Porrentruy, Switzerland 5 pm ARNFIELD CUDAL, Episcopal Church Guy Bovet, Olivier Latry, & Ben van of Bethesda-By-The-Sea, Palm Beach, Oosten; St. Bavo’s Cathedral, Haarlem, 6 OCTOBER 30 OCTOBER FL, May 5: Toccata and Fugue in d, BWV Jelani Eddington; Frauenkirche, Dres- Netherlands 8:15 pm Martina Pohl, with bass; St. Wenzel’s 565, Bach; Prélude modale (Vingt-quatre den, Germany 8 pm Church, Naumburg, Germany 12 noon pièces), Langlais; Chorale Prelude on St. 28 SEPTEMBER Tom Winpenny; St. Michael & All An- Olimpio Medori; St. Moritzkirche, Pöls- Thomas, Parry; Little Prelude and Fugue in Alessandra Mazzanti; Chiesa di S. Se- gels, West Croydon, London, UK 1:10 pm feld, Germany 3:30 pm e, BWV 555, Bach; Chorale Prelude on St. bastiano, Trivero/Bulliana, Italy 9 pm Hansjörg Albrecht, Goldberg Varia- Anne, Parry. Roger Fisher; Bridlington Priory, Brid- 31 OCTOBER tions; Kirche St. Jakobi, Sangerhausen, lington, UK 6 pm Steffen Walther; St. Wenzel’s Church, Germany 6 pm ROBERT DELCAMP, The University Jonathan Dimmock; St. John’s Cathe- Naumburg, Germany 6 pm Jonathan Dimmock of the South, Sewanee, TN, April 5: Grand dral, Brisbane, Australia 6 pm ; Cathedral of the Holy Trinity, Auckland, New Zealand 8 pm choeur dialogué, Gigout; Trois Pièces, op. 29, Pierné; Andantino (Deuxième Suite), Boëll- 29 SEPTEMBER Organ Recitals mann; Choral No. 2 in b, Franck; Scherzo Mario Verdicchio; Chiesa di S. Michele 9 OCTOBER (Symphony No. 2 in e, op. 20), Vierne; Allegro Arcangelo, Cavaglià, Italy 9 pm Edward Batting; St. Michael & All An- (Symphony No. 6 in g, op. 42), Widor. Ken Cowan; Georgian Shores United gels, West Croydon, London, UK 1:10 pm MARIE RUBIS BAUER, St. Paul Ca- Church, Owen Sound, ON, Canada 4 pm thedral, Pittsburgh, PA, February 22: Pièce 15 OCTOBER JAMES DORROH, Bluff Park United Jonathan Dimmock; St. Peter’s, Queen- d’Orgue, BWV 572, Bach; Ave Maris Stella, Thomas Trotter Methodist Church, Birmingham, AL, Febru- stown, New Zealand 8 pm ; Mansion House, Lon- Cavazzoni; Toccata per le levatione, Fresco- ary 24: Marche Heroique, Brewer; Herzlich don, UK 6:30 pm baldi; Sonata per Organo, Pergolesi; Veni tut mich verlangen, Es ist ein’ Ros entsprun- 1 OCTOBER Creator Spiritus, de Grigny; Toccata in G, 16 OCTOBER gen (Eleven Chorale Preludes, op. 122), Jonathan Dimmock; St. Paul’s Cathe- BuxWV 170, Buxtehude; Fantasia Ut, Re, Mi, Franz Lörch; Kathedrale, Dresden, Ger- Brahms; Prelude and Fugue in G, BWV 541, dral, Dunedin, New Zealand 8 pm Fa, Sol, La, Sweelinck; Windows of Comfort: many 8 pm Bach; Choral in b, Franck; Prelude (Suite Two Organbooks, Locklair; Wachet Auf! Ruft Michal Markuszewski; St. Michael & pour orgue, op. 5), Durufl é; Prelude On A 2 OCTOBER uns die Stimme, op. 8, Distler. Thomas Lacôte; St. Wenzel’s Church, All Angels, West Croydon, London, UK Christmas Carol, Gibbs; Hanson Place (Five Naumburg, Germany 12 noon 1:10 pm Gospel Preludes), Owens; Andante Canta- ADAM BRAKEL, The Episcopal Church of bile, Finale (Quatrième Symphonie, op. 14, Bethesda-by-the-Sea, Palm Beach, FL, April no. 4), Widor. ORGAN BUILDERS 7: Prelude and Fugue in b, BWV 544, Bach; Naïades, Vierne; Toccata (Suite), Durufl é. DAVID A. GELL, First United Meth- odist Church, Santa Barbara, CA, Febru- L. W. BLACKINTON THE NOACK ORGAN CO., INC. JOHN BROCK, First Presbyterian ary 20: Processional, Gawthrop; Stunde der and associates, inc. MAIN AND SCHOOL STREETS Church, Dunn, NC, April 14: Prelude in GEORGETOWN, MA 01833 Weihe, op. 132, no. 4, Bossi; Fantasia on the www.noackorgan.com D, BWV 532, Bach; If Thou But Suffer God old melody, op. 112, Faulkes; In the Cross 380 FRONT ST. to Guide Thee, Now Pray We to the Holy of Christ I Glory, Hebble; Variations on a EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America Spirit, Our Father, Thou in Heaven Above, Hymn for Lent, Wood; Prelude on ‘Balm in Böhm; Concerto in b, Walther; How Bright- Gilead’, Gell; Trilogy for Holy Week, Lasky;

Member Firm: The Associated Pipe Organ Builders of America martin ott pipe ly Shines the Morning Star, BuxWV 223, Variations on ‘He leadeth me,’ Corl; Reces- organ Buxtehude; Sonata in D, Wq 70/5, C.P.E. sional, Wagner. RANDALL DYER company inc. Bach; Wake, Awake, A Voice Is Calling, & ASSOCIATES, INC. BWV 645, Praise to the Lord, the Almighty, SIMONE GHELLER, Presbyterian PIPE ORGANS OF QUALITY AND DISTINCTION 7408 Somerset Ave. the King of Creation, BWV 650, Fugue in E- St. Louis, MO 63105 Homes, Evanston, IL, April 22: Prelude and BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 314-504-0366 Phone fl at, BWV 522, Bach. Fugue in D, BWV 532, Bach; Theme et Varia- Martin Ott [email protected] [email protected] ◆ www.rdyerorgans.com Orgelbaumeister www.ottpipeorgan.com

TUNING • MAINTENANCE REBUILDING • RELEATHERING RELOCATIONS UNIQUE CUSTOM WOOD CREATIONS P.O. BOX 601 ANTIOCH, ILLINOIS 60002 ATOS 847-395-1919 ExperienceAmerican Theatre Organ Society FAX 847-395-1991 www.fabryinc.com Preserving a unique art form. Concerts, education, silent film, preservation, fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838

sound INSPIRATION

Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training

www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

A. David Moore, Inc. Visit_ The Diapason TRACKER ORGAN DESIGNERS & BUILDERS website: HC 69 Box 6, North Pomfret, Vermont 05053 www.TheDiapason.com 802/457-3914

36 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Organ Recitals tions, op. 115, Bossi; Oblivion, Piazzolla, Sonate I, Hindemith; Village organist’s piece, JEFFREY SCHLEFF, St. Andrew Luther- JOEL TREKELL, St. Thomas Episcopal transcr. Gheller; Adagio, Finale (Symphony Prelude and Fugue on a Theme of Vittoria, an Church, Mundelein, IL, May 19: Prelude Church, Denver, CO, April 14: Sonata No. 2 No. 6 in b, op. 59), Vierne. Britten; Toccata and Fugue in D, op. 59, nos. and Fugue in c, BWV 549, Bach; O Mensch, in c, op. 65, no. 2, Mendelssohn; Sonata No. 5 and 6, Reger. bewein dein Sünde gross, O wir armen 2, Hindemith; All things bright and beauti- DAVID HATT, Trinity Episcopal Church, Sünder, Walcha; Canzona in d, BWV 588, ful, Lepke; Hyfrydol, Bush; Swing low, sweet Reno, NV, May 3: Organ-Fantasia on ‘Nun DAVID JONIES, Lutheran School of The- Bach; III: I am black, but comely, chariot, Elliott; O Gott, du frommer Gott, komm der Heiden Heiland’, op. 30, Herzo- ology, Chicago, IL, April 2: Praeludium in E, O Ye Daughters of Jerusalem, op. 18, no. 3, BWV 767, Prelude and Fugue in a, BWV genberg; Adagiosissimo (Divertimento Ar- BuxWV 141, Buxtehude; Tiento partido de Dupré; Toccata and Fugue in d, BWV 565; 543, Bach. monico, II), Dretzel; Sei Lob und Ehr dem mano derecho de 1° tono, Cabanilles; Sonata Herzliebster Jesu, was hast du verbrochen, höchsten Gut, Der Mond ist aufgegangen, Es No. 2 in c, BWV 526, Bach; Choral Prelude Walcha; Herzliebster Jesu, Brahms; Vor dein- DAVID TROIANO-OLSZEWSKI, Na- kommt ein Schiff, geladen, Ich steh an deiner on O Salutaris Hostia, Saint-Saëns; Final (1st en Thron tret’ ich hiermit, BWV 668, Bach; tional Shrine of Our Lady of Czestochowa, Krippen hier, Gelobt sei Gott im höchsten Symphony, op. 14), Vierne. The Church’s One Foundation, Ore; Prelude Doylestown, PA, April 14: Fuga in F, Anony- Thron, Walcha. and Fugue on ‘O Traurigkeit, o Herzeleid’, mous 17th century; Preludium, Jan of Lublin; CHRISTINE KRAEMER, St. Luke’s WoO 7, Brahms; Lord of Glory, Who Hast Elegy, Surzynski; Kto sie w Opieke, Zelenski; KIM HEINDEL, with Alan Siebert, trum- Episcopal Church, Evanston, IL, May 5: Brought Us, Ye Watchers and Ye Holy Ones, Elegie (Suite No. 1), Borowski; Melody in pet, Christ Church Cathedral, Cincinnati, Fugue sur le theme du Carillon, op. 12, Du- Now Thank We All Our God, Schack; Now A-fl at, op. 1, no. 1, Stojowski; Prelude and OH, April 21: Prelude and Fugue in B, op. rufl é; Von Gott will ich nicht lassen, BWV Thank We All Our God (Cantata No. 79), Fugue in c, Olszewski; Pastorale in f-sharp, 7, no. 1, Dupré; Elegy, op. 27, Sommerfeldt; 658, Bach; Carillon ou Cloches, Dandrieu; Bach, transcr. Fox. Rychling; Prelude and Fugue, Sawa; Za Fidelis, Fanfare (Four Extemporisations), Les carillons de la destine et de l’eternité, Umarlych, Moniuszko; Marche Solemnelle Whitlock; Windows, after Marc Chagall, Ferko; Carillon de Westminster, op. 54, no. STEPHEN SCHNURR, Christ Church (Suite No. 1), Stojowski. Eben; Prayer of St. Gregory, op. 62b, Hov- 6, Vierne. Cathedral, Indianapolis, IN, April 26: Toc- haness; Prelude and Fugue on the Name of cata in F, BuxWV 156, Buxtehude; Balletto JAMES WELCH, with Michael Adduci, Alain, op. 7, Durufl é. del granduca, attr. Sweelinck; Nun freu’ dich, OLESYA KRAVCHENKO, Trinity Episco- English horn, Mission Church, Santa Clara liebe Christa mein’, S. 21, R. E. Bach; Prae- pal Church, Santa Barbara, CA, May 5: Win- University, Santa Clara, CA, February 17: CHRISTOPHER HOULIHAN, Universi- ludium et Fuga in e, BWV 548, J. S. Bach. ter Road (Snowstorm), Sviridov; Partita sopra Prelude and Fugue in E, Lübeck; Sonata No. ty of Chicago, Chicago, IL, May 12: Fantasia Passacagli, Frescobaldi; Prelude and Fugue in and Fugue in g, BWV 542, Bach; Andantino CAROLYN SHUSTER FOURNIER, 2 in c, BWV 526, Bach; Votre bonté, grand d, op. 98, Glazunov; Fantasia and Fugue in (String Quartet, op. 10), Debussy, transcr. Alamo Heights United Methodist Church, Dieu, Charpentier; Pastorale, Zipoli; Par- g, BWV 542, Bach; Toccata, Stroganov; Pre- Guilmant; Prelude and Fugue on the name San Antonio, TX, March 10: Prelude and tita for English Horn and Organ, Koetsier; lude and Fugue on ALAIN, Durufl é; Asturias of ALAIN, Durufl é; Fantasy in E-fl at, Saint- Fugue in E-fl at, BWV 552, Jesu, Joy of Man’s Trip to Nahant: A Favorite Rondo, Hewitt; Saëns; Fantasy and Fugue on ‘Ad nos, ad salu- (Chants d’Espagne), Albéniz. Desiring, BWV 147, Bach; Allegro (Con- Prelude and Fugue on ‘Vom Himmel hoch’, tarem undam’, Liszt. certo in D), Balbastre; Prélude, Fugue, and Pachelbel; Three Settings of ‘Vom Himmel AARON DAVID MILLER, All Souls’ Variation, op. 18 (Six Pieces), Franck; Grand hoch’, Pepping; Prelude and Fugue in C, ROBERT E. JACOBY II, First Presbyte- Episcopal Church, San Diego, CA, April Chorus in D (alla Handel), op. 18, no. 1, BWV 547, Bach. rian Church, Topeka, KS, April 19: 21: Old Sinsinawa Jig, Grainger; Fantasy Guilmant; Organ Piece in g, Chauvet; West- St. Andrew’s Episcopal Church, Saratoga, Laudamus, Buxtehude; Prelude and Fugue in and Fugue in g, BWV 542, Bach; Stone minster Carillon (Fantasy Pieces, op. 54), CA, March 10: Cortège Académique, Mac- C, BWV 547, Bach; Sonata III in A, Mendels- Miner’s Dances, Anonymous; Preludium in Vierne; Postlude for the Offi ce of Compline, Millan; Procesión y Saeta, Estrada; All Glory, sohn; Prelude, Fugue and Variation, Franck; e, Weckmann; Fanfare, Karg-Elert; Impro- Litanies, Alain. Laud and Honor, Wood; A Tuscan Adagio, Dieu parmi nous, Messaien; Finale (Sympho- visation, Miller. Ashdown; Choral, Jongen; Refl ections on the ny I), Vierne. STEPHEN THARP, Cathedral Church of Life of Jesus Christ, Bandermann. WOLFGANG RÜBSAM, Presbyterian St. Luke, Orlando, FL, February 24: Grand BOYD M. JONES, II, Baptist Church of Homes, Evanston, IL, May 20: Prelude and Dialogue (Troisième Livre d’Orgue), March- THOMAS WIKMAN, Lutheran School the Covenant, Birmingham, AL, April 21: Fugue in E-fl at, BWV 552, Kyrie, Gott Vater and; Prière, op. 20, Franck; Tu es Petrus (Es- of Theology, Chicago, IL, May 7: Pre- Praeludium in C, Kellner; Wo Gott der Herr in Ewigkeit, BWV 669, Christe, aller Welt quisses Byzantines), Mulet; Deuxième Fan- lude and Fugue in E-fl at, BWV 552, Bach; nicht bei uns hält, BWV 1128, Prelude and Trost, BWV 670, Kyrie, Gott heiliger Geist, taisie, Litanies, Alain; The Embrace of Fire, Prière, op. 37, no. 3, Jongen; Allegro riso- Fugue in a, BWV 543, Bach; Elegy, Still; BWV 671, Fantasia and Fugue in g, BWV Hakim; Free Improvisation: Hommage à Jean luto ma non troppo vivo (Symphonie No. 2, Improvisation, op. 150, no. 7, Saint-Saëns; 542, Bach. Guillou, Tharp. op. 20), Vierne.

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 -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]

Visit The Diapason website: Own a piece of history! www.TheDiapason.com The cover of the 100th Anniversary Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. Patrick j. Murphy The historic cover image in full color & associates, inc. is bordered in gold-colored metal, and organbuilders the high-quality plaque has a marble- ized black fi nish; a slot on the back 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 makes it easy to hang for wall display. 610-970-9817 • 610-970-9297 fax Made in the USA, The Diapason [email protected] • www.pjmorgans.com 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscribers PO Box 290786 Organpipes - since 1914 Club. Order yours today: Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 37 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

Apprentice sought to train with and succeed Announcing a new book. Only His Organs Certifi ed appraisals—Collections of organ Frederick Hohman as primary Producer/Engineer Remain: The Life of New York State Pipe Organ- books, recordings, and music, for divorce, The Diapason 2014 Resource Directory is the most complete listing of products and and/or Director of Artists & Repertoire for the estate, gift, and tax purposes. Stephen L. Pinel, builder Robert S. Rowland, by Richard Triumpho. services for the organ and church music American CD/DVD label PRO ORGANO. Appli- ISBN: 978-0-9717214-8-7, 242 pages; $24.95 Appraiser. [email protected]; 609/448-8427. fi elds. Make sure your ad is included. Con- cant must display strong aptitude for acquiring + $4.00 S&H. Available from: Sunnyside Press, tact Jerome Butera, [email protected] modern skills in audio and video media produc- 297 Triumpho Road, St. Johnsville, NY 13452; or 847/391-1045. In the Organ Lofts of Paris—A new edition of tion and must possess a base level of knowledge 518/568-7853. and some practical experience in sacred music, Frederic B. Stiven’s 1923 Parisian study is avail- with a focus on classical organ and choral lit- able, edited and annotated by Rollin Smith. Stiven erature. Applicant must be willing to commit to a The OHS Catalog is online at www.ohscatalog. graduated from the Oberlin Conservatory in 1907 Pipe Organs of the Keweenaw by Anita Camp- bell and Jan Dalquist, contains histories, stoplists, seven-year apprentice program, the successful org. More than 5,000 organ and theatre organ and subsequently served on the faculty. From completion of which shall culminate with the even- 1909–11 he studied with Alexandre Guilmant and photos of historic organs of the Keweenaw CDs, books, sheet music, DVDs and VHS videos Peninsula, the northernmost tip of Michigan’s tual assumption of label operations in 2020. Pref- are listed for browsing and easy ordering. Use a in Paris and each Sunday he visited important erence given to applicants who are U.S. residents Upper Peninsula. Organs include an 1899 Barck- link for adding your address to the OHS Cata- churches. Stiven writes charming pen-portraits of of 30 years of age and younger as of July 2013. his visits with Widor, Vierne, Gigout, and Bonnet, hoff and an 1882 Felgemaker. The booklet ($8.00 log mailing list. Organ Historical Society, Box per copy, which includes postage) is available Those interested are invited to send an introduc- and describes encounters with other organists, 26811, Richmond, VA 23261. E-mail: catalog@ from the Isle Royale and Keweenaw Parks Asso- tory cover letter by mail or FAX (574/271-9191)— as well as singing in the choir of the Paris Bach no telephone or Internet inquiries, please—detail- organsociety.org. ciation, 49445 US Hwy 41, Hancock, MI 49930. Society and in a chorus directed by Charles Tour- For information: 800/678-6925. ing reasons and motivation for pursuing this nemire. Stiven’s original text is illuminated with vocation, along with a brief c.v., including contact Ed Nowak, Chicago-area composer, arranger, 68 illustrations and copious annotations by Rollin information, to: Zarex Corp, F. Hohman, P.O. Box and church musician, announces his new web- Smith. Includes Stiven’s articles written for The Available from Fruhauf Music Publications—A 8338, South Bend, IN 46660-8338. site, featuring Nowak’s original choral works, Etude magazine: “Systematized Instruction in Baroque Sampler for Organ, Vol. 1, Music of J. S. hymn concertatos, chamber and orchestral Organ Playing” and “The Last Days of Guilmant,” Bach: Alle Menschen muessen sterben (S. 643); works, organ hymn accompaniments, organ and stoplists of all organs mentioned in the text. Bist du bei mir (S. 508); Erbarm dich mein, o PUBLICATIONS / RECORDINGS Herre Gott (S. 721); Sinfonia (Cantata 109, Gottes and piano pieces, electronic music, and psalm Hardbound; 184 pages. $24.95; OHS member price, $19.95. www.ohscatalog.org. Zeit ist die allerbeste Zeit); Jesu bleibet meine The Heavens Heard Him is a biographical settings. The website offers scores and recorded Freude (Cantata 147); Largo (Clavier-Concert in novel based on the life of the great Italian- examples that are easy to sample and can be F minor, S. 1056); Nun danket alle Gott (Cantata American musician, Pietro Alessandro Yon. purchased in downloaded (PDF and MP3) or Historic Organs of Southeastern Massachu- S. 156); Cadenza for Passacaglia and Fugue (S. Restoring, correcting errors, and converting to printed form. Visit ednowakmusic.com. setts—New! The long-awaited OHS Convention 582); Schafe koennen sicher weiden (Hunt Can- e-book and Kindle formats took three months, recording is fi nally here! This diverse 4-CD collec- tata, S. 208); Vom Himmel hoch da komm ich her and I am very proud of it. Also look for the tion features stellar performances by 37 different (Cantata S. 248); Sinfonia (Wir danken dir, Gott, Fruhauf Music Publications has released 1929 dedication program for the Carnegie Hall organists, including Brian Jones, Thomas Murray, wir danken dir, Cantata S. 29). Visit www.frumus- Plainchant Hymn Tunes, Settings for Organ (35 Kilgen, which was Yon’s main concert organ. Peter Sykes, and Barbara Owen. More than just pub.net for complete listings; write Fruhauf Music michaelsmusicservice.com; 704/567-1066. pages), featuring Meditation canonique and a memento of the convention, this is an important Publications at P. O. Box 22043, Santa Barbara, Intermede en canon, both on Adoro Te Devote; documentation of many historic organs that have CA 93121-2043; or phone 805/682-5727. Fantaisie and Prelude and Choral Fugue, both Pro Organo presents Eric Plutz on a new never before been recorded, featuring instru- on ; Preambule and recording, French Trilogy (Pro Organo CD ments by Beach, Erben, Hook, Hutchings, Jar- Prelude canonique, both on Divinum Myste- PIPE ORGANS FOR SALE 7255). Recorded on the Aeolian-Skinner Opus dine, Johnson, and Skinner. Be among the fi rst 1257 organ at Winthrop University, Rock Hill, rium; Acclamation on Pange Lingua Gloriosi; to own this treasury! The booklet offers detailed South Carolina, the program includes Pierné, Improvisation on Pange Lingua; Danse for information about all performers, organs and 1959 Moller Artiste #9458: 3 ranks, detached Trois Pièces; Saint-Saëns, Three Preludes and Flute Stops on Ubi Caritas; Oraison on Veni, composers. To see track information and how to rocker tab console, walnut case, electric switches, Fugues, op. 99; and Vierne, Deuxième Sym- Emmanuel. Visit www.frumuspub.net for com- order, visit www.ohscatalog.com. Regular Price: good playable condition; $5,000 OBO. Steve Bed- phonie, op. 20. www.proorgano.com. plete listings. $34.95, member Price: $31.95. dia 609/432-7876; [email protected].

TOTAL PIPE ORGAN RESOURCES

2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.com

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, For advertising information contact: contact editor Jerome Butera, The Diapason 847/391-1045 847/391-1045 voice [email protected]

847/390-0408 fax Send a copy of THE DIAPASON to a friend: Editor, The Diapason, 847/391-1045; [email protected] e-mail e-mail: [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215

PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com

3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

38 Q THE DIAPASON Q SEPTEMBER 2013 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES / SUPPLIES

1979 fourteen-rank, two-manual electro-pneu- Historic 1937 Kilgen pipe organ for sale or Console for sale: Famous, enormous, quality Aeolian/Robert Morton-style maroon matic organ. Dual casework with tin façade donation: two manuals, 18 ranks, excellent con- 5-manual built by M. P. Moller (1990) as a second leather is now available from Columbia Organ pipes. See www.goodwinorgans.com, opus 8. dition. No longer needed here. Want to fi nd good console for the Crystal Cathedral; limited use over Leathers! Highest quality. 800/423-7003, Asking $21,000; upgrades and installation avail- home. Kalamazoo, Michigan. Call 269/375-5265. the years; good condition; not needed by new www.columbiaorgan.com. able. E-mail [email protected] or owners in the total renovation of the Cathedral and call 909/885-3951. the organ. Available immediately; asking $40,000. Holtkamp organ, three manuals, 43 stops, Photos/full details from [email protected]. Complete Pipe Organ Services from the Organ built 1973. $50,000. Contact the Organ Clear- Clearing House: 450 vintage pipe organs avail- Seeburg Combo Player Organ/Piano— ing House at 617/688-9290, or john@organ- able, renovation, tuning, consultation. Other clearinghouse.com. Stopped Flute and Quintadena with octave Have a Rodgers 925 and need pipes? We have services include transportation, cleaning and coupler, and tremolo. Blower and vacuum pump eight great sets of Laukhuff pipes, windchests, a renovation of carvings, reredos, liturgical furnish- blower, etc. For more information please see our included. Casework excellent. Piano works OK. ings. Call John Bishop at 617/688-9290. john@ 11978 Reuter pipe organ, 15 stops in excellent website: www.milnarorgan.com. All components intact. Some refurbishment for condition tonally and great working condition. organclearinghouse.com. action pneumatics suggested. Asking $700. Tom For specifi cations or more information, visit Rench, Wisconsin; 262/639-3473. www.milnarorgan.com. Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions parts. Let us know what you are looking for. E-mail [email protected] (not comcast), and mechanisms. Highest quality materi- 1928 Casavant pipe organ 1986 Delaware Organ Company—7 extended , completely restored phone 215/353-0286 or 215/788-3423. als and workmanship. Reasonable rates. unit ranks. Fits under 7′ ceiling. Ideal for home with fi ve new stops by Létourneau in 1987. Two Columbia Organ Leathers 800/423-7003. or small church. $23,000. For pictures and a manuals and pedals, 24 ranks. Organ is in excel- www.columbiaorgan.com/col. specifi cation contact [email protected] (not lent condition and is a good candidate for solid- SERVICES / SUPPLIES Comcast) or call 215/353-0286. state conversion. Asking $65,000 “as is” or can be rebuilt with modifi cations. For more information, ANNOUNCEMENTS contact Létourneau Pipe Organs at mail@letour- neauorgans.com or 888/774-5105. Need help with your re-leathering project? Expressive and compact—3/27 Kilgen (1940). University of Michigan 53rd annual Confer- Two expressive divisions. 17 manual 8-foot fl ues. All pneumatics including Austin. Over 45 years experience (on the job assistance ence on Organ Music, September 29–October 1, Reeds include Tuba, Cornopean, Oboe, Clarinet, celebrates Marilyn Mason’s 66 years of teaching ′ ″, REED ORGANS FOR SALE available). 615/274-6400. Vox Humana. Harp. 16 Open Wood. H: 237 W: at U-M. Events include celebration dinner for ″, ″. 170 D: 189 Stopkey console. Original restor- Dr. Mason, Baird Carillon tour, and 2nd annual Vocalion, 2 manuals, 30-note pedal, feeders and able condition. $30,000. Organ Clearing House, Organ Improvisation Competition. Information: reservoir releathered, very good condition, Spen- 617/688-9290, [email protected]. Highest quality organ control systems since Michele Johns, 734/846-3825. cer Orgoblo Junior, no pump handle. Shoninger reed organ with Cymbella bell stop, very good 1989. Whether just a pipe relay, combination Wicks organ, 2 manuals, 4 ranks, ca. 1990. condition. Estey Artist, model Z-56, very good action or complete control system, all parts Postal regulations require that mail to The 16′ Rohrfl ute 97 pipes, ′8 Principal 85 pipes, playable condition. Oak-cased Aeolian 46-note are compatible. Intelligent design, competitive Diapason include a suite number to assure 4′ Gemshorn 73 pipes, 8′ Trumpet 61 pipes. player reed organ, ¾ restored, with 139 rolls. pricing, custom software to meet all of your delivery. Please send all correspondence Excellent condition. Oak casework and console. Aeolian Orchestrelle 58-note pressurized player requirements. For more information call Westa- to: The Diapason, 3030 W. Salt Creek Lane, Lauck Pipe Organ Co. 269/694/4500; e-mail: reed organ, with 69 rolls, restoration nearly 100% cott Organ Systems, 215/353-0286, or e-mail Suite 201, Arlington Heights, IL 60005. [email protected]. complete. Vermont, 802/244-7098. [email protected].

Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045, [email protected] GOT WEB? GOT SEO? GOT RESULTS? NEED HELP?

At MediaPress Studios, we apply now + tomorrow solutions to “now” problems, whether enhancing existing sites or building new device-independent websites.

Want to know more? Contact us at [email protected].

CLASSIFIED ADVERTISING • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES THE DIAPASON 847/391-1045 • [email protected]

Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type.

Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition ❑ of a ruled box (border) surrounding the Place on website advertisement. Regular Classifi ed, per word $ 1.00 Ad Copy ______Regular Classifi ed minimum 23.00 Display Classifi ed, per word 1.35 ______Display Classifi ed minimum 27.00 ______Additional to above charges: Box Service (mail forwarding) 8.00 ______Website placement (includes photo) 17.00 ($30 if not ordering print ad) ______NOTE: Orders for classifi ed advertising ______must be accompanied by payment in full for the month(s) specifi ed. ______

Non-subscribers wanting single copies ______of the issue in which their advertisement appears should include $5.00 per issue ______desired with their payment. Name ______Phone ______The Diapason reserves the right to designate appropriate classifi cation to Address ______Total Enclosed ______advertisements, and to reject the insertion of advertising deemed inappropriate to this City/State ______Zip ______E-mail ______magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2013 Q 39 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] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Choirs

The Choir of Saint Thomas Church, NYC John Scott, Director March 2014

The Choir of Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Westminster Abbey, UK James O’Donnell, Director October 2014

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Jonathan Ryan Ann Elise Smoot Donald Sutherland

Celebrating Our 92nd Season!

*=Artists based outside the U.S.A. Tom Trenney Thomas Trotter* Todd Wilson Christopher Young