THE DIAPASON FEBRUARY 2020

First United Methodist Church Pittsburg, Kansas Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS

ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS

ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE

ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN

HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH SEBASTIAN HEINDL ϮϬϭဓt®Äě٠>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄ

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ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵͬǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵͬဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 2, Think summer Whole No. 1323 I don’t know about you, but in the winter months I like to FEBRUARY 2020 plan for the summer! Is your church, university, or municipality Established in 1909 having a summer recital series for the organ or carillon? Be Stephen Schnurr ISSN 0012-2378 sure to send me all the particulars for inclusion in the Calendar 847/954-7989; [email protected] section and perhaps in Here & There. www.TheDiapason.com An International Monthly Devoted to the Organ, the Harpsichord, Carillon, and Church Music A gift subscription is always appropriate! Larry Palmer, in “Harpsichord Notes,” brings to our attention Remember, a gift subscription of The Diapason for a friend, a contemporary printing of Gottlieb Muffat’s Componimenti CONTENTS colleague, or student is a gift that is remembered each month. Musicali for harpsichord (1739). In “Carillon Profi le,” Kimberly FEATURES (And our student subscription rate cannot be beat at $20/year!) Shafer details the full-scale John Taylor & Company carillon at An interview with Pierre Labric Subscriptions can be ordered by calling our subscription service Iowa State University, as well as the school’s mobile campanile- by Jesse Eschbach 14 at 800/501-7540 or visiting www.thediapason.com and clicking carillon model based on the full-sized tower with bells cast by Building Bach: His Foundations and Futures, on Subscribe. Meeks, Watson & Company. Gavin Black continues recovery University of Michigan 59th Annual Organ from surgery and will resume his column, “On Teaching,” likely Conference, September 29–October 1, 2019 by Brooks Grantier 17 In this issue with the March issue. Jesse Eschbach interviews Pierre Labric of Dreux, France, This month’s cover feature is C. B. Fisk, Inc., Opus 152, built Organ Festival Holland and International Schnitger Organ Competition 2019: Sint- as Labric approaches his 100th birthday. The interview for the First United Methodist Church of Pittsburg, Kansas. Laurenskerk and Kapelkerk, Alkmaar, the includes detailed remembrances of Jeanne Demessieux. Pittsburg is also home to Fisk Opus 106, the principal organ Netherlands, June 21–28, 2019 Brooks Grantier reports on the University of Michigan’s 59th at Pittsburg State University. In New Organs, Randall Dyer & by Lorraine S. Brugh 20 annual organ conference, “Building Bach: His Foundations and Associates, Inc., Opus 100 is featured, built for First United NEWS & DEPARTMENTS Futures,” held this past September and October in Ann Arbor. Methodist Church of Lebanon, Tennessee. Editor’s Notebook 3 Lorraine Brugh reports on the Organ Festival Holland and As always, our Here & There section contains all manner Letters to the Editor 3 International Schnitger Organ Competition 2019, held in July. of news, from items about events, competitions, and people in Here & There 3 In “In the wind . . .,” John Bishop remembers Johannes the profession to appointments, obituaries, and notices of new Appointments 4 Geratus Petrus Leek (1929–2019), an Ohio organbuilder who recordings and publications. Check out all the offerings in this Carillon Profi le by Kimberly Schafer 6 greatly infl uenced Bishop’s professional and personal life. month’s issue! Q Nunc Dimittis 8 Harpsichord Notes by Larry Palmer 8 In the wind . . . by John Bishop 12 Letters to the Editor REVIEWS Book Reviews 10 I am grateful to Larry Palmer for a lesson at Trinity Lutheran Church in Westminster Choir College and put me New Organ Music 10 including a tribute to his fi rst organ Ashland, where she was organist/direc- in touch with a former student of hers New Recordings 11 teacher, Mabel Zehner, who was also my tor, she was at the console playing the who had graduated from WCC. Her New Handbell Music 11 fi rst organ teacher (“Harpsichord Notes,” Sowerby Pageant. I was amazed at how sage advice set my life on a trajectory NEW ORGANS 24 The Diapason, December 2019, page 11). fl awlessly she played that diffi cult piece that was much different than it other- CALENDAR 25 I have known of Mr. Palmer for decades and just sat and listened without inter- wise would have been. I owe so much and once chatted with him, but I did not rupting her. to her. Few of the good things that have RECITAL PROGRAMS 29 know he had studied with Miss Zehner. Miss Zehner was much more to me come my way in life would have hap- CLASSIFIED ADVERTISING 30 Miss Zehner was an accomplished than just an organ teacher. She was pened without Miss Zehner’s guidance performer as well as a wonderful teacher. the only person who ever sat me down and encouragement. THE She played the dedicatory recital in 1968 and asked what I wanted to do with my Over the years I have met numer- DIAPASON FEBRUARY 2020 on the new organ at St. John’s United life. At that time I had served two years ous organists who studied with Miss Church of Christ in Mansfi eld, Ohio, in the U. S. Army and was working at Zehner. I wonder if her infl uence on where I was then organist. She had been a low-level job that wasn’t going any- any of her other students was as great as the consultant for the organ and had where. She could apparently see that it was for me. recommended me for the position at my life was a bit like a ship without a Thomas L. Scheck the church. One day when I arrived for rudder. She recommended that I attend Key West, Florida

First United Methodist Church Pittsburg, Kansas Cover feature on pages 22–23 Here & There

COVER Events Pipe Organ Builders organ of three man- Bruce Bengtson; 2/19, Just Bach; March C. B. Fisk, Inc., Gloucester, Massachusetts; uals, 49 ranks. (The organ was featured 4, Andrew Schaeffer; 3/11, Casey Oelk- First United Methodist Church, Pittsburg, Kansas 22 on the cover of the January 2011 issue.) ers, fl ute, and Mark Brampton Smith, All events are organ recitals, except piano; 3/18, John Chappell Stowe; 3/25, where noted: February 14, Charles W. Just Bach; Editorial Director STEPHEN SCHNURR Ore; 2/15, Charles W. Ore, workshop; April 1, Andrew Schaeffer and Kang- and Publisher [email protected] 2/16, Irene Beethe; April 19, Richard won Kim; 4/15, Just Bach; 4/22, Peter 847/954-7989 Elliott; October 4, Jeffery Blersch, hymn Fennema; 4/29, Ethan Mellema; May 6, President RICK SCHWER festival. For information: Bruce Bengtson; 5/13, Michael David- [email protected] https://zionlutheranwausau.com. son; 5/20, Just Bach. 847/391-1048 Luther Memorial Church houses three Editor-at-Large ANDREW SCHAEFFER organs. The gallery organ was installed [email protected] in 1966 by Austin Organs, Inc., featuring three manuals, 56 ranks. On the fl oor of Sales Director JEROME BUTERA [email protected] the nave is an 1893 J. W. Steere & Son 608/634-6253 organ of two manuals, 19 ranks. There Circulation/ is also a 1986 Bedient portativ organ Subscriptions THE DIAPASON P.O. Box 300 with three stops. For information: www. Lincolnshire, IL. 60069-0300 luthermem.org and www.justbach.org. [email protected] Toll-Free: 877/501-7540 Local: 847/763-4933 Christ Cathedral, Garden Grove, California, announces events rededicat- Designer KIMBERLY PELLIKAN Zion Lutheran Church, Wausau, Wiscon- Luther Memorial Church, Madison, Wis- ing its Hazel Wright Organ, built by [email protected] sin, Kegg organ consin, Austin organ 847/391-1024 Fratelli Ruffatti of Padua, Italy. The dedication recital will take place May Contributing Editors LARRY PALMER Zion Lutheran Church, Wausau, Luther Memorial Church, Madi- 15 with Fred Swann, Paul Jacobs, Hec- Harpsichord Wisconsin, announces special music son, Wisconsin, announces its Music at tor Olivera, Michael Barone, and Diane BRIAN SWAGER events for 2020 in celebration of the Midday concerts, Wednesdays at noon: Bish; the following day, workshops, Carillon tenth anniversary of the church’s Kegg February 5, Andrew Schaeffer; 2/12, ³ page 4

JOHN BISHOP In the wind . . . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Reviewers Stephen Schnurr 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading John Collins only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Joyce Johnson Robinson Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the John L. Speller 60069-0300. validity of information supplied by contributors, vendors, Leon Nelson This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 3 Here & There

³ page 3 Auxi-le-Château (Carpentier/Cattiaux, 1747/1993, 3 manuals, 33 stops), Saint- Appointments Omer (Cavaillé-Coll, 1855, 4 manuals, Joshua Stafford is appointed interim 49 stops), and Béthune (Freytag/Tricote- organist for the Chautauqua Institution, aux, 2001, 3 manuals, 42 stops). In each Chautauqua, New York, for the 2020 location, fi rst prize is €4,000; second summer assembly season. In this interim prize is €2,000. The jury includes Fran- capacity, Stafford, a native of neighboring çois Espinasse, Shin-Young Lee, Reitze Jamestown, will succeed his mentor and Smits, Ludger Lohmann, Henry Fairs, teacher, the late Jared Jacobsen, as the and Ami Hoyano. Deadline for applica- principal performer on the institution’s tion is May 1. For information: Massey Memorial Organ. http://orguebethune.fr. Stafford serves year-round as director Christ Cathedral, Garden Grove, Califor- of music for St. Peter’s Episcopal Church, nia, Hazel Wright Organ console Morristown, New Jersey, where he con- People ducts an RSCM-based program with masterclasses, and presentations will be choirs of boys, girls, and adults. In 2016, made by Swann, Bish, Jacobs, and Oli- Joshua Stafford he was awarded the Pierre S. du Pont vera. Hector Olivera will present a solo First Prize of the Longwood Gardens organ recital on May 17. International Organ Competition. He is a member of The Diapason’s 20 Monthly recitals follow: June 12, Under 30 Class of 2017. David Ball; July 17, Peter Richard Conte; During Stafford’s childhood, Jacobsen, Chautauqua’s longtime organist and August 21, Nathan Laube; September coordinator of worship and sacred music, became one of several mentors and 18, Chelsea Chen; October 16, Olivier instructors who guided Stafford’s development as an organist. He will begin his Latry; November 20, Stephen Tharp; service as the Institution’s interim organist at the fi rst ecumenical worship service December, a Christmas concert with the of the 2020 summer assembly season, June 28. Stafford is represented by Phillip cathedral choirs. On January 5, 2021, Truckenbrod Concert Artists. For information: www.concertartists.com. Q Paul Jacobs will perform with the Pacifi c Symphony, Carl St. Clair, conductor. For information: performance schedule includes: February Presbyterian Church, Portland, Oregon, www.christcathedralmusic.org or 16, Calvary Episcopal Church, Pittsburgh, March 20. www.hazelsback.org. Pennsylvania; 2/19, First Presbyterian From Sea to Shining Sea will be per- Church, Philadelphia, Pennsylvania; 2/21, formed next fall in celebration of the The International Organ Course Franklin Ashdown St. John’s Episcopal Church, Hartford, 400th anniversary of the Mayfl ower at in Romainmôtier, Switzerland, again Connecticut; 2/23, First Presbyterian First Congregational Church, Anchor- offers a program in a medieval village Franklin Ashdown has three newly Church, Gainesville, Florida. age, Alaska, on October 24, and on with three organs: the Alain family published organ collections. Joyful, We In autumn 2019, as artistic director November 7 at St. Andrew Presbyterian organ, built by Albert Alain, father of Adore: Organ Settings for the Harvest of St. Paul’s Cathedral’s Grand Organ Church, Iowa City, Iowa. For informa- Jehan and Marie-Claire; the house organ Season, a set of 11 free-style and hymn- Gala series entitled “New Worlds: Music tion: www.promotionmusic.org. of the musicologist and organist Luigi based pieces related to Thanksgiving, of America and Beyond,” Johnson pre- Ferdinando Tagliavini; and the Lhôte creation, and praise, is published by sented Holst’s The Planets, performed in organ in the abbey church. For 2020, the Augsburg Fortress (augsburgfortress. collaboration with the Space Visualiza- fi rst week of the course, July 12–19, will org). A Book of Liturgical Postludes, tion Program of NASA’s Goddard Space be dedicated to improvisation, taught by published by Sacred Music Press/Lorenz Flight Center. The big-screen footage Emmanuel Le Divellec and Tobias Willi, (lorenz.com), is a collection of ten free included images from deep into space open for all levels. and tune-based compositions celebrat- and a personal greeting to the concert During the second week, July 19–26, ing various seasons and events of the audience from the International Space three masterclasses will focus on the liturgical year. Center. In the United States, Simon organ music of Jehan Alain, supple- Six Trumpet Voluntaries Quoting Johnson is represented by the William mented by lessons on music of the South Hymns consists of original trumpet tunes Wymond Agency LLC. For information: German Baroque; the organ music of that in the course of development quote [email protected]. Cherry Rhodes in Shanghai Robert Schumann and Bach’s fugues, hymntunes, either completely or in taught by Wolfgang Zerer of Hamburg; phrases, including Neander, Grosser Cherry Rhodes returned to Shang- 18th-century French music and works Gott, Lyons, St. Theodulph, Tal- hai, November 5–9, 2019, to participate by César Franck, taught by Christophe lis’ Canon, and Yigdal, published by in the Second International Organ Mantoux of Paris; and on Brahms’s organ MorningStar Music Publishers (morn- Festival sponsored by the Shanghai Con- music and Bach’s fantasies, taught by ingstarmusic.com). A new Lenten choral servatory. She was an adjudicator in the Guy Bovet of Neuchâtel. For informa- piece for SATB and organ, Forty Days international competition, performed tion: www.jehanalain.ch. and Forty Nights, is available from Augs- in the Shanghai Oriental Arts Center, burg Fortress. served on an international panel at the Shanghai Conservatory, and presented Competitions a lecture entitled, “Inspiring Collabo- The L. Cameron Johnson Memo- rations with Living Composers.” This rial Competition for high school organ lecture focused on composers who have students will take place May 30 at Storrs David and Jeannine Jordan with Rach- written and dedicated works to her and Congregational Church on the campus ele Patrignelli, executive director of Nel- the collaboration involved between com- of the University of Connecticut, Storrs, son Hall Theater, Elim Park, Connecticut poser and dedicatee in creating these Connecticut. The competition requires compositions. Among these composers selection of repertoire of the Baroque, Jeannine and David Jordan per- discussed were Jean Guillou, Joan Tower, Romantic, and 20th or 21st century. First formed their organ and multimedia con- Rayner Brown, Frank Ticheli, Weicheng prize is $1,500; second prize is $750; and cert, Around the World in 80 Minutes, Zhao, Fr. Marius Walter, Larry King, third prize is $300. Deadline for applica- in Cheshire, Connecticut, October 13, Calvin Hampton, and James F. Hopkins. tion is April 17. For information: 2019. The event was part of the Nelson Rhodes performed Hopkins’s Arachne’s www.northeasternctago.org. Hall Theatre season at Elim Park. Web and Hampton’s Everyone Dance in The Jordans will present a three-day the Shanghai Festival opening concert. The Eighth International Organ event February 8–10, in Des Peres, Mis- Competition Pierre de Manchicourt souri, centered on Around the World in announces its 2020 contest, September 80 Minutes and an Orgelkids event. The Publishers 29–October 2, open to organists of all Simon Johnson weekend will include a concert on the Hortus Editions announces a new ages and nationalities. Applicants may Music at St. Paul Series and a special two-volume biography of Daniel Roth, choose to compete on one, two, or Simon Johnson, organist and assistant youth version of the concert as well as an titular organist of Saint-Sulpice, Paris, three instruments. All pieces or tran- director of music at St. Paul’s Cathedral, Orgelkids build for St. Paul School. On France, utilizing an interview format scriptions should be compatible with London, UK, will be on a tour in the February 16, the Kansas City Chapter with Pierre-François Dub-Attenti and the specifi cations of each instrument: United States February 16–23. His of the AGO will host a performance Christophe Zerbini and entitled Daniel of Around the World in 80 Minutes at Roth, Grand choeur. The fi rst volume Village Presbyterian Church, Prairie (ISBN 978-2-910582-22-7, €22) traces Village, Kansas, and the same concert Roth’s career. The second volume (ISBN will be performed on February 23 at St. 978-2-910582-23-4, €23) develops his John’s Lutheran Church, Orange, Cali- thoughts about the organ in terms of fornia. The Jordans will perform Bach interpretation, improvisation, composi- and Sons as part of the tenth anniversary tion, and transcription. Both volumes celebration of the Jaeckel organ at First ³ page 6

4 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM www.ConcertArtistCooperative.com

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Rhonda Sider Laura Faythe Simone Justin Sarah Edgington Ellis Freese Gheller Hartz Hawbecker

James D. Rob Michael Angela David K. Mark Hicks Hlebinsky Kaminski Kraft Cross Lamb Laubach

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David F. Brenda Tom Beth Rodland Duo Oliver Portman Winpenny Zucchino Carol & Catherine Rodland

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³ page 4 Complete Keyboard Sonatas, Vol. 3 (C00034, €12.50), performed by Carillon Profi le Giovanni De Cecco on clavichord. Iowa State University, Ames, Iowa Sonatas include F Major, K. 280; C John Taylor & Company, Loughborough, England; Major, K. 309; D Major, K. 576; and Meeks, Watson & Company, Georgetown, Ohio Allegro in G Minor, K. 312. Marco Nodari: Vertigo, Organ Music (2004–2018) (C00215, €12.50), features Joanna Klisowska, Leonardo Carrieri, and Simone Vebber, organ, and Svetla Tsvetkova, soprano, performing music by Nodari. For information: www.davinci-edition.com.

Daniel Roth, Grand choeur are in French; an English translation is in planning stages. For information: www.aross.fr. The mobile campanile-carillon at Iowa State University’s mechanical The Art of Robert Anderson Iowa State University (photo credit: Tin- engineering capstone senior design Shi Tam) class (photo credit: Tin-Shi Tam) The East Texas Pipe Organ Festival announces a new CD, The Art of Robert Anderson, featuring private recordings of Anderson from the John Beck Library, playing the 1965 Aeolian-Skinner Organ Company Opus 1438 formerly in Caruth Auditorium, Southern Methodist Univer- sity, Dallas, Texas. This recording features over two hours of music. For information: www.easttexaspipeorganfestival.com.

The campanile-carillon model in performance with the Iowa State University Symphony Orchestra and Iowa State University Choir Alumni (photo credit: Jim Heise)

A Gregorian Liturgical Year, Volume 4

MorningStar Music Publishers announces the fourth volume of the series by Gerald Near, A Gregorian Liturgical Year. This edition contains Iowa State University electrical com- pieces for Sundays and major feast days puter software engineering senior Iowa State University campanile (pho- of the church, covering the period from design class (photo credit: Tin-Shi Tam) to credit: Tin-Shi Tam) Pentecost 18 (25th Sunday in Ordinary Christmas in New York Time, Proper 20) through All Saints. In 2019, Iowa State University celebrated the 120th anniversary of the Stan- Thematic material for each piece MSR Classics announces a new CD, ton Memorial Carillon; the 25th anniversary of the appointment of university is taken from one of the Propers of Christmas in New York, featuring the carillonneur, Tin-Shi Tam; the 65th anniversary of the Stanton Memorial Caril- the Mass (Introit, Gradual, Alleluia, New York City Children’s Choir, Mary lon Foundation; and the 50th anniversary of the Stephens Auditorium and the Offertory, Communion), and the entire Huff, artistic director. Recorded in Madi- Ames International Orchestra Festival Association (AIOFA). The culmination collection is keyed to the three-year son Avenue Presbyterian Church, the of these anniversaries was a “Bells of Iowa State” Gala Anniversary Concert on Lectionary shared by Roman Catholics, album features the advanced ensembles October 27, 2019. Episcopalians, and Lutherans, as well as of the chorus. Selections include works Unveiled at the celebration was the mobile campanile-carillon model based some denominational bodies not strictly written by native New Yorkers and oth- on the full-sized tower and Stanton Memorial Carillon. Tam performed on liturgical by nature. The pieces range ers inspired and infl uenced by the city. A the one-fi fth-sized model alongside the ISU Symphony Orchestra and alumni roughly in length from one to three min- recording of the premiere performance chorus. The 27-bell instrument, cast by Meeks, Watson & Company of George- utes, with chant melodies taken from the of the chamber orchestra arrangement town, Ohio, will be used for special university events and will travel around the Roman Gradual (Graduale Romanum, of Randall Thompson’s The Place of the state and country, spreading the sounds and nostalgia of ISU bells. Solesmes 1974). For information: Blest is included, as well. For information: Tam spearheaded this effort with support from students, faculty, and staff. Jim www.morningstarmusic.com. www.nycchildrenschorus.org. Heise, associate teaching professor of mechanical engineering, has managed the four-year-long project and brought students from different disciplines to this ven- ture as an invaluable learning opportunity. The students devised a 21st-century Recordings technological advance for this carillon—a carillon tutorial with an electronic Da Vinci Classics announces new display and lights just above the batons that guide players to press keys to play CDs. Wolfgang Amadeus Mozart: familiar tunes. The Edgar W. and Margaret MacDonald Stanton Memorial Carillon began as a chime of ten bells in 1899. John Taylor & Company of Loughborough, Eng- land, cast the bells, and these were Taylor’s fi rst bells using fi ve-point tuning—a major achievement at the time. Twenty-six bells were added in 1929, thirteen more in 1956, and one more in 1967 for a total of fi fty bells, all by Taylor. The campanile and carillon were renovated between 1992 and 1994 by the Verdin Company of Cincinnati, Ohio. The carillon is performed on weekdays during the noon hour. Students may enroll in carillon lessons with the university caril- lonneur and Crownie Professor of Music, Dr. Tam. Q Impressions —Kimberly Schafer, PhD Founder and Partner, Pro Organo announces a new CD, Community Bell Advocates, LLC Impressions (7284), featuring Aaron www.communitybelladvocates.com Tan, 2018 winner of the AGO’s National [email protected] ³ page 8

6 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM SHRINE OF THE MOST BLESSED SACRAMENT, HANCEVILLE, ALABAMA

“Our previous Allen Organ was installed when the Shrine was built twenty years ago. It had served us well, so we were confidentwe would be getting a quality product again. Every detail of our new organ, with its expanded features, was custom built to meet our needs. Its exquisite exterior finish blends perfectly with the beauty of the Shrine, and the addition of the Diapason stops on all of the divisions along with the Swell and Choir Antiphonal divisions has provided a richness of sound, which are just a few of the notable benefits that support our Sisters singing in the choir. Our Allen Organ Representative had diligently worked with us in every step of the process, assisting us with choosing the customized details, installation and fine tuning, to provide the precise balance of sound fitting for the Shrine’s musical needs. We were also given comprehensive instructions regarding the many new capabilities and sound options that are now available through Allen’s newest digital technology.”

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“At the Shrine of the Most Blessed Sacrament, visitors come from around the world to adore Jesus in the Most Blessed Sacrament and to participate in the Holy Sacrifice of the Mass. Traditionally, monasteries are considered as those who preserve and promote the arts. We do our best to provide beautiful music as an act of love and worship of Our Lord, and the organ’s accompaniment is an essential part.

We are grateful for our Allen Organ Representative for their professional assistance and for helping us through this whole process. Our thanks to all who have made this possible! God Bless.”

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Nunc Dimittis Harpsichord Notes Alis Dickinson Adkins, former faculty By Larry Palmer member of the University of North Texas College of Music, died December 6, 2019, in Denton, Texas. Born in Corpus Christi, Texas, on August 25, 1936, she grew up in Brownwood, Texas, and graduated from high school there in 1953. Both then and later at Howard Payne College in 1957, she led her graduating class as valedictorian, majoring in history and minoring in music. While subsequently teaching at Howard Payne and serving as organist of First Bap- tist Church in Brownwood, she pursued her two principal interests by completing a master’s degree in music history and organ at the University of Texas in Austin. There she studied organ with Jerald Hamilton. Alis Dickinson Adkins She was awarded a Fulbright scholarship for two years of study with Finn Viderø in Copenhagen, Denmark (1963–1965). He arranged for her to play recitals around Denmark and Sweden, concentrating on North German organ music that became the center of her repertoire. Upon her return to Texas in 1965 Adkins enrolled at the University of North Texas pursuing a doctorate in musicology while teaching organ part-time. The Title page, Componimenti Musicali, by Gottlieb Muffat degree was presented upon completion of her dissertation, “Keyboard Tablatures of the Mid-Seventeenth Century in the Royal Library, Copenhagen: Edition and Gottlieb Muffat and his Componimenti Musicali Commentary,” for which she was awarded a prize by the professional fraternity Since February is the shortest month (even though this leap year does add Mu Phi Epsilon. Dickinson also had the honor of being the fi rst woman to earn a a twenty-ninth day), it seems right and proper to submit a shorter essay! After Ph.D. in the arts from a Texas university. all, one must cram a month’s work into a shorter period, so there should be In 1967 Dickinson married a musicological colleague, Cecil Adkins. Together fewer words to read or write. they published articles on various aspects of the positive organ. In 1967 they also Way back in 2019, as I was searching for my autographed copy of Christopher took over the bibliographical series Doctoral Dissertations in Musicology, the go-to Hogwood’s book on Handel, the tome next to it fell out of the bookcase. Since publication for information on current and completed dissertations in the fi eld. one of the joys of retirement is the gradual reading of many items that were Alis Adkins also taught music history and appreciation for many years at the not read previously, I opened the errant volume to see what it was all about. University of North Texas. She served as organist and choirmaster of St. Barnabas One hundred sixty-six pages in a format about the size of a choral anthem copy, Episcopal Church, Denton, for over fi fty years. the hardbound surprise was musicologist Friedrich Chrysander’s 1894 Handel Alis Dickinson Adkins is survived by eight children, Sean Adkins (Rexanne Supplement V in English translation: its content, the listing of ample borrowings Ring), Lynne Adkins Rutherford (Paris), Elisabeth Adkins (Edward Newman), from the publication, Componimenti Musicali for Harpsichord (1739), that The Christopher Adkins (Sasha), Clare Adkins Cason (David), Anthony Adkins Messiah’s composer found in this work by his fellow German Gottlieb Muffat (Erica), Alexandra Adkins Wenig (Steven), and Madeline Adkins (John Forrest), (born in Passau in 1690, deceased in Vienna in 1770). Included in Chrysander’s as well as by 12 grandchildren. Her memorial service was held at St. Barnabas interesting book was the whole content of Muffat’s delightful publication. Since Episcopal Church, Denton. Interment was in the columbarium under the organ, I had never played even one single work by this composer, I read through the beside her husband, who died in 2015. Q entire oeuvre of six enticing suites and a seventh stand-alone piece, Ciacona with 38 Variations. I will admit that I did not play every note in this fi nal work, but the composition inspired me to go searching for my performance copy of ³ page 6 Handel’s Chaconne in the same key of G major. Young Artists Competition in Organ Perhaps it was the guardian angel who was on duty that day or just good Performance. Tan performs on the fortune that was trying to equal the scales of justice after the recent tornado Rieger organ of Bryn Mawr Presbyterian that caused so much damage to the section of Dallas in which I live, but the Church, Bryn Mawr, Pennsylvania, the second score that I rescued from a pile of harpsichord music in a very large fi rst commercially produced disc on drawer was nothing less than Gottlieb Muffat’s Componimenti Musicali in a this instrument. Included are works by much larger print format—the Ut Orpheus Edition published in 2009 as a Joseph-Ermend Bonnal, Jongen, Karg- splendid volume edited by the late lamented early music specialist Christo- Elert, and Vierne, as well as transcrip- pher Jarvis Haley Hogwood (1941–2014)—an edition that includes yet one tions of music by Bizet and Tchaikovsky. more welcome bonus: the fi rst publication of another solo harpsichord work For information: by Muffat—his seven-movement Suite in D Minor, Hogwood’s discovery, www.proorgano.com. found in the library of the Berlin Sing-Akademie. Equally special is the note that I had placed in the front cover of this beautifully legible score: a note from former editor of The Diapason Jerome Butera, who had passed it on to me for reviewing. Thomas Trotter: From Palaces to Plea- Hogwood’s extensive introductory notes include his helpful remarks on sure Gardens the proper performance of various ornament signs as well as his tracing of the Componimenti Musicali’s historical signifi cance and publication history. Church, Spitalfi elds, London, UK. The Especially fi ne is the larger size of the many, many notes in this more recent disc includes works by Handel, Corelli, edition, a particular boon for those of us who, like me, may be having problems Stanley, and J. C. Bach. For information: with aging eyes! www.regentrecords.com. Do not hesitate to procure and utilize this tome of delightful music, com- pared by several noted performers to be the equal of works by François Cou- perin or of those by Muffat’s Viennese mentor, Fux. The Ut Orpheus Edition, Organbuilders published in Bologna, bears the ISBN number 979-0-2153-1639-3. I recom- mend it whole-heartedly. So, dear readers, I wish you much happiness in this month of Saint Valentine, and may you fall in love with these delightful harpsichord pieces of Gottlieb Dobrinka Tabakova Muffat—surely a gift both from and to the gods of musical happiness—and join me in programming at least one of the suites to help in spreading this Regent Records announces new worthy newfound joy. Q CDs. Dobrinka Tabakova (REGCD530) features the works of this composer per- Comments and questions are welcome. Address them to [email protected] formed by the Truro Cathedral Choir, or 10125 Cromwell Drive, Dallas, Texas 75229. BBC Concert Orchestra, Natalie Clein, cello, and Joseph Wicks, organ, directed by Christopher Gray. Works by Tabakova Casavant Frères, Limitée, The instrument is expected to be com- include Alma redemptoris Mater, Jubi- Saint-Hyacinthe, Québec, Canada, pleted by Easter. late Deo, Magnifi cat and Nunc dimittis, is in the final stages of construc- For First United Methodist and Diptych for solo organ. tion of a two-manual, eleven-rank, Church, Baton Rouge, Louisiana, Thomas Trotter: From Palaces to Plea- mechanical-action organ for St. Casavant is installing a new four-manual, sure Gardens (REGCD 526) features Baton Rouge church members visit their Dunstan’s Chapel of Christ Church fi fty-nine rank organ for the church’s Thomas Trotter performing on the new Casavant organ under construction Cranbrook, Bloomfield, Michigan, renovated 1926 sanctuary. For informa- 1735 Richard Bridge organ of Christ at the factory in November 2019 featuring a meantone temperament. tion: www.casavant.ca. Q

8 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM UNITING TRADITION AND INNOVATION

The Organ at St. Timothy Catholic Church LUTZ, FLORIDA

In 1996, The Cathedral of St. Jude the Apostle in the Diocese of First, a custom fi nished Rodgers Infi nity Series 4-manual organ was St. Petersburg, Florida purchased a new Rodgers 4-manual digital installed. Later, 7-ranks of breathtaking pipe-work was added. The organ to replace the Rodgers analog instrument bought in 1963. tonal specifi cation includes a horizontal brass Trumpet en Chamade. The mahogany casework is accented by three dazzling “embossed” The old Rodgers console was still working fi ne but lacked “all the pipes. Each of the embossed pipes bears a name stamped into its bells and whistles” available on the new organs of the day. Rather languid. The foundation of the pipework is the Pedal Octave 8’ than trading the organ, the Cathedral donated it to the newly formed and the largest pipe in that rank bears the name of Fr. Kenneth St. Timothy Parish in Lutz. Malley, Pastor of St. Timothy’s.

As St. Timothy outgrew that fi rst property, a newer, albeit pre-owned The pipe in the center of the facade bears the name of Bishop Rodgers was purchased in 2002 to be installed at the new location Robert Lynch. Finally, the pipe closest to the organ’s console bears and the Rodgers 330 was donated once again to yet another church the name of the late Msgr. Harold Bumpus who was a champion in central Florida. The fi rst new organ in the history of their church of the organ within the St. Petersburg Diocese for decades. was purchased at the end of 2016. Critically important to the organ committee at St. Timothy’s was The new hybrid organ for St. Timothy was designed by Central a digital organ’s ability to seamlessly blend with real wind-blown Music of Clearwater, Florida and built by a renowned pipe organ pipework for both the listening enjoyment of the congregation and builder and Rodgers Instruments. the functions and features for the organist.

PHONE 503.648.4181 WEB rodgersinstruments.com Please watch and share our video at: www.rodgersinstruments.com/videos EXPERIENCE ELEVATED Reviews

Book Review to, a comprehensive list of Poister’s uni- chords, long-held trills, or moving qua- Israeli, Gaelic, Brazilian, Spanish, and Arthur Poister: Master Teacher and versity organ students (1928–1975), his vers beneath held half notes. Certain English melodies to seventeenth-cen- Poet of the Organ, by David C. Pick- organ recital repertory, repertoire played features, such as repeated eighth sec- tury German chorales, and more. The ering, with a foreword by Will Head- by his students in recital (1939–1968), onds and thirds beneath sixteenth notes settings are in harmony with the nature lee, edited by Sarah E. Thomas. dates and locations of his recitals and and sixteenth-note fi gures in which the or origin of the hymntunes, or certainly Wayne Leupold Editions, Inc., 2018, masterclasses, as well as stoplists of second and fourth notes are the same, compatible with them, and cover inter- 577 + xvi pages, hardbound. 25 black organs important to his career. A select are probably better suited to the per- esting harmonic and rhythmic ground. and white and 1 color photographs. bibliography is impressive in its relative cussive nature of the harpsichord. Like They are not your garden-variety sight- Available from: www.wayneleupold. brevity, and an index is very helpful. many such Iberian sonatas of the period readable, easy-patterned hymntune com, $59. Through this narrative, one learns this sonata would certainly work well settings—they offer some challenge to In the early 1950s, it was common for that Arthur Poister was much more than on the organ, the writing being strictly the ear and mind, but not so much that issues of The Diapason to feature full- a phenomenal teacher and musician; within the keyboard compass of the con- player or listener forsakes the pieces. page advertisements for many of Ameri- he was a humble mentor who treated temporary organ. The selection of tunes covers many ca’s titans of the organ. The management his students, colleagues, friends, and The fragment that follows is six bars of aspects and seasons of the liturgical year. fi rm headed by Bernard R. LaBerge had acquaintances with exceptional kind- a Grave in D minor; the volume closes All the interpretations are suitable for the largest roster of the best virtuosi of ness. The late Roy Kehl perhaps most with a short Tocata en Mi menor (E performance on a two-manual instru- two generations ago, and thus glamorous eloquently captured this sentiment, as minor) of forty bars. This piece in binary ment and are of medium diffi culty. The advertisements appeared for the likes of quoted on page 345: “Because he loved form is in two voices throughout until the text of the volume has a few typographi- Robert Baker, Claire Coci (LaBerge’s and was beloved he will not be forgotten.” arpeggiated fi nal chord of each section. cal errors, but this does not deter from wife), David Craighead, Catharine Pickering has accomplished an out- Although mainly in sixteenth notes as a the quality of the music. Crozier, Alexander McCurdy and Flora standing task in production of this book. moto perpetuo there are phrases with “All Creatures, Worship God Most Greenwood, Marilyn Mason, and Virgil It is a model that hopefully will inspire eighth-note triplets in the right hand High!” (Lasst uns erfreuen) is a Fox, as well as international names biographies of giants of the American against sixteenth notes. None of the full-organ setting that expresses praise, such as Flor Peeters, André Marchal, organ scene, such as Baker, Coci, Craig- complete pieces carry tempo indications with scalar fl ourishes and interesting Fernando Germani, Louis Vierne, and head, Crozier, Mason, and others. but are clearly allegros. A few ornament harmonic touches. “Although I Speak Joseph Bonnet. Among the many adver- —Stephen Schnurr signs are marked including the wavy line with Angel’s Tongue” (O Waly Waly) tisements were some for Arthur Poister Gary, Indiana and also the letters tr with occasional sets the tune (for solo reed or light prin- (for example, see The Diapason, appoggiaturas and the grace note with a cipal) over gentle chords (strings); it is October 1, 1950, page 26), recognized line though it, which frequently meant a lovely treatment, a simple setting but as one of America’s fi nest recitalists and, New Organ Music a sixteenth note. These pieces require with some harmonic surprises. “Shalom, perhaps more importantly, one of the Tocatas y Sonata para órgano ó some intervention from the player to add My Friends” (Shalom) is also a clear country’s expert pedagogues. As one fl ips clave, by Joseph Nebra, edited by accidentals, but they are generally attrac- statement of the tune, mostly against through pages of these vintage issues, Roman Escalas. Institución Fer- tive and would sound well in recitals or inverted seventh chords, and highlights one cannot help but feel the desire to nando el Católico, Tecla Aragonesa, as voluntaries. the even-numbered eighth-notes for a learn more about these giants of the Vol I, €6. Available from: https://ifc. The out of print volume from the same “lively, dance-like” effect. organ world. dpz.es/publicaciones/ver/id/981. publisher is No. III in the series Tecla “I Love to Tell the Story” (Hankey) David C. Pickering has authored a This volume contains four complete Aragonesa and is entitled Obras Inéditas is an expressive interpretation that would monumental biography of Arthur Poister pieces for keyboard and a fragment by para tecla, edited by María-Salud Álva- work well both for service or recital use. (1898–1980); the book is thoroughly Joseph Nebra (or José de Nebra, as he is rez and contains three sonatas (Fa mayor, The tune is presented over held chords, documented. Thirty chapters take us called in some sources), 1702–1768, who Sol mayor, and Mi fl at mayor), three with eighth-note leaps forming three- through Poister’s early life in Galion, was one of the teachers of António Soler tocatas (Re mayor, Do menor, and Fa note patterns in the pedal. This setting Ohio, his early career in Chicago, Illinois, and organist and assistant choir director mayor), and an Obra para órgano, which keeps to one key and one meter (4/4), and Sioux City, Iowa, his several extended of the Chapel Royal Madrid. He left is also included as number 14 in Anóni- further emphasizing the simplicity of the study trips in Paris, France, with Marcel some fi fty works including operas, zarzu- mos Aragoneses edited by Dionisio Pre- tune. “Many and Great, O God” (Lac Dupré, and later in Leipzig, Germany, elas, dramas, as well as nineteen Masses ciado for Real Musical, Madrid. A Pange qui Parle) begins with a drumbeat-like with Karl Straube, continuing with his with orchestra, yet only a few keyboard Lingua tentatively attributed to José de ostinato for pedal octaves, then adds teaching career in Redlands, California; pieces have been published so far; apart Nebra is included in Músicos Aragoneses the reeds playing tone clusters, topped Minneapolis, Minnesota; Oberlin, Ohio; from two slim volumes published by the en Valencia en el siglo XVIII edited by with the tune. This is an evocative work and Syracuse, New York, as well as his Institución Fernando el Católico—of Vicente Ros for Institución Fernando (again, in a single key and meter) that concert and masterclass livelihood. which the other volume is regrettably el Católico as Volume VII in the series would be especially effective in recital or Leupold’s foreword opens, “Arthur Pois- out of print—a few more pieces have Tecla Aragonesa (available for €9). Three a hymn festival. ter was arguably the top organ teacher been included in anthologies (see below pieces by José de Nebra—Grave de 8 “Morning Has Broken”/“Baptized in in this country,” and with the pages that for some of these). His brothers Joaquín Tono, Batalla de Clarines, and Sonata Water” (Bunessan) is a refl ective piece follow, this reader now understands why. (1709–1782) and Francisco (1705–1741) en Sol—as well as two pieces—a further that stretches out the hymntune by In an era when many organ departments and his nephew Manuel Blasco de Nebra Sonata en Sol and a Fandango—attrib- changing the meter to 4/4 (rather than had impressive student enrollment, Pois- (1750–1784) were all organists, and uted to him by the editor are included 3/4), thus adding a beat to the last two ter’s era at Syracuse witnessed incredible there is inevitably confusion with attri- in Obras inéditas para Tecla edited by notes of each phrase. Under the tune are growth of undergraduate and graduate butions. It is possible that more pieces Rosário Alvarez Martinez for Sociedad novel harmonies and long pedal points. students, all wanting to study with this will come to light as Spanish archives are Española de Musicología, Madrid. “Now Thank We All Our God” (Nun master. For those who could not get into investigated and catalogued. —John Collins danket alle Gott) is joyful and his university studio, there were often The fi rst piece is a Tocata en Sol Mayor Sussex, England bright, alternating 5/4 and 6/4 meters waiting lists for his masterclasses and (G major) of 77 bars that is in binary and presenting the tune in a texture residencies around the United States. form and is scarcely distinguishable from Sound Every Voice: Organ Inter- of fourths and fi fths. “Oh, Sing to the Pickering has left no stone unturned the Iberian sonata with its single-note pretations, by Emma Lou Diemer. Lord”/“Cantad al Señor” (Cantad al in his research on Poister, with numer- passagework in the right hand over a Augsburg Fortress, ISBN 978-1- Señor) presents the tune in four differ- ous footnote references to books, news- texture ranging from thick quarter-note 5064-5718-5, 2019, $20.00. Available ent guises, over more adventurous har- paper and journal articles, and, more chords to single notes in the left hand. from: www.augsburgfortress.org. monies each time, and modulating from importantly, letters of correspondence. Sequential passages occur throughout, Emma Lou Diemer is notable as both E minor to A minor to C minor. “Sent The availability of countless letters with a few in minor keys adding color. performer and composer. Educated at Forth by God’s Blessing”/“Let All Things allows for pictures to be painted that The second piece is another Tocata in Yale University and Eastman School Now Living” (The Ash Grove), for full would not come from printed resources, Sol Mayor written in a similar style, with of Music, Diemer has composed for organ (minus reeds or mixtures), sets up for example: Poister’s deep professional oscillating eighth-note octaves appearing orchestra, chamber ensemble, voice, a sixteenth-note broken-chord pattern in and personal friendship with Walter alongside tirades in thirty-second notes; chorus, and piano as well as for organ. the left hand over which the tune clearly Holtkamp, Sr., and the infl uence each it is shorter, at 52 bars. In the second Diemer taught composition and theory appears in the right; later a staccato had on the other’s lives over the course of section two-part eighth notes in the right at the University of California, Santa eighth-note countermelody dances over decades; and Poister’s relationship with hand over a repeated quarter note in the Barbara, where she is professor emeri- the tune in the left hand (a reed stop is Marcel Dupré as teacher and mentor, right hand add tension. tus; she has received numerous awards, specifi ed), a texture that ends the work and how this relationship changed—not The third piece, Sonata en Fa Mayor including Composer of the Year from the over a wide-spaced double-pedal fi gure. for the better—as Poister came into his (F major) of 72 bars, is in binary form American Guild of Organists. The setting is confi dent and happy—a own with his philosophies on organbuild- and shows far more clearly the infl u- This collection by Emma Lou Diemer wonderful postlude. ing and performance. ence of Domenico Scarlatti and Vicente offers eleven “organ interpretations” on “We Praise You, O God”/“We Gather The book contains thirteen appendi- Rodríguez. Again the right hand is a pre- hymntunes from a variety of traditions, Together” (Kremser) is warm and ces. These include, but are not limited dominantly single voice with occasional times, and places—from traditional refl ective, set for strings. It exploits 0LOQDU2UJDQ &RPSDQ\ A. Thompson-Allen Co., LLC 11 Court Street /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV /LNHQHZ$XVWLQDFWLRQV New Haven, Connecticut 06511 JL Weiler , Inc. 6ROLG-VWDWHV\VWHPV 203.776.1616 3URYHQ7UXPSHW(Q&KDPDGHV www.thompson-allen.com Museum-Quality Restoration --GHQQLV#PLOQDURUJDQFRP ZZZPLOQDURUJDQFRP of Historic Pipe Organs jlweiler.com

10 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Reviews the initial dotted-quarter/eighth note/ the Pedal drops out, but that is just a While “Clair de lune” and the “Toc- and martellato lifts add to the spirit of quarter note of the hymntune’s begin- matter of personal taste. Altogether this cata in B-fl at Minor” are frequently the piece. Handchimes will only add to ning as the foundation for an accom- is a very interesting recording, repre- played it is rare to hear the entire suite this spirit. panimental countermelody. “When We senting just the tip of the iceberg so far at one sitting, and Ms. Louprette is to Are Living”/“Pues si vivimos” (Somos as the very vigorous and extensive organ be commended for performing all six Joyfully Ring, reproducible hymn del Señor), set for fl utes 8′ and 4′ in culture of Finland is concerned. movements. The fourth movement, arrangements for 2–3 octaves of all parts, opens with some spare coun- “Feux follets” (Will-o’-the-wisp), was handbells, by Cynthia Dobrinski, terpoint that lightly strays off the beaten Une voix française: A French Voice: dedicated to Charles Courboin, doubt- Sandra Eithun, Susan E. Geschke, path before returning to the tonic and 20th-Century Organ Masterworks. less with the Wanamaker organ in mind. Cathy Moklebust, and Margaret R. the fi rst statement of the hymntune. The Renée Anne Louprette, organ of the It is surprisingly modern in feeling and Tucker. Choristers Guild, CGB1061, setting has a pleasant demeanor, with its Church of St. Ignatius Loyola, New includes registrations that look forward Levels 1, 1+, and 2 (E – M-), $39.95, light polyphonic texture and easy sway- York, New York. Acis compact disc somewhat to the Neoclassique move- also available in a compatible edi- ing rhythms. APL01609, available from: www. ment. I perceive a kinship with some tion for 3–5 octaves of handbells, Imaginative and pleasantly challeng- acisproductions.com. of the movements from Messiaen’s La CGB1062. ing for player and listener alike, these Te Deum, op. 11, Jeanne Demessieux; Nativité du Seigneur. The combination Here is a wonderful collection, espe- interpretations would be welcome “Improvisation” from Trois pièces pour of Ms. Louprette’s skill with a responsive cially with a budget in mind, bringing additions in recital as well as for service orgue ou harmonium, Nadia Boulanger; mechanical action produce a breathtak- nine engaging hymn arrangements and use. Recommended. “Fugue” from Trois pièces, Jacques Ibert; ing climax to the compact disc in the upbeat originals by several outstanding —Joyce Johnson Robinson Variations sur un thème de Clément Jan- fi nal “Toccata,” although the pedal reeds composers. Pieces range in diffi culty and Niles, Illinois nequin, Jehan Alain; Six variations sur are a little more restrained than they are useful for beginning ringers as well un Psaume Huguenot, op. 1, André Isoir; would be in a Cavaillé-Coll organ. as more experienced groups needing Pièces de fantaisie, Deuxième suite, This compact disc is a credit both to music that can be learned quickly. New Recordings Louis Vierne. Renée Anne Louprette and to the Man- Bach on Porthan Organ. Susanne In 1993, when the four-manual, der organ at Saint Ignatius Loyola. Sing ’n’ Ring, reproducible materials Kujala plays the organ of St. Law- 91-rank Mander organ of the Church —John L. Speller for the beginning handbell/hand- rence Church, Janakkala, Finland. of Saint Ignatius Loyola, New York City, Port Huron, Michigan chime choir, by Michael Burkhardt. Alba Records compact disc, ABCD was new, Mander’s North American rep- MorningStar Music Publishers, 424, www.alba.fi , available in the resentative, the late Malcolm Wechsler, MSM-30-880, Level 1 (E), $29.95. United States through Naxos Direct, was kind enough to show me it. It is New Handbell Music The purpose of this collection is www.naxosdirect.com and through hard to believe that this was twenty-fi ve My Hope Is Built on Nothing Less, to provide materials for beginning www.amazon.com. years ago. Mander’s masterpiece at St. arranged for 3–5 octaves of hand- handbell/handchime choirs by ringing Prelude and Fugue in D Major, BWV Ignatius was the largest tracker-action bells, by John A. Behnke. Concordia chordal accompaniments for familiar 532; Sonata in E Minor, BWV 528; Pre- organ built in Britain in the twentieth Publishing House, #977802, Level 2 songs. Extensive materials are also pro- lude and Fugue in A Minor, BWV 543; century, and it still sounds magnifi cent a (E+), $4.25. vided to help identify and read space Sonata in C Minor, BWV 526; Toccata, quarter of a century later. It is also a very Behnke uses the less familiar tune, and line notes, ring chord warm-ups in Adagio, and Fugue in C Major, BWV 564. versatile instrument, capable of playing Magdalen by John Stainer, for this major and minor keys, ring chord accom- Susanne Kujala was born in Germany repertoire from almost any tradition. On arrangement that brings together three paniments for well-known melodies, and in 1976 but has resided in Finland since this compact disc the instrument is in different statements of the hymn. The understanding primary chords (I, IV, and 1998, where she is dean of the Finland the very capable hands of international middle section employs the minor mode V/V7), their common tones, and their Chapter of the American Guild of concert organist Renée Anne Louprette, and includes some mallet work in the functional relationships. Pieces include Organists and one of the organizers of who has chosen a program of works by bass. The fi nal round brings full, festive “Dona nobis pacem,” “Jesus Loves Me, the AGO’s annual Pipe Organ Encoun- French composers written entirely in the chords and includes the option of ringing Jesus Loves Me,” “Jesus Walked This ter in Finland. She is better known as a twentieth century. the melody an octave higher than written. Lonesome Valley,” “Many and Great,” performer of contemporary organ music We begin with one of the works of “Wade in the Water,” and “We Are than as a proponent of Bach and indeed Marcel Dupré’s great protégé, Jeanne Joy and Hope Abounding, arranged Climbing Jacob’s Ladder.” wrote her doctoral dissertation on Demessieux, whose early death robbed for 3, 4, or 5 octaves of handbells, by “Organ—an Instrument for Contempo- the world of one of the fi nest organists Cathy Moklebust. Choristers Guild, Savior, Like a Shepherd Lead Us, rary Music.” She is interested in micro- of the twentieth century. Ms. Louprette’s CGB1079, Level 4- (M+), $4.25. arranged for 3, 4, 5, or 6 octaves of tonal music and has performed on the performance shows a masterly under- Here is an engaging original composi- handbells, with optional 3 octaves of Fokker organ, which has 31 notes to the standing of touch, and she succeeds in tion that alternates between 3/4 and 6/8 handchimes, by Sandra Eithun. GIA octave. Some of the music she performs fi tting the piece perfectly to the building. time signatures. The beginning and end- Publications, Inc., G-9612, Level 3 is composed by her husband, Veli Kujala The Demessieux piece is followed by ing sections are upbeat and lyrical, while a (M), $4.95. (b. 1976), a leading Finnish composer one of Nadia Boulanger’s four surviving lush and subdued middle section employs William Bradbury’s timeless hymn is of contemporary music. Dr. Kajula and compositions for the organ, “Improvisa- a lovely melody line accompanied by trip- given a luscious and peaceful treatment her husband are both professors at the tion,” the third of three pieces for organ lets. An edition for three octaves is also by the arranger. Throughout the piece, Sibelius Academy in Helsinki. or harmonium published by Fr. Joubert available, CGB237. The two editions are an abundance of rhythms and special This compact disc was issued to com- in his anthology, Maîtres contemporains compatible for massed ringing. effects are used that only add to the memorate the twenty-fi fth anniversary de l’orgue, shortly before World War I. beauty of this arrangement. A middle of the building of fi rst organ constructed This comes off well on the Mander organ Canticle of the Turning, arranged for section uses the handchimes as a descant in Finland in a historic style. This is the and demonstrates the fonds, Bassoon- 3, 4, 5, or 6 octaves of handbells with with the melodic material underneath. Martti Porthan three-manual, 56-rank hautbois, and Voix céleste to consider- 3 octaves of optional handchimes, by A buildup to a fi ery fortissimo section tracker organ of 1993 in St. Lawrence able advantage. Karen Thompson. GIA Publications, brings the piece to a lovely closing, “fad- Church in Janakkala. The pipework of Next we hear “Fugue,” the third of Inc., G-8491, Level 3 (M+), $4.95. ing away” as is noted. An unusual and this is replicated from the Huss/Schnit- Jacques Ibert’s Trois pièces, which Ibert The setting of the traditional tune, brilliant surprise ending takes this piece, ger organ in the Church of Sts. Cosmas dedicated to Nadia Boulanger. Ms. Star of County Down, adapted by written in the key of C major, to a step and Damian in Stade. Fortunately, the Louprette plays it at a very elegant and Rory Cooney, is given a lovely rolling higher to the key of D major. acoustics of the Stade and Janakkala sedate pace, building up seamlessly to eighth-note pattern suggesting a move- —Leon Nelson buildings are relatively similar. I com- a climax before returning to the gentle ment of turning. Grace notes, mallets, Vernon Hills, Illinois pared this recording with recordings of registration of the beginning and then the Stade organ and have to say I am building up once more. This piece is fol- most impressed with Porthan’s work, so lowed by Alain’s well-known Variations far as it is possible to judge from record- sur un thème de Clément Jannequin. ings. The organ uses an ingenious tuning As in the Ibert “Fugue,” this is played system developed by musician Timo sedately, and Ms. Louprette achieves an Kiiskinen, which can be moved from 1/5- intimate feeling in this composition as comma meantone to a well-tempered well as using some very pretty registra- system by exchanging three specially tions. The Alain Variations is followed made pipes in each octave. Obviously, on by another set of variations, this time this recording the well-tempered system by André Isoir, his Six variations sur un is used since it is most appropriate to the Psaume Huguenot, op. 1, published in music of Johann Sebastian Bach. 1979. The theme is the tune for Psalm Susanne Kujula’s playing and registra- 92 in the Genevan Psalter of 1562. As tion of Bach’s works is impeccable and directed by the composer, Ms. Lou- reminds me in some ways of the best prette uses some very unusual and col- recordings of half a century ago, such as orful French Baroque registrations, as Fernando Germani’s recordings on the well as majestic effects involving some Schnitger organ in Alkmaar. Kujula plays of the sub-unison stops. The Variations the whole of the A Minor Fugue on the culminate in a brilliant “Toccata.” AUSTINORGANS.COM Hauptwerk, though personally I prefer The remainder of the compact disc 
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performances where the player moves is devoted to the six Pièces de fantaisie, to the Positiv in the central section when Deuxième suite, by Louis Vierne.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 11 In the wind...

J. G. P. Leek Netherlands, on the shortest day of the knew everything into the awkward begin- When I was a student at Oberlin (Class year, the youngest of eleven children. He ning of adulthood when I began realizing of 1978), students were not allowed to own apprenticed with Bernard Pels & Zonen how little I knew. He never hesitated to cars, ostensibly to limit traffi c and parking in Alkmaar, and he continued his educa- let me know when I was full of it, and he congestion in the small town. I lived in an tion in the workshops of Vermeulen, never hesitated to confess when he was. apartment off campus during my senior Wattell, and Verschueren. He served in While still an organ performance major, year, and since it came with a parking the Dutch army shortly after the end I was increasingly aware that organbuild- space, I fl outed the rule and bought a 1969 of World War II. During his military ing was my fi rst love. I wondered aloud Mercedes 230. I put a great sound system service, John was seriously injured in a to John about quitting school so I could in it—those cassette tapes were just the railroad accident. He recalled lying in work with him full time. “If you quit thing—and I felt like the big man driving the wrecked car realizing he was hurt, school, you’re fi red.” around. It was in pretty good shape, but asking God for “twenty more years,” and Whenever my weak apprentice it was a nine-year-old Ohio car, and there then getting the creeps as the twentieth attempts resulted in a mangled job, John were little fringes of rust here and there. anniversary approached. I do not know nailed it to the wall over my workbench. At a time when my rent was $175 per the exact dates but suppose that accident It turned really funny when I came back month, I splurged and spent $200 on four happened in the early 1950s. He died later to visit and they were still there, new Michelin tires. The next morning, last November about fi ve weeks short warning my successor apprentices to I drove to the organ shop where I was of his ninetieth birthday—God granted pay attention. working and proudly showed off the new that prayer. tires. My boss, John Leek, quipped, “It’s After his time in the army, he returned Road trip like putting alligator shoes on a wino.” to work in the organ shop of Verschueren. Early in the summer of 1978, just after John Leek died in Sandusky, Ohio, on He and his wife Maria moved to the I graduated from Oberlin, we were com- November 15, 2019, just short of the age United States in 1961 as John went to pleting construction of a harpsichord for J. G. P. Leek (photo courtesy of the Leek family) of ninety. Until a couple years ago, I called work for the Holtkamp Organ Company a former student of the conservatory who him on his birthday. We stayed in touch under Walter Holtkamp, Sr. He was lived in Oakland, California. She asked Alleluia from the Roman Catholic now and again, especially after he read working on the installation of the organ John to deliver the instrument to her, Mass was a several-times-a-day regular. about himself in this column, but I had in Warner Concert Hall at Oberlin when and he invited me to make the trip with Another was a short clip from a bawdy not seen him in more than fi fteen years. he saw a notice on a bulletin board that him to share the driving. His offer was little Dutch song asking a woman named I dropped everything to drive to Ohio for the school was looking for a new organ that I would not get paid, but he prom- Elena why the baby poops green. Maria his memorial service, but I am sorry I did curator. “That’s the job for me.” He ised we would stay in the best hotels, eat and I joined elbows and sang that one for not drop everything a couple years ago to worked for the school from 1964 until the best meals, gamble in Reno, swim in their grandchildren on the morning of visit him. I am grateful to him, I miss him, 1976, all the while gathering organ main- the Pacifi c Ocean, and eat at Fisherman’s the memorial service. There were many and I want to tell you about him. tenance clients “on the side,” and he left Wharf in San Francisco. John had a others, all brief excerpts. I do not believe His name bears the Dutch pronun- the school to start his own company in mustard-yellow Dodge van with a broad John knew the complete songs, but he ciation. A bank teller commented, “Your the workshop building behind his house brown stripe (remember, those were the sure enjoyed the clips. Over and over. name should be pronounced ‘leak.’” on Route 58 (Main Street), just on the days of appliances in harvest gold and John and Maria had been naturalized His quick quip, “Then it should be pro- southern outskirts of town. avocado colors), just the vehicle for such as citizens of the United States in 1968. nounced ‘Bea-thoven.’” Just as John was starting out on his a caper, and off we went. He thundered the fi rst four words of the The wino crack was one side of John. He own, in the fall of my junior year, I began The trip is about 2,400 miles each refrain of “This is My Country” each time was able to squeeze the greatest delight working with him three days a week and way, and I suppose we drove between a new wonder was revealed on that won- from the smallest joke, and when it was a summers, and continued in his shop full 400 and 500 miles each day because derful trip. It was a punctuating anthem big joke, we would laugh all day. He could time from my graduation until 1984, I remember it taking about a week in for a man of deep faith marveling at the also be stern. He had been brought up in when my wife and two toddler sons each direction. Anyone who has made process of his life that had brought him the rigorous system of apprenticeships in moved to Boston. John was my important a similar trip by land will appreciate our to live and work in such a huge country the Netherlands, starting with a cabinet- mentor in the craft of organbuilding. He marveling at the rich agricultural heart- with such diverse landscapes. maker at a very early age and moving to taught me to tune, how to read and cut a lands, the prairies, the mountains, and organ shops in his hometown. His teachers piece of wood, how to glue pouches, how the deserts. We drove all day through The twinkle in his eye had been tough, and so was he. He was to build and leather a reservoir. I learned Iowa into Nebraska watching a huge John and his family were members of quick with compliments and encourage- why you want wood to have standing weather system develop from the west Sacred Heart Catholic Church in Ober- ment and equally quick with a hard lesson. grain for pallets in slider chests and fl at all across the horizon, driving into light lin, which was the site of his memorial I was late to work once. He was in the grain in keyboards. (Wood warps only rain, and fi nally parking under a bridge service. When I worked for him, new workshop, the doors were locked, and he between the growth rings. You do not for more than an hour waiting for the carpet was being installed in the church, waved me away, telling me to come back want pallets to warp so their surface does thunder, lightning, and hail to stop. We and the old had been given to a smaller tomorrow. I was late to work only once. not meet the windchest grid, and you do didn’t see a tornado, but that surely was church out in the countryside where § not want keyboards to warp so the keys on our minds. the unworn sections would be enough come into contact with each other.) When we stopped for gas just after to cover the fl oor. John volunteered the Johannes Geratus Petrus Leek He helped me grow through the entering Nevada, I put a dime in a truck- two of us to join a crew of parishioners was born in 1929 in Alkmaar, the awkward end of youth when I was sure I stop slot machine and won ten dollars. removing the old carpet, which was Bad. Very bad. We spent a night in Elko, loaded into his van and my pickup truck, Nevada, where we had a memorable where the huge roll hung over the back meal in a Basque restaurant recom- of my open tailgate. I was in the lead as mended by Howard Hanson, a member we left on the delivery run, turning left of Oberlin’s voice faculty. It is almost from the church parking lot onto Lorain three hundred miles across fl at arid land Street. I was stopped at the traffi c light from Elko to Reno, and it seemed that at the intersection of Main Street (Route we were staring at the distant mountains 58) across from the art museum when west of Reno all day, a visual effect that I felt a strong push from behind. John is hard to fathom the fi rst time you see had been careful to see that no traffi c it. It was in a posh casino in Reno that I was coming, and, with a maniacal smile learned how it was bad that I had been clearly visible in my mirror, was shoving sucked into the slot machine the day me, carpet, truck, and all, through the before. Inhibitions were loosened as the red light into the middle of the highway. champagne was on the house, and I ran In between organs, we built a screen through all the quarters I could fi nd (I porch on John’s house with a high peaked think that may have been before there ceiling. Coming to the end of the project was such a thing as a dollar slot) while we were painting the fl oor. I was work- John got beaten up at a Blackjack table. ing my way out a corner with my back to It was interesting how often the dealer John when I became aware of the quick came up with twenty-one. whooshing of John’s brush fl ashing back As we delivered the harpsichord, we and forth as he hurried to paint me into spent two nights in the house with the the corner. customer and her physician husband, allowing us to visit San Francisco Opus 1 and fulfi ll a couple of John’s original In the fall of 1979, John signed a promises. We were both smokers, and contract to build a new organ for St. that was not allowed in the house. The Alban’s Episcopal Church in Annandale, “superb musicianship, masterly technique and savvy programming … Archer’s second night, the good doctor brought Virginia. The organist there was Ben sweeping assurance and stamina enable you to hear the music behind the virtuosity.” home a preserved smoker’s lung in a jar Dobey who had recently graduated from — GRAMOPHONE (JAN 2018) — and delivered a thoughtful lecture. Oberlin as an organ major and was sure John burst randomly into song many that while John had never built a pipe MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com times each day. The simple chanted organ himself, he would be well able.

12 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM By John Bishop

in the morning, he would declare, “I feel and think of him. When I am tuning a myself good today,” typically followed by chimney fl ute, I remember the moment the ubiquitous Alleluia. (“Myself” was he showed me how to hold the tool in the pronounced my-selliff, just as the name Congregational Church in Austinburg, of his hometown was pronounced Allick- Ohio, and I remember his teasing my mar.) My primitive classroom German beginner’s “yo-yo tuning” in the chapel gives me, “Ich habe mich . . .” Although I at the College of Wooster. He insisted had never been addressed by a nickname, that I learn to tune with both hands and in that workshop I was “Yonnyboy.” made me tune entire organs left-handed. There are some pipes you just cannot Nunc dimittis reach with your right hand. At John’s service I was reunited with John Leek was not a nationally known his son James who runs the Leek Organ organbuilder, but he was widely known Company, his siblings Paula and Peter, by generations of students at Oberlin that their spouses and children, and his wife gave him an impressive reach. Many of Maria. All of us bear the marks of the my friends worked for him during their thirty-fi ve years that have passed since student years, and many other former his old-world experience, knowledge, and my young family and I moved to Boston students have commented in recent insight with young craftsmen. to start a new chapter, but the memories weeks about how generous he was with John and I worked regularly on the big and stories fl owed like it was yesterday. It advice and goodwill. He built more than a Aeolian-Skinner organ at the Church of was hilarious to hear the familiar stories dozen harpsichords and two pipe organs, the Covenant in Cleveland, releathering as passed through the generations to renovated or restored dozens more, and a division at a time and doing regular John’s grandchildren, and it was fun to performed thousands of service calls tuning visits. As we left the church one share some they had not heard. on hundreds of different organs. While afternoon, a woman was contemplating Leek Opus 1, Annandale, Virginia (photo John believed that there is a little voice I worked with him, we helped install a fl at tire, and we offered to change it courtesy of St. Alban’s Episcopal Church) in the head of a craftsman that pipes up four new Flentrop organs including the for her. When we fi nished, she thanked when something is about to go wrong. “If big three-manual instrument at Trinity us profusely, declaring that there would Originally, the instrument was planned you do that, you will stab yourself with Cathedral in Cleveland. I believe his be a special place in heaven for us. John with twelve stops on two manuals, but that chisel.” I still hear that little voice greatest legacy was as a teacher, sharing replied, “Yes, tuning harps.” Q the agreement was altered in December of 1980 to include the addition of an independent 8′ Octaafbass in the Pedal, which made necessary the construction of a separate case for the two pedal stops. DISCOVEDISCOVER R You can see the specifi cations of the organ at https://pipeorgandatabase.org/ OrganDetails.php?OrganID=8401. 21st CENTURY The case is made of white oak with 21st CENTURY black walnut accents, drawknobs were ORGAN BUILDING made from a huge log of boxwood that John kept in the attic of the workshop, ORGANIN NORTH BUILDI AMERICA NG and the pipes were supplied by Jacques Stinkens of Zeist, the Netherlands. The slider windchests were made with sponsils, individual strips of wood fi t- IN NORTHORTH AAMERICAMER ted and glued between the ribs of the key channels to form the table surface, rather than the more usual plywood windchest table. With the experience of having built more than a dozen harpsichords, we made the keyboards in the shop. (That is when I learned about choosing slab grain.) In the fi rst days of March 1982, I was standing BUILDER MEMBERS: SUPPLIER MEMBERS: at the drill press in the shop, drilling the holes in rackboards for the three Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. windchests—start with the smallest Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources holes so that if you make a mistake Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products and drill an extra hole of a given size, Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems it is easier to correct by making it big- Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation ger rather than smaller. (I have this Casavant Frères Patrick J. Murphy & Associates memory exactly because those were Dobson Pipe Organ Builders Parsons Pipe Organ Builders the days of waiting for Pat to go into Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. labor, and our fi rst son Michael was C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. born on March 4. I had quit smoking Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders the previous New Year’s Eve.) A. Thompson-Allen After the fi rst week of the installa- Garland Pipe Organs, Inc. tion, the new organ case was standing in the church’s balcony with façade pipes in place. John and I sat proudly in the pews that Sunday as the congregation was gathering in the quiet church when APOBA provides a simple way for you to take a little girl near us took a look backwards advantage of the expertise of the top people in and piped up clearly, “I like the old one better,” raising a polite Episcopal titter. WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of Patrick Summers, the current interim several generations who have preceded them. organist at Saint Alban’s, provided a great boost to my memory by forward- ing the documents concerning the new Call today for APOBA’s Pipe Organ organ from the church’s archives. As I 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV read, John’s distinctive voice came alive. When petitioning the vestry to consider changing the schedule of payments from a list of completed components to one 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ based on the calendar, John wrote (as our short video at: US Maria typed), “We would like to ask in a ZZZDSREDFRPYLGHR 800-473-5270 very polite manner from the Counsel to DSREDFRP be paid each half year.” John spoke English rapidly and fl u- ently, but he never lost the grammar of his native Dutch. Coming into the shop

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 13 Interview

An interview with Pierre Labric

First row, left to right: a friend of Mr. Haerpfer; M. Galérant (physician in Rouen); M. Gervais (harmonium repair service); Pierre Labric (stu- dent of Jeanne Demessieux); Josette Hébert-Coëffin (sculptor for the Sèvres porcelain business, with a cat in her arms); Jeanne Demessieux. Second row: Mme. Lachambre (governess of the Beuzeville rectory); Maurice Genso- By Jesse Eschbach li (director of the Sèvres porcelain plant); M. Haerpfer (organbuilder); Abbot Leprieur.

n July 27, 2018, my dear colleagues what Mme Durufl é called the “deuxième young Jeanne Demessieux continues to lesson, I asked her if, in the vast nave of Oand friends, Yannick Merlin and mouvement,” or release of a note, which resonate. Marcel Dupré enjoyed almost a cathedral, one had to moderate tempo Béatrice Piertot, introduced me to Pierre must have at least as much energy and complete authoritarian control of the a little bit because of the reverberation. Labric at his residence southwest of Paris clarity as the attack. This concept goes French organ world and was more than “No,” she replied, “It is necessary simply in Dreux. Labric is perhaps best remem- to the core of brilliant, virtuosic playing, capable of destroying, or otherwise com- to articulate.” bered in this country for recording the sometimes forgotten today in France promising, a promising career.3 complete organ symphonies of both Widor and the United States. Both Demessieux Mr. Labric, born in 1921, grew up in What repertory did you undertake and Vierne on the legendary Cavaillé-Coll and Durufl é were capable of extremely the Rouen area and received his early with Demessieux? Bach, Buxtehude, instruments of St-Ouen, Rouen (Widor), brilliant tempos, yet every note was training from Marcel Lanquetuit before old French music, Liszt, Franck? and St-Sernin, Toulouse (Vierne). These clearly heard and energetic, regardless admission to Dupré’s class at the Paris She had me work on her (Six) Études recordings were marketed in the United of the acoustic. Regrettably, Mr. Labric Conservatory. His career was largely with great interest. They made me States by The Musical Heritage Society seems not to have discussed this topic devoted to recording, resulting in releases progress enormously. I started with the after 1971 and introduced my generation with Jeanne Demessieux, but confi rmed, of the complete organ symphonies of octave study, which I perfected during to not only the symphonic style of Widor “M-M Durufl é was formed exclusively Widor and Vierne, the complete organ all of the school year 1948. I played it for and Vierne, but also the sound universe of by Jeanne Demesssieux. In class, Dupré works of Jeanne Demessieux, sonatas of her in May, and with her advice I worked Aristide Cavaillé-Coll. told us with the greatest admiration, ‘My Mendelssohn, preludes and fugues of on it during [summer] vacation. I played After spending a delightful two and a children, see how Jeanne Demessieux is Saint-Saëns, the major organ works of it for her again in September. She was half hours with Mr. Labric and speaking getting results from Marie-Madeleine.’ Liszt, and the Promenades en Provence happy with my work, and encouraged me at great length about his mentor Jeanne Yes, it was true.”2 of Eugène Reuchsel. He was Demes- to put it on my program on October 15 at Demessieux and his brilliant friend and The inevitable question did arise sieux’s suppléant at the Madeleine, and St-Godard, Rouen. I was happy and . . . colleague at the Paris Conservatory, during our meeting in 2018 concerning also assisted Pierre Cochereau at Notre- proud! I got her precious advice for the Jean-Claude Touche, I asked Yannick the traumatic rupture between Dupré Dame Cathedral. As he approaches his big Vierne works. I recorded all of them and Béatrice on our return trip to Paris and Demessieux. I knew better than centennial, it seemed especially appropri- later, observing everything scrupulously. if Mr. Labric might consent to a written to launch “head-on” into this sad story ate to begin collecting some of his indel- She had me work for part of the after- interview on the life and achievements with a French gentleman of Mr. Labric’s ible memories of one of the most eventful noon. Madame Demessieux prepared of Jeanne Demessieux. Yannick Merlin generation, always highly discreet. I did epochs in the history of our profession. for us, delicately, a delicious snack that received an enthusiastic response, and repeat what Marie-Madeleine Durufl é we savored with one of my friends who I drafted twenty questions, intending to confi ded years earlier, and this elicited Jesse Eschbach: If I remember cor- accompanied me to my lesson—she, too, explore Demessieux’s short but highly a broad smile and unmistakable twinkle rectly, Jeanne Demessieux was Mar- has since passed! All of this downed with eventful life. of the eye. Given that direct descendants cel Dupré’s assistant in the organ class a cup of coffee for which I could never Mr. Labric, as the reader will soon of the principal parties are still with us, [at the Paris Conservatory] towards replicate the fl avor. observe, was most generous with his and since the cause of the saga can never the end of the war. Was it at this time “Mama has her little secrets,” Jeanne responses. He was never limited with be proved, I can only repeat what oth- that you met Jeanne Demessieux for told us! My modest repertory was Liszt, any constraints suggested by a particu- ers have said: Jeanne Demessieux was the fi rst time? How did she prepare Franck, Widor, Guilmant, Vierne, lar question, but “improvised” freely in utterly blameless, and Dupré was fool- you for the organ class? Technique, Durufl é, very little Litaize, very little his responses. ishly victimized and manipulated by indi- repertory, interpretation, counter- Langlais, Jean-Claude Touch, Jean Guil- Only one question failed to elicit a viduals in his entourage who intended to point, harmony, improvisation? lou. A pirated version of my recording of direct response: I asked if Pierre Labric overthrow Demessieux to suit their own Pierre Labric: Yes, Jeanne Demes- his Toccata from one of my concerts at could confi rm what Marie-Madeleine agenda. It was a veritable plot originat- sieux replaced Dupré in the organ class Saint-Ouen de Rouen is on the internet. Durufl é-Chevalier recounted years ing from near unparalleled, despicable during the week of May 14–21, 1946. earlier. An incisive attack and release jealousy that nauseated everyone in the I’m transcribing the themes she had us What preparatory studies did the was the core of her legendary virtuosity,1 French organ world and well beyond. work on [in improvisation]: What beau- teacher Demessieux want in place and she attributed this to her study with Seventy-fi ve years later, condemna- tiful themes! before taking a student? Jeanne Demessieux, most especially tion of the injustice perpetrated on the That day, she worked quite awhile She required a serious piano tech- with me. It was the year I was fi rst nique with etudes of Chopin or Liszt. runner-up. I believe I remember that she was happy with my improvisation. I Did she ask for repertory studied at attended her overwhelming competition lessons be memorized? Quality Pipe Organ for her unanimous fi rst prize on June 6, No. I played all of my lessons with the 1941. The entire audience broke the law text. Building and Service of silence: frenetic and long applause refl ected the general enthusiasm. That Could you describe the legendary since 1969 day, our contact started. memory of Demessieux? For the magazine Étude (April 1950), How long did you work with Jeanne the editors asked Jeanne Demessieux Demessieux? for an article on Dupré. She wrote fi f- I worked all my life, and I owe every- teen sublime pages in which appeared thing to Jeanne Demessieux. not a shade of vengeance, not a trace of the least bitterness. The writing has At the end of your studies at the con- the limpidity of the entire truth. What servatory, did you remain in contact a marvelous lesson Jeanne Demessieux with Demessieux? gave to Dupré. Yes, and after her appointment to the The Rouen Philharmonic Society, Madeleine, she asked me to play services directed by an excellent musician-pianist in her place. I always remained in cordial Pierre Duvauchel, was always running a bedientorgan.com | 402.420.7662 | Lincoln, Nebraska contact with her and her dear mother defi cit. Demessieux, who came for a sou, after she became a widow. During a fi lled the coffers: a half hour before the

14 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Themes for improvisation devised by Jeanne Demessieux concert, there wasn’t a chair left in the her mouth. She remained silent. She was immense nave! like the diamond who never sought to A poor priest had diffi culties keeping shine, but was made to shine. She played his school afl oat. He dared to ask Jeanne, the organ at Beuzeville most naturally, then at the top of her international glory, before several subjugated and privileged Review of Jeanne Demessieux’s concert of August 27, 1956, in Deauville if she would accept to give a concert for a people, enthusiastic and astonished by rather low fee. Her secretary responded, such natural facility. Japanese applauded discretely when she Jeanne Demessieux. This document “Miss Demessieux asks me to inform you Jeanne was radiant taking leave of came down from the gallery. attests to the fact that Demessieux she will offer a free recital for your school. her improvised admirers. And we went Examples are numerous and deli- had a great deal of expertise in A date has to be found according to her to lunch at the rectory, as the photo ciously fascinating. I’ll limit myself to organbuilding and especially on the possibilities.” I have read the letter. attests, taken by the young curate of the several: I heard Demessieux improvise at style of Cavaillé-Coll. Dupré, as far parish when we arrived. Sixty-two years Saint-Ouen. For her, to improvise was to as I know, didn’t teach these things You recounted a beautiful anecdote ago! Jeanne made a very quiet “impact,” abandon herself to her rich and inspired to his students. How did Demessieux concerning a trip Demessieux made yet strongly powerful, felt by everyone imagination at the end of a concert. The acquire this knowledge? to Normandy, around Deauville, I around her. Her rich personality radi- mind free, on a magnifi cent instrument To your inquiry, I am going to offer the think. A priest from a little village ated naturally without being conscious she loved, developing a very beautiful truest, most exact, most pertinent, the asked her to visit his parish the day of it, so it seemed. theme given to her by Maurice Durufl é, simplest response there is, that of Jeanne after the concert. What happened Monsieur Albert Dupré, father of the I remember elegant variations faithfully Demessieux herself: when she tried out the organ? Dupré in question, was organist of the ornamenting the theme under the sump- I wrote to the periodical L’Orgue that I Jeanne Demessieux had given a con- magnifi cent Cavaillé-Coll of Saint-Ouen tuous sonorities of the “Cavaillé-Coll à la was waiting and hoping for the organ of the cert in Deauville on August 27, 1956. You de Rouen—“Orgue à la Michel-Ange” Michel-Ange,” which she knew how to twentieth century:6 an intelligent synthesis, have the review written by Guy Bouchaux, according to the famous estimation of transfi gure like no one else. yet original in its audacity, of instruments which deserves to be read by everyone. Widor who came to inaugurate it. On the To your question, I don’t know about from the past. In the absence of which, the promoters of neo-classicism will be bur- Verbal program notes were given by occasion of the fi rst concert of Jeanne’s at recordings of her improvisations with the dened with the heavy responsibility of hav- the Canon Leprieur, priest of Beuzeville Saint-Ouen, hearing about it, Dupré sup- exception of the one on the Hamburg ing implicitly condemned all7 organ reper- about twenty kilometers away. Demes- posedly exclaimed, “Imagine, she dared CD, The Legendary Jeanne Demessieux, tory from Bach to the present. The works sieux was to return to Paris by car with play Papa’s organ!” The clumsy remark done in several churches in Hamburg: of Messiaen, Langlais, and others call for a complete radiance in sound where every- M. Haerpfer, the builder of the organs eventually got back to Jeanne Demes- St-Sophiekirche, St-Michaelskirche, St- thing is possible. in Deauville and Beuzeville, which has a sieux who spontaneously retorted, “Oh, Christianskirche on the label Festivo, smaller organ. Papa had nothing to complain about!” 6961-862. Many years ago, I was fortu- Abbot Leprieur had invited Demes- She was very humorous. nate to hear her splendid improvisations These thoughts, harbingers of light and sieux to visit the organ in Beuzeville the during her legendary concerts in the wisdom, are a veritable gospel of truth next day on her way back to Paris. The I don’t think we have many record- Netherlands. and for all time. And here is a striking grapevine having done its work, about ings of Demessieux’s improvisations. M. Van der Oter, deceased, and aspect of Jeanne Demessieux. twenty from the audience of the day Could you tell us about her style in his colleague Mr. Herman van Vliet, Appointed titular organist of the before greeted Demessieux when she improvisation? Did she often impro- an excellent organist, played for me a beautiful Cavaillé-Coll of the Madeleine got out of the car. Abbot Leprieur led her vise in established forms such as magnifi cent improvisation in Masslouis, in 1962, where she succeeded Edouard to the gallery, followed by the would-be sonata-allegro, fugue, double fugue, which I would ardently like to hear Mignan, she was keenly interested in listeners. She got to know in very little lied, variations, passacaglia, etc., or again, and another one, in the Nether- the preservation of her instrument. She time the modest instrument of sixteen was she rather free? lands, the given theme of which lended watched jealously over its esthetic. Her stops. She didn’t even need much more During her concert tours in America, itself to rondo form, three refrains and keen awareness of eclecticism, fed by time for the giant consoles during her Miss Murtagh4 called Jeanne Demes- three couplets. This quarter hour of true multiple experiences collected over all American tours. She went through each sieux, pointing out a day when Jeanne music was so perfect that it made me continents, gave her the ability to com- stop attentively and was getting ready to wasn’t on time. She scolded her on the think of the truly vivid “Rondo Final” pare organs of different characters— leave the keyboards. Abbot Leprieur then telephone like a little girl. With her of the magnifi cent Fifth Symphony of following faithfully the evolution of said suddenly, “Mademoiselle, would you usual calm, her natural distinction, her Louis Vierne. Regrettably, I never heard building, with prudence and especially play the Alain Litanies for us?” Without nobility of a great lady, Jeanne Demes- either one again! wisdom, while strongly opposing certain hesitating, Demessieux gave us a brilliant sieux responded simply with, “Madam, I displeasing trends. interpretation of the Litanies. After that, always5 do what I want,” cutting off any I found in the archives of Norbert Her searching spirit always involved Galérant (in the photo) asked her for the response. Many organists do what they Dufourcq a detailed study of the a curious look towards the future, with- Second Choral of Franck; another asked can, starting with me! At the keyboard, Madeleine organ written in 1965 by out denying the lessons from the past. her for the “Toccata” from the Fifth Demessieux always did what she wanted. Symphony of Widor; another suggested a Her magnifi cent recordings are the proof! Noël of D’Aquin. “Which one?” she asked As for her improvisations, if they were simply. After, a gentleman I didn’t know always inspired (again, she did what she MANDER ORGANS asked for the “Carillon de Westminster.” wanted), they all were adapted to the Others requested several Bach pieces. character of the given theme. I heard her New Mechanical All of these pieces were at random and improvise many a time, the very fi rst being Action Organs not on the program from the day before. her conservatory competition on June 6, She played for two consecutive hours, 1941. The luminous cadenzas of the fi rst responding with a perfect humility to the two concertos of Handel were improvised requests of each with the single aim of before being written down and recorded pleasing. There is the perfect example of on the Decca label. The fi rst one aston- a concert “requested by the audience.” ished Guy Bouchaux at her concert in What happened when she tried the Deauville on August 27, 1956, as well as organ, you ask me? Nothing! her improvisation on In Paradisum. Jeanne was very reserved, always in I recall yet today her extraordinary perfect control, and also in control of her symphonic fresco on the Kyrie Orbis fac- ³ St. Peter’s Square - London E 2 7AF - England company. She never felt the need to ask tor given to her by Fr. Boulzy at the end Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 questions. For her, all the problems were of her concert on November 7, 1953, at Continuo Organs [e] [email protected] worked out ahead. If someone explained Saint-Eustache. She fi nished with a pro- www.mander-organs.com to her the reason for something because digious fugue. The large audience, which of this, because of that, she listened very fi lled the nave, was cosmopolitan: French, politely, without feeling the need to open Italians, Germans, English, Americans, Imaginative Reconstructions

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 15 Interview

Her perfectionist and innovative spirit surprising slowness, but never gave the chord, I was veritably transported in the researched unceasingly balance and truth. impression of dragging. instant in an ethereal world by this river of Her art was enriched with a lofty spiritu- She played quick tempos with an sound that fl owed under my fi ngers. The ality. Her enthusiastic listeners perceived absolute mastery, a ravishing lightness. solo stops were ravishing in the following her marvelous message with a quieted Listen to her in the delicious scherzo of movements up to the sparkling “Final” in serenity while others, more receptive, the Grande Pièce Symphonique of César which the unique tutti of the instrument caught a glimpse of her in the light. Franck where she excelled, in order to be seemed indeed to want to explode the convinced of the perfection found in her shell of the cathedral, as Gavoty wrote. Did she have American students? recording of the complete organ works But this prodigious power had nothing of Pierre Labric I know that Frank Speller8 went of Franck, which came out in 1961. any harshness. Rather, it was part of the to study with her, but did she have Jeanne Demessieux never stopped incomparable splendor of the organ. is still in progress, and an expanded sec- others? being a pianist. She had her [fi rst] One Sunday of the Holy Trinity, Saint- ond edition will be released in the next I don’t know. prize when she was 17. She brought Martin let me play Dogme, the fourth few years. her extraordinary technique to the movement of Méditation sur le Saint- Due to focal dystonia in the right hand, You mentioned her Te Deum. If I organ. At one of her concerts I attended Esprit of Jeanne Demessieux, at the end his career was sidetracked for more than understood you correctly, this work with my friend Marie-Claire Alain, at of vespers. I was happy. This was still at ten years, but due to the efforts of Dorothy was fi nished in Demessieux’s mind the end Alain told me, “You know, it’s the time of the old [mechanical] console. Taubman and Sheila Paige, he has begun well before she wrote it down? magnifi cent! One really feels she’s a Later, I gave Sunday concerts on the resuming his performance career. He has Your assertion is absolutely exact. fi rst prize in piano!” I responded, “It’s new electric console of Jean Herman, been a juror for several competitions, The brutal and sudden rupture with obvious. I agree with you.” Such was my which worked very well. It was worthy of including the American Guild of Organ- Dupré, never understood by poor Jeanne total approbation. the consoles of Beuchet-Debierre. This ists national competition, the Canadian Demessieux, necessarily accentuated her console permitted me later to record International Organ Competition, and timidity and humility that were already The complete works for organ of very conveniently the Six Études of the Fort Wayne national competition. the basis of her exceptional personality. “I César Franck recorded at the Mad- Demessieux, which require a perfectly never talk about my plans,” she responded eleine in 1959 reveal interpretations regulated pedalboard. Notes to an overly gushing interlocutor. where virtuosity is often high- I had the joy of playing six Sundays, the 1. Derived from the traditional French At her concert in Deauville, I asked her lighted. I’m thinking, for instance, substitute for Pierre Moreau,12 a very cou- harpsichord and piano “schools” where the discretely if she would soon give us the of the allegros in the Grande Pièce rageous man, recovering from surgery. I fi ngers do most of the work. Arm weight, and arm movements in general, were not intro- joy of a new work. “Yes,” she answered Symphonique. As far as I know, arrived Saturday evening. I had almost duced at the conservatory until after World spontaneously. “I am thinking of writ- only her student Marie-Madeleine three hours. For my pleasure alone, I War II, although some French pianists were ing a work in the spirit of the chorals of Durufl é-Chevalier played Franck played the six symphonies of Vierne on very aware of (and advocated) arm weight Franck on the Te Deum.” Overwhelmed, like that. More than fi fty years after the instrument that had inspired them. and arm movements before 1946. I didn’t push further, being content with these recordings fi rst appeared, What an unforgettable emotion. Léon 2. Visit www.organ.music.unt.edu for a vid- this detail, so affectionately confi ded, metronomic indications written by Bloy called the royal Cavaillé-Coll, “The eo of Mme Durufl é at the University of North I being one of the rare individuals—if Franck himself were discovered in organ of eternity.” Texas auditorium console fi lmed in February not the only—to know the gestation of a letter addressed by Franck to an I took advantage of these occasions 1992, playing a segment of the Vierne Naïades the most beautiful of the Te Deums. No American organist,9 which tends that came my way, I can say by chance, and a Handel concerto. Although she never reference concerning what I knew to be to demonstrate that such virtuos- to play at the closing voluntaries, a fi nale knew or consulted Dorothy Taubman, the core of Mme Durufl é’s virtuosity is derived a serious confi dence would be brought ity wasn’t at all scorned by César from the Vierne symphonies for the in large part from the same precepts learned back to her, at least coming from me. Franck. Jeanne Demessieux, it greatest joy of a group of young musi- by and passed on through the great techni- The streets of Rouen were all decked would seem, was right. Did she talk cians gathered around the console. cian who was Dorothy Taubman: long fi ngers out with giant posters as if to announce about these interpretations and her § moved from the short extensor muscles, and the visit of the Queen of England: very personal ideas on the subject of very subtle forearm rotations, up-down move- “Jeanne Demessieux on her return from Franck’s music? As Pierre Labric approaches his ment, in-out movements, and lateral shifting America.” She returned from a big con- Jeanne Demessieux revealed Franck centennial, I am certain my American of the arm when required by the music. cert tour, during which she had played like no one else, a recording of refer- colleagues join me in wishing Mr. Labric 3. Lest the reader assume that I have mi- her Te Deum, not yet published, but for ence. What can I add? every joy and happiness. He is, after all, grated to the almost rabid, anti-Dupré groups which I didn’t know the reason. It was one of the last remaining fi gures to have prominent in France today, such is not the case. My students perform probably more on the program for April 30, 1958. That’s Mr. Labric, you are perhaps the witnessed the joys, triumphs, trials, and Dupré works than any other studio in North when I heard it for the fi rst time, next last to have often played the tribulations of the legendary organ class America. My admiration for Dupré as a vir- to her, in the afternoon. I was aston- authentic Cavaillé-Coll of Notre- at the Paris Conservatory during the tuoso and composer is unbounded, but from ished by the grandeur and the beauty of Dame, Paris,10 before the recon- post-war period. His recollections help what I have learned from his students and oth- the work. It is impossible to fi nd more struction and electrification in the us approach those years with a far deeper ers, he was a bit of a dictator and often poorly moving accents to praise God. I asked 1960s. I would like very much if understanding of the legendary names advised by members of his entourage. Jeanne her if she would consent to loaning me you would talk about this legend- that shaped my generation and beyond. Demessieux was not the only artist whose ca- her manuscript. “But no, dear Pierre, I ary instrument before the trans- Thanks, Pierre Labric, for sharing your reer was almost sabotaged by Marcel Dupré. haven’t yet had time to write it down!” formations occurred. pristine memory and impressions of an 4. Lilian Murtagh (1907–1976) originally managed concert organists and others for the My eyes popped out of my head before “My alter ego,” said Vierne speaking era that now seems so very distant to most LaBerge and Colbert agencies before purchas- such prowess that I never would have about his Cavaillé-Coll at Notre-Dame, of us. Most of all, thanks for transmit- ing the organ division from Henry Colbert and imagined. I remained speechless. Paris. Nothing better than these words ting the legacy of the legendary Jeanne forming her own management for organists in could translate the nature of the emo- Demessieux to future generations. Q 1962. In 1976, her organization merged with In matters of interpretation, did she tional attachments that bound together Karen McFarlane to create Murtagh-McFar- use rubato or rather subtleties of one to the other. This was affi rmed by Jesse Eschbach is a graduate of Indiana lane Artists Management. Jeanne Demes- touch, or a combination of both? Bernard Gavoty. Gavoty continued, “as University, Bloomington, and the Uni- sieux’s three North American tours (1953, Jeanne Demessieux had an incred- the fl ower breaks loose from its sheath, versity of Michigan, Ann Arbor, where 1955, 1958) were organized by Lilian Murtagh. ible phrasing. In the chorale preludes the song swells and spreads forth. With he was a student of Robert Glasgow. He 5. Underscored by Labric. of Bach, she used two different cor- his hands, the musician sculpts his work completed his formal education during a 6. Underscored by Demessieux. 7. Underscored by Demessieux. nets, which offered an agreeable echo in a sonorous clay of which nothing can fi ve-year residency in Paris as a student of 8. Frank Speller (1938–2017), former pro- effect. She played certain works with a evoke the voluptuous richness. The Marie-Claire Alain, specializing in early fessor of organ at University of Texas for more entire organ seems to stir in contact with French music in her conservatory class at than forty years, studied with Jeanne Demes- this soul that brings it to life.” Rueil-Malmaison where he was awarded sieux in Paris sometime during the 1960s. A. E. Schlueter Pipe Organ Co. The organ of Notre-Dame de both a Prix d’Excellence and a Prix de He was one of the few American organists to Paris was the absolute masterpiece of Virtuosité. As one of the last students of study with her. Cavaillé-Coll. In the fi ngers of Vierne, Marie-Madeleine Durufl é-Chevalier, he 9. Rollin Smith, “César Franck’s Metro- it offered a unique splendor. A musician studied the complete organ works of her nome Marks: From Paris to Brooklyn.” The from Rouen, André Haumesser went husband, Maurice Durufl é, as well as American Organist, September 2003, 58–60. 10. Aristide Cavaillé-Coll fi nished his 86- from time to time to the gallery of Notre- much of the French symphonic repertoire. stop masterpiece in 1868, inaugurated March Dame to hear Vierne. He mixed in with Since 1986, Eschbach has served on the 6 of that year by Franck, Chauvet, Guilmant, the regulars, and at the instant Vierne faculty at the University of North Texas, Widor, Saint-Saëns, Durand, and Loret. The was preparing to improvise, one of them Denton, as professor of organ, instruct- organ was rebuilt and electrifi ed in the 1960s. said, “Let us listen to the word of Saint ing performance majors at all levels. 11. Léonce de Saint-Martin (1886–1954) Thomas d’Aquin.” Eschbach has several CDs to his credit, succeeded Louis Vierne as titular organist of I had the good fortune to often play including a disc recorded at the Cathé- Notre-Dame de Paris in 1937. the magnifi cent Cavaillé-Coll, admired drale de Perpignan entitled Music of the 12. Pierre Moreau (1907–1991) served at  New Instruments  Tonal Additions Notre-Dame de la Gare, Paris, before his ap-  Rebuilding  Maintenance throughout the world. I remember my Second Empire and Beyond, released in fi rst contact which left an indelible feel- 2003. Also released in 2003 was his 800+ pointment to Saint-Marcel, Paris, 1935–1985,  New Consoles  Tuning 11 and was Saint-Martin’s suppléant at Notre- ing. Léonce de Saint-Martin, a very dis- page book, Stoplists of Aristide Cavaillé- Dame. Under Pierre Cochereau, Moreau was How can we help you? tinguished and courteous man, welcomed Coll, detailing the original stoplists of the promoted organiste adjoint, retiring in 1986. me one evening after the cathedral majority of organs constructed by this 800-836-2726 He studied with Charles Tournemire for fi ve closed, allowing me to play the second French organbuilder, based extensively years and was awarded a fi rst prize in organ in www.pipe-organ.com symphony of Vierne. From the fi rst on the Lapresté collection. This research 1938 at the Conservatoire Royal de Bruxelles.

16 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Conference report

Building Bach: His Foundations and Futures

University of Michigan 59th Annual Organ Conference, September 29–October 1, 2019

By Brooks Grantier Participants in student recital in Blanche Anderson Moore Recital Hall: Joseph Mu- tone, Arthur Greenlee, Samuel Ronning, Michael Mishler, and Sarah Simko he 59th annual University of Michi- Returning to the Wilhelm organ at Tgan conference on organ music First Congregational Church, Kola took place on the Ann Arbor campus Owolabi’s faculty recital considered September 29 through October 1, 2019, “Bach’s Circle: Musical Infl uences and with important pre-conference events Missed Connections.” Playing with on the Friday and Saturday preceding. astute fi nesse and a seasoned musical The theme for 2019 was “Building Bach: intelligence, Dr. Owolabi gave us music His Foundations and Futures.” In view of Weckmann, Frescobaldi, Kerll, Corea of (and din of) construction equipment de Arauxo, Buxtehude (the superb Nun all over the campus, the theme seemed freut euch, lieben Christen g’mein), and exceptionally apt. Bach (the “Dorian” Toccata and Fugue).

Pre-conference event: Monday, September 30 Isabelle Demers The morning opened at the BAM Fisk In an impressive memorized program, organ with a lecture-recital by Kevin Isabelle Demers set a high bar in her Bylsma (Mariner’s Church, Detroit) and recital at Saint Paul’s Episcopal Cathe- Randall Engle (North Hills Christian dral in Detroit on Friday, September Reformed Church, Troy, Michigan) on 27. Alongside a few familiar works, Ms. “Bach, the Teacher.” Mr. Bylsma gave Demers offered colorful, varied fare the context of several pieces in Bach’s from Swedish composer Oskar Lindberg Orgelbüchlein. After each brief essay, Julia Brown Kola Owolabi and Australian-American composer the audience rose to sing a stanza of the Jason Roberts. Transcriptions included chorale, followed by Dr. Engle’s perfor- science and engineering—a sign of the of Bach to demonstrate her own Bach- movements from Handel’s Fireworks mance of the Orgelbüchlein setting. times for organists in our age. All were inspired improvisations, she concluded Music, and a bracing reading of the fi rst A recital by U of M organ students players of fi ne attainment, carefully pre- with an improvised French suite on the movement of Beethoven’s Symphony followed. Joseph Mutone, Arthur pared, and confi dent in performance. American tune, “We shall overcome.” No. 5, bringing out all of the composer’s Greenlee, Samuel Ronning, Michael Pamela Ruiter-Feenstra displayed Accompanied by a box lunch (a “Bach’s intent—tempo, rhythm, texture, and Mishler, and Sarah Simko (a member her many-sided musical interests in a lec- lunch”) outdoors, we were treated to the formal shape. The recital was brought to of The Diapason’s 20 Under 30 Class ture-recital called “Bach’s Nest.” Just as a fi rst of two carillon recitals, this one by a bravura conclusion with Thalben-Ball’s of 2017) played works by Bach and by bird gathers material from many places U of M carillonneur Tiffany Ng, playing Variations on a Theme of Paganini. Grand Rapids composer Larry Visser. to build the nest, so Dr. Ruiter-Feenstra the sixty-bell instrument located near the The students were candidates for various has borrowed from many sources to put School of Music. Always an adventure- The Eighth Annual degrees in organ and church music, and in together improvisations modeled on the some programmer, Dr. Ng chose newly Improvisation Competition some cases also for degrees in computer works of Bach. After playing various works composed works written with some On Saturday, September 28, three fi nalists played the very fi ne three- manual, fi fty-seven-rank Wilhelm organ at Ann Arbor’s First Congregational Church, site of a number of conference ATLANTA CHAPTER, AGO events. With no combination action nor the assistance of registrants, the ANNOUNCES three competitors were on their own in impressive displays of contrapuntal prowess and formal tautness. Competing The Taylor Organ were Christopher Ganza (fi rst prize), David McCarthy (second prize) and Héctor Salcedo (third prize). All three Competition players showed themselves at the top of today’s outstanding class of improvisers. Saturday, April 17, 2021 Sunday, September 29 OPEN TO INDIVIDUALS BORN AFTER JUNE 1, 1998 Julia Brown (Mayfl ower Con- gregational Church, Grand Rapids, Michigan) opened the conference st $10,000 nd proper with a recital on the two- and a solo manual, thirty-fi ve-rank Silbermann- 1prize 2prize $5,000 styled Fisk organ in the Blanche recital in Atlanta Anderson Moore (BAM for short) Recital Hall at the School of Music on the University’s North Campus. Serving Application deadline October 15, 2020 up a meat-and-potatoes menu of Bux- For complete details including repertoire, tehude, Scheidemann, Müthel, W. F. and J. S. Bach, Ms. Brown’s playing please see www.taylororgancompetition.com was marked by a gracious fl exibility in rhythm, sensitive to the organ’s fl exible winding and the intimate acoustics of www.agoatlanta.org the BAM recital hall.

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 17 Conference report

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Panel discussion, “Women and Organ Improvisation:” Tiffany Ng, Ellen H. Rowe, Renée Anne Louprette, Isabelle Demers, and Pamela Ruiter-Feenstra Participants in second student recital at First Congregational Church: Allison Bar- one, Jenna Moon, Emily Solomon, and Kaelan Hansson

reference to Bach. The euphoniously harmonics of the bells given clangor- tuned Dutch carillon was in contrast to its ous free play. Mr. Kroezen’s program English companion on the U-M central included music by Bach, Buxtehude, and campus, which we heard later that day. Kirnberger. Thus we were treated to two Returning to the School of Music, very distinct styles of carillon, two highly Michael Barone (of Pipedreams renown) varied approaches to repertoire, and a gave us generous samplings of recorded pair of most artistic players. Who could works commissioned and/or played by the ask for anything more? late Marilyn Mason. Founder of the U of Our day fi nished in the legendary Hill M organ conference and the longest serv- Auditorium, whose organ is an amalgam ing faculty member in the history of the of Farrand & Votey, Hutchings, Skin- university (sixty-seven years), Dr. Mason ner, and Aeolian-Skinner. A mongrel? enriched the organ repertoire with some Of course, but in this case a friendly ninety commissioned works. beast, very much at home in the spa- Then, using the BAM Fisk, George cious acoustics and parabolic interior of Stauffer and Renée Anne Louprette Hill Auditorium. Steven Egler (Central (Rutgers University) gave a tandem Michigan University) played a one-com- Pamela Ruiter-Feenstra Michael Barone lecture recital entitled “Bach Under poser program entitled “Organ Music of the Infl uence.” Dr. Stauffer identi- Gerald Near: Futurist Building on the fi ed several compositional strands that Foundations of Bach.” Dr. Egler’s selec- came together in Bach’s organ music tion proved a strong case for bringing and in later works that fl owed from his the essence of Bach’s style into our time inspiration. Ms. Louprette then played in music of contrapuntal ingenuity and

works by Bach and later composers that polished sonority. In the music of Bach, strongly correlated Dr. Stauffer’s insight- a composer can fi nd no fi ner mentor, and ful points. Both artists deserve much in the playing of Dr. Egler, a composer credit for this thoughtfully devised, can commend no fi ner advocate. elegantly presented program. Moving to the U of M central cam- Tuesday, October 1 pus, we heard a second carillon recital, We began the day with three discussion by Roy Kroezen (carillonneur of the programs back-to-back. First, a group of Centralia, Illinois, carillon), on the fi fty- researchers in such arcana as “mathemat- three-bell Baird Carillon, given to the ics and computational medicine and bio- university in 1936 by athletic director informatics” gave a presentation on map- (!) Charles Baird. This carillon is much ping brain activity during performance of Proud builders of the pipe organ kit in the English style, with the unusual Bach’s trio sonatas. While the research is in its infancy—stay tuned. When linked with fi ndings in neuroscience, the work will provide fascinating insights into follow The Sound of Pipe how the brain processes information on us on facebook! several planes simultaneously, as in the Organs trio sonatas. Isabelle Demers returned us to the organ as an expression of musical Photo courtesy of Eric Harrison M. McNeil 191 pages hardbound BACH AT NOON 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA now on sale at Amazon books t 800 625-7473 [email protected] $29.95 Grace Church in New York Visit our website at www.letourneauorgans.com

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18 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Matthew Bengtson Mark Kroll

George Stauffer and Renée Anne Louprette Kevin Bylsma and Randall Engle

of Marilyn Mason. As we raised our Brooks Grantier, FAGO, is music Participants and judges of Eighth Annual Improvisation Competition: Christopher glasses, Dr. Kibbie offered his own brief director emeritus of the Battle Creek Ganza, Héctor Salcedo, David McCarthy, Tim Huth (host), Renée Anne Louprette, salute, and then invited all in attendance (Michigan) Boychoir, and was for thirty- Pamela Ruiter-Feenstra, Naki Sung Kripfgans, and Kola Owolabi to share their own “Marilyn” stories eight years director of music at Trinity with those around us. It was meet and Episcopal Church in Marshall, Michigan. communication, with observations of the Kaelan Hansson, and Emily Solomon right so to do. And a fi tting close to a continuing persistence of Marcel Dupré’s (a member of The Diapason’s 20 memorable conference. Q Photo credit (all photos): Colin Knapp articulation of Bach’s G Minor Fugue, Under 30 Class of 2019) played music through recorded performances span- of Scheidt, Böhm, Müthel, and Tunder ning several decades. respectively. As in the fi rst recital, all The fi nal discussion, led by Dr. Tif- were carefully prepared, and all played fany Ng, was on “Women and Organ with style and confi dence. Improvisation.” Three women from the The conference closed with Bach and conference roster plus jazz studies pro- Handel, played by U of M’s Baroque fessor Ellen H. Rowe related how they Chamber Orchestra in the spacious came to the practice of musical impro- acoustics of Saint Francis Catholic visation. The panel noted that nearly Church, with its excellent Létourneau all improvisation prizes are awarded to organ. The centerpiece was Bach’s Can- male performers, speculated on reasons tata 146, Wir müssen durch viel Trubsal for this, and highlighted improvisation in das Reich Gottes, featuring a quartet among women players. of singers and Dr. Owolabi playing the Matthew Bengston of the U of M important organ part. Directors Joseph keyboard faculty and Mark Kroll Gascho and Aaron Berofsky gave all (professor emeritus, Boston University) that we could ask for in an edge-of-the- presented lectures on the suites of seat compelling performance. Bach and Dieupart, and on Bach and As a welcome interlude, before the Couperin, both using the harpsichord fi nal performance, organ department in superb illustration of Bach’s French chair James Kibbie invited everyone style. Another recital by U of M students to gather at Ann Arbor’s Cottage Inn followed, using the Wilhelm organ. Per- restaurant, a favorite haunt of the formers Jenna Moon, Allison Barone, U of M community, in a toast in memory

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 19 Competition and festival report

Organ Festival Holland and International Schnitger Organ Competition 2019: Sint-Laurenskerk and Kapelkerk, Alkmaar, the Netherlands The jury and fi nal round candidates of the International Schnitger Organ Competi- tion 2019 (photo credit: Jan Zwart) June 21–28, 2019

By Lorraine S. Brugh

aturday is market day in Alkmaar. On organs, the ten fi nalists were all given a Sthe way to the Sint-Laurenskerk from spring weekend in Alkmaar practicing my hotel there were stalls fi lled with fresh on the instruments. This gave the com- fi sh, cheese, fruits and vegetables, breads petitors time to adjust to the mechanical and desserts. Tempting as they were, I demands of each instrument and their hurried through to make the 9:00 a.m. differences as well as conceive registra- starting time for the fi rst round of the tions before the competition week. International Schnitger Organ Competi- During the fi rst round each contes- tion 2019. With the church bells chiming tant performed on both instruments. As 9:00, the jury entered, and the members we moved from the apse to the west end were introduced. the performer also moved from the Van Covelens organ to the Schnitger. Pieter The jury Van Dijk, city organist in Alkmaar, The fi ve jury members for 2019 explained the differences of the two included: Martin Böcker, lec- instruments from the performers’ point turer at the Hochschule für Musik of view: the Van Covelens has a smaller und Theater Hamburg and artis- manual compass, limited pedal range, tic director of the Orgelakademie and smaller keys and pedals than the Stade, Germany; Bernard Foccroulle, Schnitger. The oldest stop, from 1511, is professor of organ for the Conserva- the Hoofdwerk 6′ Holpijp, which starts toire of Brussels, Belgium; Krzysztof at low F. The Trompet in the Pedaal Urbaniak, head of the organ and sacred (this division’s only stop) balances per- music department, Bacewicz Academy fectly with the 8′ Doof (Praestant) in of Music in ŁódΠ, Poland; Bas de the manual, though it sounds very loud Vroome, organ professor at the Rot- from the console. The Borstwerk and terdam Conservatorium voor Muziek, the Hoofdwerk were both used with the Netherlands; and Wolfgang Zerer, a 4′ stop as the foundation in one per- professor of organ at the University of former’s fi nal Sweelinck variation. There Music and Performing Arts in Hamburg, are almost no repeats in the Mixtuur. Germany. The competition began in The Scherp is intentionally weighted to 1991 and is held biennially in Alkmaar, give the top intensity, just as choirs are centered at the Great Sint-Laurenskerk often weighted with more sound in the in the city center. treble than in the bass registers. The Schnitger organ fi lls the entire The organs west end of the nave, a beautiful and Great Sint-Laurenskerk houses two massive case. In 1725 Schnitger added important organs. The instrument that a 2′ fl ute in the Groot-Manuaal and has already won the grand prize, of course, the 2′ Nachthorn in the Pedaal, adding is the large Germer Van Hagerbeer/ a brighter and singing quality to the Schnitger organ (1646/1725) at the west instrument. Schnitger added these at end, both a sight to behold and a delight his own expense as he felt the organ was The Germer Van Hagerbeer/Frans Caspar Schnitger organ (1646/1725), Sint-Lau- to hear. Adding to its appeal is the con- incomplete without them. renskerk, Alkmaar, the Netherlands (photo credit: Jan Zwart) troversy surrounding its history, which has A large part of the competition’s only served to heighten its prominence. challenge lies in transitioning from one round were Victor Manuel Baena de Freddie James, and Vittoria Vanini as the Arp Schnitger died before working on instrument to the other in the space of la Torre (Spain), Oliver Brett (United three fi nalists for 2019. the instrument and his son, Frans Caspar a few minutes. The pieces in this round Kingdom), Freddie James (United Schnitger, fi nished the instrument. were all compulsory: Sweelinck, Erbarm Kingdom), António Pedrosa (Portu- The fi nalists The second and smaller instrument is dich mein, O Herre Gott, SwWV 30, gal), Daniel Seeger (Germany), and Victor Baena de la Torre (Spain, in a swallow’s nest gallery on a side wall on the Van Covelens organ, and Bach, Vittorio Vanini (Italy). b. 1995): At the age of twelve de la of the nave just east of the apse and was Allein Gott in der Höh sei Ehr, BWV The next round offered some choice Torre started playing guitar and piano built by Jan Van Covelens in 1511. Mean- 664, and Prelude and Fugue in C Major, in literature, this time played on the and later studied these instruments at tone temperament tweaked this Western BWV 547, on the Schnitger. Kapelkerk organ in Alkmaar. The organ the Conservatory of Madrid. There he equal-temperament ear with unusual There was no memorization require- is a Christian Müller instrument from became interested in the interpretation tonalities and pitches. Hearing the older ment for the competition, and competi- 1762, maintained by Flentrop since of early music, especially for organ and music of Sweelinck, Frescobaldi, Hassler, tors were known to the jury and audi- 1939 and restored by the fi rm between harpsichord, and decided to study organ and others offered a glimpse into the way ence only by their contestant number. 1982 and 1986. The repertoire included with Anselmo Serna and harpsichord this music originally sounded. The Van So, while the playing level was generally a Buxtehude canzona of the player’s and basso continuo with Denise De Covelens organ is the oldest playable strong, musically and technically, there choice, three chorale preludes for manu- La-Herrán. As a basso continuo player, instrument in the Netherlands. was no way to know who was playing als alone from J. S. Bach’s Clavierübung he has participated in various opera pro- during their performance. Listening III (Wir glauben all in einen Gott, BWV ductions. He has participated in master- The competition became an exercise in hearing subtle 681, Allein Gott in der Höh sei Ehr, classes for organ and harpsichord with, Forty-fi ve applicants from thirteen differences between interpretations of BWV 677, and Die sind die heilgen zehn among others, Lorenzo Ghielmi and countries submitted an audio perfor- a piece, considering various tempi, and Gebot, BWV 679), and a Bach toccata Bernard Foccroulle. He currently studies mance to be considered for the 2019 listening to how performers used the for manuals alone (BWV 910–916). A at the Conservatory of Amsterdam with biennial competition. From those ten room and its acoustics. hot summer evening did not make play- Pieter van Dijk and Matthias Havinga. were chosen to compete in Alkmaar. Following the ten performances, the ing these delicate pieces any easier. The Freddie James (United Kingdom, To prepare for the competition and its six fi nalists to advance to the second jury selected Victor Baena de la Torre, b. 1990): James started as a chorister at

20 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM builder of the Sint-Bavokerk organ in Haarlem. He highlighted differences and similarities between Schnitger and Müller; Frank van Wijk, organist at the Kapelkerk in Alkmaar: “The innovative properties that the Alkmaar organ still has to offer us today.” VanWijk described many of the events that keep the church and its organs in the center of the city’s life. Hosting children’s choir festivals, organ recitals, and other innovative programming keeps the community connected to this landmark church. The foundation that supports the festival brings guest performers and new music for these old organs in order to reach a new audience. Specifi c composition commissions and combinations of organ with choir, orchestra, or electronics are used to broaden the organ culture.

Concert and recital highlights The festival included an organ and choral concert featuring the St. Salvator Chapel Choir, St. Andrew’s University, Edinburgh, Scotland, Claire Innes- The 1762 Christian Müller organ, Kapelkerk, Alkmaar, the The 1511 Jan Van Covelens organ, Sint-Laurenskerk, Alkmaar, Hopkins, director, and Bernard Foc- Netherlands (photo credit: Jan Zwart) the Netherlands (photo credit: Jan Zwart) croulle, organist. The Scottish choir delighted the audience with its sleek Southwark Cathedral, and after leaving 1723–1725, at the instigation of the professional organists.” Participants sound in a beautiful acoustic. The Schnit- the choir, he held positions as organ newly appointed city organist Gerhardus who wished to play for the master- ger organ created an interesting dialogue scholar at Croydon Minster and assis- Havingha (1696–1753), Frans Caspar classes also prepared required pieces with its massive and varied sounds. tant organist at Sint-Nicolaas Basilica, carried out the highly controversial for the event. A noonday concert presented Cees Amsterdam. He was then organ scholar renovation of the Van Hagerbeer organ The presentations included: van der Poel and Gerben Gritter playing at St John’s College, Cambridge. With in Alkmaar. Behind the unchanged Martin Böcker: “Schnitger in Stade works of Lübeck, Böhm, Jacob Wilhelm the choir, he performed in a range of organ cases, designed by architect Jacob and Hamburg and what happens before Lustig, and Johann Nikolaus Hanff on venues around the world, including van Campen, a completely new type of and afterwards.” This presentation the Schnitger organ. A “Four hands and in Japan (Suntory Hall, Tokyo, Tokyo instrument in North German style arose looked at the ways Arp Schnitger devel- feet organ concert” put the spotlight on Opera City), the United States, Ger- for Holland. Schnitger thus achieved the oped his premise for sound ideal and Pieter Van Dijk, city organist in Alkmaar, many, the Netherlands, and Denmark, defi nitive breakthrough of this aesthetic construction close to home before build- and Frank Van Wijk, playing solo and and on a number of radio broadcasts, in Dutch organbuilding. The Alkmaar ing instruments further afi eld; duet literature. including a recording for Chandos of organ is the best-preserved instrument Cees van der Poel: “The Zwolle This is an ambitious festival, carried works by Thomas Tomkins. He was sub- by him. Organ—Schnitger’s Ticket to Holland.” out by an army of volunteers. The festival sequently organist of the Christuskirche, Flentrop prize (second prize, This commission began Arp Schnitger’s committee created a hospitable welcome Stuttgart, and is currently organist of the €2,500)—Vittorio Vanini international career, opening the way to while running a well-planned, high-level Church of St. Peter and Paul, Oberwil, Flentrop Orgelbouw of Zaandam, the further projects in the Netherlands; event. Gratitude is due to all those who in Basel, Switzerland. Netherlands, has executed many impor- Krzysztof Urbaniak: “Activity of work hard to keep this instrument and its Vittorio Vanini (Italy, b. 1996): tant organ restoration and new-build Schnitger’s pupils east of the Oder-Neisse importance alive, giving pride of place Vanini entered the Conservatorio of projects in the Netherlands and abroad, line.” Dr. Urbaniak demonstrated the to young organists ready to build their Como, Italy, in 2011, where he stud- including the restoration of both organs direct infl uence of the Schnitger style on performance careers. Q ied fi rst with Luca Bassetto, then with in Grote Sint-Laurenskerk, Alkmaar. Polish instruments through the students Enrico Viccardi. In 2017 he completed Flentrop Orgelbouw adopted the sec- and apprentices of Arp Schnitger; Lorraine Brugh is professor of music a bachelor’s degree in organ with honor. ond prize of the International Schnitger Gerben Gritter, professor of music and Kruse Organ Fellow at Valparaiso During his studies he focused on organ Organ Competition during the tenure of theory and organbuilding at the Amster- University, Valparaiso, Indiana. She literature, harpsichord, and thorough- Cees van Oostenbrugge, who was then dam University of the Arts. His doctoral recently served as director of the uni- bass with Davide Pozzi and on com- the company’s director. thesis focused on the life and work of versity’s study abroad program in Cam- position with Antonio Eros Negri and Third prize (€1,000)—Freddie the organbuilder Christian Müller, the bridge, England. Caterina Calderoni. He is currently James studying at the Schola Cantorum Izaäk Kingma prize (audience Basiliensis, Switzerland, in the class of prize)—Vittorio Vanini Tobias Lindner. He has been working Izaäk Kingma (1936–2004) was secre- as a church organist in the parishes of tary of both Alkmaar organ foundations Lurago Marinone and Cucciago, Italy, for many years: the International Schnit- and he has given concerts in Italy, Ger- ger Organ Competition Foundation and many, and Switzerland. the Friends of the Organ Foundation. In addition to his career in education, The fi nal round he was active as an organist in various The fi nal round returned to Sint-Lau- churches in Alkmaar, including the renkerk with literature for both organs. Trefpuntkerk and the Remonstrantse For the Van Covelens organ, each Kerk. Because of its great merits for the contestant chose a song variation set by Alkmaar organ culture, the International Sweelinck. On the Schnitger organ each Schnitger Organ Competition Founda- fi nalist chose a large Bach chorale pre- tion decided in 2004 to link its name lude from Clavierübung III or from 18 to the public prize of the International Choräle verschiedener Art and a prelude Schnitger Organ Competition that takes and fugue [BWV 532, 541, 546, or 550], place during the biennial Organ Festival and a work by Piet Kee from Gedenck- Holland in Alkmaar. Clanck ’76. The symposium The winners and prizes Running concurrently with the com- The prizes refl ect both the civic and petition was an organ symposium, a religious relationships of this festival to series of workshops and masterclasses the city of Alkmaar. Following the fi nal presented by the jury members. This round the jury announced the prizes: year’s topic was “The better Schnitger?” Schnitger prize (fi rst prize, The young organbuilder Frans Caspar €5,000)—Victor Baena de la Torre Schnitger, son of the legendary Arp The fi rst prize of the competition Schnitger, with his organ in Alkmaar, is named after organbuilder Frans was the subject of the symposium. www.ruffatti.com Caspar Schnitger (1693–1729), son Workshops and masterclasses were of the legendary Arp Schnitger. In offered for “accomplished amateur and

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 21 Cover feature

C. B. Fisk, Inc., Gloucester, Massachusetts First United Methodist Church, Pittsburg, Kansas From the Organbuilder Forever ago it seems, in the year 1991, C. B. Fisk, Inc., was commissioned to build a three-manual, 49-stop teaching and recital instrument in McCray Hall on the campus of Pittsburg State Univer- sity, Pittsburg, Kansas. Our fi rst organ in the Sunfl ower State, Opus 106 provided us an opportunity to work closely with PSU professor Susan Marchant, the school’s widely respected director of choral activities, organ, and harpsichord. Trained in organ performance at Oberlin and Yale, Dr. Marchant allowed at the time that, should the stars someday align again, her dream was to acquire a Fisk instrument for her church—the First United Methodist Church of Pittsburg. Well, to the benefi t of all, twenty-six years later the stars did indeed realign, and in the spring of 2017 C. B. Fisk was awarded a contract with FUMC to build a two-manual, 26-stop mechanical-action organ. Discussions had commenced the year previous with Dr. Marchant, music director and organist, Eric Rosenblad, chair of the organ committee, and the Reverend Mark Chambers, senior pas- Expanded and re-conceived chancel area with arch removed tor. It was decided early on that Opus 152, in contrast to its predecessor, would studies in the physical design model, Mr. be centrally located and facing forward Myers generated a detailed, prioritized at the front of the sanctuary, enabling list of room modifi cations for consider- it to speak without obstruction into the ation. All together, these changes would nave. Its unorthodox, imaginative tonal markedly improve the sanctuary’s acous- design, developed in close collabora- tical ambience—for the spoken word, tion with the music director, would be for congregational as well as choral sing- effi cient, fl exible, and specifi c to the ing, and for the support of organ tone. needs of a traditional United Methodist Myers’s comprehensive report contained parish church with a reputable, fi rst-rate recommendations for: music program. For our part, we were as 1) reshaping and extending the chan- delighted at the opportunity for further cel platform in order to bring the liturgi- artistic partnership with Dr. Marchant cal proceedings closer to the people and as we were enthused to add to the col- to provide greater fl exibility for worship lection of fi ne musical instruments that and concerts; enhance life in southeastern Kansas. 2) fi lling the former organ chamber The First United Methodist Church openings in the chancel sides with angled, was established in 1879 as the Taberna- plastered masonry walls to add support cle Methodist Church, three years after for the organ’s bass tones and at the same the founding of the city of Pittsburg. The time reduce parallel side wall fl utter; current building, a sturdy and nicely pro- 3) removing in its entirety the (provi- portioned edifi ce of red brick, is the third dentially) non-structural proscenium Original nave and chancel showing proscenium arch in the church’s 140-year history. Dating arch, thus doing away with an acousti- from 1914, it stands at the intersection of cally harmful sound trap; and acoustically transformed into an the St. Laurentius Kirche, Dedesdorf. 5th and Pine Streets, one block west of 4) adding a gently sloping, shallow, exceptional setting for liturgical worship The large Swell division is home to a Pittsburg’s picturesque main street. convex refl ector tight against the barrel- and musical performance. complete 8′ fl ue chorus, a pair of strings The church has recently undergone vaulted ceiling at the centerline of the Opus 152 is a two-manual and pedal modeled after those of Aristide Cavaillé- a major renovation, a new pipe organ chancel in order to dramatically reduce instrument of 26 stops, 22 of which are Coll, a fl ute-scaled cornet séparée having been a cardinal component the confusing buildup of sound between independent voices. The stoplist was with Dom Bédos-inspired mutations, of the renovation plan from day one. fl oor and ceiling and to furnish support- conceived to make the most of avail- and three colorful nineteenth-century Acoustical consultant Joseph Myers, ive refl ections for both choir and organ. able resources, both in terms of budget French reed voices—Trompette, Haut- president of Kirkegaard Associates in These room modifi cations, in con- and space. The Great division, located bois, and Clarinette—all at 8′ pitch. Chicago, was key to the revitalization of cert with the new instrument, signaled behind the façade at impost level, Importantly, the upperwork of the Swell the sanctuary design. Following a day of substantial changes to the front of the comprises only six stops but provides a is scaled and voiced to not only create joint onsite listening and brainstorming worship space; in spite of this, all were solid foundation of 16′, 8′, and 4′ tone an effective and balanced fl ue chorus in with Fisk president Michael Kraft and enthusiastically embraced and adopted as a basis for leading congregational that division, but also to couple to the project manager Andrew Gingery, and by the church leadership. With the song. The one Great reed stop, the Ger- Great foundations where it generates a encompassing ideas that came out of renovations complete and the new organ man Trumpet, is constructed after Arp convincing organo pleno on Manual I. visual designer Charles Nazarian’s initial in place, the sanctuary has been visually Schnitger’s Unterklavier Trompet 8′ in The heavily built Swell box is located

First United Methodist Church C. B. Fisk, Inc., Opus 152 Pittsburg, Kansas

GREAT (Manual I) SWELL (Manual II, enclosed) PEDAL Accessories 16′ Bourdon 8′ Violin Diapason 16′ Principal Wind Stabilizer 8′ Principal 8′ Viole de gambe 16′ Bourdon (Gt) General Tremulant 8′ Harmonic Flute 8′ Voix céleste 8′ Principal (Gt) 8′ Spire Flute 8′ Chimney Flute 8′ Spire Flute (Gt) Key action: direct mechanical (tracker) 4′ Octave 4′ Principal 4′ Octave (Gt) Stop action: solenoids, electrically controlled 8′ German Trumpet 4′ Harmonic Flute 16′ Trombone Combination action: by SSOS, Sequencer 2 2⁄3′ Nasard Casework: Quartered white oak with black 2′ Fifteenth Couplers walnut console surround 2′ Piccolo Swell to Great Keydesk: two manuals and pedal; manuals 3 4 1⁄5′ Tierce Great to Pedal 61 keys (CC–c ); Fisk pedalboard 32 keys 1 1 1⁄3′ Mixture IV–VI Swell to Pedal (CC–g ) 8′ Trompette Swell to Pedal 4′ Temperament: Fisk II 8′ Hautbois 8′ Clarinette Builder’s website: www.cbfi sk.com Photos courtesy C. B. Fisk, Inc. Church website: www.fumcpittsburg.org

22 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM C-side Swell chest oriented back to front

Principal 16′ façade pipes of polished, Console detail hammered spotted metal above the treble pipes of the Great to help guide the acquisition of a new division and is oriented back to front, organ, I would look fi rst to C. B. Fisk. with expression shades on the front and That good fortune became a reality both sides. Due to its wealth of tone when, in the 1980s, the leadership of colors and extensive dynamic range, Pittsburg State University and the PSU the Swell accompanies the church choir Foundation embraced the concept of with ease, and it contributes well to the launching a campaign to support the organ’s ability to showcase a wide range acquisition of what would become Fisk of organ solo repertoire. The Pedal is Opus 106. Since its arrival in 1995, it has home to two independent voices—the served as the university’s primary instru- hammered spotted metal Principal 16′, ment for teaching and performance, and standing in the façade from DD, and as such has been visited by many of the the Trombone 16′. Four additional Pedal profession’s most distinguished organists stops are mechanically transmitted from for concerts and masterclasses. the Great. The opportunity to work toward the Construction and preliminary voicing acquisition of a second new organ for of Opus 152 happened in our Gloucester Pittsburg, this time for First United workshop over the fi rst several months of Methodist Church, brought to mind 2018. Installation took place in August of images of a rather different type of that year, and the fi nish voicing occupied instrument, one whose primary function us throughout the fall and into the winter. would be to accompany the choir and The service of dedication and consecra- congregation in the church’s long-stand- tion of both sanctuary and pipe organ took ing and vibrant music program. The goal place during Lent, on March 24, 2019, to for Opus 152—with its substantial and a full house. It featured the organ as an versatile Swell and Fisk’s characteristi- instrument beautifully positioned to ful- cally full-bodied principals of the Great, fi ll its roles of supporting congregational working in concert with the critically singing, accompanying choral music, important acoustical improvements to and playing solo and chamber music of the sanctuary—was to achieve a result diverse styles. Participating musicians that would bring an entirely new dimen- on this joyous occasion included the sion to congregational singing, one that church’s Chancel Choir, members of the would be both supportive and inviting. Pittsburg State University Choir, PSU By all accounts from members of the saxophone professor Joanne Britz, and congregation, this goal has been met organists Susan Marchant, Peter Frost, with resounding success! and Jung Hee Lee. Visitors to Pittsburg invariably sense —David C. Pike the wonderful symbiotic relationship that Executive Vice President & exists here between the university and Tonal Director, C. B. Fisk, Inc. the community. In that spirit, my hope is that both institutions will benefi t greatly From the Music Director from the presence of Opus 106 and Opus and Organist 152. Organ students as well as seasoned From my earliest visits as a graduate professionals will have an opportunity to student to the Fisk shop in Gloucester, study the two instruments’ differences in as well as to a number of the instruments tonal resources, stop action, and other that resulted from the artistry and crafts- essential aspects of their design, and manship that guide the creative process will continue to engage in great music- there, I was drawn to the extraordinary making for many years to come. organs that bear the name of the fi rm’s —Susan J. Marchant founder. My subsequent conversations Director of Music, First United and visits with Charles Fisk confi rmed Methodist Church, Pittsburg my decision that, were I ever to be so Professor and Chair, Pittsburg State fortunate as to have an opportunity University Department of Music C-side Great chest at impost level

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 23 New Organs

Randall Dyer & Associates, Inc., suddenly occurred to me. I went to the Jefferson City, Tennessee drawing board and penciled the idea First United Methodist Church, over half of a large blown-up picture I Lebanon, Tennessee had taken of the church’s chancel. That From the fi rst time I walked into the sketch was eventually converted by church unannounced one day while pass- PipeShader, a professional organ visual ing through town and happened to meet designer, into a real-looking computer- Charlie Overton, the affable minister of ized image and presented to the church, music, I knew the possibility of building where it was quickly accepted. But there an organ for the First United Methodist was other work to be done before that Church of Lebanon, Tennessee, had the could happen. potential to be an organbuilder dream job. Friend and frequent organbuilding An equally nice and open-minded organ colleague Larry Sprinkle, who, like me, committee was receptive to suggestions has an interest in trains and railroad- and willing to travel to Lexington, Ken- ing, had decided to travel cross-country tucky, to see our organ at the Cathedral with me to the American Institute of of Christ the King. Whether it was due Organbuilders convention in Concord, to that organ or the authentic Kentucky California. We would intentionally travel barbecue we had for lunch is debatable, by car, so that we could follow the trans- but as we parted ways, I was pretty certain continental railroads, Burlington North- we were going to build them an organ. ern-Santa Fe, through Texas and New During the process, the minister of music Mexico, on the westbound trip. This changed, but no momentum was lost as would carry us not only by the Grand the new man on the podium, Windell Canyon, where resides a steam locomo- Little, was totally on board. tive we had both known locally several The church building hails from the years earlier, but by such iconic railroad 1960s, a handsome “contemporary” places as Cajon Pass, descending into Georgian structure. The church’s M. P. Los Angeles basin, and Tehachapi Loop, Möller organ from the late 1920s had the latter crossing the mountains near been moved from the old building by Bakersfi eld. Along the way we stopped J. Alex Koellein, a late-in-life, but nev- in Oklahoma City, a place to which I ertheless capable organ technician who always fi nd myself drawn when in the in a former life had been a station agent area, remembering the utter destruction for the Tennessee Central Railroad, the of the federal building with huge loss of track of which runs about two blocks life, including children. Coming home, Randall Dyer & Associates, Inc., Opus 100, First United Methodist Church, Lebanon, behind the present Lebanon church we followed Union Pacifi c on the north- Tennessee building. He added several new ranks ern route across Donner Pass, through of well-made pipes and a new console in Salt Lake City (remember the “golden from one side to the other, for the conve- the twelve longest pipes is only about the move, but unfortunately, the entire spike”?), and on to Chicago, where we nience of the choir. The area above the 250 pounds on each side. instrument was installed in chambers on picked up some materials for the Leba- hall was an enclosed fl oor-to-ceiling dead Several sets of the 1960s pipes added each side of the divided chancel. non organ in the van we were driving. space on each side of the window, about by Koellein were reused in the new organ, From an organbuilder’s standpoint, Despite the spray-booth brainstorm, 25 feet tall. In typical Larry fashion when among them the Pedal Rauschquinte, 2 we were struggling to come up with Larry and I had not talked about the he’s thinking, he quietly stroked his chin, made from the former Great 2 ⁄3′ and 2′ both a placement and a visual that would job, so he was surprised when, without walked around the chancel behind the stops, as well as the 16′ Trombone. The look good, project the sound well into explanation, I diverted off westbound walls, went outside to look at the building 16′ Subbass, painted white to blend in the room, and stay in good usable tune. Interstate 40 into Lebanon to look at from that vantage, and after about ten with the walls and case, is also “previously While cantilevered dual side chests the church. Besides being an organ minutes of pondering, said, “Yes; they owned” from our warehouse stock. The were briefl y considered, the fact that person, Larry also has an engineering aren’t structural. They can be removed.” remainder of the fl ue pipes were made by one chamber was on the east side of the background. I took him into the build- Apprehensive that the organ com- Stinkens of the Netherlands with reeds room with the other on the west, both ing, where we walked around the room mittee would think I had lost my mind, by Oyster Pipeworks of Ohio. Bradley with three outside walls, meant that the a few minutes, and then I said, “Can the I nevertheless approached them with Jones, tonal director, voiced the fl ue pitch relationship of the pipes in those (concrete block) walls on each side of the the concept of removing the walls and pipes in our shop and was assisted in the chambers would change as the day wore chancel window be knocked out?” recessing the organ back into the gained fi nal tonal fi nishing by David Beck. The on and the sun moved around the chan- The very handsome stained glass cen- space, sealing up the side chamber tone pipes play on our own electro-pneumatic cel on the south end of the building. tral window is recessed about four feet to openings in the process. To their great slider-and-pallet chests. Standing in the spray booth painting an outside wall beyond the front chancel credit, they immediately bought into the A couple of stops are of special inter- pipes for another job one day, a “visual” wall, so that there is a hidden hall passing concept and engaged an architect to do est: the Swell 8′ Geigen is a large string, the engineering. almost Principal in scale, and serves Local building contractor Mike Walls, as the basis of the Swell secondary who had done other construction for the ensemble. The Great Major Flute starts Randall Dyer & Associates, Inc. church, was engaged to do the work. as a large-scaled Rohrfl öte and becomes First United Methodist Church, Lebanon, Tennessee While preparing the organ spaces, the a Harmonic Flute in the upper registers, carpet was replaced by hard fl ooring hence the Great Tremulant. GREAT—Manual II, unenclosed CHOIR (Manual I, enclosed) throughout the room, and the pad- The mahogany drawknob console, also except as noted 8′ Copula 61 pipes ded pews were refi nished to their dark built in house and stained to match the 16′ Bourdon (Sw) 8′ Erzähler 61 pipes 8′ Solo Principal (Ped) 8′ Erzähler Celeste (TC) 49 pipes mahogany color, substantially improving pews, with bone and rosewood keys, is 8′ Principal (façade, from low G, 4′ Koppelfl öte 61 pipes the acoustics. easily movable throughout the chancel 70% tin) 61 pipes 2′ Principal 61 pipes The false walls removed and the out- on recessed casters and connects to the ′ 1 ′ 8 Major Flute (1–12 fr Ped) 49 pipes 1⁄3 Quinte 61 pipes side walls well insulated with glued-on organ by one very small fi ber-optic “wire” 4′ Octave (70% tin) 61 pipes 8′ Clarinet 61 pipes 2′ Doublette (fr Mixture) Tremulant Styrofoam, the new organ occupies the that quickly plugs in at two different loca- IV Mixture (70% tin) 244 pipes 16′ Grand Trumpet (TC, fr 8′) depth of the gained space. It is sup- tions. The relay system, also by Matters, 8′ Trompette (Sw) 8′ Grand Trumpet 61 pipes ported on long legs, so that the choir can features multiple memory levels, trans- 8′ Oboe (Sw) (high pressure) still walk under it from side to side and posing, and record/playback capabilities. Tremulant 8′ Grand Trumpet (Ch) PEDAL enter the choir loft on the outside ends Randall Dyer & Associates Opus 100 Chimes (existing) 32′ Resultant (derived) through doors that are part of the organ was completed in time for Christmas Cymbelstern 16′ Principal 73 pipes case. The structure of the organ is totally 2017. The opening concert in January 16′ Subbass (existing) 56 pipes self-supported to the fl oor and relies 2018 by Andrew Risinger of West End SWELL (Manual III, enclosed) 16′ Bourdon (Sw) 16′ Bourdon 61 pipes 8′ Principal (ext 16′) on the building only to brace it. Built United Methodist Church in Nashville 8′ Geigen 61 pipes 8′ Subbass (ext 16′) of heavy, medium-density fi berboard, was played to a room so full that the 8′ Celeste (TC) 49 pipes 8′ Bourdon (Sw) painted to match the white pew ends, doors had to be locked because of fi re 8′ Bourdon (ext 16′) 12 pipes 4′ Principal (ext 16′) the lower organ cases serve as perfect occupancy regulations. A subsequent 4′ Principal 61 pipes 4′ Flöte (ext 16′) 4′ Spitzfl öte 61 pipes II Rauschquinte (existing) 64 pipes refl ectors for the sound of the choir, now concert by Wilma Jensen was similarly 2 2⁄3′ Nasard 61 pipes 32′ Reed Cornet (derived) located across the chancel instead of well attended. And the two demon- 2′ Blockfl öte 61 pipes 16′ Trombone (ext Sw) 12 pipes divided. And the medium density fi ber- strated that the organ can literally play 3 ′ ′ 1⁄5 Tierce 61 pipes 16 Oboe (Sw) boards make very effective enclosures anything that is put to it. III Plein Jeu 183 pipes 8′ Trompette (Sw) 16′ Oboe 61 pipes 4′ Oboe (Sw) for the Swell and Choir sections. Though not a large instrument, the 8′ Trompette 61 pipes 8′ Grand Trumpet (Ch) Pipes of the Pedal 16′ Principal and organ donors are happy, the musicians 8′ Oboe (ext 16′) 12 pipes Great 8′ Principal, made of aluminum are happy, and the congregation sings 4′ Clarion (ext 8′) 12 pipes 3 manuals, 32 ranks, 1,913 pipes by Matters, Inc., are cantilevered from their lungs out. For what more could an Tremulant Builder’s website: www.rdyerorgans.com Church website: http://lebanonfumc.com the structure of the organ to form the organbuilder dream? façade. Surprisingly, the total weight of —Randall S. Dyer

24 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Tate Addis; Cathedral Church of St. Park Ridge Presbyterian Church This calendar runs from the 15th of the month Paul, Detroit, MI 7:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ 22 FEBRUARY Bloomingdale, IL recitals unless otherwise indicated and are grouped Blue Heron; First Church Congregation- within each date north-south and east-west. •=AGO al, Cambridge, MA 8 pm chapter event, • •=RCCO centre event, +=new organ Mozart, Requiem; Woolsey Hall, Yale dedication, ++= OHS event. University, New Haven, CT 8 pm Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Michel Bouvard, masterclass; Sacred specifi es artist name, date, location, and hour in Heart Catholic Cathedral, Rochester, NY Director of Music writing. Multiple listings should be in chronological 10:30 am St. Andrew’s by the Sea, order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN Georgia Boy Choir Festival; Peachtree Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Road United Methodist, Atlanta, GA 7 pm Simon Johnson; First Presbyterian, Gainesville, FL 4 pm UNITED STATES Students of Indiana University Jacobs East of the Mississippi School of Music; Auer Hall, Indiana Univer- Dean W. Billmeyer sity, Bloomington, IN 4 pm 15 FEBRUARY University of Minnesota Nathan Laube; St. Thomas Church Fifth 23 FEBRUARY Minneapolis 55455 • [email protected] Avenue, New York, NY 3 pm Choral Evensong; St. John’s Episcopal, Daniel Roth; Christ Church, Pelham, NY West Hartford, CT 5 pm 7:30 pm Aaron Tan; Woolsey Hall, Yale Univer- • Charles W. Ore, workshop; Zion Lu- sity, New Haven, CT 7:30 pm theran, Wausau, WI 11 am Jennifer Pascual; St. Patrick’s Cathe- GAVIN BLACK Byron L. Blackmore dral, New York, NY 3:15 pm 16 FEBRUARY Princeton Early Keyboard Center David Briggs; Cathedral of St. John the Crown of Life Lutheran Church CONCORA, works of Durufl é; Immanuel Divine, New York, NY 4:45 pm 732/599-0392 Sun City West, Arizona Congregational, Hartford, CT 4 pm www.pekc.org Nathan K. Lively & Peggy Brengle; St. Nicholas Quardokas; St. Thomas 623/214-4903 Patrick’s Cathedral, New York, NY 3:15 pm Church Fifth Avenue, New York, NY 5:15 pm Lynn Trapp; Cathedral of St. John the Robert McCormick; St. Mark’s Episco- Divine, New York, NY 4:45 pm pal, Philadelphia, PA 4 pm Simon Johnson; Calvary Episcopal, Gail Archer; University of Delaware, THOMAS BROWN Carson Cooman Pittsburgh, PA 4 pm Newark, DE 3 pm UNIVERSITY George Fergus; Washington National Benjamin LaPrairie; Cathedral of St. PRESBYTERIAN CHURCH Composer and Concert Organist Cathedral, Washington, DC 5:15 pm Matthew the Apostle, Washington, DC CHAPEL HILL, NORTH CAROLINA Harvard University Jacob Reed; Cathedral of St. Philip, At- 3:30 pm ThomasBrownMusic.com www.carsoncooman.com lanta, GA 3:15 pm, Choral Evensong 4 pm Tom Sheehan; Washington National Ca- Choral Evensong; First Congregational, thedral, Washington, DC 5:15 pm Columbus, OH 4 pm Duke Evensong Singers; Duke University Katelyn Emerson; Hyde Park Commu- Chapel, Durham, NC 4 pm Your professional card nity United Methodist, Cincinnati, OH 4 pm Choral Evensong; Cathedral of St. Philip, DELBERT DISSELHORST Chenault Duo; Second Presbyterian, Atlanta, GA 4 pm could appear here! Louisville, KY 3 pm Mozart, Mass in C, K. 257; Christ Epis- Professor Emeritus Bach Vespers; Calvary Episcopal, Louis- Contact: [email protected] copal, Bradenton, FL 11 am ville, KY 4 pm University of Iowa–Iowa City or 608/634-6253 Katelyn Emerson; Stetson University, Irene Beethe, workshop; Zion Lutheran, Wausau, WI 3 pm DeLand, FL 3 pm Charlie Sega; Loyola University, Chi- Choral Evensong; St. Paul’s Episcopal, cago, IL 3 pm Delray Beach, FL 5 pm STEVEN EGLER Choral Evensong; Cathedral Church of JOHN FENSTERMAKER Central Michigan University 17 FEBRUARY St. Paul, Detroit, MI 4 pm School of Music Peter Richard Conte, silent fi lm; Temple Sharon Peterson; Southminster Presby- TRINITY-BY-THE-COVE Emanu-El, New York, NY 3 pm terian, Arlington Heights, IL 4 pm Mt. Pleasant, MI 48859 [email protected] NAPLES, FLORIDA 18 FEBRUARY 25 FEBRUARY Ethan Haman & Abraham Wallace; Works of Palestrina, Rossini, & Verdi; St. Woolsey Hall, Yale University, New Haven, Ignatius Loyola Catholic Church, New York, Norberto CT 5 pm NY 3 pm Colin MacKnight; Church of St. Paul the Alan Morrison, with DeKalb Sympho- Susan Goodson Guinaldo Apostle, New York, NY 7 pm ny Orchestra; Georgia State University, Josh Duncan His Music ; Campbellsville University, Clarkston, GA 8 pm Emanuel United Church of Christ Campbellsville, KY 12:20 pm Manchester, Michigan See—Listen—Buy Christopher Wallace; St. Louis King 26 FEBRUARY www.GuinaldoPublications.com of France Catholic Church, St. Paul, MN Candlelight Vespers; Shadyside Presby- 12:35 pm terian, Pittsburgh, PA 7 pm A Professional Card in 19 FEBRUARY Olivier Latry, David Briggs, & Wayne Simon Johnson; First Presbyterian, Marshall; Kimmel Center, Philadelphia, PA The Diapason STEPHEN HAMILTON Philadelphia, PA 7 pm 8 pm recitalist–clinician–educator Jeffrey Porter; St. Luke Catholic Church, For rates and digital specifi cations, McLean, VA 12 noon 27 FEBRUARY contact Jerome Butera www.stephenjonhamilton.com Just Bach; Luther Memorial Church, Julian Wachner; St. Paul’s Chapel, Trin- 847/391-1045; [email protected] Madison, WI 12 noon ity Church Wall Street, New York, NY 1 pm Amy Cerniglia; Christ Episcopal, Bra- 20 FEBRUARY denton, FL 12:15 pm Jeremy Filsell; St. Paul’s Chapel, Trinity Students of Indiana University Jacobs Church Wall Street, New York, NY 1 pm School of Music; Alumni Hall, Indiana Uni- David Herman Choral Evensong; Cathedral Church of versity, Bloomington, IN 12:15 pm the Advent, Birmingham, AL 5:30 pm Trustees Distinguished Professor Emeritus of Music and University Organist

28 FEBRUARY The University of Delaware Q [email protected] 21 FEBRUARY Samantha Scheff; National City Chris- Simon Johnson; St. John’s Episcopal, tian Church, Washington, DC 12:15 pm West Hartford, CT 7:30 pm John Sherer; Fourth Presbyterian, Chi- Manhattan School of Music students; cago, IL 12:10 pm Madison Avenue Presbyterian, New York, Gail Archer Andrew Peters, silent fi lm, Safety Last; NY 7:30 pm Principia College, Elsah, IL 7:30 pm Michel Bouvard; Christ Episcopal, organist Rochester, NY 7:30 pm www.gailarcher.com 29 FEBRUARY Lorraine Brugh, Ph.D. David Baskeyfi eld; SUNY Buffalo, Am- Peter Krasinski, silent fi lm; St John Professor of Music herst, NY 7:30 pm Vassar College Nepomucene Catholic Church, New York, Natalia Kazaryan; National City Chris- Barnard College, Columbia University University Organist NY 7 pm tian Church, Washington, DC 12:15 pm [email protected] Valparaiso, Ind. Jillian Gardner; Zoar Lutheran, Perrys- David Briggs, masterclass; Auer Hall, (212) 854-5096 burg, OH 7:30 pm Indiana University, Bloomington, IN 9 am valpo.edu Charles Kennedy, harpsichord; Cathe- Michel Bouvard, masterclass; Reyes Promotion 219.464.5084 dral Church of the Advent, Birmingham, AL Hall, University of Notre Dame, South SOZO Media [email protected] 12:30 pm Bend, IN 10 am [email protected]

WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 1 MARCH Anthony & Beard Duo (Gary Beard, or- New York, NY Syracuse, NY 13203-2816 Katelyn Emerson; First Church of Deer- gan, & Ryan Anthony, trumpet); Elon Uni- www.andrewhenderson.net fi eld, Deerfi eld, MA 3 pm versity, Elon, NC 3 pm (315) 471-8451 Grant Wareham; St. John’s Episcopal, Bach, A Musical Offering; Christ Episco- West Hartford, CT 12:30 pm pal, Bradenton, FL 4 pm Grant Wareham; Cathedral of St. John Alan Morrison; Covenant-First Presby- the Divine, New York, NY 4:45 pm terian, Cincinnati, OH 4 pm Richard Barrick Hoskins Nicholas Capozzoli; St. Thomas Church Brian Jones 9 MARCH Director of Music & Organist Fifth Avenue, New York, NY 5:15 pm Director of Music Emeritus Peter Krasinski, works of Beethoven; Alan Morrison, masterclass; Covenant- St. Chrysostom's Church First Presbyterian, Cincinnati, OH 10 am TRINITY CHURCH St. John Nepomucene Catholic Church, Chicago New York, NY 7 pm 10 MARCH [email protected] BOSTON Alan Morrison; Ursinus College, Colleg- Mateusz Rzewuski; Central Synagogue, eville, PA 4 pm New York, NY 12:30 pm Joy-Leilani Garbutt; Washington Na- David Briggs; Cathedral of St. John the tional Cathedral, Washington, DC 5:15 pm Divine, New York, NY 7:30 pm KIM R. KASLING JAMES KIBBIE Christopher Jacobson; Duke University D.M.A. The University of Michigan Chapel, Durham, NC 5:15 pm 11 MARCH Ann Arbor, MI 48109-2085 Joshua Stafford; Riverside Presbyte- Candlelight Vespers; Shadyside Presby- St. John’s University rian, Jacksonville, FL 5 pm 734-764-1591 FAX: 734-763-5097 terian, Pittsburgh, PA 7 pm Collegeville, MN 56321 Kevin Jones, with Gladden Brass En- Christine Kraemer; St. Luke’s Episco- email: [email protected] semble; First Congregational, Columbus, pal, Evanston, IL 11:30 am OH 4 pm Jillian Gardner; Christ Church Cathe- 12 MARCH David K. Lamb, D.Mus. dral, Nashville, TN 3:30 pm Geoffrey Ward; St. Paul’s Chapel, Trinity Karen Schneider Kirner Michel Bouvard; Basilica of the Sacred Church Wall Street, New York, NY 1 pm Director of Music Heart, University of Notre Dame, South Bach motets; Church of St. Luke in the Director, Notre Dame Handbell Choir Trinity United Methodist Church Bend, IN 8 pm Fields, New York, NY 8 pm Assistant Director, Notre Dame Folk Choir New Albany, Indiana John Behnke; Christ Episcopal, Braden- University of Notre Dame 812/944-2229 2 MARCH ton, FL 12:15 pm Monica Czausz; Covenant Presbyterian, Nashville, TN 7:30 pm 13 MARCH Hans Uwe Hielscher; National City 3 MARCH Christian, Washington, DC 12:15 pm Chris Creaghan; St. Anne & the Holy Alan Morrison; Spivey Hall, Clayton A.S.C.A.P. Trinity, Brooklyn, NY 1 pm State University, Morrow, GA 7:30 pm FELLOW, AMERICAN GUILD OF ORGANISTS The King’s Singers; St. Thomas Church 14 MARCH 345 SADDLE LAKE DRIVE Fifth Avenue, New York, NY 7:30 pm Joy-Leilani Garbutt; St. Thomas Church ROSWELL-ATLANTA, GEORGIA 30076 Stephen Buzard, Dupré, Stations of the (770) 594-0949 Cross; St. Bridget Catholic Church, Rich- Fifth Avenue, New York, NY 3 pm mond, VA 7 pm Gail Archer; St. John Nepomucene Catholic Church, New York, NY 7 pm Michel Bouvard; Holy Name of Jesus Catholic Cathedral, Raleigh, NC 7:30 pm 15 MARCH Oliver Brett; Peachtree Road United Timothy Olsen; St. Patrick’s Cathedral, Read our May 2020 issue, which will include the Methodist, Atlanta, GA 7 pm New York, NY 3:15 pm work of the winner of our C rst Gruenstein Award. Kevin Jones, harpsichord, with fl ute; First Marijim Thoene; Cathedral of St. John Congregational, Columbus, OH 12:15 pm the Divine, New York, NY 4:45 pm Laudamus Choir; Cadet Chapel, West 4 MARCH Point, NY 2:30 pm Candlelight Vespers; Shadyside Presby- Una Voce; Shadyside Presbyterian, Pitts- terian, Pittsburgh, PA 7 pm burgh, PA 3 pm A two-inch Professional Card in The Diapason Andrew Schaeffer; Luther Memorial Joshua Stafford; Evangelical Lutheran Church, Madison, WI 12 noon Church, Frederick, MD 4 pm For information on rates and specifi cations, contact Jerome Butera: Christine Kraemer; St. Luke’s Episco- Jochanan van Driel; Washington Na- pal, Evanston, IL 11:30 am tional Cathedral, Washington, DC 5:15 pm [email protected] 608/634-6253 Musical Stations of the Cross; Peachtree 5 MARCH Road United Methodist, Atlanta, GA 7 pm Cynthia Roberts-Greene; Christ Epis- Thomas Murray; Stambaugh Audito- copal, Bradenton, FL 12:15 pm rium, Youngstown, OH 4 pm Choral Evensong; First Congregational, 6 MARCH Columbus, OH 4 pm LARRY PALMER Timothy Duhr; National City Christian, Karen Beaumont; St. Hedwig Catholic PHILIP CROZIER Washington, DC 12:15 PM Church, Milwaukee, WI 2 pm CONCERT ORGANIST Harpsichord – Organ Stephen Buzard, Dupré, Stations of the Solena Rizzato; Loyola University, Chica- Cross; St. Bede Catholic Church, Williams- go, IL 3 pm ACCOMPANIST burg, VA 7 pm Aaron Tan; Trinity Episcopal, Aurora, IL 3 pm Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 Benjamin Sheen; Abington Episcopal, White Marsh, VA 7:30 pm 17 MARCH Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas God’s Trombones (poetry and choral mu- Raphael Vogl; St. Paul the Apostle Cath- Canada sic); Cathedral Church of St. Paul, Detroit, olic Church, New York, NY 7 pm MI 7:30 pm Ted Gentry; Campbellsville University, (514) 739-8696 Recitals — Lectures — Consultancies • Wolfgang Rübsam, works of Franck Campbellsville, KY 12:20 pm [email protected] and Widor; St. Luke’s Episcopal, Evanston, [email protected] + 214.350-3628 IL 7:30 pm 18 MARCH Musica Sacra; Cathedral of St. John the 7 MARCH Divine, New York, NY 7:30 pm David Higgs, masterclass; Christ Candlelight Vespers; Shadyside Presby- Church, New Brunswick, NJ 10 am terian, Pittsburgh, PA 7 pm • Wolfgang Rübsam, masterclass; St. Joy-Leilani Garbutt; Cathedral of St. Luke’s Episcopal, Evanston, IL 10 am Matthew the Apostle, Washington, DC A gift subscription to Scott Dettra, with Northwestern Univer- 12:45 pm sity Chorale; Alice Millar Chapel, North- John Chappell Stowe; Luther Memorial western University, Evanston, IL 6 pm Church, Madison, WI 12 noon The Diapason Christine Kraemer; St. Luke’s Episco- 8 MARCH pal, Evanston, IL 11:30 am The perfect gift for Bach Choir, Yale Schola Cantorum, Yale Philharmonia; Woolsey Hall, Yale Univer- 19 MARCH + organist colleagues + choir directors Eric Plutz; St. Paul’s Chapel, Trinity sity, New Haven, CT 4 pm Church Wall Street, New York, NY 1 pm + students + organ builders Canterbury Choral Society, works of Ann Stephenson-Moe; Christ Episco- + teachers Vaughan Williams; Church of the Heavenly + clergy pal, Bradenton, FL 12:15 pm Rest, New York, NY 4 pm Each month your gift will keep on giving by providing the Richard Gress; Cathedral of St. John 20 MARCH important news of the organ and church music fi eld. Know that the Divine, New York, NY 4:45 pm James Kennerley; Merrill Auditorium, your gift will be just right. Graham Schultz; St. Thomas Church Portland, ME 7 pm Fifth Avenue, New York, NY 5:15 pm For information, The Diapason, P.O. Box 300, Lincolnshire, IL Jean-Baptiste Robin; St. Paul’s Episco- David Higgs; Christ Church, New Bruns- pal, Greenville, NC 7:30 pm 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: wick, NJ 5 pm 847/763-4933. Or visit www.thediapason.com and click “subscribe.” Brass of Peace; Franciscan Monastery of 21 MARCH the Holy Land, Washington, DC 4 pm TENET, Schütz, Musicalische Exequien; $44 one year USA; $35 one year digital; $20 one year student Tate Addis; Washington National Cathe- Church of St. Luke in the Fields, New York, dral, Washington, DC 5:15 pm NY 8 pm

26 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 22 MARCH 27 MARCH Southminster Presbyterian Church CONCORA, Bach, Mass in B Minor; St. Martin Jean; Christ Episcopal, New Ha- SHORT HILLS Arlington Heights, IL 60005 James’s Episcopal, West Hartford, CT 4 pm ven, CT 5:30 pm Choral Evensong; St. John’s Episcopal, Chelsea Chen; Trinity College Chapel, West Hartford, CT 5 pm Hartford, CT 7:30 pm St. Salvator’s Chapel Choir; Battell Cha- James Conely; St John Nepomucene pel, Yale University, New Haven, CT 7 pm Catholic Church, New York, NY 7 pm Tiffany K. Ng, PhD DEREK E. NICKELS, DMA Annette Richards; Marquand Chapel, Carson Cooman; National City Chris- University Carillonist | New Music Performer Church of the Holy Comforter Yale University, New Haven, CT 7:30 pm tian, Washington, DC 12:15 pm The University of Michigan, Ann Arbor Kenilworth, IL 60043 Daniel Brondel; St. Patrick’s Cathedral, [email protected] 28 MARCH New York, NY 3:15 pm soundcloud.com/carillonista (847) 251-6120 • [email protected] Mark Pacoe; St. Thomas Church Fifth Blue Heron; First Church Congregation- Avenue, New York, NY 5:15 pm al, Cambridge, MA 3 pm Matthew Barto; Cadet Chapel, West Point, NY 2:30 pm 29 MARCH ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. Chase Loomer; Woolsey Hall, Yale Uni- Vincent Dubois; Bryn Mawr Presbyte- Luther Memorial Church (ELCA) rian, Bryn Mawr, PA 2 pm versity, New Haven, CT 7:30 pm Organist/Director of Music St. Andrew Chorale & Orchestra; Madison Madison, Wisconsin Choirs of Duquesne University; Shady- First Presbyterian Church side Presbyterian, Pittsburgh, PA 3 pm Avenue Presbyterian, New York, NY 3 pm Nathan Bayreuther; St. Patrick’s Cathe- [email protected] Gainesville, Texas Alan Morrison; St. John’s United Church Recitals — Hymn Festivals [email protected] of Christ, Lansdale, PA 4 pm dral, New York, NY 3:15 pm Paul Griffiths Choral Evensong; St. John’s Episcopal, ; Cathedral of St. John the Hagerstown, MD 5 pm Divine, New York, NY 4:45 pm Jamie Hitel; St. Thomas Church Fifth Av- Diane Meredith Belcher; Holy Trinity enue, New York, NY 5:15 pm Lutheran, Lynchburg, VA 4 pm Craig Williams; Cadet Chapel, West STEPHEN SCHNURR Duke Bach Ensemble, Bach, Cantatas Point, NY 2:30 pm Saint Paul Catholic Church 37, 86, 92; Duke University Chapel, Dur- Organogenesis Artists LLC Gail Archer; Vassar College, Pough- ham, NC 5:15 pm Valparaiso, Indiana keepsie, NY 3 pm [email protected] Christopher Houlihan; University of Alan Morrison; St. James the Less Epis- Tampa, Tampa, FL 2 pm copal, Scarsdale, NY 4 pm Choral Evensong; Cathedral Church of Robert Parkins; Duke University Cha- St. Paul, Detroit, MI 4 pm pel, Durham, NC 5:15 pm ROBERT L. 23 MARCH Jean-Baptiste Robin; Church of the Cov- Scott Dettra; Woodberry Forest School, enant, Presbyterian, Cleveland, OH 4 pm SIMPSON Mark Steinbach Woodberry Forest, VA 7 pm Brown University 31 MARCH Christ Church Cathedral 1117 Texas Avenue 24 MARCH Bach, St. John Passion; Cathedral of St. Houston, Texas 77002 Students from Curtis Institute; Central John the Divine, New York, NY 7:30 pm Synagogue, New York, NY 12:30 pm Theodore Davis; Campbellsville Univer- Jazz Vespers; Duke University Chapel, sity, Campbellsville, KY 8 pm ] Durham, NC 7:30 pm Nathan Laube; Collegedale Church, Joe Utterback Collegedale, TN 7:30 pm David Wagner 25 MARCH www.jazzmuze.com]] ] DMA Candlelight Vespers; Shadyside Presby- UNITED STATES terian, Pittsburgh, PA 7 pm West of the Mississippi 203 386 9992 www.davewagner.net Just Bach; Luther Memorial Church, Madison, WI 12 noon 15 FEBRUARY Christine Kraemer; St. Luke’s Episco- Tyler Boehmer; Our Savior’s Lutheran, pal, Evanston, IL 11:30 am Sioux Falls, SD 7 pm Kevin Walters ARL ATSON 26 MARCH 16 FEBRUARY K W Chelsea Chen, masterclass; Trinity Col- Scott Turkington; St. Mark’s Episcopal M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH lege Chapel, Hartford, CT 12:15 pm Cathedral, Minneapolis, MN 2:30 pm Janet Yieh; St. Paul’s Chapel, Trinity Rye, New York WOODBRIDGE, NJ Church Wall Street, New York, NY 1 pm 21 FEBRUARY C. P. E. Bach, Die letzten Leiden des Er- Joshua Stafford; All Saints’ Episcopal, lösers; St. Thomas Church Fifth Avenue, Fort Worth, TX 7:30 pm New York, NY 7:30 pm Paul Tegels; Christ Episcopal, Tacoma, Alan G Woolley PhD Nancy Siebecker; Christ Episcopal, WA 12:10 pm RONALD WYATT Bradenton, FL 12:15 pm Joseph Adam, works of Vierne; St. Musical Instrument Research

Thomas Ospital; First Presbyterian, Bir- Joseph Catholic Cathedral, Seattle, WA Edinburgh Trinity Church 7:30 pm mingham, MI 7 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 2005 - Can This Be Love? . . . in anticipation of Valentine’s Day, some popular and classical selections which examine F the emotion that makes the world go round. A two-inch Professional Card in The Diapason E 2006 - Rising Stars & Pipedreams Live! (I) . . . winners of Quimby-AGO Regional Competitions - Ben Kerswell, For information on rates and specifi cations, contact Jerome Butera: B Clara Gerdes, Dominic Pang and Matthew Bickett - [email protected] 608/634-6253 perform at the Community of Christ Auditorium in Missouri.

2 2007 - Rising Stars & Pipedreams Live! (II) . . . Quimby- 0 AGO Regional Competition winners Jiaqi Shao, Bruce ArtistArtist Spotlights Spotlightspotlight s Xu and Collin Miller perform at the Community of Christ 2 Auditorium in Independence, Missouri. 0 Artist Spotlights 2008 - A Few Rare Welsh Bits . . . intriguing choral and organ are available on Your professional card repertoire from or about Wales, to honor the country’s The Diapason patron, Saint David, and the ‘Land of Song’. website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

Pipedreams is American Public Media’s weekly program dedicated to Butera for rates or 608/634-6253 the artistry of the pipe organ. Host Michael Barone’s celebration of the and specifi cations. king of instruments is heard on stations nationwide and worldwide via is a proud supporter 608/634-6253 pipedreams.org. Go online to locate a broadcast station near you. of Pipedreams apoba.com [email protected] SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO

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Michael Kleinschmidt, with string quar- 3 MARCH Bradley Hunter Welch; Catalina United 20 FEBRUARY tet; St. Mark’s Episcopal Cathedral, Seat- Bruce Neswick, hymn festival; West- Methodist, Tucson, AZ 7 pm Daniel Chappuis; St. Margaret Roth- tle, WA 7:30 pm minster Presbyterian, Oklahoma City, OK Naomi Shiga; Christ Episcopal, Tacoma, bury, London, UK 1:10 pm 7:30 pm WA 12:10 pm Pavel Kohout; San Matías Jalatlaco, 23 FEBRUARY David Higgs; First Lutheran, Yuba City, Jeannine Jordan, with media artist; First Oaxaca, Mexico 8 pm Michael Burkhardt, hymn festival; Au- CA 7:30 pm Presbyterian, Portland, OR 7:30 pm Philip Smith; St. Margaret’s Episcopal, 21 FEBRUARY gustana Lutheran, West St. Paul, MN 8:30 Craig Cramer; Basilica de la Soledad, 6 MARCH Palm Desert, CA 12 noon & 9:45 am Oaxaca, Mexico 8 pm Yumiko Tatsuta; Third Baptist, St. Louis, Monica Czausz; Church of the Holy Aaron David Miller, with harp; Elizabeth MO 12:30 pm Apostles, Hilo, HI 7 pm 22 FEBRUARY Chapel, House of Hope Presbyterian, St. Bruce Neswick; Trinity University, San James Lancelot; Victoria Hall, Hanley, Paul, MN 4 pm Antonio, TX 7:30 pm 22 MARCH UK 12 noon Bradley Hunter Welch; Memorial Drive Kevin McKelvie; St. Margaret’s Episco- + Thomas Ospital; Boston Avenue Unit- Sue Heath-Downey; St. Paul’s, Dept- United Methodist, Houston, TX 7 pm pal, Palm Desert, CA 12 noon ed Methodist, Tulsa, OK 5 pm ford, UK 1 pm Olivier Latry; St. Rita Catholic Church, Chelsea Chen; Trinity Downtown Luther- Konstantin Volostnov; Cathedral, St. 8 MARCH Dallas, TX 7:30 pm an, Houston, TX 2:30 pm Albans, UK 5:30 pm Benjamin Sheen; St. Philip’s Episcopal, Janette Fishell; Trinity Episcopal Cathe- Isabelle Demers; Highland Park United Pavel Kohout; San Andrés, Zautla, Mex- Beeville, TX 3 pm Methodist, Dallas, TX 6 pm ico 8 pm dral, Phoenix, AZ 3 pm Michel Bouvard; Cathedral of the Mad- Jan Kraybill; St. Margaret’s Episcopal, Rodney Gehrke; Gethsemane Luther- eleine, Salt Lake City, UT 8 pm an, Seattle, WA 4 pm 23 FEBRUARY Palm Desert, CA 4 pm Monica Czausz; Fresno State Univer- Jin Kyung Lim; Cathedral of St. Mary of Nicholas Freestone; Westminster Ab- Iris Lan; Cathedral of St. Mary of the As- sity, Fresno, CA 3 pm the Assumption, San Francisco, CA 4 pm bey, London, UK 5:45 pm sumption, San Francisco, CA 4 pm Gail Archer; Cathedral of St. Mary of the João Vaz; San Jerónimo, Tlacochahua- Jeannine Jordan, with media artist; St. Assumption, San Francisco, CA 4 pm 27 MARCH ya, Mexico 11 am John’s Lutheran, Orange, CA 7 pm Mateusz Rzewuski; St. Mark’s Episco- Lucas Fletcher; Third Baptist, St. Louis, Craig Cramer; Santa María, Tlacolula, pal, Berkeley, CA 4 pm MO 12:30 pm Mexico 6 pm 25 FEBRUARY Nathan Laube; First Presbyterian, Santa 13 MARCH 25 FEBRUARY James Welch; Aspen Community United Fe, NM 5 pm Bill Sullivan; Third Baptist, St. Louis, George Parsons; Grosvenor Chapel, • Margaret Kvamme; University of Ne- Methodist, Aspen, CO 6:30 pm MO 12:30 pm London, UK 1:10 pm Jeremy David Tarrant; St. Luke’s Epis- vada Las Vegas, Las Vegas, NV 7:30 pm 28 FEBRUARY copal, Dallas, TX 3:30 pm Wayne Burcham-Gulotta; St. Marga- 28 FEBRUARY John Wright; St. Margaret’s Episcopal, Wyatt Smth; University of Puget Sound, ret’s Episcopal, Palm Desert, CA 12 noon David Davies; Bloomsbury Baptist Cen- Palm Desert, CA 12 noon Tacoma, WA 12 noon tral, London, UK 4 pm 28 MARCH Dennis Siebenaler; St. Margaret’s Epis- Denis Bédard & Rachel Alfl att; Holy Nathan Laube, masterclass; First Pres- 29 FEBRUARY copal, Palm Desert, CA 12 noon Rosary Catholic Cathedral, Vancouver, BC, byterian, Santa Fe, NM 10 am Daryl Robinson, with brass; Church of Concordia Choir; Concordia University, Canada 8 pm St. John the Divine, Houston, TX 5 pm Irvine, CA 7:30 pm 29 MARCH 29 FEBRUARY Thomas Ospital; Meyerson Symphony Adrian Gunning; St. John’s Church, Is- 1 MARCH 14 MARCH Jeremy David Tarrant, masterclass; St. Center, Dallas, TX 2:30 pm lington Terrace, UK 2:30 pm Andrew Peters, silent fi lm, The Kid David Davies; Bloomsbury Central Bap- Luke’s Episcopal, Dallas, TX 10 am Brian Swager, harp; Cathedral of St. Brother; Second Presbyterian, St. Louis, Mary of the Assumption, San Francisco, tist, London, UK 4 pm MO 4 pm 15 MARCH CA 4 pm Martin Baker; St. John’s Church, Isling- Douglas Cleveland; Lutheran Church Buxtehude, Membra Jesu Nostri; Epiph- ton Terrace, UK 4 pm of the Risen Savior, Green Valley, AZ 3 pm any Episcopal, Seattle, WA 6:15 pm INTERNATIONAL Erica Johnson; Pacifi c Lutheran Univer- 3 MARCH Chelsea Chen; St. Margaret’s Episcopal, Kristel Aer; St. Lawrence, Alton, UK 8 pm sity, Tacoma, WA 3 pm Palm Desert, CA 4 pm 16 FEBRUARY David Higgs; Segerstrom Concert Hall, Monica Czausz; Central Union Church, Martin Ellis; Methodist Central Hall, 14 MARCH Costa Mesa, CA 3 pm Honolulu, HI 2 pm London, UK 3 pm Philip Rushforth; Victoria Hall, Hanley, David Simon; Grace Cathedral, San Marilyn Harper; Methodist Central Hall, UK 12 noon 18 MARCH Francisco, CA 4 pm London, UK 3 pm Swedish Church Choir; St. Michael’s, Monica Czausz; All Saints Episcopal, David Bendix Nielson; Westminster Ab- Highgate Village, UK 6 pm Kapa’a, HI 7 pm bey, London, UK 5:45 pm 2 MARCH Adam J. Brakel; Knox United Church, David Higgs, masterclass; Cathedral of 15 MARCH 20 MARCH Parksville, BC, Canada 4 pm Stephen Tharp; Berliner Philharmoniker, the Blessed Sacrament, Sacramento, CA Ann Marie Rigler; Third Baptist, St. Lou- Berlin, Germany 11 am 7 pm is, MO 12:30 pm 18 FEBRUARY Alexander Ffi nch; St. George’s, Ha- nover Square, London, UK 1:10 pm 21 MARCH Cicely Winter, with percussion; Basílica Gail Archer; St. Pancras Church, Güter- de la Soledad, Oaxaca, Mexico 8 pm sloh, Germany 8 pm 19 FEBRUARY 22 MARCH João Vaz; Cathedral, Oaxaca, Mexico Philip Rushforth; Victoria Hall, Hanley, 8 pm UK 12 noon

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GAN BUILDERS - EST E OR . 187 Subscribers can view the digital PIP 7 version of this issue (as well as selected past issues) at our website. Schoenstein SAN FRANCISCO Visit www.TheDiapason.com w to experience this! ww 58 .sch 47-58 oenstein.com - (707) 7 ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

28 Q THE DIAPASON Q FEBRUARY 2020 WWW.THEDIAPASON.COM Recital Programs

ADAM J. BRAKEL, Advent Lutheran on Lord, Revive Us, Miller; Schmücke dich, Thewes; He Leadeth Me, Callahan; Pie Jesu 1, Mendelssohn; Variations on Old Folks at Church, Melbourne, FL, August 25: Ton- o liebe Seele, O Welt, ich muß dich lassen, (Requiem), Webber/arr. Thewes; Two Waltzes Home, Buck; Introduction and Toccata, op. stücke in F, Gade; Fantaisie in E-fl at, Saint- Herzlich tut mich verlangen (Chorale Pre- for Pedal Duet, Strauss/arr. Michel; Maestoso 1323, Cooman; Prelude, Air, and Gavotte, Saëns; Air with Variations, Sowerby; Allegro ludes, op. 122), Brahms; Toccata in E, BWV in c-sharp, Vierne/arr. Thewes; Adagio for Wesley; Schafe können sicher weiden, Prelude (Symphonie VI in g, op. 42, no. 2), Widor; 566, Bach. Strings, Barber/arr. Vogelgesang; Entrada and Fugue in G, BWV 541, Bach. Sonata in e, BWV 528, Bach; Sonata I in f, op. Festiva, Wood/arr. Thewes. 65, no. 1, Mendelssohn. CHRISTOPHER HOULIHAN, St. Paul’s JOSHUA STAFFORD, St. Philip the Chapel, Trinity Church, Wall Street, New SUSANNE ROHN, Evagelische Kirche, Apostle Church, Saddle Brook, NJ, July 29: CHELSEA CHEN, Stiftskirche, Stuttgart, York, NY, August 9: Praeludium in g, BuxWV Gettenau, Germany, August 10: Variationen Pièce héroïque, FWV 37, Franck; Jesus Loves Germany, August 9: Sinfonietta, Gjeilo; Pre- 149, Buxtehude; Master Tallis’s Testament über ein Thema von Corelli, Rinck; Passaca- Me (Gospel Preludes, Book 2, no. 4), Bolcom; lude and Fugue in D, BWV 532, Bach; Fan- (Six Pieces for Organ), Howells; Vier Skizzen glia in G, Toccata prima, Muffat; Variationen Elegiac Romance, Ireland; Toccata in F, BWV tasia, Weaver; Taiwanese Suite, Chen; Miroir, für den Pedalfl ügel, op. 58, Schumann; Toc- in F, Knecht; Offertorio, Morandi; Sonata III 540, Bach; Romance (Symphonie IV, op. 32), Wammes; The Swan (Carnival of the Ani- cata, Adagio, and Fugue, BWV 564, Bach. in F, C. P. E. Bach; Andante in F, K. 616, Mo- Vierne; Sonata Eroïca, op. 94, Jongen. mals), Saint-Saëns, transcr. Guilmant. zart; O wie selig seid ihr doch, ihr Frommen, CHRISTOPHER HOULIHAN, with O Gott, du frommer Gott, Schmücke dich, o ANDREW UNSWORTH, St. Luke’s Epis- KEN COWAN, Stiftskirche, Stuttgart, Toomai String Quartet, First Congregational liebe Seele (Eleven Chorale Preludes, op. 122), copal Church, Dallas, TX, July 17: Prélude, Germany, August 23: Pastorale, Roger- Church, Camden, ME, August 16: Allegro Brahms; Gammal fäbodpsalm från Dalarna, Fugue (Symphonie I in d, op. 14), Vierne; Ducasse; Chromatic Fantasy and Fugue (Symphony VI in g, op. 42, no. 2), Widor; Lindberg; Boléro de concert, Lefébure-Wély. Lyric Interlude, Schreiner; Divertimento, in d, BWV 903, Bach, transcr. Reger; Rev- Master Tallis’s Testament (Six Pieces for Or- Cundick; Cantilena, Longhurst; Prelude on erie, Grant Still; Étude-Caprice (Beelzebub’s gan), Howells; Concerto in F, op. 4 no. 4, NAOMI ROWLEY, Faith Lutheran Little David, play on your harp, Unsworth; Laugh), op. 66, Laurin; Deuxième Symphonie, Handel; Vocalise Etude en forme de habanera, Church, Appleton, WI, July 10: A Trumpet In festo omnium sanctorum (Fantasia, op. op. 26, Dupré. Ravel, transcr. Houlihan; Scherzo, Aria, Final Minuet, Hollins; In Memoriam (Four Pieces 121, no. 1), Stanford; Pastorale, Sortie (Seven (Symphonie VI in B, op. 59), Vierne. for Organ, op. 71), Peeters; Variations on Sketches), Whitlock. ISABELLE DEMERS, Spreckels Organ Praise and Thanks and Adoration, Böhm; Pavilion, San Diego, CA, August 12: Con- KAY JOHANNSEN, with Katarzyna Voluntary and Fugue in D, Wesley; Pastorale RICHARD WEBB, St. John Vianney certo in a, BWV 593, Vivaldi, transcr. Bach; Mycka, marimba, Stiftskirche, Stuttgart, (Bach’s Memento), Widor; Sortie (Suite litur- Theological Seminary, Denver, CO, July 9: Two Scherzos, Roberts; Gammal Fäbod- Germany, August 30: Choral No. 3 in a, gique), Bédard. Prism, Grimes; Legend of the Mountain, op. psalm, Lindberg; Choral-Improvisation sur Franck; Introduction and Passacaglia in f, 96, no. 3, Gregorian Rhapsody, op. 141, no. le Victimae paschali laudes, Tournemire; op. 63, nos. 5, 6, Reger; Caprice, Intermezzo WOLFGANG RÜBSAM, Christ Church, 2, Karg-Elert; Marche religieuse on Iste Con- Allegro con brio (Symphony V in c, op. 67), (Pièces de Fantaisie, Première Suite, op. 51, Michigan City, IN, August 28: Symphonie III fessor, Guilmant; Iste Confessor, Ave Maris Beethoven, transcr. Demers; Fughetta, Ada- nos. 3, 4), Vierne; Shanghai Skyscrapers, Jo- in e, op. 13, no. 3, Widor. Stella (Six Pièces), Marty; Prelude and Fugue gio, Moderato (Douze études pour les pieds hannsen; Improvisation. on the Rouen Tune Iste Confessor, Egerton; seulement), Alkan; Russian Dance, The ANDREW SCANLON, St. John Catho- Fantasie Chorale No. 2 in f-sharp, Whitlock. Shrovetide Fair (Petruschka), Stravinsky, SCOTT LAMLEIN, Mechanics Hall, lic Church, Bangor, ME, August 1: Prelude transcr. Demers. Worcester, MA, August 7; Church of St. An- and Fugue in c, op. 37, no. 1, Mendelssohn; BRADLEY HUNTER WELCH, Meyer- drew & St. Paul, Montreal, Québec, Canada, Sonata in e, BWV 528, Bach; Vater unser im son Symphony Center, Dallas, TX, July 16: MARKUS EICHENLAUB, Stiftskirche, August 15; Somers Congregational Church, Himmelreich, Böhm; Suite du deuxième ton, Transports de joie (L’Ascension), Messiaen; Stuttgart, Germany, August 16: Preludio I Somers, CT, September 7: Prelude and Fugue Guilain; A Clarinet Tune for Organ, Oxley; Wachet auf, ruft uns die Stimme, BWV 645, (Tre Pezzi per Organo), Respighi; Ich hab in c, BWV 549, Schmücke dich, o liebe Seele, Postlude in D, Smart. Wer nur den lieben Gott läßt walten, BWV mein Sach Gott heimgestellt, BWV 1113, BWV 654, Bach; Hommage à Pachelbel: 647, Ach bleib bei uns, Herr Jesu Christ, BWV Bach; Preludio II (Tre Pezzi per Organo), Variations on St. Anne, Rakich; Variations on NICHOLAS SCHMELTER, Trinity 649, Wo soll ich fl iehen hin, BWV 646, Meine Respighi; Toccata in d, BWV 538i, Trio in d, Vruechten, Niedmann; Choral, Lied, Caril- Episcopal Church, Bay City, MI, August 11: Seele erhebt den Herren, BWV 648, Kommst BWV 583, Fugue in d, BWV 539ii, Bach; 2 lon de Longpont, Berceuse, Préambule (24 Toccata, Weaver; Largo (New World Sym- du nun, Jesu vom Himmel herunter auf Erden, selections (12 Tangos ecclesiasticos), Bovet; Pièces en style libre), Carillon de Westminster phony), Dvorák, transcr. Clough-Leiter; BWV 650, Bach; Trumpet Tune, Swann; Aria Creek Kerit, Elijah’s Ascension (Recolletions), (24 Pièces de fantaisie, op. 54, no. 6), Vierne; Schafe können sicher weiden, Prelude and on a Chaconne, Martinson; Finale (Symphonie Essl; Valse mignonne (Drei Stücke für Orgel, Concertino pour Flûte, op. 107, Chaminade/ Fugue in G, BWV 541, Bach; Variations on III in c), Saint-Saëns, transcr. Scott. op. 142), Karg-Elert; Fête, Langlais. Rakich, with Emily DeNucci, fl ute (Somers Old Folks at Home, Buck; Introduction and Ocean Grove Auditorium, Ocean Grove, program only). Toccata, op. 1323, Cooman; Campanile, NJ, August 14: Toccata in b, Gigout; Variations KATELYN EMERSON, First Lutheran Chant funèbre, Tu es petra et portae inferi on O laufet, ihr Hirten, Drischner; Jig for the Church, Lorain, OH, August 25: Ich ruf’ zu CHAD PITTMAN & MARK THEWES, non praevalebunt adversus te (Esquisses byz- Feet, Albright; Prelude and Fugue in D, BWV dir, Herr Jesu Christ, LübWV 13, Lübeck; duet, St. Paul’s Lutheran Church, Massillon, antines), Mulet. 532, Bach; Final (Six Pièces, op. 21), Franck; Vater unser im Himmelreich, BWV 682, Bach; OH, August 2: Prelude in Classic Style, Young; St. Roch Catholic Church, Chaseville, MI, Aria on a Chaconne, Martinson; Trumpet Adagio in E, H63, Bridge; Introduzione e Pas- When I Survey the Wondrous Cross, Martin/ August 25: Toccata, Weaver; Largo (New Tune, Swann; Nimrod (Enigma Variations, op. torale, Pasquini; Toccata septima, Muffat; arr. Vogelgesang; When the Roll Is Called Up World Symphony), Dvorák, transcr. Clough- 36), Elgar, transcr. Harris, Welch; Finale (Sym- Choral no. 3 in a, Franck; Chorale Fantasy Yonder, arr. Jones; Pineapple Rag, Joplin/arr. Leiter; Prelude and Fugue in G, op. 37, no. phonie III in c), Saint-Saëns, transcr. Scott.

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Wanted: Organists visiting Maui. Lahaina’s My restoration of Weinberger’s Bible Poems The Lent and Easter Music of Norberto Gui- The new Nordic Journey series of CD record- Holy Innocents Episcopal Church invites visit- includes the original Foreword, Editor’s Note, and naldo. The drama of the Cross outstandingly ings reveals premiere recordings of symphonic ing organists to play its Beckerath Positiv organ Program Notes by Weinberger: Abide with Us, portrayed in the following works: Seven Pieces organ music—much of it still unpublished—from at Sunday services. Built in 1972 by Rudolf von Lord Jesus Walking on the Sea, The Marriage at for the Season of Lent; Agnus Dei (Six Pieces); Nordic composers, played by American organist Beckerath and then-apprentice Hans-Ulrich Cana, Hosanna, The Last Supper, Hear, O Israel. Lauda Sion Salvatorem; Prelude for the Passion James Hicks on a variety of recently restored Erbslöh for Honolulu’s Lutheran Church, the 408- michaelsmusicservice.com 704/567-1066. of the Lord; O Sons and Daughters of the King; Swedish organs. It’s a little bit like Widor, Reger pipe Shrankpositiv has a 54-note “split” manual, “Lauda Sion Salvatorem” a shorter setting in the and Karg-Elert, but with a Nordic twist. Check it 30-note pedal, 11 stops, 8 ranks, and 6 registers. The New Paltz Organ Book. See, listen, buy: out at www.proorgano.com and search for the World Library Publications: From the Piano Holy Innocents acquired the instrument in 1977 www.guinaldopublications.com. term “Nordic Journey.” and moved it to Maui where it has been played Bench to the Organ Bench, by Alan J. Hommerd- by parish musicians such as Carol Monaghan ing. This complete method book offers a variety and visiting artists including Angus Sinclair of of exercises to increase pedal technique and The Organ Historical Society e-shoppe is tak- Raven has published a 32-page catalog of CD Canada and Dalibor Miklavcic of Slovenia. The manual/pedal dexterity. Explore topics such as ing orders for a new DVD by Fugue State Films, recordings and DVD videos, mostly produced by instrument is extremely responsive and fi lls the service playing/accompanying—when to lead, The English Organ, a three-part documentary Raven but with a few items produced by Fugue worship space beautifully. The parish community when to follow; playing pianistic accompani- presented by Daniel Moult. In addition to three State Films and others. The catalog is free is “exemplary in its hospitality to all visitors,” and ments on the organ; introduction to improvisation hours of documentary, almost eight hours of upon request to [email protected] or that especially includes visiting organists. For on the organ; basics of choral conducting from music is presented on DVD or CD (in both stereo 804/355-6386. information: 808/661-4202; holyimaui.org. the console; and much more. 003057, $19.95, and surround). More than thirty organs have been 800/566-6150, Wlpmusic.com. fi lmed and recorded, including Christ Church Spitalfi elds, Truro Cathedral, Sydney Town Hall, PIPE ORGANS FOR SALE PUBLICATIONS / RECORDINGS St. George’s Hall Liverpool, St. Paul’s Cathedral The Tracker—The Organ Historical Society Melbourne, and King’s College. The set can be 1964 Möller studio organ, 3 manuals, 22 The second of three featured complimentary quarterly journal includes news and articles ordered for $98, and orders will ship directly from ranks, 36 stops, renovated console. Best bid scores to be offered by Fruhauf Music Publica- about the organ and its history, organbuilders, the UK. For information: https://ohscatalog.org. tions in the course of 2019–2020 is A Baroque exemplary organs, and regional surveys of by March 15, buyer to remove by May 1. For more Sonata for Carillon (alternatively for harp, piano, instruments. Both American and European organ information: James Kibbie, University of Michi- or varied keyboard instruments), an elegant work topics are discussed, and most issues run 48 Raven has released the fourth in a series of gan, [email protected]. in three movements that follows many of the pages with many illustrations and photographs. recordings by Jon Gillock of the organ works of elaborate mannerisms, structures, and practices Membership in the OHS includes a subscrip- Olivier Messiaen: Monodie, Diptyque, and Les 1954 Walcker, 2 manuals and pedal, 8 stops, of latter Baroque compositions for keyboard solo. tion to The Tracker. Visit the OHS Web site for Corps Glorieux (OAR-984) played on the 2011 tracker action. Great condition, excellent voicing, Please consult www.frumuspub.net’s home page subscription and membership information: www. Pascal Quoirin organ of 111 ranks at Church of well maintained. Free standing oak case. Suit- Bulletin Board for access to the PDF booklet fi le, organsociety.org. the Ascension in New York. $15.98 postpaid in and note that other previously issued complimen- the US from RavenCD.com 804/355-6386. able for home or chapel. $20,000 or best offer. tary scores for organ solo, choir and organ, and Contact: Julio Blanco-Eccleston: jublec18@ Hear the Couperin Masses for the Parishes for carillon continue to be listed and available earthlink.net, 703/582-8308. and for the Convents (21 works in each Mass) The Organ Historical Society has released its from FMP’s Downloads page. played on the very organ pipes François Cou- 2020 calendar, celebrating the OHS 65th annual perin played when he composed the pieces in Convention in Columbus, Ohio, July 26–31, Zoller home pipe organ (1985) for sale. One Certified appraisals—Collections of organ 1690 as organist of St-Gervais in Paris. Titular 2020. The calendar features organs by Kimball, manual and fl at pedalboard, cherry case with books, recordings, and music, for divorce, organist of St-Gervais Aude Heurtematte exqui- Schuelke, Koehnken, Skinner, Klais, Brown, doors, bench. Six stops divided at middle C: estate, gift, and tax purposes. Stephen L. sitely performs the works in a 2-CD set (for the Beckerath, Schantz, Fisk, and Paul Fritts, with 8′ Stopped Diapason, 8′ Krummhorn, 4′ Flute; Pinel, Appraiser. 629 Edison Drive, East Wind- price of one CD) on Raven OAR-153, $15.98 photography by Len Levasseur. Non-members 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Tierce (no sor, NJ 08520-5205; phone: 609/448-8427; postpaid. Raven, Box 25111, Richmond, VA $21; members $18. For information: organhis- pipes). $15,000 or best offer, buyer to remove, email: [email protected]. 23260. RavenCD.com. 804/355-6386. toricalsociety.org. located Newcastle, Maine. 207/563-5679.

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SON for all your friends who love the organ, harpsichord, carillon, and church music. Your 26-rank Casavant - Létourneau pipe organ for Patrick J. Murphy & Associates Opus #47 String sale: 16′ Austin Gamba, triple mitered; gift will be remembered throughout the year. sale. Orgues Létourneau is offering a 22-stop (2006). Three manuals, 61 stops, includes 32′ three ranks Austin 8′ strings, block tin; two (And don’t forget our special bargain for stu- Casavant Frères pipe organ (Opus 1274 from Bombarde. Reading, Pennsylvania. $200,000, ranks Skinner strings. Flue Pipework: 8′ Spitz dents at $20!) Visit www.thediapason.com 1928) for sale. This electro-pneumatic instru- exclusive of OCH fees and relocation costs. Principal, new Gemshorn with Estey Haskel and click on “subscribe.” ment was rebuilt by Létourneau in 1987 and is Video recordings and layout plans are available basses, 12 Haskel Diapason Basses, 12 Prin- ′ currently in storage at the Létourneau shops. It is by request. Contact John Bishop, the Organ cipal bases with racking & chest, 4 wood Flute THE DIAPASON’S new website has an increased available for purchase in “as is” condition for US Clearing House, [email protected]. d’Amour, Moller Doppelfl ute, Berkshire III Mix- ture. Several (1970s) OSI chests available. 400 capacity for new videos. Go to www.thediapa- $35,000 with its original two-manual console. feet of PVC cable, 4 sets of 8 pair. Best offers. son.com and click on videos to see what you’ve Likewise, Létourneau would be pleased to pro- 1916 Hook & Hastings, 2 manuals, 14 stops. Must clear warehouse. André CT 860/664-0046 missed! Visit www.thediapason.com often and vide a proposal to rebuild this instrument, taking ′ Includes Cornopean, 16 Open Wood. E-P action. [email protected] keep up to date with all the news items. into account any desired changes to the stoplist Beautiful period console. $20,000. Contact John as well as installation costs, voicing, casework Bishop, the Organ Clearing House, john@organ- as required, and rebuilding the two-manual clearinghouse.com. SERVICES / SUPPLIES THE DIAPASON E-Newsletters are e-mailed console with a new solid-state switching system. monthly to subscribers who sign up to The organ requires approximately 360 sq. ft. Kimball Organ (3/29, 1930), all enclosed, terrifi c Complete Pipe Organ Services from the Organ receive them. Don’t miss the latest news, with 20′ ceiling for 16′ ranks. For more details, Swell reeds, four 8-foot Diapasons, two sets of Clearing House: 450 vintage pipe organs avail- featured artists, and classifi ed ads—all with visit www.letourneauorgans.com, email info@ celestes (and you know those Kimball strings!). able, renovation, tuning, consultation. Other photos—some before they appear in print! letourneauorgans.com, or call Andrew Forrest at services include transportation, cleaning and $70,000. The Organ Clearing House, 617/688- Visit www.TheDiapason.com and click on 450/774-2698. renovation of carvings, reredos, liturgical furnish- 9290, [email protected]. Subscribe to our newsletter. For assistance, ings. Call John Bishop at 617/688-9290. john@ contact Stephen Schnurr, 847/954-7989, organclearinghouse.com. Pfeffer and Debierre organs. Circa 1860 Pfeffer Expressive and compact—3/27 Kilgen (1940). [email protected]. eight-rank organ, available rebuilt and custom Two expressive divisions. 17 manual 8-foot fl ues. fi nished. Also 1884 choir organ by Louis Debi- Reeds include Tuba, Cornopean, Oboe, Clarinet, Releathering all types of pipe organ actions erre. Both are pictured on the Redman website: Vox Humana. Harp. 16′ Open Wood. H: 237″, W: and mechanisms. Highest quality materi- THE DIAPASON’s website (www.thediapason. ″, ″. www.redmanpipeorgans.com. 170 D: 189 Stopkey console. Original restor- als and workmanship. Reasonable rates. com) features an ever-increasing number of able condition. $30,000. Organ Clearing House, Columbia Organ Leathers 800/423-7003. PDFs of vintage issues. Search the website 617/688-9290, [email protected]. www.columbiaorgan.com/col. now for selected issues, as most are avail- Aeolian-Skinner, 1962. III/50. $45,000. For more able from 1944–1945, 1966–1993, and 2005 information, visit https://www.organclearing- MISCELLANEOUS FOR SALE Aeolian/Robert Morton-style maroon to the present! house.com/organs-for-sale#/2997-aeolianskin- leather is now available from Columbia Organ ner-new-york-city Leathers! Highest quality. 800/423-7003, ′ 16 reed sale. Three by Skinner: Ophicleide www.columbiaorgan.com. Postal regulations require that mail to THE (low 6 wood), Bombard, Bassoon, triple miters; DIAPASON include a suite number to assure E. & G. G. Hook & Hastings, 1879. ′ $45,000. OSI ½-length Fagotto; also three 8 Trumpets delivery. Please send all correspondence to: II/25. For more information, visit https://www. (Moller–Zajic), OSI, Berkshire; also Clarinet, Classifi ed advertisements sell your treasur- THE DIAPASON, 3030 W. Salt Creek Lane, Suite organclearinghouse.com/organs-for-sale#/2181- English Horn, Rohr Schalmei. Best offers. André ers! Ads are offered in print and at our website. 201, Arlington Heights, IL 60005. e-gg-hook-hastings-manchester-nh CT 860/664-0046 [email protected] Contact [email protected] or 608/634-6253.

Advertise in THE DIAPASON Visser Pipe Organ Co. For information on rates and digital specifi cations Quality Craftsmanship, Creativity & Integrity contact Jerome Butera New Organs–Restorations–Additions–Relocation All Actions & Tonal Styles • 713-503-6487 • [email protected] 608/634-6253, [email protected]

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WWW.THEDIAPASON.COM THE DIAPASON Q FEBRUARY 2020 Q 31 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* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Trinity College Cambridge United Kingdom (September 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole Notre-Dame Cathedral Paris (April 2020)

Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 98th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young