THE DIAPASON OCTOBER 2018

St. John’s Episcopal Church Fishers Island, New York Cover feature on pages 30–32 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 SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK

BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER

IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Ninth Year: No. 10, 2019 Resource Directory Whole No. 1307 At present, we are working on our 2019 Resource Directory, OCTOBER 2018 to be mailed with our January issue. If your business should Established in 1909 be listed in the directory and was not included in 2018, please Stephen Schnurr ISSN 0012-2378 send me an email with your contact information. If your busi- 847/954-7989; [email protected] ness was listed in our directory this year, please review your www.TheDiapason.com An International Monthly Devoted to the Organ, information to ensure it is accurate and complete. Listings are the Harpsichord, Carillon, and Church Music free and can only help your business! Advertising opportunities but they also make a sensible option for those who want to pro- are available for the directory, as well. For advertising inquiries, vide a gift to a friend. CONTENTS please contact Jerome Butera ([email protected]; 608/634- In this issue FEATURES 6253). The deadline for listings and advertising is November 1. Michel Chapuis (1930–2017): A great Carolyn Shuster Fournier provides a memorial feature organist, pioneer, and professor 20 Under 30 on Michel Chapuis, the French organist, teacher, and organ by Carolyn Shuster Fournier 20 Our 20 Under 30 program returns this year! This excit- historian who died in 2017. We continue with the third part ing recognition of young people in our fi eld is now a bien- of Michael McNeil’s series on the documentation of William The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church, nial celebration of the best and promising among organists, A. Johnson Opus 161, in Piru Community United Methodist Piru, California, Part 3 carillonneurs, harpsichordists, organ and harpsichord builders, Church, Piru, California. by Michael McNeil 26 and church musicians under the age of 30. Nominations will Gavin Black is taking the month off from “On Teaching” due The Library of Congress for the organ: the open December 1 and close February 1, 2019. Be sure to keep to a family death, but he will have a column for next month. In OHS Library and Archives moves to up with further details in upcoming issues as well as at our “Harpsichord Notes,” Larry Palmer reprises one of his favorite Villanova, Pennsylvania website (www.thediapason.com). columns from nearly fi fty years of contributions to The Diapa- by Bynum Petty 29 son. In “In the Wind . . .,” John Bishop encourages the reader NEWS & DEPARTMENTS Our digital edition to consider the subtle differences in the many colorful stops of Editor’s Notebook 3 It never hurts to remind our readers of the availability of the pipe organ. Letters to the Editor 3 our digital edition. As you receive subscription renewal notices, Our cover feature celebrates the fortieth anniversary of Here & There 3 remember that you can receive The Diapason by email, at a Bigelow & Co. Organ Builders of American Fork, Utah. The Appointments 6 substantial savings: $35 for one year, $20 for students! Often, fi rm recently installed its Opus 42 in St. John’s Episcopal Nunc Dimittis 10 your digital issue will arrive faster than a print issue. Not only Church, Fishers Island, New York. We trust you will enjoy the Harpsichord Notes by Larry Palmer 14 Q In the wind . . . by John Bishop 18 are digital subscriptions “green,” saving paper as well as money, rich offerings of this issue.

REVIEWS New Organ Music 15 Letters to the Editor New Recordings 15 New Handbell Music 17 Summerall Chapel, The Citadel, Charleston, South lost soul, belonged. I turned my life around and graduated Carolina ORGAN PROJECTS 32 with academic honors. Thank you for the cover feature in the July 2018 issue of At our 45th memorial service for our departed classmates, I CALENDAR 33 The Diapason on the restoration project for the organ at The realized that the organ music was not coming from the pipe organ. RECITAL PROGRAMS 37 Citadel’s Summerall Chapel in Charleston, South Carolina. However, I got the “feeling” that there was a bass pipe, although CLASSIFIED ADVERTISING 38 First, let me say that I am not an organist, but as a member silent, that was speaking to me saying, “Let us play again and like of the Regimental Band, the whole Corps of Cadets marched a fog horn, guide people to a safe harbor.” After the service, the to chapel services every Sunday as the band played “Onward chapel organist said that the organ had not played for some years, THE Christian Soldiers.” I went to The Citadel because my father and efforts to raise funds had not been successful. I knew then that DIAPASON was a Citadel graduate. Chapel services were a time for me to I had to get involved and see that this magnifi cent instrument that OCTOBER 2018 relax and not be yelled at by upperclassmen. I had made the had meant so much in my life would play again. decision that The Citadel was not for me, and was not planning If any of your readers are ever in Charleston, please come on returning after Christmas break. to The Citadel to see The Summerall Chapel and the organ. If However, a remarkable event happened one cold Sunday anyone would be interested in helping to restore this magnifi - while I was sitting in the chapel. We, as the whole cadet cent instrument, donations can be made by contacting Katie body, were singing “Nearer My God to Thee,” and I was Hurt at The Citadel Foundation, 843/953-6914, or visiting the overwhelmed with the notion that a “bass pipe” was speak- website at foundation.citadel.edu/chapelorgan. ing to me. Like a fog horn in the night guiding a lost boat G. Mackay Salley, Class of 1963

St. John’s Episcopal Church safely into harbor, I got the feeling that this was where I, a Q Fishers Island, New York Cover feature on pages 30–32 Here & There COVER Bigelow & Co. Organ Builders, American Fork, Utah; Saint John’s Episcopal Church, Events Chu, piano; November 9, Nicholas Second Presbyterian Church, St. Fishers Island, New York 30 The Church of St. Agnes, St. Paul, Schmelter; 11/16, Michelle Kuhl, piano; Louis, Missouri, announces its 2018– Minnesota, offers Sunday 10:00 a.m. December 7, Nicholas Schmelter; 12/14, 2019 Couts Music Series, Sundays at Editorial Director STEPHEN SCHNURR High Mass with music by the Twin Cit- choir of Caro High School; January 11, 4:00 p.m.: October 7, Perseid String and Publisher [email protected] ies Catholic Chorale, directed by Rob- 2019, Nicholas Schmelter with Townes Quartet; November 11, Andrew Peters, 847/954-7989 ert L. Peterson. The Chorale performs Miller, fl ute; January 25 and February silent fi lm accompaniment, The Fresh- President RICK SCHWER a different Mass setting weekly, reper- 8, Nicholas Schmelter; 2/15, Tyler Kivel, man; December 2, Advent Vespers [email protected] toire drawn from the 18th to 20th cen- piano; March 1, Nicholas Schmelter; with the Second Church Chorale and 847/391-1048 turies, with accompaniment by orchestra 3/10, Sonas, Celtic ensemble; April 5, Orchestra, directed by Andrew Peters; and organ. The choir of approximately Kevin Cole, piano; April 26 and May January 20, 2019, Music for horn, Editor-at-Large ANDREW SCHAEFFER [email protected] 65 volunteer singers performs Masses 3, Nicholas Schmelter; 5/19, Nicholas alphorn, and organ with horn players by composers such as Haydn, Mozart, Schmelter with Tyler Kivel, piano. For Tricia and Thomas Jostlein and organ- Sales Director JEROME BUTERA Schubert, Beethoven, Dvo̗ak, Gounod, information: www.carofi rst.org. ist Andrew Peters; February 17, Brian [email protected] 608/634-6253 Cherubini, Rheinberger, and Herzogen- Owens Jazz concert; March 10, Green- Circulation/ berg with professional instrumentalists, St. John Cantius Catholic Church, ville University Choir; April 28, young Subscriptions ROSE GERITANO each Sunday from October to early June, Chicago, Illinois, and the Healey Wil- artists of the Bach Society of St. Louis. [email protected] 847/391-1030 except in Advent and Lent. For informa- lan Society will host a concert to honor For information: tion and schedule of Mass settings: the 50th anniversary of the death of Wil- www.secondchurch.net. Designer KIMBERLY PELLIKAN www.catholicchorale.org or lan on October 7, 7:30 p.m., at St. John [email protected] 847/391-1024 www.churchofsaintagnes.org. Cantius Church. Various choirs from Grace Church, New York, New churches in the Chicago metropolitan York, Patrick Allen, organist and choir- Contributing Editors LARRY PALMER First Presbyterian Church, Caro, area will participate, each singing works master, announces its 2018–2019 sea- Harpsichord Michigan, announces its 2018–2019 by Willan. For information: son of special music events, Sundays BRIAN SWAGER Friends of Music Series: October 5, www.cantius.org or at 4:00 p.m., unless otherwise noted: Carillon Nicholas Schmelter, organ; 10/21, Wendy https://healeywillan.com. 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. $42; 2 yr. $75; 3 yr. $100 (United States and U.S. Possessions). Copyright ©2018. Printed in the U.S.A. Canada and Mexico: 1 yr. $42 + $10 shipping; 2 yr. $75 + $15 shipping; 3 yr. $100 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $42 + $30 shipping; 2 yr. $75 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Reviewers Jeffrey Schleff 3 yr. $100 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading Jay Zoller 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 David Troiano 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, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the John L. Speller 201, Arlington Heights, Illinois 60005-5025. 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 OCTOBER 2018 Q 3 Here & There

³ page 3

Madison Avenue Presbyterian Church, New York, New York (photo credit: Lee Ryder) Pictured at Macy’s, (L–R), back row: Pictured at St. Clement’s Church (L–R): February 10, 2019, duoSeraphim, with Peter Richard Conte and Alan Mor- Reilly Xu, Peter Richard Conte, Bruce rison, front row: Michael Gibson, Xu, Michael Gibson, Alan Morrison, Em- Sarah Hawkey, soprano, and Niccolo Reilly Xu, Bruce Xu, Emily Amos, ily Amos, Robert McCormick, and Aaron Seligmann, viola da gamba; 2/24, Tchai- Aaron Patterson Patterson kovsky and His Contemporaries, with the Russian Chamber Chorus of New York; March 3, Peter Vinograde and friends; The 13th annual Philadelphia/Macy’s Young Artist Organ Camp took place 3/10, Neave Piano Trio; 3/24, Tami Petty, June 23–28. Currently under sponsorship of the Sansom Foundation, the camp origi- Grace Church, New York, New York, soprano, with Michael Scheetz, piano; nated as part of the educational outreach programs at the Kimmel Center with Alan Taylor & Boody organ 3/29, students of the organ department Morrison as instructor. He later teamed up with Peter Richard Conte at Macy’s to of Manhattan School of Music; April 7, give students a unique experience by having daily lessons on both the Dobson organ October 14, Britten, Rejoice in the Vaughan Williams, Sancta Civitas, Brit- in Verizon Hall and on the Wanamaker organ at Macy’s. Lamb; November 4, Fauré, Requiem; ten, The World of the Spirit, with the Venues have varied every year since to give the students greater exposure to some December 2, Advent Lessons & Car- Saint Andrew Chorale & Orchestra; 4/28, of the historic organs of Philadelphia. This year included lessons and classes on the ols; 12/5, 12:15 p.m., Community Margaret Mills, piano; May 5, New York Skinner Organ Company Opus 872 at Girard College, the Dobson organ in Veri- Carol Sing; 12/9, Britten, A Ceremony City Children’s Chorus. For information: zon Hall, and the Wanamaker organ at Macy’s. Other venues visited were St. Clem- of Carols; 12/24, 8:00 p.m., Christmas www.mapc.com/music/sams. ent’s Church (1914 Austin Organ Company Opus 507) and the Curtis Institute Lessons & Carols. of Music for practice facilities. In addition to daily lessons, Robert McCormick, January 6, 2019, Menotti, Amahl and of St. Mark’s Church Locust Street, led three sessions on hymn playing and chant the Night Visitors; February 10, con- accompaniment. The camp is limited to fi ve or six students. For information: cert of music for treble voices; March [email protected]. 3, Honegger, King David; April 14, Bach, Jesu, meine Freude; 4/16, 7:00 p.m., Lecons de Ténèbres pour le Mer- credi Saint; 4/19, 7:00 p.m., Maunder, Olivet to Calvary; 4/26, spring choir concert. For further information: Christ Episcopal Church, Easton, www.gracechurchnyc.org. Maryland

Madison Avenue Presbyte- Christ Episcopal Church, Easton, rian Church, New York, New York, Maryland, announces its 2018–2019 announces its Saint Andrew Music season of musical events: October 14, Society events for 2018–2019: October Jeremy Filsell; November 1, Fauré, 14, Nature in Sound, with students from Requiem, December 2, The Capital Mannes College; 10/21, Samara Piano Ringers; January 18, 2019, Christopher Quartet; 10/28, Andrew Henderson, Jacobson; February 3, Netanel Drai- organ; November 2, Bach sonatas and blate, violin; March 10, The District Houston Chamber Choir Brandenburg Concerti, with Julliard415; Eight (Renaissance polyphony); April 11/18, Magnifi cat!, with the Saint 7, Ensemble Galilei; May 19, Peter The Houston Chamber Choir has been awarded the Margaret Hillis Award Andrew Chorale & Orchestra; Decem- DuBois. For information: for Choral Excellence by Chorus America. Robert Simpson is founder and ber 2, Christmas on Madison Avenue; www.christchurcheaston.org. artistic director. The award honors the memory of Hillis, founder of the Chicago 12/16, 14th annual carol sing; ³ page 6 Symphony Chorus, for her more than 40 years of professional achievement and outstanding contributions to the choral fi eld. The award is presented annually to a member chorus that demonstrates artistic excellence, a strong organizational struc- ture, and a commitment to outreach, education, and/or culturally diverse activities. The award was presented to the choir during Chorus America’s annual conference in Chicago in June. For information: www.houstonchamberchoir.org.

Stiftskirche, Stuttgart, Germany, Mühleisen organ (photo credit: Irina Sander)

Stiftsmusik Stuttgart (Collegiate Music Association Stiftskirche Stuttgart) announces its international competition for organ composition. A submitted manu- “superb musicianship, masterly technique and savvy programming … Archer’s script should be an organ solo for a three-manual organ of symphonic disposition. sweeping assurance and stamina enable you to hear the music behind the virtuosity.” Deadline for application is February 28, 2019. The winning composition will be — GRAMOPHONE (JAN 2018) — awarded €2,000 and will be premiered on June 29, 2019, within the framework of the Stiftsmusikfest on the Mühleisen organ in the Stiftskirche, Stuttgart, Germany. For MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com information: www.stiftsmusik-stuttgart.de.

4 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM

Here & There

³ page 4 Appointments Monica Czausz has been appointed assistant organist for the Parish of Saint Vincent Ferrer and Saint Catherine of Siena on New York City’s Upper East Side. Czausz will work with director of music and organist James Wetzel and the professional Schola Cantorum in a music program that offers over 500 sung services annually, including weekly vespers and a concert series. Czausz received fi rst prizes at several competi- Hyde Park Community United Methodist tions including the 2015 American Guild of Organ- Church, Cincinnati, Ohio (photo credit: Neal ists Southwest Regional Competition for Young Hamlin and William T. Van Pelt) Monica Czausz Organists and the 2015 Schweitzer Competition in the Young Professionals’ Division. She is currently Hyde Park Community United pursuing an Artist Diploma at The Curtis Institute of Music, Philadelphia, Methodist Church, Cincinnati, Ohio, Pennsylvania, where she studies with Alan Morrison. She obtained her announces organ recitals, Sundays at Bachelor of Music and Master of Music degrees in organ performance at 4:00 p.m.: October 14, Thomas Hey- Presbyterian Homes, Evanston, Illinois, Rice University, Houston, Texas, where she worked with Ken Cowan and wood; January 20, 2019, Eric Plutz; Dobson organ graduated summa cum laude. While in Houston, she served as organist at March 31, Bálint Karosi. For informa- Christ Church Cathedral alongside director Robert Simpson. She has been tion: http://hydeparkchurch.org. Presbyterian Homes, Evanston, featured at several Organ Historical Society and AGO conventions, as well as Illinois, announces its monthly Gift of the East Texas Organ Festival. Upcoming performances for the 2018–2019 The College-Conservatory of Music organ recital series, Mondays at season include the Eccles Festival in Salt Lake City, Meyerson Symphony Music, University of Cincinnati, Ohio, 1:30 p.m., featuring the 1994 Dobson Center, Dallas, the AGO Mid-Atlantic regional convention, and international announces its seminar, “Italy in Ohio,” Pipe Organ Builders, Ltd., Opus 64 festivals in Helsinki and Lahti, Finland. Czausz is under the management October 18–20, celebrating the inaugu- of two manuals, 25 ranks, mechanical of Karen McFarlane Artists, Inc. For information: www.monicaczausz.com. ration of C. B. Fisk, Inc., Opus 148 in action, in Elliott Chapel: October 22, Centennial Chapel, Christ Church Thomas Wikman; November 26, Hyea Michael David Ging has been appointed Cathedral (see cover feature, August Young Cho; January 28, 2019, Jill Hunt; associate director of music and organist for St. 2018 issue). The seminar includes a February 25, Marianne Kim; March John Vianney Catholic Church, Houston, Texas. recital and masterclass by Francesco 25, Jackson Borges; April 29, Timothy Ging has served as director of music at New Hope Cera, a performance and improvisation Spelbring; May 20, Peggy Massello; June Lutheran Church, Missouri City, Texas, a position workshop by Pamela Ruiter-Feenstra, a 24, Robert McConnell. For information: he will retain, and where he is the founding artistic recreation of a mid-seventeenth-century www.presbyterianhomes.org. director of the Phil Kramer Recital Series, with per- Roman Vespers liturgy by Collegium formances of solo, orchestral, choral, and chamber Cincinnati, and presentations by the music, as well as staged dramatic works. At St. John organbuilder on Italian organbuilding Vianney, Ging will serve alongside director of music traditions, as well as by local teachers Michael Madrid and associate director and prin- and guests on Italian liturgy, repertoire, cipal organist, Clayton Roberts. For information: and continuo playing. For information: Michael Ging www.seveneightartists.com. https://ccm.uc.edu. Andrew Henderson is appointed chair of the organ First Presbyterian Church, Santa department for Manhattan School of Music, New York, Fe, New Mexico, announces a series of New York, succeeding Kent Tritle, who remains on the events celebrating the tenth anniversary organ faculty and continues as director of choral activi- of the church’s C. B. Fisk, Inc., Opus 133. ties. Since 2005, Henderson has served as director of Recitals are on Friday evenings at 5:30 music and organist at Madison Avenue Presbyterian p.m., masterclasses on Saturday morn- Church, where he directs the liturgical and choral ings: October 19–20, Janette Fishell; music program, the Music on Madison concert series, 10/26–27, Scott Montgomery; Novem- Methuen Memorial Music Hall and is executive director of the church’s New York City ber 2–3, Kimberly Marshall; November Children’s Chorus, an auditioned, graded choral pro- 9–10, Nathan Laube. For information: Methuen Memorial Music Hall, gram for more than 180 choristers. He also continues https://fpcsantafe.org/fi skatfi rst/. Methuen, Massachusetts, continues to serve as associate organist at New York City’s Temple organ events: October 26, Hector Oli- Andrew Henderson Emanu-El and as organ instructor at Teachers College, Musica Sacra, Kent Tritle, conduc- vera; November 30, Christmas open Columbia University. tor, announces its 2018–2019 season in house; December 1 & 2, A Merry Music Henderson, a native of Thorold, Ontario, Canada, holds degrees in New York, New York: October 23, Bach, Hall Christmas programs. For informa- music from Cambridge and Yale universities, and in 2007 was awarded the Buxtehude, and Scarlatti, Cathedral tion: www.mmmh.org. Doctor of Musical Arts degree at The Juilliard School. He was a fi nalist in of St. John the Divine; December 19, the international competition Grand Prix de Chartres in France in 2002, Handel, Messiah, Carnegie Hall; March and won fi rst prize in the Royal Canadian College of Organists biennial 5, 2019, Byrd, Whitacre, Tavener, Paulus National Organ Playing Competition in 2003. A Fellow of the Royal Cana- and Gregorian Chant, Cathedral of St. dian College of Organists, his teachers have included John Tuttle, Barrie John the Divine. For information: Cabena, David Sanger, Thomas Murray, and John Weaver. For information: http://musicasacrany.com. www.andrewhenderson.net. Q

The French Organ Music Semi- nar (FOMS) presents FOMS in New November 11, Veterans’ Day service; Westminster United Church, Win- York City, October 23–27, and FOMS 11/25, choral Evensong; December 2, nepeg, Manitoba, Canada, announces in Paris, Alsace, and Leipzig, July 3–20, Advent Procession; 12/22, Lessons & organ recitals, Sundays at 2:30 p.m.: 2019. The New York seminar will feature Carols. For information: October 28, Adam Brakel; February 17, masterclasses and concerts in French www.detroitcathedral.org. 2019, Ken Cowan; April 28, Michael improvisation and performance practice. Hey. For information: Clinicians include Jesse Eschbach, Terry Saint Paul’s Episcopal Church, http://westminsterchurch.org. Flanagan, Andrew Henderson, Jason Flint, Michigan, announces its 2018– Roberts, and French organists to be 2019 Music in the Heart of the City St. John’s Episcopal Church, Roa- announced. Registrants will have time to Cathedral Church of St. Paul, Detroit, series, Sundays at 4:00 p.m.: October noke, Virginia, will present an All Saints play several organs, including Madison Michigan, Pilzecker organ (photo credit: 28, Nicholas Schmelter, organ, and Memorial Concert, November 2, 6:00 Avenue Presbyterian, St. Bartholomew’s, Christian Hooker) Tyler Kivel, piano; January 27, 2019, p.m., with Dan Locklair conducting and St. Francis Xavier churches. Chris- Nicholas Schmelter, organ, and Townes the church choir and orchestra in his tina Harmon and Masako Gaskin are The Cathedral Church of St. Paul, Osborn Miller, fl ute; March 31, Nicholas Requiem and Gloria. For information: co-directors. For information: Detroit, Michigan, announces music Schmelter. For information: www.stjohnsroanoke.org. www.bfoms.com. events: October 28, choral Evensong; www.stpaulschurchfl int.com. ³ page 8 BACH AT NOON Grace Church in New York JL Weiler , Inc.

Museum-Quality Restoration www.gracechurchnyc.org of Historic Pipe Organs jlweiler.com

6 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 6 Bengtson began organ study at age 11 The Church of St. Luke in the with William Fawk of Salem, Oregon. Concert management Fields, New York, New York, announces Undergraduate study was with Robert T. Seven Eight Artists announces the addition of Pamela Decker, Barry Jor- its 2018–2019 season, with performances Anderson at Southern Methodist Univer- dan, Olivier Vernet and the Vernet-Meckler Organ Duet, and Mark Mummert by the choir of the church on Thurs- sity. He won fi rst prizes in two national to the company’s roster of performing artists. For information: days, 8:00 p.m.: November 8, Giovanni competitions in 1975: First Presbyterian www.seveneightartists.com Gabrieli, with the Washington Cornett Church, Fort Wayne, Indiana, and the and Sackbutt Ensemble; December 6, Clarence Mader Competition, Los Ange- Pamela Decker is professor of organ and a Baroque Christmas in Rome, with the les, California, and fi rst place in the state music theory at the Fred Fox School of Music, ensemble Baroque in the Fields; January competition held at University Presby- University of Arizona, and serves as director of 24, 2019, The Three B’s of the North terian Church, San Antonio, Texas, then music and organist at the Lutheran Church of the German Baroque, with soloists, Baroque known as the Minnie Piper Competition. Risen Savior in Green Valley, Arizona. As both in the Fields, and David Shuler, organist; Graduate organ and church music study recitalist and composer, Decker has been active February 28, The Splendor of the Span- was with Philip Gehring at Valparaiso in the United States, Europe, the Baltic Region, ish Renaissance; April 4, Haydn, Stabat University, Valparaiso, Indiana. Bengtson and Canada. She has been a featured recitalist in Mater. For information: has presented organ recitals throughout many conventions and festivals, including Ameri- https://stlukeinthefi elds.org. North America and Europe, including can Guild of Organists national conventions, the programs for conventions of the Ameri- Redlands Organ Festival, the Tallinn Interna- GMChorale of Middletown, Con- can Guild of Organists, Organ Historical tional Organ Festival, and the Festival International d’Orgue de Monaco. Her necticut, Joseph D’Eugenio, artistic Society, and workshops and service play- compositions for various instruments and ensembles are published by Wayne director, announces its 2018–2019 ing conferences for the Hymn Society of Leupold Publications, C. F. Peters, Hinshaw, Augsburg Fortress, World Library concert season, the organization’s 43rd: the United States and Canada, the Asso- Publications, and Oxford University Press. November 11, choral and keyboard ciation of Lutheran Church Musicians, music of Bernstein, Copland, and Ran- and Choristers Guild. Barry Jordan is an organist, composer, and dall Thompson; May 5, 2019, Bruckner, Luther Memorial Church has church musician. Born in South Africa, Jordan Mass in E Minor. The Chorale joins the announced that Andrew Schaeffer will serves as organist and choral director of Magdeburg choir of First Congregational Church, begin as the congregation’s new direc- Cathedral in Germany. He is an active recitalist Cheshire, for a Festival of Carols, tor of music on December 1. (See the who has performed in venues across Europe and December 15, and joins the music Appointments column in the November the United States. He has released several com- ensembles of Middletown High School, issue.) For information: mercial recordings of both organ and choral music April 9. www.luthermem.org. on the Prospect, IFO, and Querstand labels. The organization’s Alchemy Chamber Ensemble has performances: October Olivier Vernet enjoys an international career con- 13, with United Girls’ Choir; 10/25, certizing. Vernet received numerous awards during his with Old Saybrook High School Cham- studies with Gaston Litaize, Marie-Claire Alain, and ber Singers and First Church of Christ Michel Chapuis. To date, Vernet has recorded 110 CDs, Senior Choir; March 3; June 1; 6/2, with which have received many awards. The artistic director the Chancel Choir of United Congrega- for both the Monaco International Organ Festival and tional Church, Tolland. For information: the Mougins Organ Festival, Vernet also teaches at the www.gmchorale.org. Académie de Musique Prince Rainier III in Monaco and at the Conservatoire National à Rayonnement Régional The American Federation Pueri de Musique in Nice. Cantores announces its 2019 Chicago Treble Choir Festival and Mass, Feb- The Vernet-Meckler Organ Duet (Cédric ruary 23, at the Cathedral of the Holy Meckler and Olivier Vernet) formed in 2006 when Name, Chicago, Illinois. The festival is Olivier Vernet began exploring original four-hand available for Catholic parish and school repertoire for the organ, as well as four-hand organ youth choirs, grades 4 through 8. For Elizabeth and Raymond Chenault (photo transcriptions. The duet has since released many information: www.pcchoirs.org. credit: Parlee Teague) recordings that have been broadcast throughout Europe and the United States on France Musique, Organ Festival Holland will take Raymond and Elizabeth Chenault Europe 1, France Inter, Radio Classique, RCF, place June 21–29, 2019, principally were named organist and choirmaster RTBF, RAI, and American Public Media. In addi- at Grote St.-Laurenskerk, Alkmaar. emeritus and associate organist and tion to concert activity in venues such as Victoria The festival includes the International choirmaster emerita of All Saints’ Epis- Hall (Geneva), Palau de la Música Catalana (Bar- Schnitger Organ Competition, an acad- copal Church, Atlanta, Georgia, after celona), Salle Philharmonique (Liège), Audito- emy, and a concert series. For informa- 43 years of service to the parish. From rium Maurice Ravel (Lyon), and Philharmonie de tion: www.orgelfestivalholland.nl. 1975 to 2018, the Chenaults directed Paris, the Vernet-Meckler Organ Duet also works an extensive music program and concert to develop new organ four-hand repertoire. The series, as well as oversaw the installation duet collects scores, often old and unpublished, People and played dedicatory recitals in 2003 and has collaborated with several composers who of the new organ by John-Paul Buzard have dedicated pieces to them. (Opus 29, four manuals, 87 ranks). Dur- ing their tenures, the All Saints’ Church Cédric Meckler holds a doctorate in medicine (MD) and in neuroscience Choir made several recordings, sang at (PhD) and has served as a medical offi cer under the rank of colonel at the Carnegie Hall, Washington Cathedral, Institut de Recherche Biomédical des Armées. After completing his thesis the Cathedral of St. John the Divine, for in medicine at Claude Bernard University in Lyon, France, investigating the the Piccolo Spoleto Festival in Charles- mental disorders of Robert Schumann, Meckler defended another thesis ton, South Carolina, and for an American focused on cerebral activity related to the control of motor activities during Choral Director’s Association convention. musical performances. A researcher and hypnotherapist in the French Army Under the management of Phillip until 2017, Meckler is currently authoring a new curriculum of reference Truckenbrod Concert Artists since 1991, methods devoted to piano technique in light of current neuroscience, while the organ duo will continue to perform directing his practice of hypnosis towards cultivating artistic health, especially organ duet recitals in the United States preparation for stage performance. and abroad, make duet and solo record- ings for Gothic Records, commission Mark Mummert is cantor at Trinity Lutheran duets, and publish their commissioned Church, Worcester, Massachusetts, and artistic works under “The Chenault Organ Duet director of Diamonds from the Dust, a profes- Series” with MorningStar Music Publi- sional vocal ensemble based in Worcester. Prior cations. Having commissioned over 60 to moving to Massachusetts in 2016, he was the organ duets since 1979, the Chenaults 2015 distinguished visiting cantor at Lutheran Bruce Bengtson have been featured at numerous regional Theological Seminary, Gettysburg, Pennsylva- and national conventions of the Ameri- nia, and director of worship at Christ the King On June 3, Bruce A. Bengtson can Guild of Organists, the Association Lutheran Church, Houston, Texas. Mummert is retired as director of music at Luther of Anglican Musicians conferences, as the composer of the fi rst musical setting of Holy Memorial Church, Madison, Wiscon- well as on Pipedreams broadcast on Communion in Evangelical Lutheran Worship, sin. He held this position since January American Public Media. the worship book of the Evangelical Lutheran Church in America. Augsburg 1978, having served as principal organist, Their four volumes of commissions of Fortress publishes his numerous psalm settings and other musical composi- choral director for three choirs and two organ duets on the Gothic Record label, tions for the liturgy. Mummert’s recording of organ works by Bach, Mendels- ensemble groups, as well as playing a as well as Raymond Chenault’s recent sohn, Distler, and Clarke, titled Reformation Chorales Reformed was released free noon organ concert every week dur- solo recording, Concert Favorites, have in March 2017. Q ing the school year. ³ page 12

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Nunc Dimittis As an active member of the New York City Chapter of the American Guild Ronald Kent Arnatt, 88, died August 23, 2018. He of Organists, Lawson served as registrar, webmaster, and editor of the chapter’s was born January 16, 1930, in London, England, and was concert calendar, but his towering achievement was the New York City Organ a boy chorister at Westminster Abbey and King’s College, Project (NYCOP). Starting with his interest in gathering the histories of various Cambridge. He was educated at Trent College, Der- pipe organs in churches he served or played in, the NYCOP grew into a seemingly byshire, Trinity College of Music, London, and Durham limitless body of information, published online as part of the website of the New University. From the latter, he was granted a Bachelor York City AGO Chapter. Thousands of organs are diligently documented with of Music degree in 1954. In 1970, Arnatt was awarded a histories, specifi cations, and photographs. (For example, see the documentation Doctor of Music degree from Westminster Choir College, of organs at the Church of the Heavenly Rest: www.nycago.org/organs/nyc/html/ Princeton, New Jersey. HeavenlyRest.html.) Friends and colleagues have joked that no one knew the Over the course of his career he held numerous posi- organs of New York City as well as Lawson, given the countless hours he traveled Ronald Kent Arnatt tions, including instructor, American University, Wash- around the city carrying heavy photographic equipment. ington, D.C.; director of music, Mary Institute, St. Louis, Lawson’s passion for collecting and making available this type of information drew Missouri; professor of music and director choral activities, University of Missouri, him to the Organ Historical Society’s Pipe Organ Database, where he continued his St. Louis; director of music and organist, Christ Church Cathedral, St. Louis; vast contribution to the art of the organ, expanding his boundaries from New York founder and conductor, St. Louis Chamber Orchestra and Chorus; conductor and City to include the entire United States. He worked closely with the OHS Database music director, Bach Society of St. Louis; director of music and organist, Trinity Committee, contributing and updating countless entries of organs, and behind the Church, Boston, Massachusetts; president, American Guild of Organists; direc- scenes with the development of a new, more user-friendly version of the database. tor of music and organist, St. John’s Episcopal Church, Beverly, Massachusetts; Steven E. Lawson is survived by his parents, George W. Lawson and Doris E. professor of church music and department head, Westminster Choir College; and Lawson, and his cousin Linda Driskel. editor, ECS Publishing, Boston. He was also the recipient of numerous awards, —John Bishop fellowships, and prizes. Ronald Arnatt married Carol Freeman Woodward, who died in 2017. They had Frank G. Rippl, 71, died August 11, in Appleton, two daughters who survive, Ronlyn and Sylvia. He is also survived by nine grand- Wisconsin. Born in Neenah, Wisconsin, Rippl earned children and nine great-grandchildren. the Bachelor of Music Education degree from Lawrence University Conservatory of Music, Appleton, where he Jon L. Bertschinger, 65, died July 13, 2018, in St. minored in organ, studying with Miriam Clapp Duncan. Joseph, Missouri. He was born July 25, 1952, in Burl- He received a Master of Music degree in Orff-Schulwerk ington, Iowa. Bertschinger began taking piano lessons at from the University of Denver. Rippl also studied at the an early age, followed by organ lessons on the new M. P. Cleveland Institute of Music, as well as the Royal School Möller organ at his church, Messiah Lutheran Church, in of Church Music in England. Burlington, in 1958. He sang in and accompanied one of Frank G. Rippl In 1979 he co-founded the Appleton Boychoir, for the fi ve choirs at that church while in junior high school. which he conducted and played organ for 26 years until Bertschinger began work for the Temple Organ Com- his retirement from the organization in 2010. He initiated the Boychoir’s popular Jon L. Bertschinger pany when it moved to Burlington in 1966, helping to Festival of Nine Lessons and Carols held each Christmas in Memorial Chapel, install the rebuilt organ at First Methodist Church in Lawrence University. During Rippl’s tenure, the choir performed as choir-in- 1967. He was still working with David Cool, son of the company’s founder, Fred residence at the Green Lake Festival of Music under Sir David Willcocks and Cool, when the church burned in 2007, and he accomplished the tonal fi nishing toured nationally and internationally. for the new 60-rank organ for the rebuilt church. Rippl taught elementary vocal music in the Appleton Area School District for 33 Bertschinger was on the volunteer staff for the Auditorium and Temple in years. Upon retirement from school teaching, he pursued additional organ study with Independence, Missouri, performing recitals under the direction of Jan Kraybill, Wolfgang Rübsam. In 1996 he founded the Lunchtime Organ Recital Series held former director of music for the Community of Christ Church. He also had regu- each summer in the Appleton area, attracting organists from all over the country. lar church jobs in St. Joseph, sometimes two at a time, playing over the years at Rippl began playing the organ at St. Mary Catholic Church, Menasha, later at Westminster Presbyterian, Trinity Presbyterian, First Christian, and, up until his Saint Bernard Catholic Church, also of Menasha. He was organist and choirmaster death, Brookdale Presbyterian. of All Saints Episcopal Church, Appleton, for over 46 years (1971–2018), retiring January 7. At his retirement, the parish established a choral scholarship for Law- Wesley Coleman Dudley, II, 85, of Williamsburg, rence University students to sing in the church’s choir. (For information on Frank Virginia, and Bar Harbor, Maine, died July 25 in Wil- Rippl’s retirement celebration, see the April 2018 issue, page 8.) liamsburg. He was born in Buffalo, New York, December Rippl served as dean of the Northeastern Wisconsin Chapter of the American 15, 1932. He attended Nichols School and graduated Guild of Organists, was active in the Organ Historical Society (OHS) and the from St. Paul’s School, Concord, New Hampshire, before Packerland Theatre Organ Society, and performed on Minnesota Public Radio’s receiving his bachelor’s degree from Yale University, New Pipedreams. He penned numerous OHS convention reviews for The Diapason. Haven, Connecticut. After two years in the United States He accompanied silent movies on the organ for over 20 years for the American Navy in Hawaii, he returned to Buffalo in 1958 to work at Theatre Organ Society. He loved teaching and the pipe organ, and combined these Worthington Pump Company. Six years later he became an two passions by giving organ lessons to many students. entrepreneur, managing Auto Wheel Coaster Company, In 2007, Rippl received the Rotary Club Paul Harris Service Award for service Wesley Coleman North Tonawanda, New York, before joining his family’s to the community; he played for the Appleton chapter’s weekly meetings for many Dudley, II management offi ce. He began spending winters in Wil- years. While a student at Lawrence he was Vince Lombardi’s favorite pianist at Alex’s liamsburg, Virginia, and summers in Bar Harbor, Maine, Crown Restaurant, as cited in David Moraniss’s When Pride Still Mattered. In 2014 allowing him to explore his two dominant passions: pipe organs and boating. he became director for the new Memory Project choir, “On a Positive Note,” for A quiet philanthropist, he supported many projects anonymously, but there those suffering from memory loss and their families. was one exception, the public radio program, Pipedreams. He was also a frequent Frank Rippl is survived by his wife of 43 years, Carol Jegen, his brothers Bill donor to the Organ Historical Society. Rippl, Rick (Marie) Rippl, and Dan (Becky) Rippl, as well as numerous extended Wesley C. Dudley was preceded in death by his daughter, Katherine Mary Dud- family members. His funeral was held August 21 at All Saints Episcopal Church, ley. He is survived by his wife of sixty-two years, Lucinda Nash Dudley, and his Appleton. Memorial donations may be directed to All Saints’ Episcopal Church, children, Nanette (David) Schoeder, Donald M. (Janet) Dudley, three grandchil- Appleton, the Appleton Boychoir, or his family for an organ scholarship. dren, Nicholas Schoeder, Katherine Dudley, and MacLaren Dudley, their mother Meg Dudley, and two step-grandchildren, Grace and Madeleine Waters. Memo- James Ralph Verdin, of Indian Hill, Ohio, died rial contributions may be made to Minnesota Public Radio, attn. Jamie Ziemann, August 8. He was born July 30, 1936, in Cincinnati. He 480 Cedar St., St. Paul, Minnesota 55101, or to the Dudley Scholarship at the grew up in Mariemont and graduated from Mariemont Eastman School of Music, attn. Suzanne Stover, 26 Gibbs St., Rochester, New High School in 1955. After graduation, Verdin served in York 14604. the United States Army. Verdin was president and chief executive offi cer of the Steven E. Lawson, 63, of New York, New York, died Verdin Company of Cincinnati, a family-owned business suddenly, August 19, of natural causes. He had completed since 1842 that installs bells, tower and street clocks, elec- his usual Saturday evening practice at the Church of the tronic carillons, and organs across the United States and Heavenly Rest, where he had served as assisting organist abroad. Notable installations include the World Peace Bell, for 21 years, and failed to show up on Sunday morning. James Ralph Verdin the Ohio Bicentennial Bell Project, and the Verdin Mobile Lawson was born September 9, 1954, in San Diego, Bell Foundry. California, attended elementary school in Fullerton, Verdin’s vision to redevelop and transform the Pendleton Neighborhood in Over California, and high school in Topeka, Kansas. He earned the Rhine, Cincinnati, led to the founding of the Pendleton Art Center, Pendleton the Bachelor of Music degree in organ performance at Square Complex, the old Car Barn (Nicola’s Restorante), and the restoration of St. Oklahoma City University, where he studied with Wilma Paul’s Church. The church became the corporate offi ces of the Verdin Company and Steven E. Lawson Jensen, and the Master of Music degree in organ perfor- is now the Bell Event Centre. mance at Indiana University, also studying with Wilma A funeral Mass was celebrated August 16 at Old St. Mary’s Catholic Church, Cin- Jensen. At Indiana University, he minored in carillon performance and accompa- cinnati. James Ralph Verdin is survived by his wife Carole (nee Conners), daughter nied the University Singers, working with conductors Robert Shaw and Margaret Jill (Sam) Crew, and grandchildren Caroline Verdin Crew and Samantha Verdin Hills. Before his appointment at the Church of the Heavenly Rest, Lawson served Crew. Memorials may be made to Summit Country Day School, 2161 Grandin St. Luke’s Lutheran Church near Times Square in New York City for ten years. Road, Cincinnati, Ohio 45208. Q

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³ page 8 Bärenreiter announces new key- particularly in England and Germany. music by Leo Sowerby as played and received international critical acclaim. board publications: William Byrd: For information: www.butz-verlag.de. conducted by Alexander McCurdy Having been named “The World’s Pre- Keyboard Music, Fantasias and Selected and Paul Callaway in private record- miere Duo-Organ Team” by The Atlanta Works (BA10897, €29.95), an urtext Edition Walhall announces availabil- ings published by the Leo Sowerby Journal & Constitution, the Chenaults edited by Desmond Hunter; François ity of a new book by Ulrike Engelke and Foundation. Discs 1 and 2 feature have concertized extensively throughout Couperin: Pièces de clavecin, Deuxième published by Agenda Verlag, Melody as Sowerby’s Lenten Cantata Forsaken the United States and in Europe. For livre (BA10845, €46.95), an urtext edited Musical Speech in the 17th and 18th cen- of Man in a live performance at First information: www.concertartists.com. by Denis Herlin, includes selections tury (AG03, €49). The volume focuses Presbyterian Church, Philadelphia, from L’Art de toucher le clavecin; Joan on the most important statements about Pennsylvania, on April 7, 1971, with Cabanilles: Selected Works for Organ, vocal and instrumental performance Alexander McCurdy, organist and Volume III (BA11230, €34.95), edited practice from Baroque and pre-Classic choirmaster. Disc 3 features music from by Gerhard Doderer and Miguel Bernal sources. Muffat, Mattheson, Quantz, C. Sowerby’s memorial service at Washing- Ripoll, is the fi nal volume in this series; P. E. Bach, L. Mozart, Hiller, Türk speak ton National Cathedral on October 19, Girolamo Frescobaldi: Organ and for themselves. For information: 1968, with Paul Callaway, organist and Keyboard Words IV (BA8415, €48.95), www.edition-walhall.de. choirmaster. For information: edited by Christopher Stembridge, www.easttexaspipeorganfestival.com/. with all fi ve volumes available, as well Hope Publishing Company (BA9200, €220). For information: announces new releases for Christmas: www.baerenreiter.com. Gloria in Excelsis, by Allen Pote (SSATB, C6155, $2.20); Sweet Little Jesus Boy, by Daniel Gawthrop accepts his award Robert MacGimsey, arranged by Joel from Phi Mu Alpha President Mark Lich- Raney (SATB, C6152, $2.25); Mary, Did tenberg (photo courtesy Phi Mu Alpha Sinfonia You Know, by Mark Lowry and Buddy Fraternity of America) Greene, arranged by Jack Schrader, handbell arrangement by Arnold B. Sher- Daniel E. Gawthrop has been man (SATB, GC999, $2.25; 3–5 octave named the 25th Charles E. Lutton Man handbell accompaniment, GC999HB, of Music by Phi Mu Alpha Sinfonia $5.50; other arrangements available); O Fraternity of America. He has been Holy Night, by John S. Dwight and Adol- the recipient of over one hundred com- phe C. Adam, arranged by Joel Raney missions to write original music. His (SATB, C6160, $2.25). For information: Christmas Ayres & Dances published choral and organ works are in www.hopepublishing.com. the catalogs of Dunstan House, Alfred Pro Organo announces new a CD Publishing, Alliance Music, and oth- MorningStar announces new organ release: Christmas Ayres & Dances ers. Gawthrop’s music has premiered music: Partita on Creator of the Stars (7281, $14.98), featuring the music of in the John F. Kennedy Center for the of Night, by David M. Cherwien (10- J. William Greene. Greene performs Performing Arts, the Salt Lake City 438, $12), is a work in fi ve movements; his own compositions, spanning three Mormon Tabernacle, and Washington Variations on THAXTED, by Tom Tren- volumes of his works with the same title National Cathedral among dozens of ney (10-454, $10); Partita on Built on as the CD and published by Concordia other venues. His choral pieces have the Rock, by Alfred V. Fedak (10-653, Publishing House, newly composed been performed and recorded by such $11), is a fi ve-movement work based on works based on traditional Baroque ensembles as The United States Air Intrada Kirken den er et Gammelt Hus; dance and other musical forms. The Force Singing Sergeants, Gregg Smith Melodic Suite, by Charles Callahan (10- instruments used are a one-manual Singers, Turtle Creek Chorale, Paul Hill 052, $16), is in four movements; and Klop organ and a Peter Fisk harpsi- Chorale, American Boychoir, Mormon Hommage à Langlais: Song of Peace in chord. For information: Tabernacle Choir, Cathedral Choral a Time of War, by Mary Beth Bennett www.proorgano.com. Society (Washington National Cathe- (8691, $9), begins with a soft section dral), and others. For information: reminiscent of Langlais’ Song of Peace. www.sinfonia.org. For information: www.morningstarmusic.com.

Publishers Paraclete Press announces new Augsburg Fortress announces new publications for Advent and Christ- choral music publications for Advent mas: People, Look East, by June Nixon and Christmas: My Soul Proclaims (SSATB a cappella, PPM01841M, $2.20; Your Greatness, by Anne Krentz Organ Who Are These Like Stars Appearing, (978-1-5064-4739-1, SATB, piano, by David Herman (two-part treble opt. assembly, strings, oboe, 2 fl utes, 2 choir and organ or piano, PPM01851M, trumpets, $2.25 choral score); The King $2.90); We Three Kings, by Teresa Yoder Shall Come, by Thomas Keesecker (978- (SAB with descant, piano, and congre- 1-5064-4752-0, SAB with piano, $1.80); gation, PPM01847M, $2.20); and The See Amid the Winter’s Snow, by Evelyn First Nowell, by Jameson Marvin (SATB R. Larter (978-1-5064-4743-8, SATB a cappella, PPM01850M, $2.20). For Saint Louis Classics with piano and violin, $1.95); and The information: www.paracletepress.com. Hills are Bare at Bethlehem, by John Grant Us Peace Regent announces a new CD release: Samuel McIntyre (978-1-5064-4730-6, Saint Louis Classics features the Saint SAB with organ and optional fl ute or Dr. J. Butz Musikverlag announces Recordings Louis Chamber Chorus (REGCD505), violin, $1.80. For information: www. new publications: Intrada (BU 2910) is a conducted by Philip Barnes. The disc augsburgfortress.org. volume of 18 organ pieces mainly for use features works inspired by classical as entrance pieces for Mass or during a mythology, with compositions by Ralph processional. The works are by interna- Vaughan Williams, Orland Gibbons, A. E. Schlueter Pipe Organ Co. tionally acknowledged composers and Bob Chilcott, Robert Schumann, Roy vary in length as well as in degree of dif- Harris, and Arnold Schoenberg. For fi culty to the various skill levels of organ- further information: ists and different sizes of instruments. www.regent-records.co.uk. Verleih uns Frieden (Grant Us Peace) (BU 2892) is a collection of choral arrangements for organ by British com- Organbuilders poser Robert Jones. The publication Muller Pipe Organ Company, marks the centennial of the end of World Croton, Ohio, has been selected for War I. With this anniversary in mind, two projects: a 1957 Holtkamp organ Jones’s choral works are based hymns of 72 ranks will be renovated and that were known as “peace hymns,” reconfi gured for relocation at Gay  New Instruments  Tonal Additions Street United Methodist of Mt. Ver- non, Ohio. Also, a new 22-rank organ  Rebuilding  Maintenance Jacques Stinkens  New Consoles  Tuning Orgelpijpenmakers B.V. will be built for St. Patrick Catholic, sinds 1914 Columbus, Ohio. The 1883 Odell/Roo- How can we help you? Flues - Reeds Leo Sowerby sevelt case and some existing pipes of Your personal wishes are in good hands the church’s previous instrument will 800-836-2726 www.stinkens.nl The East Texas Pipe Organ Festi- be retained. For information: www.pipe-organ.com [email protected] val announces release of a 3-CD set of www.mullerpipeorgan.com. Q

12 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM

Harpsichord Notes By Larry PalmerBy Author

EDITOR’S NOTE: In 2019, Larry Palmer to decide where an ornament will add will celebrate fi fty years as harpsichord something and where it simply gets in editor for THE DIAPASON. There is much the way? (I’ve had to squelch quite a to celebrate in his work, bringing us few ideas to the contrary from those insight to this instrument! organists Widor and Dupré since get- Below, Larry presents to us his favor- ting to know them so well here.) And ite column from these years, slightly please, stop squabbling about which updated, for your reading pleasure. type of instrument is my preferred one: a well-crafted harpsichord, responsive A letter from Johann in action, resonant in sound, satisfi es Sebastian Bach me immensely, as does a fi nely voiced pipe organ placed in a resonant space, To: Professor Larry Palmer preferably free of carpeting. Harpsichord Editor, THE DIAPASON I have not come to like the piano any From: Johann Sebastian Bach better for my music than I did at the Kk Kapellmeister, Emeritus court of King Frederick, and I must Via: SDG Millennial Communica- say that some strange sounds have tions Network (MCN) wafted up here (what are those little silver plates on which you serve up Sehr Angesehener Professor Palmer, music?) such as the ones with a well- I have been meaning to write you known pianist playing the solo part of for nearly one-third of the past century my F-Minor Harpsichord Concerto on to tell you how pleased I am that you his piano, especially since he chose and your colleagues are concerned to use a harpsichord as the continuo with harpsichord matters in your instrument in his misguided perfor- Johann Sebastian Bach journal The Diapason. It was really mance? Who comes up with such per- quite a shock to many of us up here verted readings of my music? It took when the harpsichord came back into me quite a long time to realize that it fashion, for I had despaired of ever even was mine! hearing my music properly performed I’d like people to know that I don’t on earth after the decline of my own expect every performance of my larger preferred keyboard instruments. It works to be complete: cut and paste has been heartwarming (for those, at as necessary, just as I always did for least, who still have hearts) to note the specifi c performances. After all, my steady resurgence of the harpsichord, Aria with Diverse Variations, the an instrument which, in recent years, work you call the Goldberg Varia- is even recognizable. tions, was meant to put a nobleman to And the number and variety of per- sleep, night after night (and I gather formances of my music! I have been from distant observation that many prevented from expressing my gratitude performances now manage to do that to my earthly admirers because of vari- even for the less-than-aristocratic), so ous celestial interventions. It has been a my dear student Goldberg stopped busy century or so here, too, you know playing when his task was completed, (just trying to keep peace between and happily slipped away to enjoy his Wanda Landowska and Sylvia Marlowe, late-night libation, just as I used to get each convinced that she plays my music away during those interminable hour- the “right” way, has taxed even eternal long sermons at the Thomaskirche so patience)! Additionally, the arguments I could warm my hands and drink beer between Arp Schnitger and Aristide at Zimmermann’s. And what a strange Cavaillé-Coll have been constantly idea to perform all six trio sonatas in entertaining, if a bit time-consuming! one concert! I, too, know they are At any rate since a rare constellation wonderful pieces (and so modern), but of opportunity has aligned itself in I wouldn’t want to hear all of them in Heaven, I thought it would be the one sitting, nor would I want to hear perfect time since my departure from six of my English or French suites in Earth to communicate through you to one concert. my many non-celestial admirers. But it is wonderful, and unexpected, Larry Palmer It would be lovely if your twenty- to know that so many listeners still fi rst-century players of my music could want to hear my creations. I am also And now I must bid you “Auf you may expect more frequent be a little more concerned with the delighted to see that some of you have Wiedersehen!” I want to share some communications from this sphere to music and musical communication and been fi nding my little musical signatures time with my wives and children, and yours in the future. less concerned with the minutiae of and jokes, with which I was able to keep see if our dear friend Isolde Ahlgrimm, —Your faithful JSB. articulation. Whether the wiggles of a my mind active. Congratulations, Herr who still calls herself the “Widow trill go in one direction or another, or, Professor, on noticing my backward Bach” to the high dudgeon of both [Originally published in The Diapa- even, whether each accrued fl y speck in signature in the B-fl at Prelude from my Anna Barbara and Anna Magdalena, son, July 2000] the score means something, is far less Well-Tempered Clavier. Keep looking: would like to join us at our heavenly important than the music itself. Surely there are many more fi nds in store for repast. After that we all have a required Drawings by Jane Johnson (1923– each player has enough intelligence the observant connoisseur. celestial computer class to attend, so 2016) from the Larry Palmer Collection.

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14 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Reviews

New Organ Music Although all partita movements are in wanted to dance in the aisles! Total time remaining grounded in the present. 1 A Mighty Fortress is Our God (Par- the same key, the sequence of movements for the three movements is 7 ⁄2 minutes. Perhaps this mood is overtly achieved tita on “EIN FESTE BURG”), Michael provides fi tting contrasts in character as I should say that all three concertinos by the quotation of the Gregorian Mass D. Costello. Concordia Publishing one moves through the partita. Costello’s are written for manuals only and can be Orbis factor chant here in metrical House, 2017, 97-7787, $10. Avail- highly effective partita will be accessible played even on a one-manual chamber phrases (movement 2). It can be heard able from www.cph.org. to all organists, including organists with organ. They are of moderate diffi culty in the chant-like melody encountered in The Reverend Michael Costello has limited time, training, or resources. with some easy spots, but also with the movements 1 and 2. A recurring melody established himself as a prominent musi- Appropriate for service playing or a short occasional tricky place as well. All the in duple meter is exchanged with pas- cian and composer within the Lutheran recital piece, this is a fi nely crafted partita music in this volume can be played as sages in triple meter with contrasting tradition. Costello carries on the choral on one of Luther’s most famous hymns. part of a whole or as separate pieces, key. Though not an uncommon composi- and keyboard traditions of Carl Schalk Michael Costello’s A Mighty Fortress is making them viable for concert or ser- tional maneuver, it will remind organists and Paul Bouman, serving as cantor for highly recommended to all organists and vice use. I have had very good responses of literature from the seventeenth and Grace Lutheran Church and School in for all faith denominations. to performances in both venues. eighteenth centuries. River Forest, Illinois. He is known for —Jeffrey Schleff Kandinski followed a path that had a This publication includes the brass his choral and organ compositions, cre- Ardmore, Oklahoma great infl uence in the history of art. In parts with the option of trumpets in ative hymn improvisations, and sensitive my mind, Cooman has begun carving out either B-fl at or C, and offers a horn part service playing. Three Concertinos for organ, by Car- a path that will also have great infl uence to substitute for Trombone I if needed. The titles used by Costello for his six- son Cooman. Zimbel Press, Subito in the history of organ music. In his com- Although the order of the movements movement partita are “Introduction,” Music Corporation, #80101383. positions of 2017, he has kept his con- has been designated, I see no reason “Chorale,” “Tricinium,” “Ayre,” “Inter- In the visual arts, Wassily Kandinsky nection with historical structures—prae- why an individual movement cannot be lude,” and “Fughetta.” The Introduction may be considered the founder of non- ludium, canon, ostinato, for example, but played separately, or, if used throughout provides a festive opening fl ourish, with objective art. His statement that “like he has infused the forms with new life. I a service, cannot have a different order sixteenth notes in the treble range resting music, pictures communicate emotional will be reviewing some of this music in that refl ects the needs of that service. on a homophonic texture of the rhythmic insights into the universe” is as true for the near future, and I recommend it all Highly recommended. version of the hymn. The chorale melody, new organ music as it was for Kandin- very highly! —David Troiano part of the chordal texture, is assigned to sky’s paintings. Over many decades the —Jay Zoller St. Clair Shores, Michigan the pedals. His Introduction calls for a composers of organ music have leaned, Newcastle, Maine full plenum through manual mixtures, with few exceptions, either toward very including the use of reeds in the pedal conventional, well-worn paths, without Sonata da Chiesa, for brass quartet New Recordings line. The learned listener is drawn to much that is really new, or toward avant- and organ, by Charles Callahan. The Story of Nine Lessons and Carols. the relative absence of major chords. garde music with its lack of melody, MorningStar Publications, 20-530, Truro Cathedral Choir, Luke Bond, Costello effectively adds additional tones discord, and small audiences. 2017, $30.00. Also available in down- organ; Christopher Gray, direc- creating mostly major and minor seventh Like Kandinsky, Carson Cooman loadable format. Available from tor. DVD and Audio CD, Regent chords. These harmonies add a majestic seems to be working toward a new path www.morningstarmusic.com. Records REGDDVD004. Available “edge” to the celebratory introduction. in his organ music, one that is contempo- The organ compositions of Charles from www.regentrecords.com. For this reviewer, the fi rst movement rary, moderately dissonant, melodic, and Callahan are well established in the fi eld DVD: The Festival of Nine Lessons requires careful preparation in order to fun to play and listen to. The music also of church music and offer musicians and Carols. A fi lm of the live service in balance the energy of the sixteenth notes has fl uctuating rhythms and occasional many signifi cant and noteworthy contri- Truro Cathedral, December 23, 2014. with the sturdy and steady presentation undulating harmonies that I cannot get butions. MorningStar Publications alone A documentary about the history of the of the chordal treatment below. out of my head for days afterward! I offers more than 100 works by Callahan service in Truro, presented by Jeremy The fervent joy of the Introduction played two of the three concertinos last for either solo organ, organ with instru- Summerly. Three former directors of continues in the second movement, summer in a series of recitals and had a ments, organ four-hands, or within vari- music, David Briggs, Andrew Neths- Chorale. The chorale melody is assigned listener come up to me after one of them ous collections. These pieces highlight ingha, and Robert Sharpe, talk about a solo reed in the tenor voice, with a and remark quite excitedly “when I saw Callahan’s unique style of craftsmanship, their time and work at Truro Cathedral. generally strophic treatment through- there were contemporary pieces on the tonal variety, and practicality. Audio CD: A reconstruction of the fi rst out. Eighth, quarter, and dotted quarter program I wasn’t sure I wanted to hear This recent work by the composer, service of Nine Lessons with Carols that notes add energy to the soprano, alto, them, but they weren’t avant-garde. Sonata da Chiesa, is yet another example took place in Truro Cathedral in 1880. and bass voice accompaniment. While They actually had melodies!” of those endearing stylistic qualities. Christmas caroling originated in a the Introduction can serve as an inde- Concertino I (composed in 2014) has Written in three movements for brass more or less secular context in that rowdy 1 pendent accompaniment to a verse of four movements and is about 9 ⁄2 minutes and organ entitled “Invocation,” “Kyrie,” groups went around singing from house the rhythmic version of the hymn, the in length. The fi rst movement, marked and “Rondeau,” the strength of this to house, imbibing considerable quanti- second movement, Chorale, is suitably “Overture” opens and ends with short sonata lies not in its accessibility (a fairly ties of alcohol, and generally becoming designed to accompany congregational adagio sections. However, it soon breaks easy read for all involved), but in the drunk and disorderly. Since the eigh- singing based on the isometric version of into a snappy 7/8 that alternates 6/8 and evocative moods conveyed to the lis- teenth century it had nonetheless been the hymn. 4/4 throughout. The second movement, tener. The effect of each movement (and customary to sing Christmas hymns at The third movement, a three voice “Interlude,” is tranquil with a lovely in its entirety) transports the listener the end of the Christmas service, and in Tricinium, provides a contrast to the melody. A two-part canon with some to an unspecifi ed historical past while ³ page 16 preceding movements. This “manu- tricky triplets follows as the third move- als only” setting proceeds at a brisk ment. The fi nal movement is “Toccatina” pace with plentiful syncopations. This marked Vivo. It is different from most movement wears well over time, retain- toccatas and has some diffi cult spots in ing the interest of the performer and it. The movement is very effective, but it A Precious Gift listener alike! The fourth movement, a is harder than it appears! restrained Ayre, is a lovely setting, but In Concertino II (written in 2015 and from the Past 1 provides fewer harmonic surprises than about 6 ⁄2 minutes in length), the move- the other movements. The chorale tune ments are fast, slow, fast. In the fi rst, an is again featured in the tenor voice with a eighth-note melody keeps imitating itself for the Present plentiful share of third, sixth, and triadic and contains a couple of little pleasur- harmonies in the accompaniment. able surprises. The second movement and the Future The meter of the Ayre is 12/8 with is a slow-moving original chorale in four triple subdivision throughout, and serves parts. The third movement is an allegro Supremely beautiful and blendable as a springboard for the next move- with a fast melody over repeating notes tonal color – a Gift from the Venetian ment, a triple meter Interlude with the in the left hand. The overall structure is School of organbuilding, a monumental part of our hymn tune in the soprano voice for the ABA with a short coda. JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH fi rst time. For the closing movement, Concertino III (composed in May Fughetta, Costello calls for full organ of 2017) has three movements: “Prae- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN with manual and pedal reeds, including ludium,” “Canzonetta,” and “Jig.” a 32′ reed for organs so endowed. A brief Praeludium is lively with some very Intriguing? Let us build your dream. reduction in dynamics is called for in interesting interplay between the hands. the third large scale phrase of the four- Canzonetta is rather melancholy and is phrase hymn tune. A rousing fi nal phrase marked “Wistfully.” Jig is an absolute with all the bells and whistles brings the delight! After a performance of the piece to a fi tting conclusion. movement, I had people tell me they

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 15 Reviews

³ page 15 the composer Dame Ethel Smyth, had outlined above, and also, perhaps, to narrated by Jeremy Summerly, head of the second half of the nineteenth cen- simultaneous affairs with both the propitiate some of the congregation who Academic Studies at the Royal Academy tury there was also a movement within Bishop’s wife and with his daughter had been upset by the demolition of of Music in London, who was partly the Church of England to get rid of the Nellie. Mary Benson was actually in the old Saint Mary’s Church. Although responsible for researching the origi- drunkenness and to bring the singing of favor of this, thinking it would broaden Bishop Benson is generally given the nal 1880 Truro carol service for these at least the less bawdy Christmas carols her daughter’s horizons. Unfortunately, credit for devising the service, the idea recordings. He outlines the history of into the church. There were medieval Nellie Benson died of diphtheria shortly may have originated with the fi rst suc- the carol service in a way similar to what precedents for building services on afterward. Another of the live-in lovers centor of Truro Cathedral, Reverend I have done above, though with a some- festal occasions around a group of nine was Lucy Tait, daughter of Benson’s Somerset Walpole (1854–1929), who what sanitized biography of the Benson lessons. The modern idea of creating a predecessor as Archbishop of Canter- later became Bishop of Edinburgh in the family. He unaccountably fails to men- Festival of Nine Lessons and Carols for bury. One of Bishop Benson’s daughters, Scottish Episcopal Church. Walpole was tion the organist of Truro Cathedral in Christmas originated in Truro, Corn- Maggie, a noted Egyptologist, had to be certainly responsible for planning a lot of 1880, William Mitchell, who presumably wall, in the late 1870s. committed to an asylum after attempting the details of the service. had a major role in the fi rst carol service. In 1877 the Diocese of Truro, consist- to murder her mother. The sons were A revised version of the Festival of There is a chapter on the DVD ing of the County of Cornwall, was cre- more normal. One of them, Martin, died Nine Lessons and Carols was produced devoted to the history of the magnifi cent ated by an Act of the British Parliament of meningitis as a teenager; another, by Eric Milner-White (1884–1963), four-manual Willis organ of 1887. One out of the Diocese of Exeter, which had Hugh, left the Church of England and dean of King’s College, Cambridge, in former organist of Truro Cathedral, John hitherto consisted of both the counties became a Catholic priest, while Arthur consultation with his organist, Arthur Dykes-Bower, was subsequently organist of Devon and Cornwall. The new bishop and E. F. Benson were both noteworthy Henry Mann (1850–1929), in 1918. of New College, Oxford, and St. Paul’s was to be based at the medieval Parish literary fi gures. Milner-White undertook the revision of Cathedral, London. It is said that in later Church of Saint Mary in Truro. The After arriving in Truro, Bishop Ben- the service because he was anxious to years the mere mention of the Willis fi rst bishop was Edward White Benson son decided to replace Saint Mary’s brighten people’s lives during the dark organ at Truro Cathedral would bring (1829–1896) who had previously been Church with a proper cathedral, a task days of World War I. The King’s College tears to his eyes. The DVD also contains the headmaster of Wellington College, a facilitated by there being a very large version is found in the fi rst volume of reminiscences of Truro by three former prominent independent school at Crow- churchyard so that fi nding adequate Carols for Choirs, edited by Reginald directors of music, David Briggs (1989– thorne in Berkshire. Benson was Bishop land was not a problem. John Lough- Jacques and David Willcocks, and is the 1994), Julian Nethsingha (1994–2002), of Truro from 1877 until 1883, after borough Pearson (1817–1897) was version normally used today. and Robert Sharpe (2002–2008). which he was elevated to be Archbishop appointed architect of the new cathe- The fi rst section of the DVD is We come then to the Audio CD, of Canterbury. dral, which took thirty years to build. devoted to a recording of the Truro which is a reconstruction of the original The Bensons must surely have been Pearson decided to retain the south Cathedral Festival of Nine Lessons and 1880 Truro Lessons and Carols. The one of the most dysfunctional families of aisle of the medieval church as part of Carols on December 23, 2014, per- reconstruction features the cathedral their day. Bishop Benson was a manic- the new cathedral, and its three-manual formed according to the King’s College choir without a congregation, which is depressive who suffered from dark organ, installed by Byfi eld in 1750, version. The quality of choral singing is a pity because the facsimile of the origi- moods and who had a tyrannical bent was moved to a temporary wooden excellent, as is to be expected from the nal service leafl et in the booklet makes that manifested itself particularly in cathedral on the site of the present-day choir of a fi rst-rate English Cathedral. it clear that the congregation had a sig- handing out vicious beatings to the boys car park. All this and the laying of the They look very smart in their scarlet cas- nifi cant role in singing the hymns and of Wellington College. His wife Mary is foundation stone by the then Prince of socks and surplices, while the choristers the choruses of some of the carols. Very the subject of a biography by Rodney Wales and Duke of Cornwall, the future are also adorned with their traditional specifi c instructions to the congregation Bolt entitled As Good as God, As Clever King Edward VII, took place in 1880. Elizabethan ruffs. One criticism I have is about the dynamics to be used were as the Devil. Mrs. Benson is noteworthy It was also at Christmas 1880 that the that the choir all look very serious, and I included in the leafl et. The 1887 Willis for having had more than twenty female fi rst Festival of Nine Lessons and Carols think it might even improve their singing organ had yet to be built, and the 1750 lovers, including live-in lovers in both was held in the temporary wooden cathe- if they tried to look a little happier; not Byfi eld instrument from the old Saint the Bishop’s House at Truro and at dral, a hut rather after the scope and that there is anything wrong with their Mary’s was of a very different character, Lambeth Palace, seat of the Archbishop size of “The Shed” at Tanglewood. The performance as it is. The 2014 Truro which the present organist attempts to of Canterbury. One of these lovers, service was created partly for the reasons carol service begins with Mann’s version take care of in the recording by means of “Once in royal David’s City,” with the of a careful selection of stops on the fi rst verse sung by a single chorister, and Willis organ. then progresses through the bidding The leafl et suggests, probably cor- prayer and the remainder of the lessons rectly, that the Christmas carols would and carols to conclude with “O come, all have been taken from Bramley and ye faithful” and “Hark the herald angels Stainer’s Christmas Carols Old and sing” including the obligatory David New and the Christmas hymns from the Willcocks descants. then novel Hymns Ancient and Modern, The format does, however, leave considered very High Church in those quite a bit of room for the insertion days because of the inclusion of Catho- of interesting though less well-known lic hymns. The service began with the carols in the middle. Among these are Preces and Responses as at Morning Philip Stopford’s version of “I wonder and Evening Prayer, followed by the as I wander,” John Rutter’s “What Lord’s Prayer. The reconstruction has sweeter music,” John Joubert’s version these said, but since by the end of the of “There is no rose of such virtue,” nineteenth century they were commonly and Philip Marshall’s arrangement of sung in parish churches, let alone cathe- “I saw three ships come sailing in.” drals, I would suggest that in the original The high point of the service is the service at Truro they would have been fi rst performance of Russell Pascoe’s sung, perhaps to Joseph Barnby’s widely delightful setting of “The Salutation used arrangement of Tallis’s Festal Pre- Carol.” Russell Pascoe (b. 1960) is a ces and Responses, which was still in use Cornish composer who founded the in my village church when I was growing Cornish Youth Chamber Choir and up in the Church of England. among other things has written a well- Between the lessons and carols are a known Fantasia on Cornish Folksongs series of benedictions pronounced by and a setting of the Lord’s Prayer in the bishop and taken from the medi- the Cornish language. In his setting of eval Sarum Breviary. As well as carols “The Salutation Carol” he is carrying and Christmas hymns, two movements on the long Cornish tradition of Christ- from Handel’s Messiah—“There were mas carols that was revived by Davies shepherds abiding in the fi elds” and the Gilbert in the early nineteenth century. “Hallelujah Chorus”—were included Another refreshing change at the end and also the Magnifi cat, a canticle per- of the service is that in addition to the haps more suited to the Advent season customary In dulci jubilo, BWV 729, than to Christmas. The Magnifi cat is by J. S. Bach, the organist plays Garth said to have been set to J. L. Hopkins Edmundson’s magnifi cent Toccata on in E-fl at, and in the reconstruction Vom Himmel hoch. The 1887 Willis organ it is set to a Single Anglican Chant in in Truro Cathedral is, of course, one of E-fl at by Hopkins, who was organist of the fi nest cathedral organs in Britain, Rochester Cathedral. It seems to me, and the sound of Edmundson’s Toccata however, that it is much more likely that played on it certainly makes for a very the canticle was sung to the elaborate grand sound at the end of the service. through-composed Magnifi cat from The next section of the DVD is a J. L. Hopkins’s Evening Service in documentary about the Truro Cathedral E-fl at, published by Novello. I am not Service of Nine Lessons and Carols, sure whether there is any evidence as

16 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Reviews to what was played as the concluding 3, 4, or 5 octaves of handchimes, by “Prepare the Royal Highway,” “What The French carol, Noël Nouvelet, organ voluntary at the 1880 service, but Michael Helman. Choristers Guild, Child Is This,” “The Rocking Carol,” is arranged with fl air from beginning to in this recording Luke Bond plays Men- CGB1072, $5.50, Level 3 (M). and “Still, Still, Still.” end. The energy in the rhythmic material, delssohn’s Third Organ Sonata, which Beginning with lovely original mate- along with the vibrant melodic line and is certainly the kind of thing that would rial in the introduction, this familiar tune Four Christmas Hymns for Twelve several special effects, makes this piece have been played. by Adolphe Adam is supported by a trip- Bells, Set 1 and Set 2, arranged come alive with the festivity it deserves. As the poet John Keats wrote, “A thing let eighth-note pattern throughout. With for 3 octaves of handbells or hand- of beauty is a joy forever,” and there is effective use of optional handchimes, chimes by Sandra Eithun. Concordia Ding Dong! Merrily on High, much beauty in these recordings—there this traditional favorite should be a staple Publishing House, Set 1 #977807, arranged for 3–5 octaves of hand- is the beauty of the music, the beauty of in the music of Christmas. Set 2 #977808, $4.50, Level 2 and 3, bells by Joel Raney and Arnold B. the choir and organ, together with the E – M-). Sherman. Agape (a division of Hope beauty of J. L. Pearson’s Gothic master- Have Yourself A Merry Little Christ- This collection of familiar Christmas Publishing Company), Code No. piece, towering as it does over the city mas, arranged for 3 to 6 octaves of carols is perfect for the holiday season 2842, $4.95, Level 3+ (D). of Truro with its three spires, seeming handbells with optional 3 to 5 octaves when you may be short-handed for ring- This fun-fi lled rendition of the tradi- to all the world like a medieval French of handchimes, with synthesizer and ers. Each piece uses 12 bells, from F5 to tional English carol springs alive with cathedral. The history of the Service percussion, by Hugh Martin and C7, and includes suggested assignments special techniques that add to the spar- of Nine Lessons and Carols is also Ralph Blane. Agape (a division of for each bell. The pieces are all written kle and joy of the text. With some driving extremely interesting, so despite their Hope Publishing Company), Code on the treble staff. rhythms and a couple of key changes, minor shortcomings I have no hesitation No. 2854, $5.25, Level 3- (D-). Titles in Set 1 include “Born Is the King this arrangement will surely be the hit of in recommending these recordings. From the 1944 motion picture release, of Israel,” “For unto Us a Child is Born,” your Christmas music making. —John L. Speller Meet Me in St. Louis, this Christmas “Go, Tell It on the Mountain,” and “In the Port Huron, Michigan classic was fi rst introduced by Judy Bleak Midwinter.” Set 2 includes titles While By My Sheep, arranged for 4 Garland and has been a popular gem “Angel Tidings,” “I Wonder as I Wander,” octaves of handbells and 3 octaves ever since. This setting for bells features “Infant Holy, Infant Lowly/Away in a of handchimes, by Michael Bur- New Handbell Music for Advent a quasi bolero style rhythm, and adding Manger,” and “Joy to the World.” khardt. MorningStar Music Pub- and Christmas the “bells and whistles” of handchimes, lishers, MSM30-165, $4.50, Level Savior of the Nations, Come, with O synthesizer, and percussion makes this Rise Up, Shepherd, arranged for 3, 2 (M-). Come, O Come, Emmanuel, arranged a solid winner for the holiday season. 4, or 5 octaves of handbells, with This traditional carol by Hugo for 3–6 octaves of handbells with Conductor’s score, synthesizer, and per- optional 3, 4, or 5 octaves of hand- Jüngst, also known as the Echo Carol, optional 3–5 octaves of handchimes, cussion parts, Code 2854P, $15.00. chimes, by Brenda E. Austin. GIA incorporates the Westminster Chime by Brenda E. Austin. Agape (a divi- Publications, G-9446, $4.95, Level motif throughout, adding to the charm sion of Hope Publishing Company), Glory in the Highest, reproducible 2, (M-). of the piece. The arrangement could Code No. 2844, $4.95, Level 2+ (M). Advent and Christmas music for 12 This African-American spiritual is function as an easy double-choir piece Here is an Advent setting that com- to 16 bells (F5 to C7) with optional written in a lush, relaxed style with the for a four-octave handbell choir and a bines these two carols in a refl ective, piano accompaniment, arranged by bells emphasizing the lovely text we all three-octave handchime choir, where meditative mood, including some dis- Anna Laura Page. Choristers Guild, know. The arrangement incorporates both choirs echo back and forth, or it sonance to accent the minor keys of both CGB1082, $54.95, Level 2 and 2+ a portion of “The First Nowell,” and can be played with one bell choir using hymns. A smooth legato line should be (E+ to M). makes skillful use of marts, echoes, sing- four octaves of handbells and three used throughout keeping the melody This reproducible collection of ing bell, and suspended mallets. octaves of handchimes. In either case, prominent so that it can be heard above carols offers a variety of styles for the with the handchimes assuming the all of the harmonic material. Advent and Christmas seasons; ideal Sing We Now of Christmas, arranged “echo” material, the arrangement can for smaller groups of ringers. Titles for 3, 4, 5, 6, or 7 octaves of hand- be very effective. O Holy Night, arranged for 3, 4, 5, 6, or include “Angels We Have Heard on bells, by Brian Childers. GIA Publi- —Leon Nelson 7 octaves of handbells, with optional High,” “O Come, All Ye Faithful,” cations, G-9303, Level 3 (D-). Vernon Hills, Illinois

Johann Sebastian Bach Organ Works Completed

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Editors: Pieter Dirksen, Matthias Schneider, David Schulenberg, Jean-Claude Zehnder et al.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 17 In the wind...

Sounds of the natural world that giant of twentieth-century music who We have counted about sixty-fi ve was so inspired by birdcalls. In earlier different species of birds in our yard in works, Messiaen included stylized, even Maine. We have ruby-throated hum- perhaps fi ctional birdcalls in his music. At mingbirds (3 inches long and .1 ounce), the Paris Conservatoire, Messiaen was a 1 great blue herons (52 inches long and 5 ⁄2 student of Paul Dukas, who encouraged pounds), and bald eagles that weigh in at all his students to “listen to the birds,” a around 12 pounds, have wing spans over suggestion that informed much of Mes- 7 feet, and dive to the water at 100 miles siaen’s music and life. He traveled the per hour, miraculously surfacing with a world notating birdcalls, accompanied fi sh in their talons. We have fi ve differ- by his second wife, Yvonne Loriod, who ent varieties of gulls (greater black back, made tape recordings to back up her hus- lesser black back, herring, laughing, and band’s pen. And the calls that he collected Bonaparte’s gulls), and fi ve of woodpeck- are present in much of his music, often ers (downy, hairy, red-bellied, fl icker, and as direct quotes, and often as the primary pileated woodpeckers). We have crows, substance of entire pieces. lots of crows, but we also have their goth- One of Messiaen’s great works is heavy metal cousins, the ravens. his Catalogue d’Oiseaux (Catalogue of We have half a dozen different bird Birds), a suite of thirteen pieces for solo feeders around the yard, so we see lots piano, each inspired by a different specifi c of our birds up close. Except for the pile- bird. The French pianist Pierre-Laurent ated woodpeckers that are too big, all our Aimard presented this work in a unique woodpeckers come to the suet feeders series of performances at the Aldeburgh on the deck, next to the hummingbird Festival in 2016. He programmed four Ben and Grandpa (photo credit: Christopher Bishop) feeders that are the sites of pugnacious concerts based on the time of day that the air battles. There is a defi nite pecking various birds are active, and played them order among hummingbirds. outdoors, allowing the audiences to hear Recently, son Christopher and his the local birds comment on the music. sons, Ben and Sam, came for a week- The fi rst of those concerts started at 4:30 end. We were sitting on the deck one a.m., the very hour when crows start hol- evening, and fi ve-year-old Ben started lering in our yard in Maine. Aimard was noticing the variety of birds coming and a student of Yvonne Loriod, Messiaen’s going from the feeders just outside the widow, who performed the premier of screen. I identifi ed some of them for the work, and to whom the music is dedi- him and told him a little of what I know cated, and he must have had many inspir- about them. Pretty soon he was identify- ing conversations with her about this great ing the birds himself as they returned to piece. You can read Michael White’s New the feeders. I brought out a fi eld guide, York Times review of those performances and Ben and I sat at a table on the deck at https://www.nytimes.com/2016/06/22/ for a full hour looking at the pictures and arts/music/review-pierre-laurent-aimard- reading about the birds we were seeing, messiaen.html. getting the hang of understanding the range maps, looking further into birds Follow the nuts. we might see in the area, and those we Watching birds on the deck with Ben would never see here. The following was fun for me, but there is another level morning, Ben picked up the guide and of that activity, better known as “bird- sat down with me for another hour. In ing.” I know lots of people who can be an age when parents struggle with the called “organ nuts,” and many of those “screen issue,” trying to fi nd a balance are also “train nuts,” so colleagues are between staying current and staving off well equipped to understand that rare addictions, those were a couple hours I breed of nut, birders. If you are hiking will never forget. in a state park and run into a group of The weekend after that visit, they all people with fl oppy hats, lots of pockets went camping. Chris sent a photo of Ben on their clothes, $2,500 binoculars (a.k.a. with fi eld guide in hand, working hard “binos” or “bins”), and camera lenses the to identify some slithery creature that size of howitzers, it is a safe bet that they another kid had in a plastic container. I are birders. do not know if this curiosity about the There are nearly a thousand different natural world will last long, but for now, species of birds in the United States, and Grandpa sure is pleased to share some- serious birders set off to site as many as thing special with a bright young mind. they can in a single year. It is called a “big Taking a glimpse into the natural year” as hilariously chronicled by Steve world with my grandson refreshed my Martin and Jack Black in the 2011 movie awareness of all that lives around us. by that name. For most serious birders, (As I write, I am watching a pileated a big year consists of 675 species. A new woodpecker tear up a tree, chips fl ying record of 749 was set in 2013, which and insects scurrying.) And I do not have was shattered in 2016 by four differ- It was an earthworm. (photo credit: Christopher Bishop) to be in Maine to be a witness. Last year ent people, with the highest tally at a I joined a group of New York University whooping, oops, whopping 780. Because produces a similar tone quality, but in an each other by the overtone series. Three students in Washington Square Park many birds are season and site specifi c, ordered and measured cadence. cheers for Pythagoras! watching a red-tailed hawk sitting in a achieving a big year involves intricate Any fi eld guide includes page after All birds have a sound-producing tree eating a squirrel. planning and tens of thousands of miles page of sparrows that all look alike. organ called a syrinx, a two-piped struc- § of travel. In these adventures, identify- They are distinguished by features like a ture capable of producing two pitches ing a bird by sound counts as a sighting, little brown mark behind the eye, a black simultaneously. The various types of When I write of birds, many readers whether or not you actually laid eyes on stripe on the crown, or a tuft of brown thrushes, which include our locally will think instantly of Olivier Messiaen, the creature. on the white belly. Even serious birders admired veery, have all developed com- Most birds have several different dis- refer to “LBJ’s”—little brown jobs. But plex songs that exploit the contrapuntal tinct calls. There are multi-syllabic calls their songs are much more distinctly capability of the syrinx to the fullest. The and warbles, and one-tone “notes,” and different from each other. You would world of birds brings one of the richest The Sound of Pipe they are as different aurally as the birds never mistake the multi-octave swirl of varieties of musical tone on earth. can be visually. You would never mistake the song sparrow from the dry trill of the § Organs the “pew-pew-pew” of a cardinal with chipping sparrow. M. McNeil, 191 pages the raucous “caw-caw” of a crow. The One of the more beautiful calls we The ancient Greeks and Romans each A new technical study of the raven’s call is similar to the crow’s, but hear at our place is that of the hermit developed complex systems of gods and down a fi fth and dripping with attitude. thrush. It is an otherworldly, hollow myths in efforts to explain natural phe- relationships between scaling, Robins sing a rhythmic series of warbles, trilling, easy to pick out near sunset in nomena they did not understand. We voicing, the wind system, and as do goldfi nches, but the goldfi nch’s the woods to the north of our driveway. are all familiar with Zeus, the cranky and tuning. Search on the title at song is an octave and a half higher. The When you record it and play it back irascible god of the sky and thunder. The the Organ Historical Society song of the rock dove (a.k.a., pigeons) is slowly, you can distinctly hear two differ- iconic image of a heavy bearded dude with and Amazon websites. a characteristic chuckling cooing while ent lines of music. And even more excit- a quiver full of lightning bolts was enough her demure cousin, the mourning dove, ing, the various pitches are related to to make a humble farmer behave himself.

18 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM By John Bishop

A Greek myth tells of Syrinx, a chaste listeners might notice that, but with any The listening organist can spare the nymph who was chased by the leer- luck, you will have lots of untrained lis- listeners another ignominy. You draw ing and persistent Pan. In an effort to teners in the pews. Your subtle touches a couple stops and start to play, and it escape, she ran to the edge of a river of registration will make your program sounds awful. Why? The cap of middle and pleaded to the other nymphs to more interesting. No one wants to listen D-sharp of that Gedeckt has slipped and protect her. In response, they turned her to the same 8′-4′-2′-IV all afternoon, no the pipe speaks drastically sharp. Do not into hollow grasses that made haunting matter how much they know about organ use that stop. Couple the Postiv chorus to whistles when the frustrated Pan’s breath sound. Color those basic-four with a light the Great, and you hear a great clashing hit them. Pan cut the grasses to differ- reed, with a Quint, with a fl ute or two. clang. It might be that the exposed Posi- ent lengths and fastened them together, Go ahead. I dare you. tiv is surrounded by warmer air than the making a musical instrument on which Do you recognize the difference Great. When the sun goes down it might he could play tunes. From legend into between the sound of a wide-scaled be fi ne. But for now, not so much. Turn reality that instrument was called, wait principal and one with narrow scale? off the coupler and fi nd another sound. for it, the panpipe, or in ancient Greek, Echoing the early twentieth century, it is The best performances of organ music the Syrinx. (The word syringe is derived increasingly common today to fi nd two, come from musicians who listen as they from the same root.) three, or even four different 8′ principals play. If you do not want to listen, why The panpipe is the ancient forerunner on a single keyboard division. Why is should your audience? how to fi nd “C” (just to the left of the of the pipe organ, so we have a mythical that? Is not one enough? For how long § group of two black notes), and a little connection between birdcalls and the would you gaze at a painting by Rubens about how scales work. I asked what organ. All are wind-produced sounds. if every time he used red he used the I leave you with another lovely epi- songs he knows, and he quickly gave Different species of birds have hollow same red? sode from grandson Ben. His parents me “Twinkle, twinkle.” I played the cavities like sinuses, specially evolved I was taught a few rules of registration took him to early life music lessons tune in the key of C and showed him echoing bone structures, and other in my fi rst organ lessons. For example, it that included introductions to lots of how you can play it in different keys physiological features to help project was suggested that you should not use a instruments. (He has a pretty good using scales based on different notes. I their calls. The hermit thrush is a pudgy 4′ fl ute over an 8′ principal. Fair enough, embouchure for the copper-hunting compared major and minor scales, and LBJ with a peppered white breast, less you might say. But what if it sounds trumpet we have on the mantle.) In then played “Twinkle, twinkle” in the than seven inches long and weighing just good? You are not going to be pulled a recent visit, he and I sat together at minor. He furled his little fi ve-year-old a few ounces, but its call is heard clearly over and given a ticket for playing in a the piano for twenty or thirty minutes. brow, “Oh, Grandpa, that’s a very dark hundreds of feet away. “no fl ute” zone. I taught him the names of the notes, ‘Twinkle, twinkle.’” Q As the lusting Pan chased Syrinx to the bank of the river, to be rewarded only by the invention of a musical instrument, I wonder how many early musicians and craftsmen were inspired by birds to develop more sophisticated varieties of tone color. Listen. W HY CHOOSE Over centuries, organbuilders have developed countless different organ stops, each distinguished from the next by the shapes and dimensions of their AN APOBA FIRM? pipes. An experienced organbuilder, voicer, or tuner will automatically call up the characteristic sound of an English Horn when seeing the equally charac- W E PROMISE: teristic “Choo-choo Train” at the top of the resonator. Listen to a recording ◆ KNOWLEDGE ROOTED IN EXPERIENCE of colorful organ music or during a live performance and see how many differ- ent individual stops you can identify. ◆ TRADITION BLENDED WITH INNOVATION How would you describe the difference between the timbre of that English ◆ ECLECTICISM ENSURING MUSICAL RELEVANCE Horn and an Oboe or Clarinet? In your mind’s ear, do you know the differences ◆ QUALITY THROUGH CRAFTSMANSHIP between those stops? It is more diffi cult to identify by ear the stops that make up a big chorus, ◆ COMMITMENT TO BUILD HISTORY unless you are familiar with the given instrument. In the pews or on a record- ◆ AUTHENTIC SOUND FROM REAL PIPES! ing, it is easy to tell that you are hearing a principal chorus, but is there an 8′ fl ute playing that darkens the chorus just a little? Maybe (watch out for lightning bolts) even a 4′ fl ute? NORTH AMERICA’S PREMIER PIPE ORGAN BUILDING, REBUILDING AND SERVICE FIRMS Turn that story around. 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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 19 In memoriam

Michel Chapuis (1930–2017) A great organist, pioneer, and professor

By Carolyn Shuster Fournier Michel Chapuis in Versailles, June 5, 2010 (photo credit Michel Roubinet, with permission)

n November 12, 2017, the liturgical a collection of Alexandre Guilmant’s Oand international concert organist Archives of Organ Masters in the per- Michel Chapuis died. Also an eminent sonal library of the Marquis Bernard professor, historian, and organ reformer de Froissard7 in Azans, near Dole, he impassioned by architecture, acoustics, began to play the early French organ and organbuilding, he immensely con- repertory, using registrations mentioned tributed to the renaissance, conserva- in these scores. His grandfather and the tion, and restoration of early French church janitor pumped the organ bel- organs. He delighted in supporting artis- lows for him! In 1945, he began to study tic beauty: his noble, graceful, and poetic organ with Jeanne Marguillard, organist interpretations vibrated with rhythmic at Saint-Louis Church in Monrapont, pulsation, a natural fl owing expression, Besançon, where he accompanied two and a spiritual elevation that was fi lled church services each Sunday for two with mystery and joy. years on a Jacquot-Lavergne organ.8

His inspiration to become an Musical training in Paris organist and initial training After the Second World War, in 1946, Michel Chapuis was born Janu- Jeanne Marguillard came to Paris with ary 15, 1930, in Dole, situated in the Michel Chapuis, to introduce him to Burgundy-Franche-Comté region in Édouard Souberbielle.9 At the age of eastern France. His father was a primary sixteen, Chapuis began to study organ school teacher, and his mother worked as and improvisation with him at the César a telephone operator at the post offi ce. Franck School. This “true aristocrat of In 1938, when his grandmother brought the organ” possessed a vast culture and him to a Mass celebrating First Commu- an eminent spirituality that deeply infl u- nion in Notre-Dame Collegiate Church,1 enced all his students. He encouraged he was overwhelmed by its historic organ them to expand their musical knowledge by Karl Joseph Riepp (1754)/François by listening to great classical works, Callinet (1788)/Joseph Stiehr (1830, and Chapuis appreciated his methodi- 1855, 1858).2 Its grandiose sonorities, cal spirit. This master enabled him to which resonate beautifully in such mar- maintain a solid yet supple hand position velous acoustics, inspired him to become and taught how to “touch” the organ by an organist. The organ possesses one of varying articulations, how to improvise the fi nest examples of the French Grand fugues and trio sonatas, and used Marcel Plein-Jeu. This characteristic combina- Dupré’s improvisation method books to tion of the Fourniture and Cymbale mix- prepare him to study at the Paris Con- tures with the foundation stops is a full, servatory. Michel Chapuis completed his brilliant, and noble sound that contains solid musical formation there by taking all its various inherent harmonics—with piano lessons with Paule Piédelièvre,10 up to fi fteen pipes that sound on a single courses in harmony and counterpoint note. For Michel Chapuis, this sonority with Yves Margat,11 and fugue with symbolized God, eternity, and the entire René Malherbe.12 His fellow students The Riepp organ at the Dole Collegiate Church (photo credit: Michel Roubinet, with color spectrum. there included Simone Michaud13 and permission) Noting their son was extremely tal- her future husband, Jean-Albert Vil- ented, his parents purchased a piano lard,14 Father Joseph Gelineau,15 and First three church positions in Paris for him at the music shop of Jacques Denise Rouquette, who married Michel From his youth, Michel Chapuis loved Gardien, an ardent defender of the Chapuis in 1951.16 They lived on Clotaire the ritual aspects of liturgical music. Dur- Dole organ.3 Michel Chapuis acquired Street, near the Panthéon. ing his studies in Paris, he substituted for a fi rm and supple piano technique with To launch a career as an organist in many organists. Highly respected for his Miss Palluy, a disciple of Alfred Cortot. France, it was indispensable to obtain fi ne accompaniments of congregational For six months, he took lessons with a fi rst prize organ in Marcel Dupré’s singing, his vast liturgical knowledge, Father Barreau on the harmonium in class at the Paris Conservatory. After and his repertory, he was appointed titu- the Collegiate Church and helped him auditioning with Dupré in 1950, playing lar organist in several Parisian churches. accompany Masses there. He then began J. S. Bach’s Sixth Trio Sonata and Louis From 1951 to 1953, he accompanied to study organ with Odette Vinard,4 who Vierne’s Impromptu, thanks to his solid the liturgy on the Gutschenritter choir played at the Protestant Church in Dole, technique, Michel Chapuis enrolled in organ at Saint-Germain-des-Prés. and continued with her professor, Émile the Paris Conservatory the next Octo- From 1953 to 1954, he played the 1771 Poillot,5 organist at the Dijon Cathedral. ber. Nine months later, in June 1951, Clicquot/1864 Merklin organ at Saint- The grand organ at the Saint-Germain- In 1940, his family left Dole dur- he obtained his fi rst prizes in organ Germain l’Auxerrois Church, following l’Auxerrois Church, Paris (photo credit: ing the German occupation and went and improvisation, as well as the Albert in the footsteps of Alexandre Boëly. Henri de Rohan-Czermak, with permission) to Brive-Charensac, a village in the Périlhou and Alexandre Guilmant In 1954, he succeeded Line Zilgien19 Haute-Loire, where he accompanied prizes, awarded to the best student as titular of the 1777 Clicquot/1839 Braille, the inventor of the language church services on the harmonium.6 in the class.17 Gifted with mechanical Daublaine & Callinet/1842 Ducro- for the blind, served at the church from When he returned to Dole in 1943, he ingenuity, he followed Gaston Litaize’s quet/1927 Gonzalez organ at Saint- 1834 to 1839. This church, located near accompanied vespers in the Dole Col- advice and apprenticed with the organ- Nicolas-des-Champs and kept his title Arts and Métiers, was reconstructed in legiate Church, even improvising verses builder Erwin Muller from 1952 to there until 1970. Nicolas Gigault played a fl amboyant Gothic style in the twelfth between psalms. Delighted to discover 1953, in Croisy, just west of Paris.18 there from 1652 to 1707 and Louis century and attained its present form

20 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM that to enchant auditors, one must play like a singer, with clear pronunciation, an appropriate emotion, expression, and character: serious, sad, happy, or pleasant. An organist in the seventeenth cen- tury knew how to bring out the main themes, such as plainchants, and could boldly improvise counterpoint on them. Like harpsichordists, they “touched” keyboards by holding their fi ngers as close to the keys as possible. They played vividly on the Positive Plein Jeu, interpreted Récits tenderly, and played Tierces en tailles with emotional melan- choly. Their fi ngerings enabled them to play notes inégales naturally. During his nine years at Notre-Dame, Michel Chapuis did not need much time to prepare his work there: this gave him lots of time to consult hundreds of early French organ and singing treatises and prefaces from the sixteenth to the eigh- teenth centuries, beginning with Loys Bourgeois (1530), who had indicated that eighth notes should be sung in groups of two to render them more graceful. Thanks to his musical intuition, his solid supple technique, and his courageous spirit, he then incorporated notes iné- gales, appropriate ornaments, and regis- trations into his interpretations of early The grand organ at Saint-Séverin Church, Paris (photo credit: Michel Roubinet, with permission) French music. Michel Chapuis acknowl- edged Jules Écorcheville’s research.27 In in the seventeenth century. Its historic decorated Michel Chapuis with the notes inégales there, even though he had 1958, Chapuis gave a conference with Clicquot organ was the key that opened Chevalier of the Legion of Honor, he been playing them for over thirty years, Antoine Geoffroy-Dechaume28 at Saint- the doors to Michel Chapuis’ compre- recalled his improvisations at Notre- simply because he did not want to appear Nicolas-des-Champs Church, presenting hension of the early French organ. He Dame and had wondered if J. S. Bach to be original (“Je ne veux pas paraître musical illustrations of the application of also learned a great deal there from two had composed a seventh trio sonata! original”).25 Chapuis concluded that he notes inégales and dotted rhythms. The organbuilders, Claude Hermelin20 and was a bit timid, probably since the great interpretation of the French national Gabriel d’Alençon.21 A pioneer in early French music master organists in Paris at that time had hymn, La Marseillaise, is an excellent In 1954, Michel Chapuis succeeded interpretation not used them. Nonetheless, Melville example of the natural application of Jean Dattas as titular of the two-manual, Impassioned by early French Clas- Smith’s landmark recording highlighted notes inégales: although notated with seventeen-stop Merklin choir organ in sical music, Michel Chapuis realized Muhleisen and Alfred Kern’s 1955 res- eighth notes, it is sung with dotted notes. Notre-Dame Cathedral, in the heart that most of the Parisian organs by toration of this historic 1710 Silbermann Of course, when one uses early fi nger- of Paris. There, he accompanied the such builders as Cavaillé-Coll, Merklin, and received the Grand Prix du Disque. ings, one plays naturally with notes iné- Maîtrise choir, directed by the quick- and Gutschenritter were symphonic or Curious by nature, Michel Chapuis gales. This landmark conference inspired tempered Canon Louis Merret until neo-Classical in style, thus unsuitable carried out extensive research to organists such as Marie-Claire Alain29 1959; then by a marvelous musician, for the early French repertory. While understand the performance practice of and marked the beginning of a new era in Abbot Jean Revert, who allowed the con- organists did regularly play the reper- notes inégales. His departure point was early French music interpretation. gregation to sing during alternated verses toire, however, they did not use notes Eugène Borrel’s book on the interpreta- Michel Chapuis brought early French at vespers. Michel Chapuis accompanied inégales in their playing. For example, tion of French music from the seven- repertory to life, expressing past rhetoric all the daily Masses and nearly all the in 1956, when Michel Chapuis went teenth and eighteenth centuries [The naturally, with nobleness, simplicity, canonical offi ces in Gregorian chant: to Marmoutier to meet the American Interpretation of French Music (from and good taste. Guided continually by prime (on feast days), tierce, the grand Melville Smith, during his rehearsals for Lully to the Revolution)].26 This book, Eugène Borrel, his playing was “elegant, Mass, sext, none, vespers, and compline. the fi rst complete recording of Nicolas well in advance of its time, remained the distinguished, and animated without One day, a priest sang too high and de Grigny’s Livre d’Orgue by Valois, he continual reference point that guided excessiveness” [“élégant, distingué, reproached Michel Chapuis for playing was surprised that he did not dare to use Chapuis’ interpretations. It emphasizes chaleureux sans outrances”].30 In fact, a pitch that was too high, when, in fact, he had mistaken a tourist boat whistle on the Seine for an organ note! In spite of the hordes of tourists that invaded this church, this position brought great joy to faculty Chapuis for nine years: it enabled him to graduate study in Thomas Murray unite his capacities to resonate universal beauty in such a breath-taking setting, organ performance Professor of Organ with its traditional liturgy and its fantas- at Yale Institute of Sacred Music and Yale School of Music Martin Jean tic acoustics that enhance any musical note. Michel Chapuis strongly believed Professor of Organ that music ought to pacify, console, and Jeffrey Brillhart comfort humanity. Above all, he hoped that his musical offerings would illumi- Organ Improvisation nate other people’s lives.22 Walden Moore Michel Chapuis collaborated closely Liturgical Keyboard Skills with the two titulars of the grand organ: Pierre Cochereau23 and Pierre Moreau.24 Each Sunday the two organs dialogued, continuing a tradition established in 1402, when Frédéric Schaubantz degrees offered installed the grand organ in its present Master of Music location. This dialogue, issued from the Master of Musical Arts Gallican ritual, had remained intact, Doctor of Musical Arts except during the Revolution, from 1790 to 1798. A 1963 Philips record documented Pierre Cochereau playing his own Paraphrase de la Dédicace and Louis Vierne’s Triumphant March, with Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 Institute students receive full Michel Chapuis accompanying Jean tel 203.432.9753 fax 203.432.9680 · ism.yale.edu/musicprograms tuition scholarships. Generous Revert’s choir singing works by André [email protected] awards available to qualified Campra and Pierre Desvignes. In Sep- applicants. tember 1984, when Pierre Cochereau

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 21 In memoriam when he gave a concert on the Gonzalez (1919–1921).41 After his arrival, Michel organ at Saint-Merry Church in May Chapuis reinstated the classical system 1963, interpreting works by Titelouze, of rotating organists that existed before D’Aquin, and Dandrieu Noëls, no one the Revolution in Parisian churches. even noticed that he had played with Over the years, he shared this post with notes inégales.31 Nicole Gravet’s book on Jacques Marichal (1963–c. 1972)42 and registrations in French music from the Francis Chapelet (1964–1984),43 then sixteenth to the nineteenth centuries was with André Isoir (1967–1973), Jean a guide to him.32 His numerous record- Boyer (1975–1988), Michel Bouvard ings of early French music in the 1960s (1984–1994), François Espinasse (1988), testify to his natural assimilation of notes Michel Alabau (1986–2016), Christophe inégales: Dandrieu, Guilain, and Raison Mantoux (1994); and two substitute on the Clicquot in Poitiers (by Lumen) organists: Jean-Louis Vieille-Girardet and others by Harmonia Mundi: Fran- (1973–1994), and François-Henri Hou- çois Roberday at Manosque and Isle-sur- bart (1974–1979). In 2002, Chapuis was Sorgue, François Couperin’s two organ named honorary organist and Nicolas Masses on the Isnard at Saint-Maximin, Bucher succeeded him as titular until François Couperin at Le Petit-Andely, 2013, when he in turn was succeded by Louis Marchand and Gaspard Corette Véronique Le Guen.44 on the Clicquot in Souvigny (Grand In 1963, the 1748 Claude Fer- Prix), Nicolas Clérambault on the 1765 rard/1825 Pierre-François Dallery/1889 Bénigne Boillot at Saint-Jean de Losne, John Abbey45 organ was in poor shape. Gaspard Corette and D’Aquin in Mar- In 1963 and 1964, the Alsatian builder moutier (the only restored organ),33 Alfred Kern reconstructed the organ and his improvisations on the 1746 J. A. according to the plans of Michel Chapuis Silbermann at Saint-Quirin Lettenbach. and Philippe Hartmann,46 who decided upon the use of mechanical action. This Installation near Dole exemplary reconstruction as a four- During his military service at Mont- manual neo-Classical German-French Valérien (near Paris) from 1954 to 1955, organ with fi fty-nine stops marked a turn- Michel Chapuis met many of his lifelong ing point in French organ construction. acquaintances, notably Jacques Béraza It used all of the Abbey windchests and (the future organist at Dole, 1955–1998), existing pipes, including Claude Ferrard’s Jean Saint-Arroman34 (with whom he Positif Cromorne, the Récit Hautbois, collaborated in future organ academies and several mutation stops, along with and publications of early French music), twenty-two new stops. The disposition and the orchestra conductor Jean- of its newly constructed Plein-Jeu stops, Claude Malgloire. Shortly thereafter, he with its Cymbale-Tierce stop, allowed also met the ingenious organ visionary the interpretation of both early French and voicer, Philippe Hartmann.35 From and German literature for the fi rst time 1955 to 1958, Hartmann lived with in Paris and enabled Michel Chapuis to Pierre Cochereau’s family, on Boulevard accompany the congregational singing Berthier in Paris. He babysat for his with vitality and variety. The third key- The Robert Clicquot organ at the Royal Chapel, Versailles (photo credit: Michel Roubinet, children, Jean-Marc and Marie-Pierre, board, Récit-Resonance, enabled him to with permission) and enlarged his house organ to seventy couple the other two keyboards to it. The stops.36 A few years later, when Michel natural keys were made of ebony, and the Chapuis and Francis Chapelet came sharps of white cow bone. The Positif de to visit Pierre Cochereau, they joyfully dos was placed mid-height in the church, improvised a trio sonata on his organ, enabling the organ to resonate fully. his Steinway piano, and his harpsichord, Chapuis inaugurated the instrument before savoring some champagne!37 on March 8, 1964, with two different During this period, Chapuis visited programs: the fi rst consisting of works by Dole regularly. His appointment as organ Couperin, Buxtehude, and Bach; and the professor at the Strasburg Conservatory second, works by de Grigny, Marchand, in 1956 assured him a solid income. At Sweelinck, Böhm, and Bach.47 After Jacques Béraza’s advice, in 1958, he pur- initial work by Daniel Kern in 1982 and chased a historic seventeenth-century Dominique Lalmand in 1988, the organ home in Jouhe, a village near Dole, was restored again in 2011 by Domi- where he installed his pianos, harmo- nique Thomas, Quentin Blumenroeder, niums, and his personal library. During and Jean-Michel Tricoteaux, respecting this same period, Philippe Hartmann Alfred Kern’s work. moved to Rainans, a nearby village. Michel Chapuis had arrived at Saint- Together, their overfl owing energy, ency- Séverin during the Second Vatican clopedic knowledge, and extraordinary Council (1962–1965). This parish’s ecu- imagination infl uenced an entire genera- menical approach mirrored that of the tion of organbuilders who apprenticed Community in Taizé. With that in mind, there from 1958 to 1969, notably Alain Michel Chapuis adapted Bach chorales Anselm, Bernard Aubertin, Louis Ben- to the Catholic liturgy with French texts. oist, Jean Bougarel, Didier Chanon, Jean The organists collaborated with priests Carolyn Shuster Fournier, Yuko Hayashi, and Michel Chapuis at the Royal Chapel, Deloye, Barthélémy Formentelli, Gérald to prepare the liturgy in accordance with Versailles, June 1996 (photo credit: Jean-Pierre Luri, with permission) Guillemin, Claude Jaccard, Dominique the texts and the different colors of the Lalmand, Denis Londe, Marie Londe- liturgical year. Instead of beginning the Harmonia Mundi recorded his inter- In 1966, Édouard Souberbielle gave Réveillac, Jean-François Muno, Pascal Mass with Asperges me and an appropri- pretations of Jehan Titelouze’s hymns a concert at Saint-Séverin. In 1968 and Quoirin, Alain Sals, and Pierre Sarelot.38 ate Gregorian Introit, the chorale “Nun and Magnifi cat at Saint-Séverin. His 1969, Chapuis organized a concert series komm der Heiden Heiland” served other recordings in the 1960s and 1970s entitled “Renaissance of the Organ,” From Saint-Séverin to the Royal as the opening hymn during the four echoed the repertory he played there: for the Association for the Protection of Chapel in Versailles Sundays in Advent. Before each Mass, works by Louis Couperin (Deutsche Early Organs, on the fi rst Wednesday In 1963, at the suggestion of Father Michel Chapuis softly accompanied a Grammophon), Nicolas de Grigny of each month at 9:00 p.m.: on October Lucien Aumont,39 Michel Chapuis rehearsal of the liturgy. After improvis- (Astrée), French Noëls by Balbastre, 9, Michel Chapuis opened this series crossed the Seine River to the Latin ing a prelude to the opening hymn Dandrieu, and D’Aquin, and the com- with a Bach concert; on November 6, Quarter to succeed Michel Lambert- on the Positif Plein-Jeu, he accompa- plete works of Nicolas Bruhns, Vincent Marie-Claire Alain played Bach and Mouchague as titular of the grand organ nied the congregation on the Grand Lübeck, J. S. Bach, and Dieterich early German masters; on December at Saint-Séverin Church.40 Among some Orgue Plein-Jeu. Father Alain Ponsard Buxtehude (Valois).50 Recording the 4, Pierre Cochereau performed Bach, of the past organists who maintained requested Michel Chapuis to compose complete organ works of Bach was Mozart, Liszt, and improvised; on Janu- a great classical tradition there were: a Sanctus, known as the Saint-Séverin extremely diffi cult: after learning all ary 8, 1969, André Isoir gave an eclectic Michel Forqueray (1681–1757), Nicolas Sanctus, sung throughout France. Later, the scores, he recorded alone at night, concert for the Christmas season; on Séjan (1783–1791), Albert Périlhou, his former student and substitute organ- set up the magnetic tapes, pushed the February 5, Francis Chapelet played composer and director of the Nieder- ist, François-Henri Houbart, composed “record” button, and went up to the selections of Art of the Fugue and the meyer School (1889–1914), Camille a partita based on this Sanctus.48 organ loft to play; if there was a noise Toccata in C Major by Bach; on March 5, Saint-Saëns, honorary organist (1897– Two recordings by Cantoral49 attest to or the slightest error, he started all over, Helmuth Walcha was scheduled to play 1921), and Marcel-Samuel Rousseau Michel Chapuis’ fi ne accompaniments. until it was perfect. Bach’s Clavierübung III, but, unable to

22 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM perform, was replaced by Marie-Claire Micot organ in Saint-Pons-des-Thomières Saint-Sulpice in Paris, by Jean Renaud; At the Strasbourg Conservatory, Alain; on May 7, Xavier Darasse per- (in the Hérault), the organist, Jean Ribot, Charles-Marie Widor’s 1893 house Michel Chapuis taught in the Catholic formed Messiaen, Bach, and Ligeti; and hid the keys so that he could not enter the organ in Selongey, Côte d’Or (1986), organ class, alongside André Stricker,65 on June 6, Luigi Ferdinando Tagliavini organ loft to look at the organ.56 and Édouard André’s 1874 house organ who was in charge of the Protestant performed Frescobaldi, Muffat, and Michel Chapuis strongly supported in Decize, by Claude Jaccard; the grand organ class. As the organ department Bach. In the fall of 1969, concerts were research on the French Classical organ organ in Poligny, by Dominique Lalmand grew, two more professors were added to given by Michel Chapuis, Heinz Wun- Plein-Jeu, notably by his friends Jean and Claude Jaccard, the grand organ balance the department: in 1962, Marc derlich, Anton Heiller, and Helmut Wal- Fellot57 and Léon Souberbielle.58 Thank- in Saint-Sernin Basilica in Toulouse, by Schaefer,66 a Protestant, and, in 1963, cha. From October 1970 to June 1971, fully, in 1954, Pierre Chéron and Rochas Boisseau-Cattiaux. Pierre Vidal,67 a Catholic. In June 1964, Michel Chapuis performed the complete saved the splendid Grand Plein-Jeu in Helmut Walcha inaugurated the Kurt works of J. S. Bach there. the 1774 Isnard organ at Sainte Marie- Organ professor Schwenkedel organ (III/64) in the con- In 1995, Michel Chapuis was Madeleine Basilica in Saint-Maximin- An eminent professor, Michel servatory concert hall. Michel Chapuis appointed titular of the prestigious his- la-Sainte-Baume.59 In 1957, Robert Chapuis acknowledged that the best helped to determine its stoplist, which toric Robert Clicquot organ,51 rebuilt by Boisseau voiced a Roethinger organ in way to learn music is to teach it. He he described as being both “classical Jean-Loup Boisseau and Bertrand Cat- the French Classic style that included a loved to transmit his musical heritage and personal.”68 Of note, the organ case tiaux, at the Royal Chapel in Versailles. Plein-Jeu as described by Dom Bédos, and his practical knowledge. His intu- included horizontal Montre pipes. On November 18 and 19, 1995, he in Saint Louis du Temple Benedictine ition and his astute sense of observation In 1986, when Michel Chapuis began inaugurated this organ and was named Abbey in Limon-Vauhallan (in the and analysis enabled him to transmit to teach at the Paris Conservatory, honorary organist there in 2010. This Essonne south of Paris). It was designed elements of interpretation that cannot it was still located on Madrid Street, position was the crowning summit of his by Édouard and Léon Souberbielle. always be explained. He taught organ at before its transfer to la Villette in 1991. concert career.52 At this exquisite historic On November 7, 1959, Claude Philbée the Strasburg Conservatory from 1956 Instead of giving lessons on the dusty royal palace, he was truly an ambassador made a private recording of Michel to 1979, at the Schola Cantorum in Paris 1951 Jacquot-Lavergne organ there, he for French culture, receiving artists from Chapuis improvising to demonstrate the from 1977 to 1979, at the Besançon preferred to teach on beautiful church the entire world. organ’s stops.60 Conservatory from 1979 to 1986, and organs: at Saint-Séverin, in Dole, and In 1967, Michel Chapuis pleaded with then succeeded Rolande Falcinelli at in Poligny. Open-minded, he never A. F. S. O. A.: The Association for André Malraux, the minister for cultural the National Superior Conservatory of imposed any particular interpretation the Protection of Early Organs affairs since 1959, for new policies con- Music in Paris, from 1986 to 1995. He on his students69 but used his immense On December 21, 1967, a group of cerning the restoration of early organs. also gave masterclasses in numerous knowledge, his fantastic imagination, organists, organ historians, and build- He explained that past massacres of academies in France: early French music his humanistic approach, and his witty ers, as well as amateur organ admirers, historic organs had given a bad name to on the historic Isnard organ at Saint- humor to guide them from the visible joined forces to protest against abusive organbuilding in France. He estimated Maximin-la-Sainte-Baume Academy, text to the invisible spirit of the music. transformations of historic French that around seventy historic organs founded in 1962; German and French He emphasized the importance of a organs and founded the Association remained intact in France: thirty large early music on the 1752 Riepp/1833 calm, supple body, notably in hands and for the Protection of Early Organs instruments and forty smaller instru- Callinet organ in Semur-en-Auxois (in wrists, to give great lightness and liberty [A. F. S. O. A., Association pour la sau- ments. He suggested that, as in Austria the Côte-d’Or) in the mid-1970s;63 in to fi ngers, which remain in contact with vegarde de l’orgue ancien]. Their fi rst or the Netherlands, a group of experts the Pierrefonds Academy (in the Oise) the keys. With his soft, sweet voice, general meeting took place on March be appointed to form a new national with Jean Saint-Arroman in the 1980s; he calmly encouraged students to go 1, 1968. Jean Fonteneau, a substitute commission of historic organs in addi- and in Saint-Bertrand-de-Comminges64 beyond the notes, to recreate the com- organist at Saint-Séverin, was president tion to regional commissions. Before (in the Haute-Garonne) from 1976 to poser’s musical conception in a harmo- for the fi rst year; the organ historian dismantling each organ for restoration, 2008, notably with André Stricker and nious and sober manner. He abhorred Pierre Hardouin, its primary editor; it should be completely evaluated and Jean Saint-Arroman. He also gave mas- inadequate and superfi cial ornaments Michel Bernstein, editorial secretary; inventoried, with precise measurements, terclasses in Stapelmoor, Germany (with and inappropriate expression. He and Michel Chapuis, artistic advisor. photos, and recordings. However, advo- André Stricker and Pierre Vidal), as well enabled his students to understand Among its honorary members were cating for drastic changes in the French as in the United States and Japan. the inherent marvels in each score, Jean-Albert Villard and Helmut Win- administration was not an easy task! ter. Other members included Father As A. F. S. O. A. encouraged, restora- Lucien Aumont, Michel Bernstein, tions were carried out that respected Bernard Baërd, Dominique Chailley, the past. As a member of the Commis- Jacques Chailley, Francis Chapelet, sion for Historical Monuments, Michel Pierre Chéron, Pierre Cochereau, René Chapuis travelled in his Citroën van to Delosme, Christian Dutheuil, Robert visit organs and photographed them Gronier (a future president), André with his Rollefl ex box camera. Here are Isoir, Henri Legros, Émile Leipp, the some of the organs beautifully restored architect Alain Lequeux, the astrono- between 1968 and 1998: Perthuis, mer James Lequeux, Charles-Walter Malaucène, Saint-Guilhem-le-Désert, Lindow, Pierre-Paul Lacas, Dominique Saint-Lizier, Forcalquier, and Sète by Proust, Jean Saint-Arroman, Gino San- Alain Sals; Houdan by Robert and Jean- dri, Marc Schaefer, Jean-Christophe Loup Boisseau; three cuneiform bellows Tosi (a future president), and Jean Ver to activate the wind in the Clicquot Hasselt. They struggled to renew inter- in Souvigny by Philippe Hartmann; est in the unforgotten historic early Ebersmunster by Alfred Kern; Albi and French organ and its music. In 1969, Carcassonne by Barthélemy Formentelli; A. F. S. O. A. organized an international Villiers-le-Bel, Juvigny, and the Dom François Couperin competition for Bédos in Bordeaux by Pascal Quoirin; organ and harpsichord at Saint-Séverin Semur-en-Auxois by Jean Deloye with and on the François-Henri Clicquot Philippe Hartmann; Seurre in Bour- organ (1772), restored by Alfred Kern, gogne, Saint-Martin-de-Boscherville at the Royal Chapel in Fontainebleau. It in Normandy, and Saint-Antoine- also organized visits to organs, such as L’Abbaye by Bernard Aubertin; the 1790 the Clicquot at the Poitiers Cathedral, Clicquot in Poitiers by Boisseau-Cattiaux and organs in Alsace. Society;61 Bolbec by Bertrand Cattiaux; A. F. S. O. A. ardently defended a and the reconstruction of the Jean de respectable restoration of the 1748 Dom Joyeuse in Auch by Jean-François Muno. Bédos organ in Bordeaux and protested Between 1994 and 1997, the builders against Gonzalez’s restoration of the Claude Jaccard and Reinalt Klein built historic Couperin organ at Saint-Gervais a replica of the Houdan organ (except Church in Paris.54 In 1954, this fi rm, the case) in the Kreuzekirche Church under Norbert Dufourcq’s direction, had in Stapelmoor, Germany (in the North already considerably transformed Jean de of Ostfriesland): Organeum Records Joyeuse’s 1694 Baroque 16′ organ in Auch recorded Michel Chapuis playing works Cathedral: out of the 3,060 pipes there, by Böhm, Boyvin, Dandrieu, and Jullien 620 were considerably altered and 2,240 on this organ on September 17, 1998.62 had disappeared, notably the Grand In the 1980s, Michel Chapuis sup- Plein-Jeu.55 Michel Chapuis felt that ported the Cavaillé-Coll Association, Victor Gonzalez’s neo-classical Plein-Jeu, which advocated for quality restora- although pitched too high, was remark- tions of Romantic organs. He kindly ably well-voiced and suitable for a small advised this author’s research on Aristide instrument installed in a studio or a home, Cavaillé-Coll’s secular organs. Among but not for a large organ in a church. the Cavaillé-Coll organs restored When Norbert Dufourcq went to visit the between 1985 and 1997: the grand historic eighteenth century Jean-Baptiste organs in Sacré-Coeur Basilica and in

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 23 In memoriam its underlying harmonies, rhythmic the Besançon Conservatory); Valéry structures, and melodic expression, and Aubertin, Valérie Aujard-Catot, Franck helped them to incorporate these ele- Barbut, Philippe Brandeis, Yves ments into their interpretations with Castagnet, Slava Chevliakov, Denis Com- an appropriate style, with spontaneity, tet, Françoise Dornier, Thierry Escaich, good taste, and excellent registrations. Pierre Farago, Jean-François Frémont, How fortunate I was to study with Mathieu Freyburger, Christophe Henry, Michel Chapuis and Jean Saint-Arroman Emmanuel Hocdé, Jean-Marc Leblanc, at the Academy in Pierrefonds in 1983 Marie-Ange Laurent-Lebrun, Éric and 1984. Eugène Borrel’s book on the Lebrun, Véronique Le Guen, Erwan interpretation of early French music Le Prado, Gabriel Marghieri, Pierre was truly indispensable to interpreting Mea, Nicolas Reboul-Salze, Marina early French music expression in a well- Tchébourkina,73 Vincent Warnier (at balanced harmonious manner, with nat- the National Superior Conservatory of ural fl uidity and ease. We accompanied Music), and Frédéric Munoz (in numer- singers to understand the underlying ous academies). nature of a musical text, its pronuncia- tion, its appropriate expression and style, International concert artist its inherent harmonies. We studied the Michel Chapuis was a great artist who early French organ and its music: fi gured consecrated his entire life to enriching basses, dance rhythms, registrations, other people’s lives with beautiful music. tempi, temperaments, ornamentations, Although he often said that he never Michel Chapuis playing a G Major chord on the Johann Andreas Silbermann organ and learned how to appropriately express took vacations, in all truth, he worked in the Protestant Church, Gries (Bas-Rhin), 1984 (photo credit: Carolyn Shuster Fournier, and embellish the musical line. Its sweet, too much, giving generously to others: with permission) gentle expression70 fi nds its summit in as a teacher, as a member of the national the Tierce taille and numerous Récits. organ commission for cultural affairs, as a Michel Chapuis considered himself to Glossa Records recorded his impro- We presented recitals at Saint-Séverin church musician, and as a concert artist. be Catholic in the universal sense of the vised verses in Marc-Antoine Charpen- and Saint-Gervais churches. While study- He delighted in sharing his passions with term.75 On May 7–8, 1979, during the tier’s Messe de Monsieur de Mauroy at ing on early historic instruments does not others: photography, tramways, historic inauguration of Alfred Kern’s restora- Saint-Michel-en-Thiérache with Hervé guarantee a beautiful performance, it books, and architecture, among others. tion of the 1741 Jean-André Silbermann Niquet’s Le Concert spirituel. In 2000, enables an interpreter to play ornaments, Fascinated with movement, he often organ at Saint-Thomas Lutheran Church Plenum Vox recorded his inauguration registrations, phrasing, etc., with greater invited visitors to his home to take a ride in Strasburg, he illustrated the mission of of Bernard Hurvy’s twenty-six-stop ease. As Jean Saint-Arroman pointed out, in his old train wagons, which he pushed the organ in the church by improvising early nineteenth century transitional- it is impossible for early music to be heard on the train tracks he had installed in in the French Classical style on themes style organ in Charbonnières-les-Bains as in former centuries because “life and his yard: an unexpected experience! His from the old Parisian Ritual. Like the (near Lyon), with the Saint-Roch Choir sensibility have changed too much, and, listeners sensed such sparkling joy when great humanist Albert Schweitzer, who directed by J. M. Blanchon, with works at least for the listeners, the music which listening to his captivating interpretations, had preached in this church, he believed by Bach, Buxtehude, Mendelssohn, was ‘modern’ has become ‘ancient’” [“la from its kindling intense, fi ery warmth to that when music is felt deeply, either Guilmant, Bruckner, and improvisa- vie et la sensibilité ont trop chargé, et, au its gentle gracious sweetness. Conscious of sacred or secular, it resonates in spiritual tions on Salve Regina. Ekaterina moins pour les auditeurs, la musique qui the acoustical resonance of each room, he spheres where art and religion may meet. Fedorova, soprano, the founder of Ple- était ‘moderne’ est devenue ‘ancienne’”].71 knew how to let silences speak fully, thus Michel Chapuis played concerts in num Vox Records, gave many concerts Michel Chapuis inspired an entire clarifying the musical narration and pro- Europe, the United States, Russia, and and recorded with him: Magnifi cats generation of organists, among them: viding it with spiritual depth and elevation. Japan. He came to the United States at by Guilain, Dandrieu, Beauvarlet- Scott Ross (at Saint-Maximin); Robert When I met Michel Chapuis in Saint- least on three occasions. On November Charpentier, and improvisations on the Pfrimmer, Étienne Baillot, Antoine Séverin in 1984, I admired his noble yet 26 and 27, 1968, he gave a recital and Dom Bédos organ at Saint-Croix Abbey Bender, Lucien Braun, Henri Delorme, gentle manner of playing. Although his masterclass at Northwestern University Church in Bordeaux in 2002, and Bur- Alain Langré, François-Henri Houbart, hands were robust and gnarled, as if he School of Music, Evanston, Illinois, and gundian Christmas carols, vocal works Jean-Louis Vieille-Girardet, Hélène had labored as an eighteenth-century returned to play at Rockefeller Memorial by Clérambault, and improvisations Hébrard, Chieko Mayazaki and Henri tanner along the canals in Dole, once Chapel, University of Chicago, in 1978. on the 1768 Bénigne Boillot organ in Paget (at Strasbourg Conservatory); he began to play, they fl oated just above During this same year, he inaugurated Saint-Jean-de-Losne in 2003. Régis Allard, Michel Bouvard,72 Yasuko the keyboards, but his fi ngers were the Yves Koenig organ at Saint-Sulpice At the end of each concert, Michel Uyama-Bouvard, Makiko Hayashima, deeply enrooted in the keys,74 like those Church in Pierrefonds, performing Chapuis improvised in a style that valo- Hisaé Hosokawa (at the Schola Canto- of J. S. Bach! His vivid imagination and Nicolas de Grigny’s entire Organ Mass. rized the organ with a wide variety of rum); Marc Baumann, Sylvain Ciaravolo, fantasy excelled in the interpretation of In Japan, he gave his fi rst organ recital registrations. In 2004, when he impro- Pierre Gerthoffer, Luc Bocquet, Éric Dieterich Buxtehude’s works. I remem- in the NKH Hall in Tokyo in 1976. He vised at the end of his concert on Jean- Brottier, Bernard Coudurier, Roland ber the numerous interesting discussions inaugurated three Aubertin organs there: François Muno’s exemplary reconstruc- Servais, Véronique Rougier, Vinciane in the church reception hall after Mass his opus 48 (III/48), in the French Clas- tion (1992–1998) of the 1694 Jean de Rouvroy, Marie-Christine Vermorel (at with artists from all over the world. sical style at Shirane-Cho/Minami-Alps Joyeuse organ at Auch Cathedral, he in 1993, where he returned at least ten received a standing ovation that lasted times to give academies, concerts, and for over ten minutes! During the last masterclasses, recorded by Plenum Vox ten years of his life, even as his vision in 1999; opus 13 (II/13) in the Lutheran deteriorated, his luminous and graceful Church in Tokyo in 1999; and opus 22 improvisations continued to enlighten (II/22) in a home in Karuizawa in 2003. his audiences. Many of them were

II — 19 ranks II — 19 He gave concerts and masterclasses many recorded live by Plenum Vox: a 2003 times in Russia, notably on the Charles DVD in the Royal Chapel in Versailles Mutin organ at the Tchaikovky Conserva- and in Souvigny, a 2004 CD in the tory in Moscow beginning in 1993. Romantic style on the Cavaillé-Coll

opus 133 valdese, north carolina north valdese, Throughout his entire career, Michel organs at Saint-Ouen and Poligny, and Chapuis collaborated with singers, a 2005 DVD in the German Baroque choirs, and orchestras, as illustrated in style on Bernard Aubertin’s organ at several recordings: the 1967 Harmonia Saint-Louis-en-l’Île Church in Paris. Mundi record of François Couperin’s He had assimilated the early French Leçons de Ténèbres with Alfred repertory so well that he was capable Deller, countertenor; Philip Todd, tenor; of improvising in the style of each and Raphael Perulli, viola da gamba, composer and each period. He knew

Waldensian Presbyterian Church Waldensian at Augustins Chapel in Brignolles how to discern the tonalities that reso- (Var); in 1997: Quantin CD of four nated well on each organ: for example, rneauor ou ga Handel concertos, opus 4, with the C Major and D Major in Dole, and G et n .l s .c w Marais Chamber Orchestra directed Major at Saint-Séverin. follow o w us on m w facebook! by Pascal Vigneron; and an Astrée Michel Chapuis’ 2001 Plenum Vox CD of Marc-Antoine Charpentier’s recordings in Dole remind us that this Port Royal Mass in Houdan, directed organ remained the star that inspired by Emmanuel Mandrin; a 1998 CD him throughout his entire career. These of his inauguration of Laurent Plet’s three CDs illustrate his eclectic reper- restoration of the 1847 Callinet organ tory on this versatile instrument with at Saint-Pierre Church in Liverdun three faces: the German face (Buxte- 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA captured his accompaniments of three hude, Kellner, Rinck, with improvisa- t 800 625-7473 [email protected] local choirs, with works by Scheidt, tions), the French face (Boyvin, Tapray, Rinck, Boëly, Mendelssohn, Ritter, d’Aquin, Balbastre and improvisations Herbeck, and Berthier.76 In 1999, on Ave Maris Stella), and the Romantic

24 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM face (Mendelssohn, Czerny, Guilmant, 18. Jean-Marc Cicchero, Hommage à une rated with Georges Lhôte, with Jean Deloye cf. www.france-orgue.fr/disque. Brosig, Boëllmann, and Franck). Passion, Éd. O. V., 2018, p. 126. Erwin Muller from 1969–1975, worked independently at Le 57. Jean Fellot (1905–1967) wrote À la In addition to being a pioneer who had apprenticed with Schwenkedel, then as a Havre in 1982, and as a voicer for Haerpfer. recherche de l’orgue classique (reedited by voicer with Gonzalez. His shop was active in 36. In 1993, Daniel Birouste incorporated it Édisud in 1993). revolutionized the French organ world in Croissy from 1950–1986. into the organ at the Saint-Vincent Church in 58. This book was written by hand and the second half of the twentieth century, 19. Line Zilgien (1906–1954), organist there Roquevaire (Bouches-du-Rhône). printed by the author at Montoire-sur-le- this great concert and liturgical organ- from 1940–1954, was close to Claire Delbos, 37. Cf. Yvette Carbou, Pierre Cochereau Loir in 1977. ist and professor generously shared his Olivier Messiaen’s wife. Témoignages (Zurfl uh, 1999), p. 38. 59. Cf. Pierre Chéron’s inventory in L’Orgue time, knowledge, and documents with 20. Claude Hermelin (1901–1986), began 38. Cf. Jean-Marc Cicchero, op. cit., pp. de Jean-Esprit et Joseph Isnard à la Basilique to study voicing in 1923 with Charles Mutin 104–105. de la Madeleine à Saint-Maximin, 1774, pref- his colleagues, students, and friends. His (cf. J.-M. Cicchero, op. cit., p. 64) and wrote 39. Father Lucien Aumont (1920–2014) aced by Michel Chapuis (Réalisation Art et conception of French good taste goes articles under the alias Jean Mas. lived in a tower of Saint-Séverin Church. Culture des Alpes-Maritimes, Nice, 1991). beyond time and space: it encourages us 21. Gabriel d’Alençon (1881–1956) re- From 1947 until 1987, he recorded concerts 60. According to Sister Marie-Emmanuelle, to memorialize the past, far beyond an stored the 17th-century organ in Rozay-en- there and broadcast them in programs at Ra- this organ had 31 manual stops and its pedal Brie and was interested in temperaments. dio-France-INA. stops were borrowed. Curiously, its action idea of comfort and superfi cial rapidity, From 1936 to 1939, Claude Hermelin col- 40. He had been organist there from 1921 was electro-pneumatic. One can hear Michel by embracing beauty with simplicity, con- laborated with him in Sotteville-lès-Rouen, until 1960. Chapuis’ improvisations on https://youtu.be/5u- stant research, meditation, and spiritual and they gave courses in organbuilding at 41. Cf. Félix Raugel, Les Grandes Orgues 0eR3BYko. This organ was integrated into depth. In addition to his beautiful music, Schola Cantorum, Paris. des Églises de Paris et du Département de la a new 42-stop neo-classical organ by Olivier Chevron, inaugurated in the Abbey at Celles- his humanistic and fraternal approach to 22. Cf. Claude Duchesneau, op. cit., pp. Seine, Paris, Fischbacher, pp. 100–102. 212–213. 42. Jacques Marichal (1934–1987) was also sur-Belle (Charente-Maritime) on May 5, 2018. life, his conviviality, his humble simplic- 23. Pierre Cochereau (1924–1984) was titu- choir organist at Notre-Dame Cathedral from 61. Cf. Cathédral de Poitiers, 1787 à 1790, ity, as well as his liberty of spirit, will lar of the grand organ at Notre-Dame Cathe- 1964 to 1987. L’Orgue de François-Henri Clicquot (Direc- continue to inspire us. Q dral, 1955–1984. 43. Francis Chapelet (1934), a well-known tion of Cultural Affaires in Poitou-Charentes, 24. Pierre Moreau (1907–1991) played specialist in Spanish organ music, is honorary 1994). 62. This CD also includes Harald Vogel in A French-American organist and there, 1946–1986. Michel Chapuis wrote the organist at Saint-Séverin. preface to his Livre d’Orgue (Europart Music, 44. The three actual titulars at Saint-Séverin the Georgskirche. musicologist, Carolyn Shuster was 1990). are François Espinasse, Christophe Mantoux, 63. He taught in Semur-en-Auxois with organist at the American Cathedral in 25. Claude Duchesneau, op. cit., p. 96. and Véronique Le Guen. Odile Bayeux (organ), Blandine Verlet Paris. In 1989, she was appointed titular 26. Eugène Borrel (1876–1962), violinist 45. John Abbey II (1843–1930). (harpsichord), Alain Anselm (harpsichord building), Philippe Hartmann (organbuild- of the Cavaillé-Coll choir organ at the and musicologist, L’Interprétation de la mu- 46. In 1966, Philippe Hartmann built a sique française (de Lully à la Révolution), ing) and Jean Saint-Arroman (French per- Trinité Church and founded their weekly choir organ (I/7) for Saint-Séverin. Roger formance practice). Paris, Librairie Félix Alcan, 1934, p. 150. Chapelet, Francis Chapelet’s father, painted concert series. She has performed over 27. Jules Écorcheville (1872–1915), mu- its organ case. 64. This festival was founded by Pierre La- croix in 1974 under the musical direction of 500 concerts in Europe and in the United sicologist, wrote De Lulli à Rameau— 47. L’Orgue, no. 112, Oct.–Dec.1964, p. 110. States. She has also contributed articles to L’esthétique musicale (Paris, 1906). Jean-Patrice Brosse. 48. François-Henri Houbart, Partita sur un 65. André Stricker (1931–2003) taught Revue de musicologie, La Flûte Harmo- 28. Antoine Geoffroy-Dechaume (1905– choral dit Sanctus de Saint-Séverin (Delatour 2000), Les secrets de la musique ancienne, there, 1954–1996. He had studied with nique, L’Orgue, Orgues Nouvelles, The France, 2010). Helmut Walcha. recherches sur l’interprétation (Fasquelle, 49. Cantoral: UD 30 1299 and 5, UD 30 American Organist, and The Diapason. 1964). 66. Marc Schaefer (b. 1934), a former An- 1385. dré Stricker student, taught there until 2000. Her recordings have been published by 29. Cf. Jesse Eschbach, “Marie-Claire 50. For a complete list of Michel Chapuis’ EMA, Ligia Digital, Schott, and Fugue Alain, pédagogue internationale,” Marie- 67. Pierre Vidal (1927–2010), composer and recordings, cf. Alain Cartayrade, www. musicographer, remained there until 1991. Claire Alain, L’Orgue, Cahiers et Mémoires, france-orgue.fr/disque. State Films. In 2007, the French Cultural 68. Cf. Jean-Louis Coignet, “L’Orgue du no. 56, 1996—II, p. 59. She mentions that 51. Cf. M. Tchebourkina. L’orgue de la Cha- Minister awarded her the distinction of this concert took place in 1958, but this date Conservatoire de Strasbourg,” L’Orgue, no. pelle royale de Versailles: À la recherche d’une 117, January–March 1966, p. 39. Knight in the Order of Arts and Letters. needs to be verifi ed. composition perdue // L’Orgue. Lyon, 2007. Carolyn Shuster expresses her 30. Eugène Borrel, op cit., p. 150. 2007–IV no. 280. She was organist at the Roy- 69. Cf. Éric Lebrun article blog SNAPE: gratitude to Dominique Chailley, Claude 31. Claude Duchesneau, op. cit., p. 98. al Chapel in Versailles 1996–2010. www.snape.fr/index.php/2017/11/13. Jaccard, Sister Marie-Emmanuelle, 32. Nicole Gravet, L’orgue et l’art de la reg- 52. Plenum Vox (PV 004) recorded a CD 70. Cf. Eugène Borrel, op. cit., p. 148. e 71. Jean Saint-Arroman, “Authenticity,” in and Barbara Owen for their help and istration en France du XVI siècle au début du of Nivers, Lebègue, Couperin, Dandrieu, XIXe siècle, originally published in 1960, it was Marchand, and Lully there in 1999 and a Dictionnaire d’interprétation (Initiation), encouragement during the preparation reedited with a preface by Michel Chapuis, DVD in 2003. Paris, Honoré Champion, 1983, p. 13. of this article. Chatenay Malabry, Ars Musicae, 1996. 53. Bärenreiter published the fi rst eight 72. Michel Bouvard was an auditor and stud- 33. In 1996, the European Organ Center in issues of their periodical, Renaissance de ied with Chapuis at Saint-Séverin. Notes Marmoutier reedited Michel Chapuis’ inter- L’Orgue, from 1968 to 1970, followed by Con- 73. In 1999, Natives recorded the organ 1. Cf. Marc Baumann, “Interview with pretations of Böhm, Buxtehude, J. S. Bach, noissance de l’orgue, until 2000. At the end of works of Claude Balbastre interpreted by Michel Chapuis in Marienthal,” transcribed de Grigny, and Dandrieu on this organ. the 1960s, Jean Fonteneau taught at the Mas- Michel Chapuis and his student Marina by Hubert Heller, February, 2003, and in 34. Cf. his publications on French Clas- sachusetts Institute of Technology. While in the Tchebourkina on the historic grand organ at www.union-sainte-cecile.org. sical music, 1661–1789: Dictionnaire Boston area, he promoted A. F. S. O. A. by or- Saint-Roch Church, Paris. 2. Cf. Pierre M. Guéritey, Karl Joseph d’interprétation (Initiation), (Honoré Cham- ganizing concerts and lectures at Saint Thomas 74. Cf. Roland Servais, “Ses mains étaient Riepp et l’Orgue de Dole, 2 vol. (Lyon, pion, 1983) and L’Interprétation de la mu- in New York City and at Harvard University. comme des racines,” Chronique des Monia- FERREOL, 1985). sique pour orgue (Honoré Champion, 1988); 54. In May and June 1967, several articles les, Abbaye Notre-Dame du Pesquié, March 3. Cf. Jacques Gardien, “Les Grandes his early music facsimiles are edited by Anne appeared in the French newspaper Le Monde 2018, pp. 25–27. Orgues de la Collégiale de Dole,” L’Orgue, Fuzeau. He teaches in the early music depart- and L’Art Sacré. This restoration by Gonza- 75. Cf. Pastor Claude Rémy Muess, “L’église no. 25, March 1936, pp. 6–14. ment at the National Superior Conservatory lez was highly supervised by the A. F. S. O. A. luthérienne Saint-Thomas de Strasbourg re- of Music in Paris. 55. Cf. Michel Chapuis, notes in the Ple- trouve son orgue Silbermann,” L’Orgue, no. 4. Odette Goulon, her married name, was 35. Philippe Hartmann (1928–2014) had ap- num Vox CD of the complete works of 173, January–March 1980, pp. 5–11. appointed organist at Temple du Luxembourg Jacques Boyvin in Auch, PV 011, 2004. in Paris in 1991. The dates of organists in this prenticed with Gutschenritter, worked three 76. Available at: Association Amis de l’orgue article are mostly those found in Pierre Guil- months for Gonzalez, for Émile Bourdon in 56. XCP Montpellier, recorded Michel de Liverdun, 1, place des Armes, 54460 lot, Dictionnaire des organistes français des Dijon, eight years for Pierre Chéron, collabo- Chapuis’ concert there on September 5, 1993: Liverdun, France. XIXe et XXe siècles, Sprimont, Belgium, 2003. 5. Émile Poillot (1886–1948) was organist of Saint-Bénigne Cathedral, Dijon, 1912–1948. 6. Cf. Claude Duchesneau, Plein Jeu, In- Penny Lorenz Artist Management terviews with Michel Chapuis (Vendôme: Le Centurion, 1979), p. 34. The Germans occu- presents pied Dole from June 17, 1940, to September 9, 1944. 7. Marquis Bernard de Froissard (1884– 1962) was an administrator of Société Cavail- lé-Coll, Mutin, Convers, & Cie. 8. Jeanne Marguillard was organist at Sainte-Madeleine Church, Besançon, 1947– 1993. 9. Édouard Souberbielle (1899–1989) also taught at Schola Cantorum and at Insti- tut Grégorien. 10. Paule Piédelièvre (1902–1964) studied piano with Blanche Selva and was organist at Étrangers Church. 11. Yves Margat contributed articles to Guide du Concert. Craig Cramer Kathrine Handford Balint Karosi Christophe Mantoux 12. René Malherbe (1898–1969) was organ- ist and choir director at Saint-Pierre-du-Gros- Caillou Church. For Organ Recitals & Workshops, 13. Simone Villard (b. 1927) was appoint- ed organist at Sainte-Radegonde Church in Please Contact: Poitiers in 1952. 14. Jean-Albert Villard (1920–2000) was or- ganist at Poitiers Cathedral, 1949–2000. Penny Lorenz 15. Joseph Gélineau, SJ (1920–2000), was a Jesuit priest, composer, and French liturgist. 425.745.1316 16. Denise Chapuis (b. 1928). They had sev- [email protected] en children: Jean-Marie (†), Claude (†), Bruno, Laurent (who worked with the harpsichord www.organists.net builder Anselm and the organbuilder Alain Sals), François, Claire (†) Christophe, ten Aaron David Miller Jack Mitchener grandchildren, and two great-grandchildren. 17. Cf. Claude Duchesneau, op. cit., p. 58.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 25 Pipe organ documentation

The 1864 William A. Johnson Opus 161, Piru Community United Methodist Church Piru, California, Part 3 A virtually complete documentation and tonal analysis derived from the data, drawings, and photographs from the restoration of 1976 by Michael McNeil and David Sedlak

By Michael McNeil

Editor’s note: Part 1 of this article was published in the August 2018 issue of THE DIAPASON, pages 16–19. Part 2 was published in the September 2018 issue, pages 20–25.

We continue with the description of the Swell and Pedal stops of Johnson Opus 161 along with data on their scal- ing and voicing. In the fi nal installment we will graphically analyze the scaling and voicing data of the Great and Pedal divisions, comparing them to the Great principal chorus of the 1863 E. & G. G. Hook organ formerly at the Church of the Immaculate Conception in Boston.

Swell division Stopped pipes from the bass C to F# of 8′ Open Diapason the Swell 8′ Open Diapason. Note the lightly arched mouths. The Open Diapason is the fi rst stop 1864 William A. Johnson Opus 161, Piru Community United Methodist Church, Piru, from the front of the chest. The pipes 8′ Viole d’Amour California from C–F# are stopped wood, bass G The fourth stop on the chest, the Viole to tenor E are open wood, and tenor F d’Amour plays from tenor F with no to the top are all planed common metal. grooves and no common bass with the The effective scale of the bass of this stop 8′ Stopped Diapason. The pipes are all is larger than the Great 8′ Open Diapa- planed common metal. The ears are very son in the façade. The photographs show large and serve as the only tuning device. how mouth height is used as a voicing Many pipes showed crimping in the neck variable; it is virtually a constant 22 mm (red arrow in Figure 11) where the top in all of the open pipes from bass G to resonator bell meets the main tapered tenor E. resonator, presumably a means of tuning, and probably done by the factory. This is Swell 8′ Open Diapason table 16′ Bourdon the softest stop in the organ. The fl ueway There are no data on the pipes of this depths are generous, and the toes are cylindrical resonators for the remainder of stop, which play from tenor C. Some of very constricted, the method by which the stop. It is scaled and voiced very deli- the tenor pipes are tubed off and are the extremely low power was obtained. cately and combines well with either the 8′ placed at the sides, outside of the swell Stopped Diapason or the 8′ Viole d’Amour. box. Note the classical construction of 4′ Principal The mouths of the bass pipes from low C the stoppers. The fi fth stop on the chest, the 4′ Prin- to tenor E are very high and arched. cipal consists of tapered zinc resonators 8′ Stopped Diapason with planed common metal feet from low 8′ Hautboy There are no data for this stop. C to tenor E, and planed common metal The sixth and last stop on the Swell chest, the Hautboy was found with extensive damage, which was repaired on mandrels. The photograph of the unrestored Hautboy pipes and the author was taken around 1976 in the workshop at Rancho San Julian, Lom- poc, California. The original compass is likely tenor F, as all pipes from this point are made of planed common metal. Original fl ue pipes with Reuter slots were made from c#′′′ to g′′′. Pipes were found in the positions from C to tenor E, but these are later additions; they have spotted metal bells, zinc boots, shallot end cuts with positive angles (the Johnson shallots have negative 7 degree angle cuts, see Figure 13), Reuter tun- 8′ Viole d’Amour pipes which show their ing slots in the bells, and crude miters. construction as a Bell Gamba. All of the Johnson reed resonators are AUSTINORGANS.COM cut to dead length with no slots or scrolls Pedal division 
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8PPEMBOE
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(see Figure 12). Johnson shallots from In the tradition of Samuel Green, tenor F are made of copper; the shallots Johnson greatly widened the scales of of the spurious bass pipes are brass. the Pedal 16′ Double Open Diapason.

26 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Bass pipes from the Swell 4′ Principal have tapered zinc resonators and very high, arched mouths.

Open pipes from bass G to tenor E of the Swell 8′ Open Diapason. Note the virtually identical mouth heights (cutups) of these pipes with no arching.

The 8′ Hautboy reeds from tenor F. The pipes were straightened on mandrels and cleaned during the 1976 restoration. Here the author inspects a collapsed resona- tor. The workshop at Rancho San Julian was set up in a barn built with hand-forged square nails in the early 1870s. With one side of the barn exposed to the elements it was hardly an ideal working environment, but living and working on this location, a Spanish land grant of more than 25,000 virtually unpopulated acres with rolling hills and oak forests, was an extraordinary experience.

The stopped tenor pipes of the Swell 16′ Bourdon, some of which were placed out- side of the Swell box. Unprecedented Natural Pipe Organ Sound ,QWURGXFLQJGLJLWDOO\VDPSOHGSHGDOVSHGDO H[WHQVLRQVDQGWXQHGSHUFXVVLRQVIURP,27,

Swell 4′ Principal table

Swell 8′ Viole d’Amour table

The diagonal measurement yields an effective scale diameter of 390 mm, or +9 half tones, an extremely wide scale for a modestly-sized organ. Johnson was prob- ably well aware of the bass ineffi ciency of the vast majority of American churches, past and present—the bass simply passes through the thin wood and plaster walls of these churches. The mouth width scale is nearly +5 half tones. There are Stopped pipes from the Swell 16′ Bour- two indications that Johnson drove these don that were placed on the chest. pipes with copious wind: the fl ueway depth is an extremely generous 2.5 mm value of +11 half tones, and this, more Integrated Organ Technologies and the mouth height, or cutup, is an than any other variable, shows Johnson’s ƹƸƸƵƷƳƵƷƹƵ_LQWHJUDWHGRUJDQWHFKFRP even more generous 85 mm. A cutup of desire for a bass tone that was powerful this magnitude represents a normal scale and tactile.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 27 Pipe organ documentation

A notebook sketch of the left, C-side Pedal chest. The variable length pallets indi- cated in blue rectangles at the left end of this drawing are visible in the photograph of the open pallet box. Routed grooves (drawn in red) from the pallets convey wind to the pipes from low G# to tenor E, and zinc wind conductors further convey wind to the four offset pipes from low C to F#.

Pedal 16′ Double Open Diapason table Swell 8′ Hautboy Resonator table

The C-side Pedal chest showing the ar- rangement of the pallets. The low D pal- let is held open.

The stopknob of the Pedal Double Open Diapason is connected to a ventil which feeds all three windchests of that stop. The wire is connected to a valve in the wind trunk. The wire is activated by the wooden trundle, which is itself connect- ed to the stop knob at the console. Figure 12, Key to Hautboy resonator The mouth of the low D of the Pedal Figure 11, Viole d’Amour construction dimensions Double Open Diapason. Note the ab- sence of beards, rollers, arching of the mouth, and nicking. This is a classical- ly-constructed pipe with superb blend and a powerful, tactile effect.

The largest 18 pipes are laid out, front to back, at the sides of the Great, Regulation of the wind to the tenor nine to each side; the remainder are pipes of the Pedal Double Open Diapa- son is accomplished with the sliding laid out behind the reservoir in chro- valve shown in the pipe foot. matic order, making three separate windchests. The stop action is a ventil to all three chests. This is a classically As a result, it has superb blend and constructed and voiced stop. It has no speech characteristics. The photo- nicks, no arching to the cutups, and no graphs show details of its construction extra ear extensions, beards, or rollers. and layout. Q

Confident pedal work comes with practice and the right shoes Figure 13, Key to Hautboy shallot and tongue dimensions Notes and Credits not otherwise noted. Most of the color photos on the All photos, drawings, tables, and illustra- were unfortunately taken by the author with tions are courtesy of the author’s collection if an inferior camera in low resolution. David Sedlak used a high quality camera, lenses, and pedals fi lm to produce the high-resolution color pho- tos of the church and its architectural details; these are all attributed to Sedlak. x Men’s & Women’s Organ Shoes To be continued. with suede soles and heels x Whole & Half Michael McNeil has designed, con- Sizes in 3 Widths structed, and researched pipe organs x Quick & Easy since 1973. He was also a research Returns engineer in the disk drive industry with 27 patents. He has authored four hard- OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET bound books, among them The Sound of 44 Montague City Rd Email: [email protected] Pipe Organs, several e-publications, and Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes many journal articles.

28 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Organ archives

The Library of Congress for the organ The OHS Library and Archives moves to Villanova, Pennsylvania

By Bynum Petty The archivist’s office

ver Mother’s Day weekend, more Othan one thousand invited guests attended garden parties celebrating the opening of Stoneleigh Mansion and Gardens, the new home of the Organ Historical Society in Villanova, Pennsyl- vania. After two years of planning and renovations, Natural Lands, owner of the property, opened the estate to the public for the fi rst time. The gardens are open to the public Tuesday through Sunday, while visits to the house are made by appointment only. Causing great excitement at the weekend festivities was the introduction of Aeolian-Skinner, Opus 878. Speaking through tone openings in the fl oor, the organ is located in a basement space immediately beneath the large music room. On two occasions, Jeffrey Brillhart and Chris Kehoe, respectively, played demonstration recitals on the instrument. Originally installed in a residence in West Orange, New Jersey, the completely restored organ was installed at Stoneleigh by Emery Brothers of Allentown, Penn- sylvania. The instrument was a gift to the OHS by the Wyncote Foundation. In addition to the two organ recitals, guests were treated to guided tours of the thirty-fi ve-room house and were Display case invited to stroll through the forty-two- acre property to admire the gardens in full fl ower. Guests were also offered box lunches served in the shade of a massive London planetree. With funds provided by the Wyncote Foundation of Philadelphia, Natural Lands oversaw the attic-to-basement renovation of the house, all to accom- modate the needs of the OHS. All areas occupied by the OHS Library and Archives have individual temperature and humidity controls, while windows are fi tted with ultra-violet blocking glass. Taking the grand stairway from the Special Collections fi rst to the second fl oor, visitors are greeted by three glass display cases, Steere & Turner, and soon to come, each presently fi lled with material and C. B. Fisk. Special Collections also objects related to organbuilding and contain fi les of, among others, Edward the Aeolian-Skinner instrument. The Hodges, André Marchal, Roland Diggle, remainder of the second fl oor contains and Anton Gottfried. Also on the the offi ces of OHS chief executive offi cer third fl oor are two workrooms—each Reading and conference room Ed McCall and archivist Bynum Petty equipped with computers and wifi —and and fi ve rooms dedicated to the library a rare books room. lectures and seminars, and garden parties The Organ Historical Society is portion of our collection, one of which Taking the capacious new elevator among which was the American Guild of indeed forever in the debt of the Haas also serves as a conference room. from the third to the fi rst fl oor brings us Organists Philadelphia Chapter’s June family—especially Fred Haas, the Wyn- Taking a less grand stairway—albeit back to the beginning of this tour. While celebration and annual meeting. cote Foundation, and Natural Lands equally attractive—from the second to the second and third fl oors are devoted Access to Stoneleigh and the OHS for providing a home to the OHS, the third fl oor, visitors fi nd themselves exclusively to the OHS, the ground fl oor Library and Archives is by appointment whose library and archives have been in the heart of the OHS Library and is designed for mixed use. One wing of only; but all are welcome, whether described by the National Endowment Archives: “Special Collections.” Here the ground fl oor is occupied by the OHS to conduct research or simply walk for the Humanities as “the Library of one fi nds business records and contract corporate offi ce, managed by Marcia through the garden. Interested visi- Congress for the organ.” Q fi les of organbuilding companies includ- Sommers, while the remainder of this tors are encouraged to contact Bynum ing E. M. Skinner and Aeolian-Skinner, fl oor is reserved as fl exible space for Petty, OHS archivist, at archivist@ Bynum Petty is archivist of the Organ M. P. Möller, Odell, Pilcher, Aeolian, public events: silent fi lm viewings (with organhistoricalsociety.org or by calling Historical Society and is the author of Hillgreen-Lane, Philip Wirsching, organ), organ recitals, chamber music, the OHS offi ce at 804/353-9226. three books related to the pipe organ.

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 29 Cover feature

Bigelow & Co. Organ Builders, American Fork, Utah Fortieth Anniversary Opus 42 Saint John’s Episcopal Church, Fishers Island, New York

From the builder Forty years—and forty-two organs— ago Bigelow & Co. was born. Looking back, it has been quite a ride. After training with master organbuilder John Brombaugh in Ohio, I set up shop in Utah, married the girl of my dreams, and went to work. Dr. David Rothe in Chico, California, showed incredible faith by signing our fi rst contract. His organ fea- tured “either-or” registration whereby a stop can be registered on either manual, thus lending fl exibility with just a handful David Chamberlin voicing Gedeckt of stops. I liked the idea of giving broader appeal to the small, less expensive organ. In fact, we’ve built a number of “either- or” instruments since then, including our The keydesk of Bigelow & Co. Opus 42 most recent work featured in this article. I recall as a youth drooling over pictures of the great organs of Europe such as St. Bavokerk, Haarlem, and St. Johannis Kirche, Lüneburg, I never dreamed that I would visit them someday, sketch pad in hand, recording their beautiful cases not only on paper, but also in my mind and heart. Their visual excitement was equaled only by their magnifi cent sound. I was in heaven then, and I continue to be in heaven each time I get to design an organ case or experience a fi nished Conner Kunz carving impost panel instrument. Opus 42 is no exception. It incorporates the church’s original 1929 organ case by Skinner Organ Company, which we upgraded to display new speak- ing pipes. We also replaced the original grillework in the two fl ats with new treble pipes and matching pipe shade carvings for heightened visual appeal. My wife says it is time to retire, but I do not think she would like me hanging around the house so much. Besides, it is The rector, organist, and consultant with donors (left to right): Rev. Michael Spen- pipe organs that I love to build! cer, Brent Erstad, Grace, Wendy, and Frances Bingham, Mike Bigelow, Jonathan —Michael Bigelow Ambrosino (photo credit: Jane T. Ahrens) Robert Munson boring a windchest

From the vice president and tonal building a mechanical-action instrument an earlier string, and the more recent of rebuilding the old organ or replacing director into existing casework. It was, however, wood 8′ Gedeckt) made for a somewhat it with a new pipe or digital instrument. I consider it a great blessing to have our fi rst experience with an instrument richer disposition than would have been To their great credit, the members of been employed at Bigelow & Co. during speaking into the chancel, and the low otherwise possible within our budget. In the vestry did considerable diligence my entire organbuilding career—over impost of the historic case presented lieu of our more typical mutation stop, in researching each option, and after a thirty of the forty years of its existence. signifi cant mechanical challenges. the open metal 8′ Treble Flute was cho- short period of prayer and discernment, During that time I have learned much, Like most of our smaller instruments, sen, as it seemed to be more in keeping the decision was made to commission a and I still enjoy the challenge of design- Opus 42 uses our “either-or” registration with late nineteenth-/early twentieth- new pipe organ for the church. ing mechanisms and sounds to fi t differ- system, whereby most stops can be regis- century tradition. The sub-octave coupler In an effort to instill confi dence ent, sometimes diffi cult, situations. Our tered on either one manual or the other. was a special request—no other Bigelow in the project and to avoid saddling Opus 42 at St. John’s Church, Fishers The availability of some re-usable pipes organ has one—which, besides the more future organists with my own musical Island, was not our fi rst chamber instal- (16′ Bourdon, 8′ Principal bass, and Voix obvious advantages, makes it possible for preferences, I encouraged the church lation, nor was it our fi rst experience in Celeste from Skinner, the bass octave of an incredibly rich ensemble of six fl ue to engage Jonathan Ambrosino as an ranks to sound together at 8′ pitch! independent consultant. Jonathan I honestly cannot think of a happier shepherded us through the process Bigelow & Co., Opus 42 installation experience than this one: of soliciting and reviewing proposals, St. John’s Episcopal Church, Fishers Island, New York wonderful people, a beautiful and relax- helped to communicate effectively ing environment, and a delightful instru- with the congregation, and ultimately MANUAL I MANUAL II ment coming together in a lovely place. served as a liaison between the church 8′ Open Diapason (1–6*) —David Chamberlin and builder throughout the processes 8′ Treble Flute, MC (open metal) of design, construction, and installation. 8′ Stopped Diapason (wood)* 8′ Stopped Diapason 8′ Viola Dolce (1–12*) 8′ Viola Dolce (1–12*) From the organist After reviewing compelling proposals 8′ Voix Celeste, TC* I fi rst stepped off the Fishers Island from four builders, the unanimous deci- 4′ Principal 4′ Principal Ferry in June of 2014. After several sion was reached to engage Bigelow & 4′ Chimney Flute 4′ Chimney Flute 1 conversations with colleagues who had Co. to build the new instrument. It III Mixture 2′–1 ⁄3′–1′ 2′ Fifteenth Man. II to Man. I 8′ Cornopean served the church in the preceding was immediately evident to all that the Man. II to Man. I 16′ Tremolo (affects entire organ) years, I knew St. John’s to be a summer proposal written by Mike Bigelow and community that values worship and the David Chamberlin not only respected PEDAL role the church plays in the unique pat- the understated beauty of the setting, 16′ Bourdon* 8′ Bourdon (ext)* * From previous organ, modifi ed tern of island living. At the time of my but also addressed several of the chal- Manual I to Pedal hiring, the vestry communicated their lenges particular to an island organ that Manual II to Pedal 58/30 notes – fl at pedalboard. hope that I might help them discern the only sees full service for about sixteen Manual keys of bone and ebony. best path forward for their organ, which weeks of the year. Their mastery of the Double-headed arrows indicate “Either-Or” Key-tensioned mechanical key action. stops. Registering a stop on one manual Mechanical stop action. had become as much a fi nancial liability “either-or” registration system resulted automatically cancels it from the other. Mechanically operated swell shades enclose as a musical one. Having spent consider- in an instrument that is uncharacter- Previous case front with newly attached all stops except Open Diapason (in façade). ably on the instrument just a few years istically versatile for its size, while the keydesk, speaking façade pipes, and new 10 voices, 12 ranks earlier, they were rightly cautious about added sub-octave coupler contributes an carvings. Pipes in projecting clusters of three are non- Builder’s website: www.bigeloworgans.com continuing to sink resources into stopgap undeserved range of color and depth. speaking, retained from previous organ. Church’s website: www.stjohnsfi .org measures. Several conversations were Now having completed its fi rst summer held in regards to the respective merits of service, it is clear that this instrument

30 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM The chancel of Saint John’s Church with Bigelow & Co. Opus 42 and Tiffany stained glass window (photo credit: Jane T. Ahrens)

Katherine Bigelow painting the historic Detail of façade (photo credit: Jane T. Ahrens) case In July 2015, Saint John’s got in touch will be a lasting source of pride for the about how to proceed with the instru- Fishers Island community and a testa- ment. It had begun life in 1929 as a hum- ment to the artistry and craftsmanship ble eight-rank Skinner, with much of the of Bigelow & Co. A happier result surely Swell duplexed to the Great, a lone Pedal could not have been possible. Bourdon, and no reed. Its alcove location Saint John’s Episcopal Church, Fishers Island, New York, at the dedication of Big- —Brent Erstad was about as enchambered as could be elow & Co. Opus 42, July 7, 2018 (photo credit: Jane T. Ahrens) imagined. In the 1980s and later, Alan From the consultant McNeely revised the instrument into a a storybook introduction to the place: morning services. While twenty-two Over the past fi fteen years, I have been full-bore two-manual of 22 ranks, with perfect weather, majestic island vista, ranks is hardly large, still, this is a vil- variously involved with the chapel organ additional Pedal, Antiphonal, and even- corkscrew descent, a trim touchdown lage church. The organ’s size had grown at Saint Paul’s School in Concord, New tually a few memorial digital voices. But at Elizabeth Field. The senior warden’s out of phase with the place, not merely Hampshire. Working there made me the organ’s environment spelled its doom. smiling aunt met me in what Connecti- the building but the congregation’s very aware of Saint John’s Episcopal Church The blower and some mechanism lived in cut people call a “station car”—an old sense of itself. These people clearly on Fishers Island, in Long Island Sound, a basement rife with dampness; salt and beater to take back and forth to the train. enjoyed singing hymns together. They a parish with a long connection to the moisture played havoc with key contacts; Saint John’s Church itself is a microcosm needed only a solid and straightforward school. A number of alumni are church the disused 1929 Spencer blower stood of the island: not fancy or ostentatious, a organ to lead them. A new tracker, fl ex- members, and the current rector and in a corner, a pile of rust and humiliation. few dignifi ed appointments of restrained ible but in proper scale, seemed the many organists have served both institu- In its fi nal years, Ed Odell and Scot Hun- beauty and appropriate scale, people of thing. Once the vestry understood that tions (the school term dovetails neatly tington serviced the instrument. obvious class with nothing to prove. The a long-term solution did not need to be with the summer service schedule). Colin While a part of New York State, Fish- grandeur of the island, the smart folk, dauntingly expensive, four mechanical- Lynch and Brent Erstad are two Saint ers is reached by ferry from New London, the effort required to get there, a station action builders were invited to propose. Paul’s chapel organists who also served at Connecticut. My maiden visit, however, car: here was a particular slice of vanish- The church took this assignment seri- Fishers; Andrew Sheranian and Michael was by air. Patrick Aiken (organist- ing old New England. ously. Rather than dangle a prospect and Smith have also served. While none of choirmaster of Central Congregational Later that morning, through a sea see who would jump highest, the church them ever raved about the organ, they all Church in Providence) kindly fl ew me of intermittent notes and other issues, gave each builder a stipend to cover at spoke warmly of the place and its people. down in his Cessna 172, and it made for I heard Brent Erstad accompany two least some of the travel to Fishers and

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 31 Cover feature Organ Projects

Shayne Ward, Adam Bingham, Conner Kunz (photo credit: Jane T. Ahrens)

From the rector Over three years ago, when Saint John’s Church on Fishers Island was facing the challenge of replacing the failing ninety- Saint Luke’s Episcopal Church, Durham, North Carolina year-old Skinner organ, installing another pipe organ was not the preferable option. Saint Luke’s Episcopal Church In fact, the challenges of maintaining the Durham, North Carolina current instrument, the weather fl uctua- P. J. Swartz Organ Company tions on the island, and the limited use of Eatonton, Georgia an organ in this seasonal summer chapel The P. J. Swartz Organ Company were all compelling reasons to go the digi- of Eatonton, Georgia, has completed tal organ route. However, St. John’s was the relocation of M. P. Möller Opus also gifted with a plethora of accomplished 11821 (1990) from its original home at organists who had visited the church over Vanderbilt Presbyterian Church, Naples, the summers, connected with our vestry Florida, to Saint Luke’s Episcopal and congregation, and encouraged us to Church, Durham, North Carolina. The consider another opportunity to install a organ primarily consists of electric-slider new pipe organ in the church. windchests, which were reconfi gured We are a congregation that loves to to fi t the new location. A chamber area sing, and we value an instrument that not was created with an adjoining sound Console only provides the backdrop to our voices, proofed blower room, and some façade Interior pipework but also can join with us as a living pres- pipes were rebuilt as Haskell basses to ence in the worship space. Brent Erstad fi t under the available ceiling height. the warmest of welcomes. In place of a and Jonathan Ambrosino walked with Windchests were also repositioned to stern Request-For-Proposal, the church us down the road towards another pipe facilitate tuning and maintenance access provided a statement of goals, outlining organ and encouraged the welcoming of as well as tonal blend. The organ sits on the vestry’s hope that each builder might a new instrument. When we met Michael the long axis of the pyramidal shaped be inspired to propose something as Bigelow and read his carefully prepared room, behind the choir singers. The orig- individual as the place itself. Ultimately, proposal, we knew that he was the one inal actions and operating systems were Bigelow & Co. was chosen, partly from who would not only create a wonder- in good condition, and retained. Tonal their track record with appealing and ful and appropriate instrument for the regulation was accomplished by Philip fl exible smaller organs, partly for a genu- church, but also would do so in a way that Swartz and project manager Nicholas ine enthusiasm to work with the original honored our history and supported our Schroeder. The console was refi nished simple case-front. future with a beautiful instrument. to match other church furnishings, and The organ and choir seating In 2017, a Boston team of Joe Sloane, Over two years later, we were pleased façade pipes were re-painted to fi t the Amory Atkins, and Dean Conry took this summer to share the voices of the architectural context. slate, and brick features were added to away the old organ, salvaging a few unal- W. Richard Bingham Memorial Organ, Scott R. Riedel of Milwaukee, Wis- side walls to diffuse sound energy and tered Skinner ranks. This set the stage Bigelow Opus 42, in an inaugural con- consin, was consultant to the project, eliminate fl utter-echoes. for the church’s conscientious caretaker, cert played by Brent Erstad. The con- which also included acoustic improve- —Scott R. Riedel, President Andrew “Ace” Ahrens, to prepare for gregation is very appreciative of the new ments to the nave. The ceiling deck and Scott R. Riedel & Associates, Ltd. the new instrument. The chamber was instrument and we have launched an organ chamber walls were fi nished with Milwaukee, Wisconsin rehabilitated and shortened, and the rear organ concert series this summer that we multiple layers of dense gypsum board, portion sectioned off into a new blower hope to continue in the future, featuring carpeted fl ooring was replaced with Photo credit: Scott R. Riedel room. Keeping the entire instrument not only organ recitals, but also silent out of the basement sealed it from the fi lms with organ accompaniment, spir- worst effects of dampness. In the church ited hymn sings, and a three-day choir itself, fl oors were refi nished, and a bit of camp on the island for students from Möller Opus 11821 (1990) new carpeting replaced a great deal of a local independent school. We look St. Luke’s Episcopal Church, Durham, North Carolina old. The organ arrived in April 2018 and forward to continuing these offerings was brought into use in May, the build- as an outreach not only to our church GREAT POSITIV ers being beautifully seen to by Ace and community, but also to the community 16′ Bourdon 73 pipes 8′ Holz Gedeckt 61 pipes 8′ Principal 61 pipes 8′ Erzähler 61 pipes other vestry members. Brent Erstad gave of Fishers Island and beyond. 8′ Hohlfl ute (ext 16′ Bourdon) 4′ Spitz Flöte 61 pipes an opening concert on July 7, assisted Saint John’s is immensely grateful to 4′ Octave 61 pipes 2′ Principal 61 pipes 1 by tenor Andrew Brown. He and Dan all those who contributed to this project: 4′ Koppel Flöte 61 pipes 1⁄3′ Quint 61 pipes Moriarty have been playing this summer. the many donors whose support made 2′ Super Octave 61 pipes 8′ Dulzian 61 pipes IV Mixture 244 pipes 8′ Festival Trumpet (Gt) It is wonderful to work with a church this a reality, especially the family of W. 8′ Trompete 61 pipes Tremulant that suffers no confusion of aims. Not Richard Bingham after whom this instru- 8′ Festival Trumpet (in Swell) 61 pipes even six months from the fi rst email, ment is named, the counsel and expertise Chimes PEDAL Saint John’s had contracted with of Jonathan Ambrosino and Brent Erstad 32′ Untersatz (fr 16′ Bourdon) SWELL (enclosed) 16′ Principal 44 pipes Bigelow. Having decided what was who shepherded us through the process, 8′ Rohr Flute 61 pipes 16′ Bourdon (Gt) right, they dove in headfi rst, kept sharp the artistry and skill of Michael Bigelow 8′ Viola 61 pipes 8′ Octave (ext 16′ Principal) at every turn, and celebrated in style. and his team at Bigelow & Co., and the 8′ Viola Celeste (TC) 49 pipes 8′ Flöte (fr Gt 16′ Bourdon) It is always a delight to work with such support of the vestry and members of St. 4′ Prestant 61 pipes 4′ Choral Bass 52 pipes 2′ Block Flöte 61 pipes III Mixture (derived fr Choral Bass) fi ne people and good builders. The best John’s Church. We look forward to many II Cornet (TC) 98 pipes 16′ Posaune 56 pipes part comes in knowing that the people years of enjoyment as this new organ III–IV Plein Jeu 232 pipes 8′ Trompete (ext 16′ Posaune) of Saint John’s now have a tasteful organ adds its voice to ours in celebrating all of 8′ Hautbois 61 pipes 4′ Klarine (ext 16′ Posaune) as timeless as their parish, their building, the moments of our spiritual journey for Tremulant and their faith. generations to come. 25 independent stops, 32 ranks, 1,885 pipes —Jonathan Ambrosino —The Reverend Michael Spencer

32 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN 22 OCTOBER Park Ridge Presbyterian Church This calendar runs from the 15th of the month Thomas Wikman; Presbyterian Homes, Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Evanston, IL 1:30 pm Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Bloomingdale, IL Feb. issue). All events are assumed to be organ 23 OCTOBER recitals unless otherwise indicated and are grouped Musica Sacra; Cathedral of St. John the within each date north-south and east-west. •=AGO Divine, New York, NY 7:30 pm chapter event, • •=RCCO centre event, +=new organ David Jonies; Cathedral of St. John the dedication, ++= OHS event. Christopher Babcock Michael J. Batcho Information cannot be accepted unless it Evangelist, Milwaukee, WI 7:30pm specifi es artist name, date, location, and hour in 24 OCTOBER Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Kirk Rich order; please do not send duplicate listings. ; Cathedral Basilica of the Sa- CATHEDRAL OF ST. JOHN cred Heart, Newark, NY 12 noon Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. Olivier Latry; The University of the South, Sewanee, TN 7:30 pm

UNITED STATES 25 OCTOBER East of the Mississippi Choral concert; First Church of Christ, Dean W. Billmeyer Old Saybrook, CT 7 pm 15 OCTOBER University of Minnesota 26 OCTOBER Stephen Buzard; Princeton University Ken Cowan; Church of the Redeemer, Minneapolis 55455 • [email protected] Chapel, Princeton NJ 8 pm Chestnut Hill, MA 7:30 pm Hector Olivera; Methuen Memorial Mu- 16 OCTOBER sic Hall, Methuen, MA 8 pm Stephen Buzard; masterclass, Scheide Isabelle Demers; Park Central Presbyte- Recital Hall, Princeton, NJ 4 pm; sacred rian, Syracuse, NY 7 pm GAVIN BLACK Byron L. Blackmore music lab, Bristol Chapel, Princeton, NJ Robert McCormick; Allen Organ Com- Princeton Early Keyboard Center 6:30 pm pany, Macungie, PA 7:30 pm Crown of Life Lutheran Church Kenneth Stein; Campbellsville Univer- Todd Wilson, silent fi lm, The Lodger: A 732/599-0392 Sun City West, Arizona sity, Campbellsville, KY 12:20 pm Story of the London Fog; Severance Hall, www.pekc.org 623/214-4903 Olivier Latry; Cathedral of the Holy Cleveland, OH 8 pm Name, Chicago, IL 7:30 pm Charles Kennedy, with fl ute; Cathedral Nicholas Schmelter; St. Louis King of Church of the Advent, Birmingham, AL France, St. Paul, MN 12:35 pm 12:30 pm THOMAS BROWN Carson Cooman 17 OCTOBER 27 OCTOBER UNIVERSITY Choir concert; St. Ignatius Loyola, New Alan Morrison; Spivey Hall, Clayton PRESBYTERIAN CHURCH Composer and Concert Organist York, NY 8 pm State University, Morrow, GA 3 pm CHAPEL HILL, NORTH CAROLINA Harvard University Colin MacKnight; Cathedral Basilica of Huw Lewis; Miller Center for the Per- ThomasBrownMusic.com www.carsoncooman.com the Sacred Heart, Newark, NY 12 noon forming Arts, Holland, MI 7:30 pm

18 OCTOBER 28 OCTOBER Jennifer Pascual; St. Ignatius Loyola, Choral Evensong; St. John’s Episcopal, Your professional card New York, NY 3 pm West Hartford, CT 5 pm DELBERT DISSELHORST David Hurd; St. John’s Episcopal, Carl- Jennifer Pascual; St. Patrick’s Cathe- could appear here! dral, New York, NY 3 pm isle, PA 7:30 pm Professor Emeritus Olivier Latry; First Baptist, Washington, Andrew Henderson; Madison Avenue Contact: [email protected] DC 7:30 pm Presbyterian, New York, NY 3 pm University of Iowa–Iowa City or 608/634-6253 Choral Evensong; Cathedral Church of James Wetzel; Cathedral of St. John the the Advent, Birmingham, AL 5:30 pm Divine, New York, NY 5 pm Nicholas Schmelter; St. Clement’s Thomas Bara; St. Thomas Church Fifth Episcopal, St. Paul, MN 7:30 pm Avenue, New York, NY 5:15 pm STEVEN EGLER Olivier Latry; Huguenot Memorial JOHN FENSTERMAKER Central Michigan University 19 OCTOBER Church, Pelham, NY 6 pm School of Music RINITY BY THE OVE David Baskeyfi eld, silent fi lm; St. Joshua Stafford; St. John’s United T - - -C John’s Evangelical Lutheran, Allentown, Church of Christ, Lansdale, PA 4 pm Mt. Pleasant, MI 48859 PA 7:30 pm Elmo Consentini; Washington National [email protected] NAPLES, FLORIDA Virginius Barkauskas, with oboe; St. Cathedral, Washington, DC 5:15 pm Thierry Escaich; First Presbyterian, At- Paul Catholic Cathedral, Pittsburgh, PA lanta, GA 7 pm 7:30 pm Norberto Todd Wilson, silent fi lm; Stambaugh Au- Jack Mitchener; Christ United Method- ditorium, Youngstown, OH 4 pm ist, Greensboro, NC 7:30 pm Christopher Houlihan; Samford Univer- Susan Goodson Guinaldo Stephen Buzard; Painesville United sity, Birmingham, AL 2:30 pm Methodist, Painesville, OH 7 pm Emanuel United Church of Christ His Music Choral Evensong; Cathedral Church of See—Listen—Buy • Durufl é, Requiem, Vierne, Messe So- St. Paul, Detroit, MI 4 pm Manchester, Michigan www.GuinaldoPublications.com lennelle; St. Joseph Catholic Cathedral, Nicholas Schmelter, with piano; St. Columbus, OH 7:30 pm Paul’s Episcopal, Flint, MI 4 pm Todd Wilson; St. John’s Episcopal, La- Thomas Ospital; Christ Church Cathe- fayette, IN 7:30 pm dral, Nashville, TN 4 pm A Professional Card in Peter Richard Conte; Plainfi eld United STEPHEN HAMILTON 20 OCTOBER Methodist, Plainfi eld, IN 6 pm The Diapason David Baskeyfi eld, class; St. John’s Beethoven, Mass in C; Church of St. Ag- For rates and digital specifi cations, recitalist–clinician–educator Evangelical Lutheran, Allentown, PA 10 am nes, St. Paul, MN 10 am contact Jerome Butera Jens Korndörfer; St. Norbert Abbey, De- www.stephenjonhamilton.com 847/391-1045; [email protected] Pere, WI 2 pm 30 OCTOBER Allison Luedecke; St. Vincent de Paul James Kennerley, silent fi lm, Nosferatu; Catholic Church, Chicago, IL 7:30 pm Merrill Auditorium, Portland, ME 7:30 pm Alan Morrison; Girard College Chapel, 21 OCTOBER Philadelphia, PA 12 noon David Herman Douglas Cleveland; Memorial Church, Prague Philharmonic Children’s Choir; Harvard University, Cambridge, MA 4 pm Washington National Cathedral, Washing- Trustees Distinguished Professor Emeritus of Music and University Organist Hyunju Hwang; Cathedral of St. John ton, DC 7:30 pm the Divine, New York, NY 5 pm Chanticleer; Peachtree Road United The University of Delaware Q [email protected] Brian Harlow; St. Thomas Church Fifth Methodist, Atlanta, GA 7 pm Avenue, New York, NY 5:15 pm Thomas Ospital; St. Chrysostom’s Epis- Ken Cowan & Bradley Hunter Welch; copal, Chicago, IL 7:30 pm St. Matthew’s Lutheran, Hanover, PA 4 pm David Baskeyfi eld; St. John’s Lutheran, 31 OCTOBER Allentown, PA 4 pm Mark Steinback; Brown University, Prov- Nathan Strite; St. John’s Episcopal, idence, RI 11:59 pm Lorraine Brugh, Ph.D. Hagerstown, MD 5 pm 1 NOVEMBER Professor of Music Jeremy Thompson; Holy Trinity Luther- Durufl é, Requiem; Trinity Lutheran, an, Lynchburg, VA, 4 pm Worcester, MA 7:30 pm University Organist Jeremy David Tarrant; St. Lorenz Lu- Fauré, Requiem; Christ Episcopal, Valparaiso, Ind. theran, Frankenmuth, MI 4 pm Easton, MD 7 pm Patrick Pope; Loyola University, Chica- valpo.edu go, IL 3 pm 2 NOVEMBER 219.464.5084 Mozart, Mass in C; Church of St. Agnes, Monica Czausz; St. Paul’s Chapel, Trin- [email protected] St. Paul, MN 10 am ity Wall Street, New York, NY 1 pm

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 33 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Julliard415, works of Bach; Madison Av- 12 NOVEMBER New York, NY Syracuse, NY 13203-2816 enue Presbyterian, New York, NY 7:30 pm Estonian Philharmonic Chamber Choir www.andrewhenderson.net Alan Morrison, with Ursinus College & Tallinn Chamber Orchestra; St. Ignatius (315) 471-8451 Choir, Bernstein, Chichester Psalms; Ursi- Loyola, New York, NY 8 pm nus College, Collegeville, PA 7:30 pm Peter Richard Conte & Jeremy Filsell; 13 NOVEMBER Longwood Gardens, Kennett Square, PA Michael Hey, with violin; St. Paul the Richard Barrick Hoskins 8 pm Apostle Catholic Church, New York, NY 7 pm Brian Jones Douglas Cleveland; University of North Director of Music & Organist Locklair, Requiem & Gloria; St. John’s Director of Music Emeritus Episcopal, Roanoke, VA 6 pm Carolina at Greensboro, Greensboro, NC St. Chrysostom's Church 7:30 pm TRINITY CHURCH Frederick Teardo; Cathedral Church of Chicago the Advent, Birmingham, AL 7:30 pm Jack Mitchener; Mercer University, Ma- [email protected] BOSTON Mozart, Requiem; Church of St. Agnes, con, GA 7:30 pm St. Paul, MN 10 am Larry Sharp; Our Lady of Perpetual Help Catholic Church, Campbellsville, KY 3 NOVEMBER 12:20 pm KIM R. KASLING JAMES KIBBIE Johann Vexo; Cathedral of St. Joseph, 15 NOVEMBER D.M.A. The University of Michigan Hartford, CT 7 pm Choral Evensong; Cathedral Church of Ann Arbor, MI 48109-2085 Yale Schola Cantorum; St. Ignatius St. John’s University Loyola, New York, NY 2 pm the Advent, Birmingham, AL 5:30 pm 734-764-1591 FAX: 734-763-5097 Collegeville, MN 56321 David Billings, Alan Lewis, Peter Lu- email: [email protected] ley, Edward Moore, & David Schaap; St. 16 NOVEMBER Andrew Episcopal, Highland Park, PA 3 pm Kimberly Marshall; St. Paul Catholic Cathedral, Pittsburgh, PA 7:30 pm David K. Lamb, D.Mus. 4 NOVEMBER Aaron Tan; St. Paul’s Episcopal, Chatta- Karen Schneider Kirner Fauré, Requiem; Grace Church, New nooga, TN 7:30 pm Director of Music York, NY 4 pm Stephen Buzard, works of Sowerby; Director, Notre Dame Handbell Choir Trinity United Methodist Church Henry Lee; Cathedral of St. John the Di- Fourth Presbyterian, Chicago, IL 5:30 pm lecture; 7:30 pm recital Assistant Director, Notre Dame Folk Choir New Albany, Indiana vine, New York, NY 5 pm Aaron David Miller, silent fi lm; First University of Notre Dame 812/944-2229 Judith Hancock; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm United Methodist, Duluth, MN, 7 pm Choral Evensong; St. John’s Episcopal, Hagerstown, MD 5 pm 18 NOVEMBER Stefan Donner; Washington National Stephen Hamilton; First Church UCC; Cathedral, Washington, DC 5:15 pm Nashua, NH 4 pm A.S.C.A.P. Thomas Ospital; First Presbyterian, Thomas Trotter; Woolsey Hall, Yale Uni- FELLOW, AMERICAN GUILD OF ORGANISTS Norfolk, VA 4 pm versity, New Haven, CT 7:30 pm St. Andrew Chorale & Orchestra; Madison 345 SADDLE LAKE DRIVE The Wren Masters; Holy Trinity Lutheran, ROSWELL-ATLANTA, GEORGIA 30076 Lynchburg, VA 4 pm Avenue Presbyterian, New York, NY 3 pm (770) 594-0949 Su-Ryeon Ji; Peachtree Road United • Bálint Karosi; Grace Episcopal, Elmira, Methodist, Atlanta, GA 4:30 pm recital, 5 NY 4 pm pm Evensong Jared Cook; Cathedral of St. John the Choral Evensong; St. Paul’s Episcopal, Divine, New York, NY 5 pm Delray Beach, FL 5 pm Raymond Nagem; St. Thomas Church Bradley Hunter Welch, hymn festival; Fifth Avenue, New York, NY 5:15 pm Trinity Presbyterian, Montgomery, AL 6 pm Nicholas Schmelter, with piano; St. Professor Emeritus – University of Michigan – Ann Arbor Lynne Davis; Concordia Theological Paul’s United Methodist, Rochester, MI 4 pm Professor of Organ for 67 years Seminary, Fort Wayne, IN 4:30 pm Susan Klotzbach; Loyola University, MarilynThe University’s longest-serving faculty memberMason Greg Zelek; Holy Communion Episco- Chicago, IL 3 pm pal, Lake Geneva, WI 4 pm French and Italian cantatas; St. Chrysos- Haydn, Nikolaimesse; Church of St. Ag- tom’s Episcopal, Chicago, IL 3 pm A two-inch Professional Card in The Diapason nes, St. Paul, MN 10 am Schubert, Mass in B-fl at; Church of St. Agnes, St. Paul, MN 10 am 6 NOVEMBER For information on rates and specifi cations, contact Jerome Butera: Choir concert; Cathedral of St. John the 21 NOVEMBER Linda Kempke; Trinity Lutheran, Cleve- [email protected] 608/634-6253 Divine, New York, NY 7:30 pm Thomas Trotter; Florida International land, OH 12:15 pm University, Miami, FL 7:30 pm 22 NOVEMBER 8 NOVEMBER Karen Beaumont; Milwaukee Catholic Choir concert, works of Gabrieli; Church Home, Milwaukee, WI 2 pm of St. Luke in the Fields, New York, NY 8 pm LARRY PALMER 25 NOVEMBER PHILIP CROZIER Andrzej Bialko; St. John Cantius Catho- Austin Philemon; Cathedral of St. John lic Church, Chicago, IL 7:30 pm CONCERT ORGANIST Harpsichord – Organ the Divine, New York, NY 5 pm ACCOMPANIST 9 NOVEMBER Frederick Teardo; St. Thomas Church Professor of Music, Emeritus Fifth Avenue, New York, NY 5:15 pm 3355 Queen Mary Road, Apt 424 Jonathan Ryan; St. Joseph Parish, Needham, MA 7:30 pm Jeremy Filsell; Washington National Ca- thedral, Washington, DC 5:15 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Douglas Reed; Riverdale Presbyterian Mozart, Mass in F; Christ Episcopal, Canada Church, Bronx, NY 7:30 pm Nicholas Schmelter; First Presbyterian, Bradenton, FL 11 am Recitals — Lectures — Consultancies (514) 739-8696 Caro, MI 12 noon Choral Evensong; Cathedral Church of [email protected] David Jonies, with orchestra; Marcus St. Paul, Detroit, MI 4 pm [email protected] + 214.350-3628 Center, Milwaukee, WI 11:15 am Haydn, Nelsonmesse; Church of St. Ag- nes, St. Paul, MN 10 am 10 NOVEMBER Chelsea Chen, masterclass; Evangeli- 26 NOVEMBER cal Lutheran Church, Frederick, MD 10 am Hyea Young Cho; Presbyterian Homes, David Jonies, with orchestra; Marcus Evanston, IL 1:30 pm Center, Milwaukee, WI 8 pm The Diapason 28 NOVEMBER 11 NOVEMBER Linda Kempke; Trinity Lutheran, Cleve- Katelyn Emerson; South Congregation- land, OH 12:15 pm 2019 Resource Directory al, New Britain, CT 4 pm 30 NOVEMBER Oratorio Society of New York; Carnegie Gloria Dei Cantores, Advent Lessons & Hall, New York, NY 3 pm • The only comprehensive directory for the organ and Carols; Church of the Transfi guration, Or- John Walthausen; Longwood Gardens, leans, MA 4:30 pm church music fi elds Kennett Square, PA 3 pm Chanticleer; St. Ignatius Loyola, New Chelsea Chen; Evangelical Lutheran York, NY 8 pm • Includes listings of associations, suppliers, and the Church, Frederick, MD 3 pm products and services they provide Scott Atchison & Nicole Marane; Peachtree Road United Methodist, Atlanta, UNITED STATES GA 7 pm West of the Mississippi Reserve advertising space now! Craig Cramer; Central College Presbyte- Deadline: November 1 rian, Westerville, OH 4 pm 15 OCTOBER Veterans’ Day service; Cathedral Church Nicholas Schmelter; Basilica of St. of St. Paul, Detroit, MI 4 pm Mary, Minneapolis, MN 7 pm To reserve advertising space, contact Jerome Butera • Timothy Nechuta; Memorial Presbyte- 608/634-6253; [email protected] rian, Midland, Michigan 7 pm 19 OCTOBER Dvorak, Mass in D; Church of St. Agnes, Janette Fishell; First Presbyterian, San- St. Paul, MN 10 am ta Fe, NM 5:30 pm

34 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Jonathan Wohlers; Christ Episcopal, 3 NOVEMBER Southminster Presbyterian Church Tacoma, WA 12:10 pm Nathan Laube; Dordt College, Sioux SHORT HILLS Arlington Heights, IL 60005 David Briggs, with choir, Mahler, Sym- Center, IA 7:30 pm phony 2; St. James Catholic Cathedral, Kimberly Marshall, masterclass; First Seattle, WA 8 pm Presbyterian, Santa Fe, NM 9 am Isabelle Demers; South Main Baptist, ANDREW SCHAEFFER, M.MUS 20 OCTOBER Houston, TX 5:30 pm DEREK E. NICKELS, DMA Janette Fishell, masterclass; First Pres- Church of the Holy Comforter First United Methodist Church byterian, Santa Fe, NM 9 am 4 NOVEMBER Edmond, Oklahoma Stephen Hamilton; Clear Lake United Kenilworth, IL 60043 21 OCTOBER Methodist, Clear Lake, IA 3 pm [email protected] + Isabelle Demers; Christ the King Sam Libra; Trinity Episcopal, Seattle, (847) 251-6120 • [email protected] Recitals — Hymn Festivals Catholic Church, Oklahoma City, OK 3 pm WA 2 pm Johann Vexo; St. Philip’s Episcopal, David di Fiore, Eben, Job; Trinity Epis- Beeville, TX 3 pm copal, Everett, WA 4 pm Raymond Hawkins; Cathedral of St. Stephen G. Schaeffer A one-inch Professional Card Paul Tegels; Pacifi c Lutheran University, in The Diapason Tacoma, WA 3 pm Mary of the Assumption, San Francisco, Recitals – Consultations CA 4 pm Olivier Latry; Davies Symphony Hall, Director of Music Emeritus For information on rates and specifi cations, San Francisco, CA 3 pm 6 NOVEMBER Cathedral Church of the Advent contact Jerome Butera: Ugo Sforza; Cathedral of St. Mary of the David Bowen, with recorder and violin; Assumption, San Francisco, CA 4 pm Trinity Episcopal, Seattle, WA 12:10 pm Birmingham, Alabama [email protected] 608/634-6253

23 OCTOBER 9 NOVEMBER Johann Vexo; Trinity University, San An- Thomas Trotter; St. John’s Episcopal Jeffrey Schleff, Ed.D. tonio, TX 7:30 pm Cathedral, Denver, CO 7:30 pm Nathan Laube; First Presbyterian, Santa Organist – Teacher – Consultant STEPHEN SCHNURR 26 OCTOBER Fe, NM 5:30 pm Saint Paul Catholic Church Olivier Latry; First United Methodist, Sulphur Public Schools, Sulphur, OK Wichita Falls, TX 7 pm 10 NOVEMBER United Disciples Christian Church, Richardson, TX Valparaiso, Indiana Scott Montgomery; First Presbyterian, Nathan Laube, masterclass; First Pres- [email protected] Santa Fe, NM 5:30 pm byterian, Santa Fe, NM 9 am

27 OCTOBER 11 NOVEMBER Johann Vexo; University of St. Thomas, Stephen Hamilton; Elim Lutheran, Rob- ROBERT L. St. Paul, MN 8 pm insdale, MN 3 pm Scott Montgomery, masterclass; First Andrew Peters, silent fi lm, The Fresh- SIMPSON Mark Steinbach Presbyterian, Santa Fe, NM 10 am man; Second Presbyterian, St. Louis, MO Christ Church Cathedral Brown University Janette Fishell; California Lutheran Uni- 4 pm 1117 Texas Avenue versity, Thousand Oaks, CA 7 pm Jane Parker-Smith; First Presbyterian, Houston, Texas 77002 James Welch; St. Mark’s Episcopal, Kilgore, TX 8 pm Palo Alto, CA 7:30 pm Monica Czausz; Cathedral of the Mad-

eleine, Salt Lake City, UT 8 pm ] 28 OCTOBER Michael Hey, with violin; Our Lady of Andrew Peters, silent fi lm; Ladue Cha- Lourdes Catholic Church, Sun City West, Joe Utterback AZ 4 pm David Wagner pel, Ladue, MO 5:30 pm www.jazzmuze.com]] ] DMA Karen Beaumont; Cathedral Basilica of Johann Vexo; St. Thomas Episcopal, the Immaculate Conception, Denver, CO Medina, WA 4 pm www.davidwagnerorganist.com 3 pm Elmo Cosentini; Cathedral of St. Mary of 203 386 9992 Emanuele Cardi; Cathedral of St. Mary the Assumption, San Francisco, CA 4 pm Todd Wilson; St. James Episcopal, Los of the Assumption, San Francisco, CA 4 pm Angeles, CA 6 pm 1 NOVEMBER 12 NOVEMBER Thomas Ospital Kevin Walters KARL WATSON ; St. James Episcopal, Ken Cowan, masterclass; St. Luke’s Alexandria, LA 7 pm United Methodist, Kilgore, TX 4 pm M.A., F.A.G.O. SAINT LUKE’S Peter Yardley-Jones; First Presbyterian, 2 NOVEMBER Kilgore, TX 8 pm Rye, New York METUCHEN Nathan Laube, lecture; Dordt College, Joseph Adam; Benaroya Hall, Seattle, Sioux Center, IA 3 pm WA 7:30 pm Jonathan Ryan; Cathedral of St. An- Todd Wilson; Christ Cathedral Garden drew, Little Rock, AR 8 pm Grove, Garden Grove, CA 7:30 pm Kimberly Marshall; First Presbyterian, Alan G Woolley PhD RONALD WYATT Santa Fe, NM 5:30 pm 13 NOVEMBER Musical Instrument Research Mozart, Requiem; St. James Catholic Renée Anne Louprette; Wichita State Edinburgh Trinity Church Cathedral, Seattle, WA 7:30 pm University, Wichita, KS 7:30 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 1840 - What’s New?. . . a sampler of some recently installed, or reinstalled, instruments here and there. O 1841 - East Texas Treasures . . . highlights from the A two-inch Professional Card in The Diapason previous year’s East Texas Pipe Organ Festival as this C year’s festival prepares to launch. For information on rates and specifi cations, contact Jerome Butera: T 1842 - 500 Years of Italian Organ Music . . . an overview [email protected] 608/634-6253 of organ repertoire from the cradle of classical music, 2 Italy. 0 1843 - Honoring Anniversaries . . . of composers and ArtistArtist Spotlights Spotlightspotlight s 1 SHUIRUPHUVZKRUHDFKHGVLJQL¿FDQWPLOHVWRQHVLQWKH year 2018. Artist Spotlights 8 are available on 1844 - Celebrating Couperin . . . commemorating the Your professional card 350th anniversary of the birth of one of the foremost The Diapason French Baroque composers, François Couperin le website and could appear here! Grande (1668-1733). 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

WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 35 Calendar

Henry Webb; St. Luke’s Episcopal, Dal- 17 OCTOBER 27 OCTOBER 13 NOVEMBER las, TX 10:30 am Krzystof Urbanyak; Kreuzkirche, Dres- Ansgar Schlei; Willibrordi-Dom, Wesel, Olivier Penin; Augustinerkirche, Würz- Ann Frohbieter; Temple Emmanu-El, den, Germany 8 pm Germany 7:30 pm burg, Germany 7:30 pm Dallas, TX 1:30 pm Dorothee Oberlinger & Peter Kofl er; Johann Vexo; University Park United Jesuitenkirche St. Michael, München, Ger- 28 OCTOBER 14 NOVEMBER Methodist, Dallas, TX 3 pm many 8 pm Andreas Meisner, with trumpet; Dom, Martin Strohhäcker; Kulturpalast, Dres- Choral Evensong; Church of the Incarna- Carmen Jauch, with alto; Klosterkirche, Altenberg, Germany 2:30 pm den, Germany 8 pm tion, Dallas, TX 6 pm Alpirsbach, Germany 11:15 am Gerhard Löffler; Dom St. Martin, Rotten- burg, Germany 5 pm 16 NOVEMBER 14 NOVEMBER 18 OCTOBER Adam Brakel; Westminster United Christoph Schoener; St. Mikaelis Jonathan Ryan; First Presbyterian, Bernhard Haas; Dom St. Petri, Bremen, Church, Winnepeg, MB, Canada 2:30 pm Kirche, Hamburg, Germany 7 pm Kilgore, TX 10 am Germany 7 pm Craig Cramer; Cathedral of the Assump- Réal Gauthier, Yves-G. Préfontaine, Jacob Benda, lecture/recital; St. Luke’s Christopher Herrick; St. John the Evan- tion, Ningbo, China 7 pm Vincent Boucher, Antoine Leduc; Im- gelist Upper Norwood, London, UK 7:30 pm United Methodist, Kilgore, TX 2 pm maculée-Conception, Montréal, QC, Can- 29 OCTOBER ada 7:30 pm 15 NOVEMBER 19 OCTOBER Carsten Ehret; Musikhochshule, Mainz, Graham Barber; St. Mark’s Episcopal Kalevi Kiviniemi; Jesuitenkirche St. Mi- Germany, 7:30 pm 17 NOVEMBER Cathedral, Shreveport, LA 10 am chael, München, Germany 8 pm Matthias Roth; Stadtpfarrkirche St. Mar- Christopher Marks; St. Mark’s Episco- Alcee Chriss, Joshua Stafford, & 30 OCTOBER Thomas Gaynor; Notre Dame Basilica, tin, Bamberg, Germany 5:30 pm pal Cathedral, Shreveport, LA 3:30 pm Thierry Escaich, silent fi lm, Nosferatu; Katelyn Emerson; First Presbyterian, Montréal, QC, Canada 7:30 pm Maison Symphonique, Montreal, PQ, Can- 18 NOVEMBER Kilgore, TX 7:30 pm 20 OCTOBER ada 8 pm Durufl é, Requiem; Dom, Altenberg, Ger- Giorgio Parolini; Willibrordi-Dom, We- many 2:30 pm 16 NOVEMBER 31 OCTOBER Chelsea Chen; First Congregational, sel, Germany 7:30 pm Mozart, Requiem; Jesuitenkirche St. Mi- Francesco Finotti; Dominikanerkirche Holger Gehring; Kathedrale, Dresden, chael, München, Germany 4 pm Boulder, CO 7:30 pm Germany 8 pm Michael Kleinschmidt; Christ Episco- St. Andreas, Köln, Germany 8 pm Philippe Lefebvre; Basilika St. Gereon, Christian Lane; Church of St. Andrew & Köln, Germany 5 pm pal, Tacoma, WA 12:10 pm 1 NOVEMBER St. Paul, Montreal, PQ, Canada 3 pm Michel Bouvard; St-Sulpice, Paris, James Welch; Santa Clara University, Monteverdi, Vespers 1610; Dom, Alten- Santa Clara, CA 7:30 pm France 4 pm 21 OCTOBER berg, Germany 7:30 pm Torben Zepke; Dom, Altenberg, Ger- 21 NOVEMBER 18 NOVEMBER 3 NOVEMBER Nathan Laube; First Christian, Jefferson many 11:45 am Samuel Kummer; Frauenkirche, Dres- Ralf Borghoff; St. Laurentius, Erwitte, City, MO 4 pm Jean Guillou; Jesuitenkirche St. Mi- Germany 7:30 pm den, Germany 8 pm Jin Kyung Kim; Cathedral of St. Mary of chael, München, Germany 4 pm Paul Goussot, silent fi lm; Radio France, the Assumption, San Francisco, CA 4 pm Luca Massaglia; St. Laurentius, Erwitte, Paris, France 8 pm Germany 4:30 pm 4 NOVEMBER Craig Cramer 27 NOVEMBER Franz Günthner; Münster, Ober- ; Kulangsu Organ Museum and Research Centre, Xiamen, China 4 pm 24 NOVEMBER Chelsea Chen; First United Methodist, marchtal, Germany 5 pm Holger Gehring, with trumpets; Dom, Fort Worth, TX 7 pm 23 OCTOBER 7 NOVEMBER Altenberg, Germany 2 pm Jean-Baptiste Robin; St-Martin, Christian Schmitt; Kreuzkirche, Dres- 28 NOVEMBER 25 NOVEMBER Dudelange, Belgium 8:15 pm den, Germany 8 pm Cavatina Music Society; Cathedral of St. Paul Thissen; St. Laurentius, Erwitte, Mary of the Assumption, San Francisco, Germany 4:30 pm CA 4 pm 24 OCTOBER 8 NOVEMBER Dörte-Maria Packeiser; Frauenkirche, Tobias Gravenhorst, with choir; Dom Markus Eichenlaub; Dom St. Martin, 30 NOVEMBER Dresden, Germany 8 pm St. Petri, Bremen, Germany 7 pm Rottenburg, Germany 5 pm Todd Wilson; St. Thomas Aquinas Cath- Catherine Ennis; Westminster Cathe- Tobias Skuban; Basilika St. Gereon, olic Church, Dallas, TX 7:30 pm dral, London, UK 7:30 pm 9 NOVEMBER Köln, Germany 5 pm Wyatt Smith; University of Puget Sound, Ken Cowan; Lawrence Park Community Barry Jordan, Messiaen, Les Corps Tacoma, WA 12 noon 25 OCTOBER Church, Toronto, ON 8 pm glorieux; Dom, Magdeburg, Germany 5 pm Susanne Rühling & Ralf Gehler; Muse- um für Antike Schifffahrt, Mainz, Germany 10 NOVEMBER 27 NOVEMBER INTERNATIONAL 7:30 pm Thomas Noll; Erlöserkirche, München- Olivier Latry; Pfarrkirche St. Cyriakus, Schwabing, Germany 7 pm Krefeld-Hüls, Germany 6 pm 16 OCTOBER 26 OCTOBER Richard Lester; Buckfast Abbey, Devon, Nicholas Schmelter, with piano; St. Paul’s Daria Burlak; St-Martin, Dudelange, Schola Floriana; Basilika St. Kastor, Ko- UK 7:30 pm Cathedral, London, ON, Canada 12 noon Belgium 8:15 pm blenz, Germany 7:30 pm Ken Cowan, masterclass; Lawrence Park Community Church, Toronto, ON 10 am 28 NOVEMBER Johannes Trümpler; Kathedrale, Dres- 11 NOVEMBER den, Germany 8 pm Iris Rieg; Dom, Altenberg, Germany 2:30 pm 30 NOVEMBER Christian Vorbeck; Willibrordi-Dom, We- Andreas Boltz, with trumpets; Dom, sel, Germany 7:30 pm Frankfurt, Germany 8 pm

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36 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Recital Programs

FRÉDÉRIC BLANC, Stiftskirche, Stutt- Fugue, and Chaconne, BuxWV 137, Buxte- BRUCE NESWICK, Cathedral of St. John Eroïca, op. 94, Jongen; Allegro con brio gart, Germany, July 13: Cantabile (Choral No. hude; Harry Potter Symphonic Suite, Wil- Berchmans, Shreveport, LA, April 6: Toccata, (Symphony No. 8, op. 88), Dvorák, transcr. 3 in a), Franck; Introduction et Variations sur liams, transcr. Demers; Institution of the Adagio, and Fugue in C, BWV 564, Bach; Stafford; Carnival Overture, op. 92, Dvorák, un Noël Polonais, Guilmant; Arabesque (24 Eucharist (Book of the Holy Sacrament), Easter section, Orgelbüchlein, Bach; Verses transcr. Lemare; Romance (Symphonie IV, pièces en style libre, op. 31, no. 15), Caril- Messiaen; Elfes, Variations de Concert, Bon- on Christ lag in Todesbanden, Scheidemann; op. 32), Vierne; Berceuse à la mémoire de lon de Westminster (24 Pièces de fantaisie, net; Prelude and Fugue in D, BWV 532, Sonata IV in B-fl at, op. 65, no. 4, Mendels- Louis Vierne, Cochereau, transcr. Blanc; Troisième suite, op. 54, no. 6), Vierne; Jésus Bach; Scherzo (Symphony V in d, op. 107), sohn; Ma$hed, Kim; Deux Études, Rogg. Roulade, Bingham. tombe sur le poids de sa croix (Le chemin de Mendelssohn; Rosace (Esquisses Byzan- la croix), Dupré; Prélude et Fugue sur le nom tines), Mulet; Variations on a Theme of Pa- DEREK NICKELS & STEPHEN CAROLE TERRY, Memorial Church, d’Alain, Durufl é; Introduction et aria, Grun- ganini, Thalben-Ball. SCHNURR, St. Matthew Episcopal Church, Stanford University, Stanford, CA, April 18: enwald; Improvisation. Evanston, IL, June 10: Prelude in E-fl at, BWV Präeludium in D, BuxWV 139, Buxtehude; MICHAEL HEY, St. James Episcopal 552i, Bach; Soll es sein, Sweelinck; Concerto Unter den Linden grüne, Sweelinck; Sonata ADAM J. BRAKEL, St. Matthew Luther- Church, Los Angeles, CA, April 8: Pomp and del Sigr. Meck, Walther; Praeludium in e, IV in a, op. 98, Rheinberger; Prelude and an Church, Hanover, PA, April 8: Coronation Circumstance No. 2, Elgar, trascr. Lemare; BuxWV 142, Buxtehude; Tiento de medio Fugue in C, BWV 547, Herr Jesu Christ, March (Le Prophète), Meyerbeer; Partita: Sei The Dancing Pipes, Dove; Scherzo Sympho- registro de dos tiples de 2º tono, de Arauxo; dich zu uns wend, BWV 655, Nun komm, gegrüsset, Jesu gütig, BWV 768, Bach; Tocca- nique, Cochereau, transcr. Filsell; Allegro Schmücke dich, o liebe Seele, BWV 654, der Heiden Heiland, BWV 659, Fantasy and ta in D, Lanquetuit; Americana, various, arr. (Symphony VI in g, op. 42, no. 2), Widor; The Fugue in E-fl at, BWV 552ii, Bach. Fugue in g, BWV 542, Bach. Brakel; Praeludium in e, Bruhns; Variations Soul of the Lake, Hymn to the Stars (Seven on Shenandoah, Hyman; Sonata Eroïca, op. Pastels from the Lake of Constance, op. 96), RAÚL PRIETO RAMÍREZ, St. Paul the DAVID TROIANO, St. Anthony Church, 94, Jongen. Karg-Elert; Prière, op. 108, no. 2, Jongen. Apostle Catholic Church, Westerville, OH, Querétaro, Mexico, April 20: Fuga, Selby; Aria April 6: Mephisto Waltz No. 1, Liszt, transcr. XII, Paganelli; Obra de lleno de 7 tono, Tor- ELIZABETH & RAYMOND CHE- CHRISTOPHER HOULIHAN, Cathedral Ramírez; Suite, op. 5, Durufl é; Prelude to Die res; O Herre Gott, BWV 1110, Bach; Tiento NAULT, St. Andrew’s Episcopal Church, Am- of St. Paul, Des Moines, IA, April 14: Passa- Meistersinger von Nürnberg, Wagner, transcr. de falsas de 2 tono, Bruna; Sonata, Insanguine; arillo, TX, April 22: Variations on an Easter caglia and Fugue in c, BWV 582, Bach; Four Ramírez; Toccata in d, BuxWV 155, Buxtehu- Fugue sur les jeux d’anches, Couperin; Wir Theme, Rutter; Saint Anthony in Meditation Sketches for Pedal-Piano, op. 58, Schumann; de; Triptico del Buen Pastor, Guridi. Christenleut, Bach; Sonata, Oxinagas. (The Triumph of the Saint), Paulus; Allegro for Master Tallis’s Testament (Six Pieces for Or- Organ Duet, Moore; Shenandoah, White; A gan), Howells; Grande Pièce Symphonique, NICHOLAS SCHMELTER, Christ the PAUL VANDER WEELE, Presbyterian Fancy for Two to Play, Hancock; Variations on op. 17, Franck. Good Shepherd Catholic Parish, St. Helen Homes, Evanston, IL, May 21: Master Tallis’s Veni Creator Spiritus, Briggs; Phantom of the Campus, Saginaw, MI, May 6: Ceremonial Testament (Six Pieces for Organ), Howells; O Opera Medley, Lloyd Webber, arr. Chenault. RENÉE ANNE LOUPRETTE, Hyde Music for Organ, Hampton; Variations sur Lamm Gottes, unschuldig, BWV 656, Bach; Park Community United Methodist Church, O fi lii, Fleury; Fantasia and Fugue in F, Mattheus—Final (Bach’s Memento), Bach, PETER RICHARD CONTE, South Main Cincinnati, OH, April 15: Prelude and Fugue KrebsWV 420, Krebs; May Song, Elgar; A transcr. Widor; In paradisum (Requiem), Du- Baptist Church, Houston, TX, April 8: Over- in E-fl at, BWV 552, Bach; Récit du Chant de Spring Song, Holst; Largo (New World Sym- rufl é; Fanfares to the Tongues of Fire, King. ture (Candide), Bernstein, transcr. Conte; Agi- l’Hymne Précédent (Pange lingua), de Gri- phony), Dvorák, transcr. Clough-Leiter; Vit- tato, Fugue (Sonata XI, op. 148), Rheinberger; gny; Intermezzo, Moto perpetuo, Fugue tri- rail, Campanile, Chant funèbre, Tu es petra JOHN WALKER, Methuen Memorial Variations on a Theme of Arcangelo Corelli, angulaire (Douzes Courtes Pièces pour orgue, et portæ inferi non prævalebunt adversus te Music Hall, Methuen, MA, May 30: Choral Kreisler, transcr. Conte; Pastorale, Mattheus- op. 43, vol. 1), Laurin; Myto, Wammes; Deux- (Esquisses Byzantines), Mulet. (Quatre Pièces pour Orgue, op. 37), Jongen; Final (Bach’s Memento), Bach, transcr. Widor; ième Fantaisie, Alain; Suite, op. 5, Durufl é; Prelude and Fugue in C, BWV 545, Bach; No. 4 in D-fl at, No. 3 in f (Four Sketches for Improvisation (Trois Pièces pour Orgue ou STEPHEN SCHNURR, St. Thomas Epis- Requiescat in Pace, Sowerby; Choral No. 1 in Pedal-Piano, op. 56), Schumann; Choral Im- Harmonium), Boulanger. copal Church, Menasha, WI, May 30: Prae- E, Franck; Choral (Deuxième Symphonie in provisation on Naher, mein Gott, zu Dir!, ludium in e, BuxWV 142, Buxtehude; Soll e, op. 20), Vierne; Berceuse à la Mémoire de Karg-Elert; Mondschein Musik (Capriccio, ROBERT McCORMICK, St. Peter’s Epis- es sein, Sweelinck; Concerto del Sigr. Meck, Louis Vierne, Cochereau, transcr. Blanc; Hills op. 85), Strauss, transcr. Conte. copal Church, Morristown, NJ, April 20: Cho- Walther; Praeludium in E, LübWV7, Lübeck. in the Springtime (Taiwanese Suite), Chen; ral (Deuxième symphonie, op. 20), Vierne; Concert Variations upon Old Hundred, Paine. LYNNE DAVIS, First United Methodist Cantilène Improvisée, Tournemire, recon. JOHN SHERER, Fourth Presbyterian Church, Orlando, FL, April 8: Choral-Impro- Durufl é; Suite, Martinson; Prelude on Llan- Church, May 25: The Queen’s Procession, GREG ZELEK, Methuen Memorial Mu- visation sur le Victimae paschali, Tournemire, fair, Hommage à Messiaen, Robinson; Prelude Chuckerbutty; Arrival of the Queen of She- sic Hall, Methuen, MA, May 23: Prelude and transcr. Durufl é; Variations sur un theme de and Fugue on Union Seminary, Hancock. ba (Solomon), Handel, transcr. Rawsthorne; Fugue in a, BWV 543, Bach; Prélude, Fugue, Clément Jannequin, Alain; Passacaglia in c, Chanson de Matin, Elgar, transcr. Brewer; et Variation, op. 18 (Six Pièces pour le Grand BWV 582, Bach; Choral No. 1 in E, Franck; KAROL MOSSAKOWSKI, Stiftskirche, Caprice, Harris; Tuba Tune in D, Lang; Tune Orgue), Franck; A-fl at major (Liebesträume, Rosace (Esquisses Byzantines), Mulet; Sym- Stuttgart, Germany, July 6: Choral No. 2 in b, in E, Thalben-Ball; Solemn Melody, Davies; S. 541), Liszt, transcr. Potts; Fantasia for Or- phony VI in g, op. 42, no. 2, Widor. Franck; Choral-Improvisation sur le Victimae Crown Imperial, Walton, transcr. Murrill. gan, Weaver; Innig (Studien für den Pedalfl ü- paschali laudes, Tournemire; Prélude, Adagio, gel: Sechs Stücke in kanonischer Form, op. ISABELLE DEMERS, Southern Oregon et choral varié sur le thème du Veni creator, JOSHUA STAFFORD, Westminster Pres- 56), Schumann; Première Sonate in d, op. 42, University, Ashland, OR, April 8: Prelude, op. 4, Durufl é; Improvisation. byterian Church, Nashville, TN, April 9: Sonata no. 1, Guilmant.

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Morel and Associates, Organ Builders of Den- Certified appraisals—Collections of organ Kola Owolabi of the University of Michigan Organa Europae calendars featuring famous ver, Colorado, is seeking an experienced pipe books, recordings, and music, for divorce, plays on a new Raven CD, Four Suites from pipe organs of Europe; years 1969 to 1977. organ technician to join our company to assume estate, gift, and tax purposes. Stephen L. the Second Livre d’Orgue by Jacques Boyvin, $10.00 each. 219/662-0677, [email protected]. the position of Service Manager. Please mail or Pinel, Appraiser. 629 Edison Drive, East Wind- on the 1732 Andreas Silbermann organ in email résumé to: Rick Morel, 4221 Steele St., sor, NJ 08520-5205; phone: 609/448-8427; Ebersmunster at Saint-Maurice Abbey Church. Denver, CO 80216; email: [email protected]. email: [email protected]. Raven OAR-997 $15.98 postpaid. Raven, Box MISCELLANEOUS WANTED 25111, Richmond, VA 23261; 804/355-6386, Foley-Baker, Inc. is seeking a collection of Wanted: Organists visiting Maui. Lahaina’s Holy RavenCD.com. Consoliere Classic Series for Organ: Complete The Diapason Innocents Episcopal Church invites visiting organ- magazine. Issues from 1951 Set of Six Books. An outstanding collection com- ists to play its Beckerath Positiv organ at Sunday and earlier. Contact Michelle: 800/621-2624 or piled from World Library Publication’s extensive The new Nordic Journey series of CD record- services. Built in 1972 by Rudolf von Beckerath [email protected]. ings reveals premiere recordings of symphonic and then-apprentice Hans-Ulrich Erbslöh for organ library. A must for any church organist. organ music—much of it still unpublished—from Honolulu’s Lutheran Church, the 408-pipe Shrank- 003067, $54.00, 800/566-6150, Wlpmusic.com. Nordic composers, played by American organist positiv has a 54-note “split” manual, 30-note pedal, HYBRID ORGANS FOR SALE 11 stops, 8 ranks, and 6 registers. Holy Innocents James Hicks on a variety of recently restored The Tracker—The Organ Historical Society acquired the instrument in 1977 and moved it to Swedish organs. It’s a little bit like Widor, Reger quarterly journal includes news and articles and Karg-Elert, but with a Nordic twist. Check it Pipe/digital instrument available. Wicks/Allen Maui. The instrument is extremely responsive and 2008 with custom English console and façade. fi lls the worship space beautifully. The parish com- about the organ and its history, organ build- out at www.proorgano.com and search for the ers, exemplary organs, and regional surveys term “Nordic Journey.” 11 pipe ranks; 64 digital ranks. Mint tonal and munity is “exemplary in its hospitality to all visitors,” physical condition. Immediately available. Com- and that especially includes visiting organists. For of instruments. Both American and European plete brochure email [email protected] or information: 808/661-4202; holyimaui.org. organ topics are discussed, and most issues call 803/359-6352. run 32 pages with many illustrations and pho- Ed Nowak, Chicago-area composer, arranger, tographs. Membership in the OHS includes a and church musician, announces his new web- PUBLICATIONS / RECORDINGS subscription to The Tracker. Visit the OHS Web site, featuring Nowak’s original choral works, hymn concertatos, chamber and orchestral PIPE ORGANS FOR SALE site for subscription and membership informa- works, organ hymn accompaniments, organ Fruhauf Music Publications announces tion: www.organsociety.org. and piano pieces, electronic music, and psalm 34-rank Casavant pipe organ for sale. Orgues a complimentary publication, Unnumbered settings. The website offers scores and recorded Létourneau is offering a 33-stop Casavant Frères through the Ages, an expanded three-verse pipe organ (Opus 2518 from 1959) for sale. This hymn anthem for SATB choir and organ. Organs of Oberlin chronicles the rich history of examples that are easy to sample and can be electro-pneumatic instrument is currently in Conceived in an Anglo-Catholic tradition, text organs at Oberlin College, the Conservatory of purchased in downloaded (PDF and MP3) or storage at the Létourneau shops and is avail- and music combine in a manner suitable for Music, and the town of Oberlin, Ohio. The hard- printed form. Visit ednowakmusic.com. All Saints as well as the seasons of Epiphany bound, 160-page book with many illustrations able for purchase in “as is” condition for USD $60,000 with its original three-manual console. and Pentecost. This is the fi rst of three verse is the most comprehensive study of traceable Pipe Organs of the Keweenaw by Anita Likewise, Létourneau would be pleased to pro- anthems to be published by Fruhauf, and it is organs from 1854 to 2013. The book measures Campbell and Jan Dalquist, contains his- ″ ″ vide a proposal to rebuild this instrument, taking the most adventurous of the set, featuring the 8½ x 11 and features a dust jacket with color- tories, stoplists, and photos of some of organist as a soloist and accompanist. For infor- into account any desired changes to the stoplist ful illustrations not found in the book. Organs by the historic organs of the Keweenaw Pen- mation: www.frumuspub.net. as well as installation costs, voicing, casework the Skinner Organ Company, Aeolian-Skinner, insula, the northernmost tip of Michigan’s as required, and rebuilding the three-manual C. B. Fisk, Inc., Flentrop, Holtkamp, Roosevelt, Upper Peninsula. Organs include an 1899 console with a new solid-state switching system. Aria from the Opera Ptolemy, arranged and many others are featured. Text by Stephen Barckhoff and an 1882 Felgemaker. The booklet The organ requires approximately 570 sq. ft. by Edwin Arthur Kraft, makes a fi ne stand- Schnurr; photographs by William T. Van Pelt, ($8.00 per copy, which includes postage) is with 20′ ceiling for 16′ ranks. For more details, alone organ piece, easily recognizable as Trevor Dodd, Halbert Gober, as well as rare available from the Isle Royale and Keweenaw visit www.letourneauorgans.com, email info@ “Father in Heav’n Abiding” or “Silent Worship.” vintage examples. $50, plus $5 shipping. Visit Parks Association, 49445 US Hwy 41, Hancock, letourneauorgans.com or call Andrew Forrest at michaelsmusicservice.com; 704/567-1066. www.organsofoberlin.com. Michigan 49930. For information: 800/678-6925. 450/774-2698.

TOTAL PIPE ORGAN RESOURCES

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

Attention Organbuilders For Sale: This Space For information on sponsoring a color cover for THE DIAPASON, contact Jerome Butera, For advertising information contact: 608/634-6253 THE DIAPASON [email protected] 608/634-6253 voice Send a copy of THE DIAPASON to a friend! [email protected] e-mail Contact THE DIAPASON at 608/634-6253; [email protected]

For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 PIPE ORGAN BUILDERS, LTD. Phone (515) 964-1274 Fax (515) 963-1215 LAKE CITY, IOWA 51449 (712) 464-8065

Roy Redman PEEBLES-HERZOG, INC. Redman Pipe Organs LLC 50 Hayden Ave. 816 E. Vickery Blvd. Columbus, Ohio 43222 Fort Worth, TX 76104 817.332.2953 • Cell: 817.996.3085 Ph: 614/279-2211 • 800/769-PIPE Fellow, American Institute of Organ Builders www.peeblesherzog.com Member, International Society of Organ Builders e-mail: [email protected]

3030 W. Salt Creek Lane ph 847/954-7989 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com

38 Q THE DIAPASON Q OCTOBER 2018 WWW.THEDIAPASON.COM Classifi ed Advertising Rates will be found below.

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

Five stop triple transposing Positiv Organ by Rieger 23-rank mechanical pipe organ for 1968 Wicks, one divided manual and AGO Releathering all types of pipe organ actions James Louder. Designed and built by James sale. Two 61-note manuals and 32-note AGO pedalboard. Excellent condition. Self contained; and mechanisms. Highest quality materi- Louder to serve as either a large continuo organ concave, radiating pedals. 1,221 pipes, manual direct electric action; chiffy, open toe voicing, als and workmanship. Reasonable rates. or a small chapel organ, the organ has fi ve and pedal couplers, and tremulant; includes 3 85 unenclosed pipes. Ideal for small church or Columbia Organ Leathers 800/423-7003. registers, all divided into bass and treble. The separate mixture stops and 2 reed stops. Gen- home. Fits under 8′ ceiling. $3,500 or best offer. www.columbiaorgan.com/col. manual compass is 50 notes (C, D–d′′′) and the tly voiced for a chapel or home use. Compact [email protected]. 1 keyboard may be transposed from A440 to A415 design: width: 5′-8 ⁄8″, depth 7′-3¼″, height and to A392. The natural keys are of bone and 7′-3½″ with separate electric blower 2′ x 2′-1″ Do you have a pipe organ that you would the sharps of padouk, capped with ebony. The x 2′-5″. Mechanical key and stop action, slider MISCELLANEOUS FOR SALE like to interface with an electronic or digital casework is of solid white oak with pipe-shades windchest. Reduced to $45,000.00. For more organ? We can interface any digital organ or of rock maple. The organist may play comfortably details call 360/945-0425 or see OHS Organ Excellent used pipes, like new Austin any organ console with any pipe organ. For more while standing, or while seated at the tall bench Data Base, Rieger Orgelbau, Gaspar Schulek actions half price, and all sizes of re-leathered information e-mail [email protected] (not provided. Removable panels shield the façade Residence. bellows. Milnar Organ Company, 615/274-6400, Comcast) or call 215/353-0286. pipes during transport, as well as a fi tted, padded [email protected]. Please visit our web- cover for the whole instrument. The upper part of site for information on available inventory: www. the organ can be removed from the base, which Casavant Freres Opus 3818, 2004. 3-manual milnarorgan.com. ANNOUNCEMENTS contains the wind system. The organ can be eas- drawknob, 52 ranks, E/P action in excellent play- ily transported in the back of a mini-van. Because able condition. Scottsdale, AZ. Steve Beddia, THE DIAPASON E-Newsletters are e-mailed a continuo organ in regular use needs to be 609/432-7876, [email protected]. Consoles, pipes and numerous miscellaneous monthly to subscribers who sign up to receive tuned frequently, the open metal pipes are fi tted parts. Let us know what you are looking for. them. Don’t miss the latest news, featured artists, with tuning collars. This also allows the organ to E-mail [email protected] (not comcast), and classifi ed ads—all with photos—some before be put into various temperaments. The instru- Residence instrument available, Doug- phone 215/353-0286 or 215/788-3423. they appear in print! Visit www.TheDiapason. ment is tuned in Kellner temperament. Stoplist: lasville, Georgia. Four manual, six division, com and click on Subscribe to our newsletter. For ′ ′ ′ hybrid instrument built in 2010. Short montage assistance, contact Stephen Schnurr, 847/954- Bourdon 8 , Principal 4 , Flûte à cheminée 4 , ′ ′ ′ on YouTube by entering “HDG residence organ” 16 OSI Metal Diapason (12 pipes), 34 scale 7989, [email protected]. Dessus de Nasard 2-2/3 , Flûte à bec 2 . Price: ′ $60,000 (U.S.), seller pays shipping. Contact: in the browser. Complete stoplist and pictures mitered to 12 on two chests with rackings. David Schrader, [email protected], available. Contact M. Proscia, 770/258-3388 or $1,700 OBO. Steve: 609/432-7876, acorgan@ comcast.net. 2019 Resource Directory advertising oppor- cell: 312/560-2968. 770/361-2485; [email protected]. tunities abound! The deadline for advertising is November 1. The directory will mail with the Janu- ary issue. To discuss your advertising needs, Aeolian-Skinner opus 1480. 2 manuals, 20 SERVICES / SUPPLIES Circa 1860 Pfeffer eight-rank organ, available contact Jerome Butera: [email protected]; rebuilt and custom fi nished. Also 1884 choir ranks, 4 divisions, enclosed and unenclosed 608/634-6253. organ by Louis Debierre. Both are pictured on the Great. Price reduced signifi cantly to $99,000. Aeolian/Robert Morton-style maroon Redman website: www.redmanpipeorgans.com. Details: [email protected]. leather is now available from Columbia Organ Leathers! Highest quality. 800/423-7003, Postal regulations require that mail to THE www.columbiaorgan.com. DIAPASON include a suite number to assure Historic 1859 ROBJOHN, II+Ped, 11 ranks. 1874 Hutchings-Plaistead. 2 manuals, 11 stops. delivery. Please send all correspondence to: ′ ″ Drop dead gorgeous rosewood case, 14 -2 tall. Good restorable condition. Free to a good home. THE DIAPASON, 3030 W. Salt Creek Lane, Suite Lovely for chapel, large residence, or museum. Boston area. Contact John Bishop, the Organ Classifi ed advertising sells! Contact Jerome 201, Arlington Heights, IL 60005. www.bigeloworgans.com. Click on News. Clearing House, [email protected]. Butera at [email protected]; 608/634-6253.

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WWW.THEDIAPASON.COM THE DIAPASON Q OCTOBER 2018 Q 39 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* 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

Saint Thomas Church New York City (March 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) 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