THE DIAPASON MARCH, 2008
St. Ann’s Roman Catholic Church Nyack, New York Cover feature on pages 34–35
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Star Wars John Rose In Adventu Domini at Cathedral of St. Joseph Rel#: RK ap 10101 Hartford, Connecticut Rel#: TH-1008 also available: This Son So Young Hear the Voice Rel#: apc 10201 John Rose, Organ Liesl Odenweller, Soprano Primavera Rebecca Flannery, Harp Bach, Grieg, Elgar, Poulenc et al. Rel#: TH-71986 Rel#: AMP 5114-2 WWW.TOWERHILL-RECORDINGS.COM For those who may not be aware of the some justifi able pride on the church’s source, this fl owery description is ex- website (www.fi shchurch.org), which THE DIAPASON cerpted from a much longer article that however makes no mention of what went A Scranton Gillette Publication Dr. Holmes wrote back in 1863, in praise before it. Unfortunately, that early “vir- Ninety-ninth Year: No. 3, Whole No. 1180 MARCH, 2008 of the then-new 4-manual Walcker organ tual” example did convince a few other that had just been installed (with much larger urban churches to go the same Established in 1909 ISSN 0012-2378 fanfare) in Boston Music Hall. True, that route, including the First Presbyterian An International Monthly Devoted to the Organ, organ subsequently had a checkered his- Church of Syracuse, which, also in 1991, the Harpsichord, Carillon, and Church Music tory, but a substantial portion of it still replaced its (by then) long nonfunctional exists in regular use in Methuen Memo- non-pipe instrument with a 3-manual rial Music Hall (check out
MARCH, 2008 3
Mar 08 pp. 2-21.indd 3 2/11/08 10:21:01 AM ■ St. Peter in Chains Cathedral, Cin- cinnati, Ohio, continues its “Great Mu- he sense sic in a Great Space” series: March 19, Offi ce of Tenebrae (Gregorian chants, T Lamentations of Jeremiah, and Allegri’s of the Miserere); April 7, the Choir of King’s College, Cambridge, England. For in- beautiful is formation: 513/421-2222; God’s best gift
4 THE DIAPASON
Mar 08 pp. 2-21.indd 4 2/11/08 10:21:26 AM Collegiate Church, in the East Village of Choir, all of which are still available, are Appointments New York City. He will oversee the in- on the London-Polygram, Dorian, Goth- stallation of a four-manual, 112-register ic, Arkay and AFKA labels. He maintains Marshall & Ogletree organ of his own an active schedule of organ recitals and design, play for worship celebrations, guest conducting appearances, and last and present the organ in various con- fall played programs in New Hampshire, cert, recording, collaboration and teach- Massachusetts, North Carolina, and at ing roles as a vital part of this ethnically the Anglican Cathedral Church of the and musically diverse congregation and Redeemer in Calgary, Alberta, Canada, neighborhood. Carpenter holds master’s where he conducted the Widor Mass for and bachelor’s degrees from the Juilliard Two Choirs and Two Organs with the School in New York City and is under Cathedral Choir, the SuperSonic Men’s management by Slaymaker Special Proj- Choir of Calgary, and Neil Cockburn, ca- ects (Susan Slaymaker, director). His thedral artist-in residence. new website,
Brian Jones has been appointed in- Here & There terim associate organist at Memorial Church, Harvard University, for the sec- ond semester of this academic year. He Brian Jones Gail Archer is presenting a season- recently completed a more than two- long concert series to celebrate the 100th year tenure as interim director of music St. John, Albuquerque, New Mexico. He birthday of French composer/organist Cameron Carpenter at Old South Church, Copley Square, is emeritus director of music and organist Olivier Messiaen (1908–1992). She is Boston, and in 2004–2005 occupied a at Trinity Church, Copley Square, Bos- performing all six of his complete organ Cameron Carpenter has been ap- similar interim position as organist and ton, where he served from 1984–2004. works, while showcasing six of Man- pointed artist-in-residence at Middle choirmaster of the Cathedral Church of His recordings as director of the Trinity hattan’s church organs starting January
thth ConcertArtistCooperative 20ANNIVERSARY
Sabin Levi Yoon-Mi Lim Ines Maidre Mary Mozelle David F. Oliver Organist/Harpsichordist/Carillonneur/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Organist/Lecturer/ Lecturer/Recording Artist 2004 NYACOP Winner Associate Professor of Organ Associate Organist Recording Artist Organist and Composer in Residence Director of Music Grieg Academy of Music The National Presbyterian Church College Organist First Christian Church of Independence Fairlawn Presbyterian Church Bergen, Norway Washington DC Assistant Professor Assistant Music Director Columbus, Indiana “The Sights & Sounds Department of Music Shireinu Choir of Kansas City of the Pipe Organ” Morehouse College Kansas City, Missouri Atlanta, Georgia
Larry Palmer Roman Perucki Gregory Peterson Stephen Roberts Clair Rozier Harpsichordist/Organist Organist/Lecturer/Recording Artist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer Professor of Harpsichord and Organ Director, Frederic Chopin College Organist and Instructor of Organ Director of Music Meadows School of the Arts Polish Baltic Philharmonic Assistant Professor of Music Western CT State University St. David's Episcopal Church Southern Methodist University International Organ Music Festival Luther College Director of Music Wayne, Pennsylvania Dallas, Texas J.P. Sweelinck Organ Music Competition Decorah, Iowa St. Peter Church Organist, Oliwa Cathedral Danbury, Connecticut Gdansk, Poland
Lisa Scrivani-Tidd Michael Stefanek Heinrich Walther Jane Watts Duo Majoya Organist/Lecturer Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Assistant Professor of Music Director of Music Recording Artist Exclusive Recording Artist Recording Artists SUNY at Jefferson Aldersgate United Methodist Church Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Watertown, New York Redford, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music University Organist Faculties, Church Music Schools Organist of the Bach Choir University of Alberta St. Lawrence University Heidelberg and Rottenburg London, England The King’s University College Canton, New York Germany Edmonton, Alberta, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
MARCH, 2008 5
Mar 08 pp. 2-21.indd 5 2/11/08 10:21:47 AM First Presbyterian Church of Lynchburg, Virginia, where Mr. Betenbaugh record- ed two CDs on the church’s Möller or- gan, and where they led a large graded choir program. The large youth choir, in addition to liturgical repertoire, per- formed a musical each year, traveled on a historical musical tour every year, and recorded three CDs. The adult choir toured Europe four times, singing in England, Scotland, Germany, Austria, Italy, Norway, Sweden and Denmark. They also sang concerts at Washington National Cathedral and Bruton Parish in Williamsburg, Virginia. This summer the choir plans to take their fi fth tour to Hol- land, Germany and Switzerland in July Edward Broms under the name The Betenbaugh Sing- ers, and the choir plans to tour in 2010 in will benefi t the Holy Name Organ Trust, Eastern Europe. Boy choristers groomed and will be played on the church’s recently Gale Kramer Gail Archer by the Betenbaughs have attended the renovated Wicks organs. American Boychoir in Princeton, New The Organ Symphony #1: Ainulindale Gale Kramer retired as organist at 13 with La Nativité du Seigneur at the Jersey, and the Texas Boy Choir in Fort is based on J.R.R. Tolkien’s The Silmar- Metropolitan United Methodist Church Church of the Heavenly Rest and ending Worth, Texas. illion, a collection of fi ctional legends in Detroit on Homecoming Sunday, Sep- May 29 with Livre du Saint Sacrement at The Betenbaughs were granted a 13- presented as histories, written over 60+ tember 16, 2007, exactly 30 years to the St. Patrick’s Cathedral. week sabbatical to England in 2003 by years. From the outset, improvisation day after he played his fi rst service there. This concert series follows Archer’s the church. They attended rehearsals, was to be an integral aspect of the work, His was the longest tenure since that of most recent exploration of Messiaen— Evensongs, and concerts in Cambridge, based on both Krasinski’s and Broms’s F. Dudleigh Vernor (1934–1971). Fol- the release of her second album, A Oxford, London, and Salisbury, and in- improvisation skills. It developed as a lowing an extended organ prelude and Mystic in the Making (2007). An active terviewed the organist/choirmasters of meditation on creation and the creative the morning service he was feted at a re- recitalist in both Europe and the United the colleges and cathedrals where they process itself. Organ Symphony No. tirement banquet attended by some 200 States, she has performed in Budapest, visited. On returning home they wrote 1 covers a continuum between being persons from the congregation and from Hamburg, Poland, Germany, Italy and six articles about the sabbatical, which completely improvised and completely out of town. The congregation has estab- The Hague. Archer currently serves as were published in The Diapason. composed. The organist is called upon lished an annual Centennial Scholarship chair of the music department at Barnard Gordon Betenbaugh was elected twice to improvise with written parts—forms, in his name. College, Columbia University; artistic di- as national secretary of the AGEHR and rhythms, text, narrative, and other pa- Kramer began at Metropolitan Meth- rector of the lunchtime organ recitals at was on the editorial board of Reformed rameters, and to compose with materi- odist Church in 1977, a few years after Central Synagogue; organ faculty at the Liturgy and Music. He has commis- als intended for improvisation—even to the installation of the Rice Memorial Manhattan School of Music; and most sioned numerous organ, adult and chil- compose themes to introduce into the Organ, and his tenure became identifi ed recently was appointed as college organ- dren’s anthems, bell choir pieces, and a work, thus making each performance with it. He always saw the main role of ist at Vassar College. poem for an organ dedication. unique, yet recognizable in sound and the organ to be the support of congrega- The schedule: January 13, Church of For their last Sunday, a large festival form as a distinct composition. tional song, and the secondary role to in- the Heavenly Rest; February 3, First choir was assembled with former choris- The symphony is in fi ve movements terpret faith in non-verbal terms, taking Presbyterian Church; 2/24, Rutgers ters returning from college and out of state and overlays traditional Western forms as a motto the verse from Romans: “The Presbyterian Church; March 8, St. Paul’s to sing the Vaughan Williams Festival Te on the raga form of India, making it es- Spirit intercedes for us with sighs too Chapel, Columbia University; April 20, Deum, the Howells Collegium Regale and sentially a long raga. Fans of jazz, rock, deep for words.” The congregation al- Church of St. Vincent Ferrer; May 29, Hymn to St. Cecilia. Daughter Melanie and world music will note that this lowed these roles to be fulfi lled through St. Patrick’s Cathedral. For information: Betenbaugh, violinist, played Massenet’s performance brings to bear all of these their acceptance of organ literature and
6 THE DIAPASON
Mar 08 pp. 2-21.indd 6 2/11/08 10:22:09 AM www.ioti.com VirtuosoPIPE ORGAN CONTROL SYSTEM 877 462 4684
In 1938, the Basilica In 2007, the of St. Peter and Paul Basilica chose the in Lewiston, Maine Virtuoso Pipe Organ chose Casavant. Control System. 14 and 15 at St. Andrew Presbyterian Co. of Lebanon, Pennsylvania, who also Church, Boulder, Colorado. Three Christ- built a small number of pipe organs. mas Motets, for SATB (divisi) a cappella, The salesman invited the lad and his was written in 1993. A Christmas Carol, dad to try a Hammond organ on the next from a text by Gilbert Chesterton, was fl oor up, and from that point on the die written in 1981 for SATB a cappella. was cast. Organ lessons began in 1948, with a public program of music—easy music!—to follow in a village church near Lebanon in 1949. In June 1950 he played another program in St. John’s Episcopal Church, Marietta, Lancaster County, where he now supplies on a regular basis. Moyer studied organ with R. Porter Campbell at Lebanon Valley College, Vernon de Tar at Union Theological Seminary, New York City, and earned a master’s in music history at Temple Uni- versity, and the DMA in organ and church music at Eastman (organ study with Da- Susan Barrett and Alison Luedecke vid Craighead and church music with M. Alfred Bichsel). Millennia Too!, Alison Luedecke, or- Dr. Moyer spent most of his profes- gan, Susan Barrett, oboe/English horn, sional career as a music faculty member Carolyn Shuster Fournier, Jon Gillock and Andrew Scanlon at Eglise Sainte Trinité, gave the fi rst performance of Whispering at Millersville University in suburban Paris, France Winds: Calm the Storm and Moonshine Lancaster and, during most of those by Jon Naples on October 13 and Oc- years, also playing organ and directing Andrew Scanlon, FAGO, recently In Rome, Scanlon collaborated with tober 28 at the First Unitarian Church, choirs at several Lutheran churches in completed an extensive concert tour of baritone Michael Aaron Wright for two San Diego, and First Church of Christ Lancaster. He retired from Millersville Europe, performing organ recitals in performances; and in Italy he performed Scientist, La Mesa, respectively. Calm in 1996 and from Grace Lutheran, Lan- France, Italy, and Croatia during No- the European premier of Confl uence, the Storm is written for English horn caster, in 2002. He also retired from his vember 2007. Among the performance op. 190, by Pittsburgh composer Joseph and organ while Moonshine is for oboe recital career in 1998 with a program venues were Notre-Dame Cathedral Willcox Jenkins. Pictured are Carolyn and organ. Moonshine was also featured at St. Joseph Church, Lancaster, on the and La Trinité Church in Paris, St. Paul’s Shuster Fournier, Jon Gillock and An- at the AGO mid-winter conclave in Tuc- large two-manual Carl Barckhoff organ Within the Walls Anglican Church in drew Scanlon at Eglise Sainte Trinité, son. Whispering Winds was written for he has championed. On a very few occa- Rome, St. John the Baptist Church and Paris, France. Millennia Too! with the desert South- sions he has come out of “recital retire- First Adventist Concert Hall in Zagreb. west in mind. These works are available ment”; he last played a full program at from the composer at
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8 THE DIAPASON
Mar 08 pp. 2-21.indd 8 2/11/08 10:22:37 AM
ton AGO chapter, Mrs. Taylor served as Nunc Dimittis dean from 1965–67. Preceded in death by her husband, Francis Bergh Taylor, she is survived by her four children and William Ernest Baker died August eight grandchildren. 31, 2007 in Tucson, Arizona. Born in 1938 in Denver, he had enlisted in the United States Air Force as an in-fl ight computer technician. During this time, Here & There he studied organ at the University of the Pacifi c, and later studied at the Univer- sity of Colorado. While in Denver, he Bärenreiter has announced the re- worked with Fred H. Meunier & Associ- lease of Weimarer Orgeltabulatur: Die ates. Mr. Baker’s early work took place frühesten Notenhandschriften Johann in California and Nevada; in 1963, he re- Sebastian Bachs sowie Abschriften seines built the 1877 Johnson organ at St. Paul Schülers Johann Martin Schubart. Mit Episcopal Church in Sacramento. He re- Werken von Dietrich Buxtehude, Johann located to New York City in 1968, serv- Adam Reinken und Johann Pachelbel ing as organist-choirmaster at St. Savior’s (ISBN 978-3-7618-1957-9). Editors Mi- Roman Catholic Church in Brooklyn, Noel E. Heinze James Gary Stuart chael Maul and Peter Wollny discovered where he further rebuilt and enlarged copies of works by Buxtehude and Jo- the 1911 Reuben Midmer & Sons organ. in Asheville. A member of the American James Gary Stuart, age 72 and for- hann Adam Reinken in the hand of the He eventually settled in Hatfi eld, Mas- Guild of Organists and the Organ Histori- merly of Lake Bluff, Illinois and Santa twelve- to fi fteen-year-old Bach, in the sachusetts, living on the top fl oor of the cal Society, he performed in concerts with Fe, New Mexico, died on January 17, usual tablature notation of the period, wooden-frame building that housed his the Detroit Symphony Orchestra as well from complications due to cancer. He with corrections in Bach’s own hand, shop. Mr. Baker would take on diffi cult as at the Kennedy Center in Washington, was preceded in death by his wife Nancy which show that he played these de- projects, such as improving the actions D.C., and at St. Peter’s Basilica in Rome. Anderson Stuart, an accomplished sing- manding works at an early age. A further for the slider windchests at St. Thomas Noel Heinze is survived by his wife of 37 er and music teacher, in 2006. Gary is annotation reveals that by 1700 Bach was Church in New York, and restoring the years, Kathryn Heinze, a daughter, a sis- survived by a sister, a brother, nieces, a a student of Georg Böhm. The volume high-pressure Solo chests of the Skinner ter, and many nieces and nephews. grandniece, and a grandnephew. Born on consists of full-color facsimiles of the organ at Mt. Holyoke College following January 28, 1935 in Jacksonville, Illinois, manuscripts, plus copies of Bach’s tran- water damage. Upon retirement, Mr. Herbert A. Severtsen died at age 77 he earned B.Mus. and M.M. degrees scriptions that his student Johann Martin Baker moved to Mexico. His remains on October 1, 2007, in Spokane, Wash- from Northwestern University and began Schubart made. All the works have been were inurned October 29 at St. John’s ington. Born March 4, 1930, he attended a career as a church organist-choirmaster transcribed into modern notation. For Cathedral in Denver. the New York Institute for Blind and for several churches on the North Shore information:
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10 THE DIAPASON
Mar 08 pp. 2-21.indd 10 2/11/08 10:23:05 AM There’s always something exciting happening at www.allenorgan.com www.allenorgan.com/organoftheweek/go (for example)
Allen’s “Organ of the Week” web site feature ALLEN has been getting a lot of attention lately. Custom It isn’t hard to figure out why… Each week we show a new organ being built. ORGANS Whether it is a feature-packed custom Five-Manual, or a classy, unique Two-Manual, or an M. P. Möller English-style Three-Manual beauty, we are creating an online buzz.
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Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ.
This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co.
P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com
12 THE DIAPASON
Mar 08 pp. 2-21.indd 12 2/11/08 10:23:28 AM You’re invited to our new home
...that is, our new home page. We’ll be launching our redesigned and improved www.rodgersinstruments.com website on February 1, 2008, with the addition of new worship resources, organ forum discussions and more. We invite you to visit us online to hear the spectacular sound of Rodgers.
Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 • fax 503.681.0444 Email: [email protected] On the Web: www.rodgersinstruments.com The architect unrolled a drawing that phasis at the beginning and at the end. This forms we have. I’ve been fortunate to showed a nice organ façade on the wall practice anchors a line to a page and gives a visit some of the great examples in Eu- In the wind . . . drawing conviction and punch. If your lines on the left side of the sanctuary. It was trail off at the ends, your drawings will tend rope, where you marvel at what the arti- by John Bishop an outside wall. It was my unpleasant to look wimpy and vague. sans were able to do eight or nine hun- task to inform the architect in front of dred years ago. They hoisted huge stones the committee that an organ would re- Oh, I get it, when you’re designing some- hundreds of feet up—one of the towers Intelligent design quire six or eight feet of depth behind thing, you should mean to do it. The fac- is 349 feet tall and was fi nished in the Now there’s a hot-button issue. I’m that pretty façade. Neither the architect ing page shows two versions of the same 1140s. These workers would have been as tempted as I am unqualifi ed to wax nor the committee knew that. There sketch—one anchored to the page, and the fi rst people in their community to poetic on the opposable thumb of the would be no pipe organ. one wimpy. Point taken. be up that high—to look down on birds panda or the fl ightless birds and swim- Others are more theoretical. Number fl ying, to see the vast view across the ming lizards of the Galapagos Islands, Function follows form 11 is “Use ‘denial and reward’ to enrich countryside. It must have been terrify- and I know very well that the pages of a As I’ve lived most of my life in New passage through the built environment:” ing, and it must have been hard for them topic-specifi c journal such as The Dia- England, I’ve long been familiar with to describe at home around the dinner pason are not the appropriate place. century- (even centuries-) old church As we move through buildings, towns, table. But what they built is so true and I’m thinking about the contrast between buildings. Built before the introduc- and cities, we mentally connect visual cues so real that the building is still used daily the usefulness that results from anything tion of public address systems, hung or from our surrounding to our needs and ex- the same way it was used when it was pectations. The satisfaction and richness of that was designed well and the useless- dropped ceilings, or steel-and-drywall our experiences are largely the result of the new. We were at Chartres on a Saturday ness of poor design. construction techniques, the build- ways in which these connections are made. when there was an impressive succession Boston is both famous and infamous ings were made of real materials heavy of weddings underway. Entire wedding for the massive rehashing of its tunnels, enough to support their structures. The He’s talking to me about the Zakim parties were lined up in the square. As bridges, and highways know as The Big height of a ceiling was determined by Bridge. See a glimpse of it as you head soon as one was fi nished, a man with a Dig. It’s famous as an ambitious example proportion: following observations made up one street, be denied as it disappears mobile phone called the organ loft and of the signifi cant reworking of a city, infa- in places like Athens more than twenty when you turn a corner, see it from an- the next procession began. mous for many billions of dollars in cost centuries ago, if a room was “so many” other angle as you cross the next block, I know several cathedral-scale Gothic- overruns and aggravating disruption of feet wide and “so many” feet long, the come up out of the tunnel and safely style buildings that are really concrete the city’s life for well over a decade, and ceiling had to be “so many” feet up. It’s cross the river. What a reward. and steel affairs with plaster interiors for tunnels under the harbor with fatally pretty simple math. Most people agree Number 28: “A good designer isn’t molded to look like Gothic stone trac- collapsing ceilings and hundreds of leaks. that the ceiling in the Parthenon was just afraid to throw away a good idea.” ery. You know it the moment you walk the right height! inside—the sound isn’t right. There’s Intentional design The majesty of a room’s acoustical Just because an interesting idea occurs an aura about a building made of real One component of the Big Dig is properties would be a direct function to you doesn’t mean it belongs in the build- carved-by-hand stones piled on top of the Zakim Bridge, purported to be the of its size. The larger the building, the ing you are designing. each other to form columns and tracer- world’s widest suspension bridge, which heavier the walls must be to support the How many buildings and how many pipe ies that support a ceiling that’s a hundred crosses the Charles River, connecting higher roof. Place an organ of appropri- organs have suffered as they try to do feet up. Now that’s a building that can the underground Central Artery with ate proportions on the long axis of the and try to be too many things at once? have 32-foot sound. Interstate 93 going north out of the city room and you could hardly fail. We might Number 33 is a good one: “If you wish toward New Hampshire. hear a big Hook organ in a large church to imbue an architectural space or ele- Inspirational design Conceived as part of the Big Dig, the and say, “those people really knew some- ment with a particular quality, make sure Recently I was at the National Cathe- Zakim Bridge in Boston is simply beau- thing.” But you can also say that some that the quality is really there.” dral in Washington, DC. I’ve been there tiful. Its striking lines dominate views designers today may know too much. many times, and each time I’ve found across the city from every angle. It’s We see modern worship spaces deco- If you want a wall to feel thick, make new treasures that are part of the fabric breathtaking to come out of the tunnel rated like living rooms with plush car- sure it is thick. If a space is to feel tall, make and lore of the place that offer fresh in- looking straight up the bridge. Driving pets, and ceiling height determined by sure it really is tall. spiration. Around the doorway leading from the west, looking down the Charles the clearance necessary to accommodate out the north transept, you can fi nd six- River, the bridge reminds one of a sailing the Home Depot chandeliers. We’re What did I just say about the thickness inch mice carved into the stone a little ship. We live in Charlestown, a neigh- given 18 feet of height for a pipe organ of walls? above head height. There’s an alcove borhood across the harbor from down- in a building with 450 seats. It’s destined Number 95: “A decorated shed is a with a statue of Martin Luther King, town, parts of which are warrens of curv- to fail before the fi rst note is sounded. So conventional building form that conveys commemorating the fact that he gave ing and crossing Revolutionary War-era along with our artifi cial climate, artifi cial meaning through signage or architectural his last sermon in that building a few streets. As we walk those streets we are sound system, artifi cial proportions, and ornament.” The accompanying sketches days before his assassination. There are amazed at how often you come around a artifi cial fl owers, we are doomed to us- show a small shoe-box building dwarfed hundreds of carvings of saints, political corner to see a view of the bridge framed ing an artifi cial organ. And because we by a sign saying “Drive-thru Sunday fi gures, and theologians. And there are in the center of the street. It’s a wonder- can, we drive the artifi cial organ with a Services,” contrasting a proper looking some carvings of the stone carvers who ful design—so wonderful that I can’t re- stoplist suitable for a room with an 80- church building with a pitched roof and a built the building. call hearing anyone criticize it. foot ceiling. Thirty-two-foot organ tone cross on top. One is captioned “meaning The windows are extraordinary. does not sound good in a room with an conveyed by signage,” the other “mean- Framed in the ancient forms of Gothic Ignorant design 18-foot ceiling. ing conveyed by architectural symbol.” If arches, they feature brilliant contem- I often tell colleagues about the Last month while shopping for Christ- it looks like a duck, it is a duck. porary designs. On a sunny day, the church that engaged me as consultant to mas presents in Harvard Square, I came And number 96, a purely practical ob- church’s interior is ablaze with colored help them acquire a pipe organ for their across a book that I needed more than servation: “Summer people are 22 inches light—a stunning and magical effect. new sanctuary. They had instructed their anyone on my list: 101 Things I Learned wide. Winter people are 24 inches wide.” One of the great windows on the south architect of their intention to have a pipe in Architecture School by Matthew Sketches—a woman in a bikini and a wall of the nave depicts stars and plan- organ—the building should be prepared Frederick, published in 2007 by the MIT man in a parka passing each other in op- ets and includes a piece of rock from to accommodate one. I traveled to visit Press. I read the entire book standing in posite directions. the moon, presented to the cathedral by the church and was surprised to see that the store before I bought it. It’s 5¼ inch- On several occasions I’ve attended the astronauts of Apollo XI. In side and there was no place in the room where es tall and 7½ inches long, perfectly pro- convention workshops for organbuilders lower chapels you fi nd mosaics depicting an instrument of suffi cient size could be portioned to present his 101 thoughts on led by architects. Each time the conver- the same classic biblical scenes found placed. I looked at the room from every 101 pairs of facing pages. On each right- sation has dwindled to a litany of horror in the great ancient churches using the angle, thought of how an organ might hand page is a pearl of architectural wis- stories—indignant organbuilders anxious same ancient techniques and materi- be placed on a cantilevered shelf, and dom. On each facing left-hand page is to prove that architects have no idea what als but featuring dazzling contemporary remembered photos I had seen of an Mr. Frederick’s illustrative sketch. they’re doing. But how many organbuild- designs. It is the juxtaposition of modern organ located in a huge fl ower-pot sus- Some of Mr. Frederick’s points are ers have designed instruments in which expressions framed in ancient architec- pended from the ceiling, but I simply pretty basic and practical. Number 1 is chest-bungs cannot be reached, reser- tural forms that I fi nd most moving about couldn’t see where an organ could go in “How to draw a line:” voirs cannot be removed for releathering, this building. this building. and how many have designed organs that The National Cathedral stands as a After I had been in the sanctuary for Architects use different lines for differ- look too big, too small, or fail to comple- great metaphor for meaningful change a couple hours, the organ committee ent purposes, but the line type most spe- ment the design of their buildings. and progression of expression. There is and architect arrived for the meeting. cifi c to architecture is drawn with an em- Which brings me back to Mr. Freder- something in this building for everyone ick’s number 86: “Manage your ego.” to appreciate, and neither the ancient nor the contemporary overwhelms the other. If you want to be recognized for design- The National Cathedral is located on ing a good or even great building, forget top of a hill where it can be clearly seen about what you want the building to be; instead ask, “‘What does the building want from fi ve miles away on Interstate 95, to be?” joining the Washington Monument and the United States Capitol as high points In the world of artistic expression through on the skyline. In fact, the central tower design this seems counterintuitive. Any- of the cathedral is the tallest structure in one who’s seen one or two buildings the city. Drive through the city and catch designed by Frank Gehry will instantly a glimpse of it once in a while between recognize another. Does Mr. Frederick the trees, around the corners. Arrive at imply that Frank Gehry’s success is due the intersection of Massachusetts and to successful management of his ego? Wisconsin Avenues and be rewarded in Or as you walk through the various cor- the presence of such a massive and bril- ridors and spaces inside Disney Hall, do liant masterpiece. There’s not a wimpy you fi nd that you’re moving comfortably line in the place. The space has been through attractive spaces, moving logi- imbued with reality—the walls seem cally past necessities like water-bubblers thick because they are thick, the interior and rest rooms, or hearing music in an seems tall because it is tall. The signs out environment that’s both aurally and visu- front are simple and tasteful—this is no ally spectacular? I do. decorated shed. I doubt that Matthew Frederick had anything to do with the Deceptive design design of the National Cathedral, but The Gothic cathedral is perhaps one his little book helped me understand it a of the grandest repeated architectural little better. Q
14 THE DIAPASON
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Stopped Flute Fifteenth Tremolo l Gross Quint l Twelfth Flageolet Chimes (Orch.) Open Flute (ext.) Fifteenth p| Seventeenth Octave k Chorus Mixture iv k Nineteenth Fanfare ,(floating), enclosed enclosed Principal l Sharp Mixture 111 k Mixture 1v Flues w.p., reeds w.p. Violone (ext.) Trombone Fagotto Tuba Mirabilis w.p. Gamba (Orch.) Trumpet Trumpet Stentorphone Gemshorn (ext.) Clarion Cromorne Flauto Mirabilis Stopped Flute (ext.) Cor de Gabriel (Ant.) Clarion Stentor Octave Bourdon (Sw.) Tremolo l Tierce Mixture vi o| Gross Tierce Zimbelstern Swell (111), enclosed Bombarde k Quint (ext.) Cor de Gabriel (Ant.) Flues d w.p., reeds w.p. Tuba Mirabilis Choral Bass Violone Harmonic Tuba Flute Bourdon Orchestral (1v), enclosed k Quint Tromba l Mixture K Diapason Flues w.p., Tibia and reeds w.p. Tuba Clarion Contra Trombone Geigen Diapason Tibia (ext., t.c) Cor de Gabriel (Ant.) Contra Trumpet Stopped Flute Contra Gamba Tuba Mirabilis (Fanfare, ext.) Viole de Gamba Tibia Antiphonal ,( vunenclosed), unenclosed Ophicleide (ext.) Voix Celeste Gross Flute w.p., Cor de Gabriel w.p. Trumpet (ext.) Flauto Dolce Viola Pomposa Diapason Trombone (Gr.) Flute Celeste Viola Pomposa Celeste Gedeckt Trumpet (Sw.) Octave Gross Gamba Octave Bassoon (Orch.) Flauto Traverso Gross Gamba Celeste l Twelfth Fagotto (Ch.) Chimney Flute Dulcet Fifteenth Tromba (ext.) Fugara Octave Geigen Contra Trumpet (ext.) Trumpet l Nazard Orchestral Flute Trumpet Trumpet (Gr.) Fifteenth Tibia (ext.) Clarion (ext.) Bassoon (Orch.) Flautino l Piccolo Quint Cor de Gabriel Fagotto (Ch.) p| Tierce l Tibia (ext.) Tuba Mirabilis (Fanfare) Tromba Clarion (ext.) l Plein Jeu iv Tibia (ext.) Clarion (ext.) Mixture 111 Piccolo Echo ,( enclosedv), enclosed,, w.p.6˝ w.p. Bassoon (Orch.) Contra Trumpet p| Tibia (ext.) Gedeckt Cor de Gabriel (Ant.) Trumpet Tibia (ext.) Kleiner Erzähler Celeste >> Oboe Orchestral Bassoon Harmonic Flute Antiphonal Pedal, unenclosed, w.p. Vox Humana French Horn Corno d’Amour Bourdon Clarion English Horn Chimes Diapason Oboe Clarion Corno di Bassetto Tremolo Bourdon (ext.) Tremolo Orchestral Oboe Octave (ext.) Cor de Gabriel (Ant.) Vox Humana Bell Organ ((Schulmerich)1v) (Schulmerich) Contra Trumpet (Ant.) Tremolo Flemish Bells Trumpet (Ant.) Harp Celesta Clarion (Ant.) Celesta (ext.) Harp Chimes Cor de Gabriel (Ant.) L`ak`qZja\\ak[oaddhdYqgfYddklYf\Yj\;<hdYq]jk$Zmloaddgfdq hdYqafkmjjgmf\kgmf\gfK9;<hdYq]jk& ooo&hah]gj_Yf[\k&[ge portunity to pay attention to the sound 2) How loud or soft the sound is in re- of an octave, especially when listening and to try out different sounds. The dif- lation to other things that are going on. In to a new kind of sound, can be elusive. On Teaching fi cult and intense practicing of diffi cult particular, how two sounds balance when (The fi rst time that I ever tried to tune by Gavin Black and intense passages can be leavened by they are being used together (i.e., in a a harpsichord, I broke several 4′ strings occasional breaks during which the stu- two-manual or manual and pedal piece) because I was trying to tune them an oc- dent uses any easier or more accessible or when they follow one another, as in tave high! I just couldn’t hear the octave Registration and teaching, part I musical material—simple or already- sections of a piece or verses of a hymn; placement of the notes amongst all the I was fi rst drawn to organ and harp- learned passages, scales and chords, also, if it’s relevant, how the volume of strong harmonics of the bright sound.) sichord back in the late ’60s—not too folk songs, improvisation, whatever—to sound relates to things beyond the organ, This should be repeated with several dif- long after I turned ten—by the sonori- try out different sounds, and to listen to such as singers or other instruments. All ferent “8′, 4′, similar sound” pairs, and ties of those instruments. I remember those sounds carefully. And even a be- of these considerations are more objec- also 4′, 2′ pairs. Then, with the same var- being particularly entranced by the ginning student can learn right away to tive than those in 1), but not entirely so ious pairs of stops, demonstrate that (for reed sound that E. Power Biggs used make registration choices that are inter- except at the extremes when one sound example) the f below middle c on the 4′ for the fugue subject in his recording esting and appropriate for the music and actually threatens to drown out another. stop and the f above middle c on the 8′ of the shorter Bach Prelude and Fugue the situation, and that, often, are differ- 3) What is known, if anything, about stop are clearly the same pitch, and so on in c minor on the Schnitger organ at ent from the choices that the teacher or composers’ intentions. This can range with other appropriate pairs of stops, or Zwolle. Later I discovered the sounds of any other player would have made. This from a general sense of what kind of in- that the scale from tenor c to middle c the small organ at St. Jakobi Church in can be a source of encouragement and strument a composer knew—or even just on the 4′ stop is clearly at the same pitch Lübeck as recorded in 1947 by Helmut can help to create a feeling of connect- what was prevalent in a given composer’s as the scale going up from middle c on Walcha, and the sound of the so-called edness to the real art of music making. era and approximate geographic area— the 8′ stop. Ahaus Ruckers harpsichord, recorded, This column and next month’s will to precise, meaningful, and specifi c reg- Next, draw pairs of 8′ stops that are in music of Froberger among others, consist mostly of suggestions for ways of istration instructions from a composer noticeably different in tone: a gedeckt by Gustav Leonhardt. Later still I was introducing students to the art of regis- about registration. Some of the data in on one keyboard, an oboe on another, captivated by the sounds of Messiaen’s tration: that is, explaining to them what this area is essentially objective or even for example, or anything like that. Then Cavaillé-Coll organ at La Trinité through it is, demystifying it as much as possible, beyond dispute. However, its application compare notes from one to the other, the composer’s own recordings there. In offering them ways of exploring and to a given situation often requires fl exi- making sure that the student hears that all of these cases and many others, it was practicing it, and helping them to relate bility and judgment, as when a particular in this instance keys that ostensibly rep- the sounds themselves that most inter- sounds to particular kinds of music and organ doesn’t have the stops specifi cally resent the same note actually produce ested me, not the repertoire or the per- particular pieces. It is very important suggested by the composer, or when the the same pitch. This can be done with formances. A desire to be involved more that students be given a way to learn acoustics of the room, or the specifi c single notes—again starting around the and more closely with these sounds was registration from within, that is, by un- sound qualities of stops with a particu- middle of the keyboard since that region the fi rst and most essential reason that I derstanding how it works, and not just lar name are different from what a com- is the easiest to hear—then with short decided to study organ and harpsichord through formulas or (even very sound) poser knew. (This is the case more often scale passages and perhaps chord pro- and later to make a career out of those principles. Only in this way will students than not.) Also non-objective and subject gressions. Then the same sort of com- instruments. Of course an interest in learn to be able to create registrations on to different philosophies and judgments parison can be done with 4′ stops and much of the repertoire, in the act of per- their own. Also, only this way will they be is the basic question of whether and how so on, even including mutations, if there formance itself, and, especially, in teach- able to understand registration formu- much it matters what a composer wanted are multiple examples of the same ones ing, followed fairly quickly. But it was the las or suggested registrations that they or expected. on the particular instrument. sounds that got me hooked. might encounter, and to be able to fi gure Registration is the art of choosing This procedure is very simple and may I think that this is a fairly common out when to apply such things and when sounds, and, on the organ and the harp- even seem simplistic. Again, however, I experience among people who end up to modify or ignore them. These sugges- sichord, most available sounds are com- want to emphasize that these things are studying organ or harpsichord. All of tions are aimed in the fi rst instance at binations of other sounds. (This, again, is not known to beginners. They are also the many rather different instruments students who are beginners or who are something so basic that an experienced not always absolutely clear even to people that have been accepted as “organs” over at least fairly new to the organ. However, player might not notice that it is not self- who have sat at a console and done some several centuries, and all harpsichords some of the ideas should also be helpful evident to a beginner.) The fi rst step in organ playing, but have not yet had any and harpsichord-like instruments, have to more experienced students who hap- learning how to combine sounds is devel- systematic study. It is not uncommon, for in common that the actual sonorities are pen, for any reason, to feel uncomfort- oping a sense of what the sounds are like example, for someone to know by experi- determined in advance of any playing of able with their approach to registration on their own. I tend to defi ne a “stop” ence that a 2′ stop is kind of bright, but the instrument. These sounds are cre- or who want to rethink it or perhaps sim- to a new student as “a set of pipes, one not to know anything about the stop’s ated by the combined work of builders, plify it a bit. per key, all of which make more or less pitch level, or about how the brightness metalworkers, voicers, tuners, acousti- Registration is simply the act of choos- the same sound as one another, and each is achieved. An unshakably clear grasp of cians, and so on. The player can make ing stops—choosing sounds—for pieces of which plays the right note for its key.” the meaning of the pitch designations is only very subtle changes in the sound or passages of music. If there are no stops (This is just a starting point. Mixtures can the fi rst step in understanding how organ itself, if any, while playing. Therefore, it drawn, the music will not be of much use be explained separately, perhaps simply stops can be fruitfully combined with has always been important that builders to the listeners: it will be silent. This is as several stops that are operated by one one another: that is, really understanding create sounds that are in some way com- something that can be said more or less as control for convenience and that func- it in a way that permits one to do it with- pelling, beautiful, interesting, even per- a joke, but indeed some students come to tion as one sound. The technicalities of out formulas and without assistance, on haps disturbing, but in any case worth the organ not quite realizing it. (After all, breaks and changing numbers of ranks a familiar or an unfamiliar instrument. hearing—important in and of them- we are not born knowing something that can certainly be discussed with a student We will move on to this in next month’s selves to someone who hears them. So it seems so basic to practicing organists!) In who is eager to understand such things, column. Q is natural that these sounds would form a choosing what particular stops to use in a but that can wait, since it is not necessary large part of the reason that some people given situation, we normally take into ac- to know this in order to learn how to be- Gavin Black is director of the Princeton become interested in these instruments. count at least some of the following: gin to use them in stop combinations.) Early Keyboard Center in Princeton, New This has implications for the teach- 1) What the sound is like subjec- Each stop typically has two parts to Jersey. He welcomes feedback by e-mail at ing of registration, or, more accurately tively—loud, soft, dark, bright, smooth, the label that describes it: a number and 16 THE DIAPASON Mar 08 pp. 2-21.indd 16 2/11/08 10:24:43 AM The Psalms have a long and varied link and onwards. Early Protestant writings these fossilized words pass through freshness to the music. The accompani- with music. Tradition, of course, sug- by Johann Walther and Martin Luther generations and cultures without losing ment is designed so that it works well on gests that they were all written and sung indicate that the Psalms were dominant their capacity to relate; their relevance organ, with sustained low notes for the by King David; however, that is not com- texts; the fi rst offi cial Lutheran hymnal maintains a passionate energy. And in pedals. The syllabic choral writing is on pletely accurate. These 150 texts were of 1524 contained several settings among the hands of a skillful composer, their two staves, with a minimal amount of actually created during many different the 24 texts provided for hymn singing. potency is increased. As Henry Purcell unaccompanied singing. The opening historical periods, and thus must be at- Calvin’s Psalter of 1539–62 and English (1659–1695) said so long ago in his pref- soprano solo is quietly dramatic. This tributed to many unknown composers/ and Scottish psalmody publications from ace to Dioclesian: church anthem sets this popular psalm writers. Nevertheless, their beauty and 1549–64 were mainstays in psalm-sing- text in a forthright manner. meaning transcend, and throughout the ing development. Growth continued af- Music is the exaltation of poetry. Both of centuries have been a motivating force ter the Restoration (1677–1738) through them may excel apart, but surely they are O Lord My Heart Is Not Proud, Mar- for composers. the work of composers such as Henry most excellent when they are joined, be- garet Rizza. Unison or mixed voices, cause nothing is then wanting to either of Plainsong is the generic name for the Purcell and Jeremiah Clarke. Hymnody their proportions; for thus they appear like assembly and organ with optional church music of the earlier Middle Ages. using psalm texts has continued in church wit and beauty in the same person. instruments, GIA Publications, Inc., Musicologist Egon Wellesz has traced music and today remains a vital part of G-6212, $1.40 (E). the origins of plainsong to the cantil- many musical elements in services. The reviews below are of settings of Based on Psalm 131, this setting is a lations in synagogues around the fi rst These ancient words from the Old psalm texts. They show a variety of mu- simple paraphrase of the opening verses, century. It is believed that the very early Testament have endeared themselves to sical styles and formats, and are for all which may be sung in unison or in a four- Christians used melodies familiar from all generations and denominations. They levels of choirs. part chordal version. There are multiple synagogue worship. Cantors had long endure and remain a steadfast source for options for performance as described on been singing the Psalms as part of wor- church music composers, in musical set- Psalm 121, Walter Pelz. SATB and the back cover, which also includes a page ship services, and this may have traveled tings that can be either exact statements keyboard with optional high voice that may be duplicated for congregational on in the conversion to Christianity. of the text or modifi ed versions based on solo, MorningStar Music Publishers, singing with the choir. The instrumental The history of setting the Psalms them. Many composers merely carve out MSM-50-8116, $1.70 (M-). music consists of sets of variations for ei- to music can be traced from the fi rst phrases or verses from the Psalms and Although the choral lines are not diffi - ther treble or bass clef instruments. The century through the early days of the build complete musical works without cult, the harmonic palette used through- choral music then is expanded through church’s organization around 313 A.D. employing the entire psalm. In short, out is rapidly shifting, which gives a repetition with instrumental accompani- EXCEL. IN WORSHIP IN PERFORMANCE At Goulding & Wood, we understand that an instrument must serve the musicians who play it. Every aspect of our design is focused on providing the resources for the varying roles organists must fill. Our tonal designs offer creative and comprehensive resources for the authoritative performance of literature, the nuanced accompaniment of choirs, and the imaginative leadership of congregational singing. Our exclusive slider chest design, with our full ten year war- ranty, ensures an unsurpassed reliability and effective musical response to the organist’s touch. Our visual designs sensitively complement the surroundings of the instrument while giving the musician ergonomic, intuitive control of the organ’s resources. In all aspects, the instrument creates an ideal setting for the musician’s inpiration to excel, both in worship and performance. 823 Massachusetts Avenue • Indianapolis, Indiana 46204 Voice: 800.814.9690 • Facsimile 317.637.5236 www.gouldingandwood.com MARCH, 2008 17 Mar 08 pp. 2-21.indd 17 2/11/08 10:25:00 AM ment that is varied each time. A simple, are primarily in unison or two parts. There replaced by pipe organs, and the average pragmatic setting that could be used by is a descant based on the basic theme, sung Book Reviews age of the electronics ranged from 8 to small church choirs. above longer sustained notes. Pote’s mu- 28 years, with an average of 16½ years. sic is easy and even though it is designed Most of the rest of the journal is taken 3 Festival Psalms, Kenneth Kosche & for youth choir, it will serve many small Organ Building: Journal of the In- up with individual descriptions of new John Behnke. SATB with 2-3 octave church choirs. This is an exciting, useful stitute of British Organ Building, and restored pipe organs. Most of these handbells, Concordia Publishing anthem that will be greatly appreciated by Volume 7 (2007). 112 pp. ISSN 1472- are very thorough, containing technical House, 98-3574, $1.25 (E). the congregation and choir. 9040. ISBN 978-954361-5-2. IBO information on scaling and voicing of in- Each of the psalms (96, 98, and 72) Publications Group, 13 Ryefi elds, dividual ranks and detailed plans of the has the same format: a brief opening for God Is Our Refuge and Strength, Thurston, Bury St. Edmunds, IP31 instruments. There is an article by John handbells and four-part choir is followed Richard Elfyn Jones. SATB and or- 3TD, United Kingdom. Tel. & Fax Mander on the new three-manual organ by an antiphon, which is chanted on gan, Paraclete Press, PPM00320, 01359-233433 (from the USA 011- at St. Peter’s, St. Albans, which will be one note in unison after a handbell tone $3.00 (M). 44-1359-233433). important to the life of the St. Albans In- cluster. Each has several verses sung be- Psalm 46’s setting features an organ part “Purchase is through the IBO web- ternational Organ Festival as well as to tween the repeated refrains. Easy mu- on three staves, with brief solo passages, store at 18 THE DIAPASON Mar 08 pp. 2-21.indd 18 2/11/08 10:25:20 AM the life of Frank Bradbeer, a noteworthy gram offered here suits both player and Furthermore, the musical collection is in the liner notes, are a few general ap- English organ builder and architect, who instrument nicely. I have never heard a full of little gems one might use for a va- proaches in Kauffmann’s registrations. is probably mostly remembered today more impressive performance of the Re- riety of occasions within the church year. The most signifi cant is the imitation of for the Grant, Degens & Bradbeer organ ger sonata, which, despite the obviously Coupled with superb performances, this the voice and instruments of the day in New College Chapel, Oxford. Finally, thick texture, comes across with remark- recording can be enjoyed and referenced through tasteful combinations of the John Rowntree reviews a new book on able clarity thanks to the technique and for many years to come. stops available on the Merseburg organ. organ cases, The Box of Whistles by John the fi ne articulation that Schuster dem- The highly regarded organist at the In some cases, Kauffmann even explic- Norman, formerly of the Hill, Norman onstrates. He shows a fi ne sense of style University of Iowa, Professor Delbert itly requests the cantus fi rmus to be & Beard fi rm. in the other works, and the Muffat is Disselhorst, conveys Kauffmann’s ideas played by an oboist, suggesting that per- At the end of the journal are a number particularly charming on the Chororgel with great fi delity and musicality. And the haps we should also consider performing of appendices dealing with the member- with its modest-scale principals. Too bad Brombaugh organ at First Presbyterian central-German chorale preludes with ship of the Institute. These are especially about the documentation, but after all, Church in Springfi eld, Illinois, seems instrumentalists from our own congre- useful for listing the particular specializa- one will want the CD for organ sound, ideally suited for Kauffmann’s music, es- gations today! (Incidentally, Kauffmann tions of individual fi rms, so that it is easy which is magnifi cent, and playing, which pecially since the present organ in Merse- worked in Thuringia, an area in which to tell which fi rms are good for various is of matching level! burg Cathedral hardly resembles what J. S. Bach and J. Pachelbel both started tasks. Some specialize in new instru- —W. G. Marigold Kauffmann would have known there. In their careers; so, one may conjecture ments, others in rebuilding, others in his- May 24, 1926–November 25, 2007 fact, Disselhorst’s registrations display how much more color might be used in toric restoration, others merely in tuning (See Nunc Dimittis, Feb., p. 8.) a wondrous variety that greatly exceeds works by these composers.) Although a and maintenance, and some in all of the many early-music recordings boasting few registrations on this recording in- above. Generally speaking this is a very “performance practice” approaches— volve 4′ registers played down an octave useful and instructive journal, and I only In Bach’s Neighborhood: Organ Mu- Disselhorst observes Kauffmann’s indica- to yield 8′ pitch, no registrations involve wish that something of comparable qual- sic of Georg Friedrich Kauffmann. tions. Here, one often fi nds doubling of works at 4′ pitch, as many prefer today. ity were available for North America. Played by Delbert Disselhorst. All 8′ stops, combining of different families Much of this can be seen in Kauffmann’s —John L. Speller 101 works from Kauffmann’s Har- of pipes, occasional use of gapped regis- scores, but one will truly learn more by St. Louis, Missouri monische Seelenlust. ProOrgano CD trations, and reeds on accompaniments hearing the registrations that are listed in 7165; MARCH, 2008 19 Mar 08 pp. 2-21.indd 19 2/11/08 10:25:40 AM stanzas of hymns. In other places, Dissel- younger performers studying the works The recording may rightly spark inter- horst lingers exquisitely on suspensions with the CD in hand. est in playing Kauffmann’s works. So, I New Organ Music in the quiet Vater unser (#89). Nearly all Wisely further abbreviating the re- should mention that the facsimile edition the ornaments are routinely fast, howev- cording to a two-CD set, Disselhorst published by Fuzeau is quite readable, er, and could have benefi ted from a little selected a few of the numerous four- making a modern edition hardly neces- Mass for Dedication, Frank Ferko. more variety. In the alio modo setting of voice chorale settings in the Harmon- sary. Because Kauffmann intended the ECS Publishing, No. 6244, $12.60; Es ist das Heil (#72), for instance, a series ische Seelenlust intended to accompany Harmonische Seelenlust for practical use, 20 THE DIAPASON Mar 08 pp. 2-21.indd 20 2/11/08 10:26:09 AM in more than one source. RH over half-note chords. This verse is shorter Courante in G has written out Belgian instruments to help the per- In this new edition, Dirksen and Fer- well suited to being played on divided varied repeats. Appendix A contains the former choose how he will register these rard have also included a setting of the registers or two manuals. The fi ve-verse fantasia from the Christ Church Oxford pieces today, and on the choice of instru- Aria del Granduca that occurs in the setting of the Salve Regina that follows MS, but at 162 bars of movement in ments for interpretation. Cornet’s fame middle of a series of Cornet’s pieces in is given a more contrapuntal treatment half notes and quarters only, this is far as organ expert and organ builder is also the Berlin MS 40316 that is used as the at the start of each verse, but in the sec- removed from the Fantasia on the 2nd documented here. primary source, a fantasia that is untitled ond to fi fth verses there are several pas- Tone discussed earlier. It is, however, a There are several pages of facsimiles in the source (Christ Church Oxford sages of 16th- and even 32nd-note runs, useful model for the student to use to and a reproduction of an engraving by CH89), but is clearly related to Cornet’s requiring great care from the performer. practice adding ornaments and diminu- van de Velde of the Brabant Court in Fantasia on the 2nd Tone, and a Fantasia The single-verse setting of the Tantum tions as appropriate. Brussels, 1649. A second appendix gives on the 6th Tone that is ascribed to John Ergo similarly combines contrapuntal The attribution of the Fantasia on the versions with added editorial ties of the Bull in its unique source (London, Brit- motivic treatment with fi guration similar 6th Tone to Cornet by the editors is dis- pieces from Ch89, and a third appendix ish Library MS 23623, “Messaus”); this to the virginalist fantasias. The Te Deum cussed fully in the introduction; suffi ce gives a possible use of the pedals for the now brings the number of pieces known fragment (verses 7–10 only) is included it here to say that their arguments are plainchant in the “O Clemens” of the to be by or putatively attributed to Cor- in appendix C. Again motivic imitation compelling and that this 222-bar fanta- Salve. A thorough critical commentary net to 17. soon yields to rapid passagework, the 8th sia, full of virtuoso writing far exceeding and bibliography complete this edition. The two early editions, although being and 10th verses being suitable for divided that in the other fantasias by Cornet, is Some pieces make use of the short oc- extremely valuable in bringing Cornet’s registers. The LH from bar six of the fi rst a most attractive piece, its subject bring tave, which will require transposition. output to performers, contained many verse could be played on a solo stop, but similar to that used by Cornet in nos. 5 One feature of this edition that will re- errors, and this new edition at last makes since it ascends to treble D, historically and 6 of this edition. Number 17 in this quire close attention is the preservation the works available in the standard ex- two manuals would have been required. new edition is the Aria del Granduca, of the original beaming, without edito- pected from modern musicology. While Without a composer’s name in the manu- a popular tune set also by Sweelinck rial intervention marking groups into, for the liturgical works (in addition to the script, the editors’ attribution to Cornet (or Scheidt) and found in Spanish and example, triplets or sextuplets or even new discoveries, these comprise fi ve on stylistic grounds is quite sound. Portuguese manuscripts of c1700. At 56 16th notes followed by 32nds to make verses on the Salve Regina and a single There are two courantes, that in A bars the tune is treated twice only, and up the beat correctly. Many requiring setting of the Tantum Ergo) and fanta- minor having three variations following the bass in bar 15 seems suspect; how- considerable study by the performer, sia may have been performed on the (the “theme,” in the typical contempo- ever, the piece will provide good mate- Cornet’s pieces, though few in quantity clavichord in its role as home practice in- rary manner, is headed 1st Variation). rial for practicing runs. when compared to the preserved output strument, the remaining works are suffi - Variation 2 contains RH eighth-note The edition is very well printed on of his Northern Netherlands counter- ciently substantial to merit careful study runs in thirds and plenty of 16th-note good quality paper, with a well-stitched part Sweelinck, deserve to be far bet- by players of stringed keyboard instru- fi guration; variation 3 has triadic arpeg- binding to enable it to lie fl at on the ter known as masterpieces in their own ments in addition to organists. gios for the RH covering an octave and stand. The introduction provides a com- right, and hopefully this excellent, albeit This edition opens with a Toccata on a half; and variation 4 has runs in sixths prehensive discussion of Cornet’s life, expensive, edition will go a long way to the 9th Tone, which, after opening slowly as well as plenty of 16th-note fi guration the sources, comments on the music making this happen. like an intonazione by the Gabrielis, will for each hand, making this a demand- itself, his relation with the organ, and —John Collins test the performer’s skills with its vir- ing and substantial piece. The much some specifi cations of contemporary Sussex, England tuoso passagework and runs in thirds in either hand. This is followed by a group of six fantasias (including the one appro- ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD priate to divided registers), those on the 1st, 2nd and 9th tones being very long at DYERCASAVANT FISK GARLAND GOULDING & WOOD HENDRICKSON FRERES DOBSON R. 244, 245 and 254 bars respectively (num- bers 2, 3, and 8 in this edition). These multithematic pieces are indeed wor- thy companions to Sweelinck’s magiste- BOODY rial essays in the genre, and combine the austerity of the Italian ricercar with the English virginalists’ fi guration (it is prob- able that Cornet knew Peter Philips who lived in Brussels at the same time) that gives them a certain lightness and sense of forward movement. The diffi culties include passages in thirds in 16th notes in each hand as well as generally demanding fi guration. They utilize traditional techniques of augmen- tation and diminution although not with Sweelinck’s exactitude. The subject of no. 8 on the 9th tone, being taken from Palestrina’s madrigals Io son ferito and the section “Così le chiome” of Vestiva i colli, is also used by Sweelinck, Scheidt, Erbach and Hassler. Fantasia no. 4 in this edition is a working of the hexa- chord, but unfortunately the manuscript breaks off after only 102 bars, a note in the manuscript telling us that two- thirds of the piece are missing. In bar 129 of Fantasia no. 2 the two lower parts have the notes beamed in a grouping of 3+2+3, found frequently in the con- temporary Spanish composer Aguilera de Heredia; in bar 212 of Fantasia no. 3 the alto is grouped as four 16th notes + three 8ths + three 8ths, and in bar 213 there occurs a further variant of six 16ths + three 8ths + one quarter. Fantasias 5 and 6 are both on the 8th tone, and at Thinking of Purchasing a Pipe Organ? 86 and 56 bars are very much shorter; both are based on the same subject, also APOBA Can Help! used by Byrd and Philips; the treatment in no. 6 is rhythmically similar to a can- zona with its half note followed by two From information for your architect through fund-raising, APOBA has helpful quarters. Both fi nish with long scalar publications concerning every aspect of an organbuilding project. passages over or under held chords. The Fantasia on the 8th Tone, no. 7 in this edition, is, as mentioned above, almost certainly intended for divided registers And, they’re FREE for the asking! or a halfstop (or, for the great majority of players, on two manuals), with two or three parts in the RH over a lively bass with scale passages and octave leaps (the To receive information about pipe organs fourth note in the bass should probably be an F, not D as printed). In all of the and recognized pipe organ builders pieces in the tonal center of G the fi nal A write or call toll free 1-800-473-5270 cadence includes the leading note to the P dominant (i.e., C-sharp). or on the web @ www.apoba.com Number 9 in this edition is the four- O Associated Pipe Organ Builders of America verse setting of Regina Coeli (one for B A P.O. Box 155 • Chicago Ridge, Illinois 60415 each section of the antiphon), the fi rst verse moving sedately until a fl urry of & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT 16th notes over a subdominant pedal, the second and fourth verses having 16th- note runs in each hand, the third, after NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP a short imitative opening, having a fl orid MARCH, 2008 21 Mar 08 pp. 2-21.indd 21 2/11/08 10:26:25 AM Mendelssohn’s Sonata III: A Composer’s View Margaret Vardell Sandresky n the summer of 1829, after an ex- by means of their dark chromatics, jag- Example 1 Itended journey through the British ged rhythms and tumbling 16th notes, Isles with his friend Klingemann, the seem contrastingly very dark and stormy. twenty-year-old Felix Mendelssohn In each fugue, after the exposition for Bartholdy completed his trip with a visit four voices in the manuals is completed, in Wales, where he made sketches, now the chorale melody is introduced in the lost, of the piece he intended to pres- pedal as a fi fth voice. ent to his “dear little sister,” Fanny, as a The second movement that closes special gift for her wedding to William the work is a simple song form. The two Hensel on October 3.1 movements must have been conceived Back in London, he met with an acci- together, since they are dated August 9 dent on September 17, seriously injuring and 17, 1844, probably while he was still Example 2 his leg when he was hit by a light horse- vacationing in Bad Soden near Frank- drawn vehicle he called a “stupid little furt, where his wife’s family lived. The gig.”2 On September 25, he wrote his use of this particular chorale, its stark mother that he had “thought of a splen- contrast to the A-major sections, and why did idea” for Fanny’s wedding piece, but it is spread over the two fully developed now he wouldn’t be able to present it un- fugues are questions that are discussed til after the wedding.3 By November 6, in the following paragraphs. he wrote his father that he had been laid Mendelssohn was only seven years old up in bed for fi ve weeks, was just going when his wealthy and cultivated Jewish out for his fi rst drive, and could almost parents had their children baptized at walk without crutches.4 the Neue Kirche in Berlin. In these early felt greetings to all the principal (sic) pipes, His hand will help us without fail, It was during this time that he com- years, the music and worship of the Lu- yours faithful (sic), However great the peril. pleted the proposed piece for Fanny’s theran Church must have had a profound F. Mendelssohn6 He is alone the shepherd good, wedding. Since the fi nal working manu- infl uence on him, for his use of Lutheran Who will release Israel script is either lost or in private hands, the chorales as well as his interest in the or- Aus tiefer Noth From all her sins. only available music is a sketch, now in gan and his dazzling performances on Mendelssohn showed an early interest the Bodleian Library. It is written on two that instrument testify to an enduring in “Aus tiefer Noth” by composing a can- Bach’s chorale prelude is found in his staves, the bottom staff mostly blank, the love for this music throughout his life. By tata on the chorale in 1830, a year after Clavier Übung Part III in the section of top staff outlining the melody and briefl y the time he was twelve, he was studying his English journey. Then on his travels Catechism chorales, and represents the indicating the harmony.5 This is unmistak- Bach fugues and writing one of his own in 1831, he must have been particularly sacrament of confession and forgiveness, ably the same material that appears as the as shown in the following charming note interested when he found a copy of the known in the Lutheran Church as the opening and closing sections of Mendels- to his teacher, August Wilhelm Bach. Sebastian Bach organ chorale prelude on Offi ce of the Keys. It is the form for the sohn’s Sonata III. Many years later, when the same melody. confession and absolution of sin and de- he was assembling material for the organ Berlin, the third day of the lovely month He wrote the following to his sister, rives its name from Matthew 16:19 and sonatas, he inserted between the sections of May, 1821. Fanny, on her birthday, November 14, John 20:21–23.10 two fugues with the chorale Aus tiefer What does the sexton say, my dear Herr 1831, from Frankfurt am Main: Mendelssohn’s early cantata on “Aus Bach? Can we play this afternoon? Or is Noth schrei ich zu dir (“In deep need I there a wedding? or a confi rmation . . . tiefer Noth,” op. 23, no. 1, published in cry to thee”) as a cantus fi rmus. Greetings to the Prelude and Fugue in G Oh my dear little sister and musician . . . 1832, takes its pattern and style from The outer sections form two strong A- Minor. I am presently sweating over an or- I want to give you one of the unbelievingly the cantatas of J. S. Bach. It is in fi ve major homophonic pillars surrounding [sic] moving Seb. Bach organ pieces which movements, one movement for each gan fugue, which will come forth into the I just got to know here . . . Now play this the two inner fugues in A minor, which, world within the next few days. My heart- chorale with Beckchen [another sister] . . . verse of the fi ve verses of text. The and think of me. . . . NB. The chorale is with fi rst and last verses are set in a simple double pedal. chorale harmonization, the second and fourth are a fugue and a chorale pre- OHS SEATTLE 2008 JULY 14-18 Bach composed only one chorale pre- lude with introduction, and the middle lude with double pedal, so Mendelssohn movement is for three solo voices with A YOUNG YET VIBRANT HISTORY must be referring to Bach’s setting of chorus and organ. Although “Aus tief- SEATTLE | TACOMA | OLYMPIA WASHINGTON STATE “Aus tiefer Noth.”7 er Noth” is in the Phrygian mode, the The chorale itself, composed by Mar- cantata is fi rmly in F minor, and the ca- tin Luther in 1523–4, was the fi rst one dences avoid any trace of the Phrygian for which Luther wrote both words and in their strong tonality. The contrapun- music. (Example 1) The previous year tal writing is a perfect model of 18th- he had composed his fi rst melody, to the century counterpoint. poem “Ein neues Lied wir heben an,” af- ter two young martyrs were immolated The fugues of Sonata III in Brussels, Belgium. “Aus tiefer Noth” In the later Sonata III, the Phrygian stems from the same time.8 Luther’s character of the chorale is retained. (Ex- poem is taken from Psalm 130, De Pro- ample 2) Here Mendelssohn presents fundis, a psalm of redemption. Since the chorale in the pedal transposed to metrical translations in English hymnals, A minor, inserting a B-fl at before the A by their very nature, cannot be specifi c, at the proper cadence points; and at the the following is my literal translation close of the second phrase (mm. 46–47), and, though awkward, may be helpful in he uses a Phrygian cadence harmoniz- grasping Luther’s meaning. ing the B-fl at to A pedal as IV/6 to V in D minor. On the other hand, where this Verse I phrase is repeated in the second fugue, Aus tiefer Noth schrei ich zu dir, the B-fl at to A is harmonized in the key Herr Gott, erhör mein Rufen. of G minor as I/6 to VII/6 (mm. 69–70) Dein gnädig Ohren kehr zu mir, and is not at a cadential point in the over- und meiner Bitt sie offen; all work. However, the fi nal cadence (m. denn so du willst das sehen an 92) is Phrygian, IV/6 to V/9, and intro- was Sünd und Unrecht ist getan, duces a long pedalpoint leading into the wer kann, Herr, vor dir bleiben? pedal cadenza. The expositions of the two fugues il- In deepest need I cry to thee, lustrate two different aspects of Men- Lord give ear to my cry. delssohn’s fugal writing. (Example 3) In Thy gracious ear incline to me, the fi rst fugue, the exposition (m. 24) And to my plea be open; follows traditional fugal procedure. Scale Then as you are sure to watch, steps 5–6 at the beginning of the subject What sin and lawlessness is done, are answered by scale steps 1–3 (m. 28). Who can, Lord, stand before you? The order of entry is bass, tenor, alto, so- prano. After the exposition, the chorale Verse V enters in the pedal, overlapping the last Ob bei uns ist der Sünden viel, measure of the answer. The chorale is bei Gott ist viel mehr Gnade; split between the two fugues. Phrase one, WATJEN CONCERT ORGAN IN BENAROYA HALL: C.B. Fisk, 2000 PHOTO BY SEPH PARSHALL sein Hand zu helfen hat kein Ziel, phrase two, and the repetition of phrase wie gross auch sei der Schade. one are presented in the fi rst fugue, and Er ist allein der gute Hirt the fugue closes with a half cadence in A ORGAN HISTORICAL SOCIETY 53RD ANNUAL NATIONAL CONVENTION der Israel erlösen wird minor, composed of a Neapolitan sixth ° aus seinen Sünden allen.9 chord going to a dominant ninth followed WWW.ORGANSOCIETY.ORG/2008 by a fi ve-measure pedalpoint. Though by us there be many sins, It is worth noting that because Men- By God is much more grace. delssohn decided to make his two fugue 22 THE DIAPASON Mar 08 pp. 22-23.indd 22 2/11/08 10:29:07 AM Example 3 Example 5 Example 4 not like a misplaced answer. The fourth cided to use the chorale for that week as are published by Paraclete Press. In 2004, she entry in the bass (m. 64) is then a real the basis for a triumphant expression of received the Distinguished Composer award answer to a tonal subject; and this up- joy celebrating Fanny’s marriage. Years given at the AGO convention in Los Angeles, side down arrangement ending in D later, as he assembled the sonatas, re- and in 2006 was honored by St. Andrews Col- lege with the Sam Ragan Award for distin- minor effectively prepares the two mea- membering the relation of the chorale to guished service to the Arts in North Carolina. sures of chromatic secondary dominant- Fanny’s piece, he added two fugues over seventh chords leading from the exposi- the same chorale. tion to the entrance in the pedal of the Why two fugues rather than just one? Notes fourth phrase of the chorale, where he Could it be that Mendelssohn was think- 1. Craig Tomlinson, trans., Mendelssohn, is heading temporarily for F minor. ing of the two fugues as a memory of the a Life in Letters, ed. Rudolf Elvers (Fromm two young martyrs who infl uenced Mar- International Publishing Corporation, 1984, The outer sections of Sonata III tin Luther’s fi rst complete chorale, “Aus New York, NY), p. 290. 2. Ibid., p. 100. Under analysis, the principal the- tiefer Noth”? Q 3. Ibid., p. 104. matic material in the opening and clos- 4. Ibid., pp. 108–09. ing sections of the sonata seems drawn Margaret Sandresky is a graduate of Salem 5. William A. Little, ed., Felix Mendels- from the opening phrase of the chorale, Academy and College with a major in organ sohn Bartholdy Complete Organ Works, Vol. performance. She earned a master’s degree whose fi rst interval of a descending per- II, The Berlin-Krakow Manuscripts (Novello, fect fi fth from E to A appears, now in the in composition with a minor in organ at the Eastman School of Music, and later received London, England, 1989). key of A major and fi lled in stepwise, as a Fulbright Grant for the study of organ with 6. Tomlinson, p. 4. the opening gesture of the main theme. Helmut Walcha at the Hochschule für Musik 7. Ibid., pp. 169–170. Wir glauben all’ an (Example 5) This “fi lled in” fi fth domi- in Frankfurt am Main, Germany. She has einen Gott, Vater (BWV 740) also has a dou- nates Mendelssohn’s thinking here, for held positions at the Oberlin Conservatory of ble pedal, but is of doubtful attribution. it occurs some twenty times during the Music, the University of Texas at Austin, the 8. Evangelisches Gesangbuch: Ausgabe für course of this section. The same pitches North Carolina School of the Arts, and at Sa- die Evangelische Kirche in Hessen und Nas- lem College where she is Emeritus Professor sau (Verlag der Evangelische Kirche in Hes- also appear in measure two of the sec- sen und Nassau, Darmstadt, Germany, 1950), ond movement. Again, in the fi rst phrase of Music. Her articles have been published in The p. 616. of the chorale, the ascending leap of a Journal of Music Theory, Music Theory Spec- 9. Ibid., pp. 195–196. fi fth moving up a half step to the sixth trum, The American Liszt Society Journal, 10. The Holy Bible, King James Version. subjects compatible as invertible coun- degree of the scale may be interpreted Ars Organi, and The American Organist. Her 11. Evangelisches Gesangbuch, p. 195. terpoint and to bring them together as the interval of a sixth appearing in sev- seven volumes of organ music are published 12. Tomlinson, p. 57. near the end of the second fugue, he eral places throughout the sonata. First, by Wayne Leupold Editions, and her anthems 13. Ibid., p. 90. designed them both on the same ver- it occurs between measures one and two tical sonority, the V/vii7. (Example 4) of the opening theme; second, it appears Thus it was convenient to divide his twice at the recapitulation in the pedal cantus fi rmus between the fugues at a from low C-sharp to A and then up to point where the dominant could func- F-sharp. Finally, it appears as the fi rst tion in both places, with the result that two pitches of the second movement. he did not follow the rhyme scheme The chorale provides one other motive. Eloquence and Artistry of the text or the form of the chorale, Compare the scale steps 5-6-5 in the fi rst which is abab-ccd, but split it after the two measures of the chorale to the sub- repetition of the second phrase, aba- jects of each fugue. in Organ Building bccd. (See Example 2.) Such an analysis, then, shows that the In contrast to the scholarly correct- entire movement, and in a broader sense ness of the fi rst fugue, Mendelssohn the entire work, can be viewed as evolv- seems to have designed the second one ing from one theme, that of the chorale, with Romantic fervor, avoiding scholarly and not from separate ideas. This co- constraints and directing the performer incidence presents a conundrum: did to play with gradually more and more Mendelssohn either consciously or un- animation. The A-minor subject begin- consciously have the “Aus tiefer Noth” ning on scale steps 5-6-5 (m. 58) and chorale in his head during the closing outlining a dominant/diminished area, weeks of his English journey, and turn tumbles down in 16th notes to C-sharp, it into a joyful bridal piece by fi lling in throwing it into the subdominant key the melodic skeleton and changing the of D minor by means of this chromati- mode? Then years later, did he decide cism. One remembers here that in the to expand Fanny’s piece into the Sonata old modal system, D really would have III? This would explain the juxtaposition been the dominant of the Phrygian on A. of seemingly disparate parts, the wed- These events present two problems for ding piece, the chorale, and the fugues. the tonal system, solved traditionally by But why put them together? answering scale steps 5-6-5 with 1-3-2 and by returning the modulating subject Why “Aus tiefer Noth”? to the proper key in the answer. Men- One answer may lie in the important delssohn does neither. signifi cance the music of Mendelssohn’s Since the modulating pitch, C-sharp, faith had in his life. For example, in the is the very last note of the tenor sub- top right-hand corner of many pieces he ject, whose proper tonal answer, 1-3-2 wrote “Hilf du mir” or “H.d.m.” (“Help in the alto, would force a cross relation thou me”) before he began work. Accord- between the C-sharp and a C-natural, ing to my Evangelisches Gesangbuch, the situation requires deft and imagina- “Aus tiefer Noth” is the chorale for the tive treatment. (See Example 3.) Men- week of the eleventh Sunday after Trin- Saint Andrew’s Episcopal Church, Denver, CO 11 delssohn gives the alto a real answer ity. Mendelssohn, in his letter of April Timothy Krueger, Music Director, Frank Nowell, Organist (m. 60). However, in order to halt the 14, 1829 from Hamburg, where he made continuous modulation of subject and a visit before embarking on his fi rst trip answer and not stray too far from the to England, wrote that he couldn’t com- main key, he ends his real answer by ment on theatre and music in that city Member, Associated Pipe Organ writing an F-natural instead of F-sharp, since everything was closed during Holy John-Paul thus preparing for the third entry of the Week there.12 That would place the elev- Builders of America subject in the soprano and remaining in enth Sunday after Trinity near August Buzard 112 West Hill Street D minor. Here, one may be surprised 25, just the time when he was in Wales, Pipe Organ Builders Champaign, Illinois 61820 to hear a tonal subject, scale steps 1-3- where he wrote a long letter to his father 2 in D minor (m. 62); but the subject, that day from Llangollen, in which said 800.397.3103 • www.Buzardorgans.com placed now in the highest voice, sounds he had “done a little composing.”13 These exciting, overarching, overreaching, and documents show how he could have de- MARCH, 2008 23 Mar 08 pp. 22-23.indd 23 2/11/08 10:29:24 AM The Origins of Seewen’s Welte-Philharmonie David Rumsey and Christoph E. Hänggi Background just come out of their development stag- The Welte Company was a German es in 1912, and the Seewen instrument fi rm, fi rst established in 1832 at Vöhren- was defi nitely known to have existed by bach (in the Black Forest) by automata 1920. Internal evidence such as specifi - manufacturer Michael Welte (1807– cation, roll formats, pipe construction, 1880). About 1865 he moved to Freiburg comparison with similar instruments and im Breisgau and registered there as M. known availability led us to moot a dating Welte & Söhne. During the remainder of of about 1913 as most likely. the 19th century, the fi rm expanded con- It is a variant of Welte’s “Grundmodell siderably and became particularly noted V–VI,” having a two-manual and pedal for its orchestrions. In 1904 Edwin Welte console with stop tabs and a roll-mecha- (1876–1958, grandson of the founder) in- nism for automatic playing. From 1920 vented the Vorsetzer, and from that the it is well documented. However, sign- famous Welte-Mignon player-piano was posts to its pre-1920 history turned up developed, appearing on the market in in the course of restoration work during 1905. This rather arcane piano technol- March 2007. In cleaning some normally ogy was adapted to the “Welte-Philhar- unseen wooden beams around the origi- monie-Orgel” (known as the “Philhar- nal windchests, the word “Britanik” was monic” in the USA). By 1909 a recording found inscribed in four places. By late organ had been built for Welte’s studios May 2007, more inscriptions were found, in Freiburg. The Philharmonie was dis- bringing the total to six. played in November 1911 at the Turin The console is not, or not complete- Exhibition in Italy. Welte successfully ly, original. An earlier console would went on to market player organs, cinema naturally have been modifi ed or even organs, cinema player organs and, later, replaced in 1920 or 1937 when the or- when that market contracted during gan was slightly enlarged. The present the 1930s, church organs. They issued console, however, gives the impression punched paper roll recordings dated be- of having re-utilized at least some of the tween 1912 and 1930 of performances earlier components. by the great organists of the day, and sold them with considerable commercial Organs aboard ships success. From 1865–1917 they also ran a During the mid-19th century, begin- branch in New York (M. Welte & Sons) ning with calliopes, keyboard musical under Emil Welte (1841–1923, eldest instruments increasingly came to be son of the founder), but it was closed featured on the river boats, yachts and during World War I as an “alien enter- ocean liners of Europe and North Amer- prise.” Edwin Welte’s sister, Frieda, mar- ica. Jules Verne’s 1869–70 novel Twenty ried Karl Bockisch (1874–1952), who was Thousand Leagues under the Sea con- active in the fi rm from 1893 onwards. He tains a reference to Captain Nemo play- later assumed a leading role and became ing a pipe organ installed on his ship a partner. Michael Welte Nautilus. From fi ction to fact took a little Player organs became status symbols time. Harmoniums and grand pianos of the rich. They were the epitome of were featured in such vessels as the Cu- home entertainment in their day and, nard line’s Campania and Lucania (both along with orchestrions, were manufac- 1893). Campania even had false pipes tured in both Europe and the USA by a arranged, as was sometimes the custom number of specialist fi rms. Welte instru- with harmoniums, to make it look like a ments were installed in homes, palaces, pipe organ. The race for luxurious on- schools, department stores and one was board musical entertainment was gradu- apparently even in a luxurious “house ally intensifi ed. It became a serious pur- of pleasure” (the Atlantic Garden or- suit in the greatest luxury liners of the chestrion). Apart from Europe and the early 20th century. In their catalogue USA, Welte’s market is known to have of c1913–14, Welte identifi ed and illus- extended to Turkey, Russia, China and One of the “Britanik” inscriptions found in the Seewen organ trated a number of piano and organ in- Sumatra. The Sumatran instrument was stallations, including player pianos such broken up and lost in 1985. 1909 cording organ of 1909. Manufacture be- as the Welte-Mignon, aboard yachts and Around 1926 Welte began to be threat- Welte’s first Philharmonie record- gan in earnest. This gave ample time to ships. Their New York branch installed ened by a rapidly growing radio and re- ing organ was built in their Freiburg build Britannic’s organ. Since work on at least one orchestrion, “operated by cording industry. Business declined so studios. the ship was delayed, even more time electric motor,” aboard the Pocahontas, much that in 1932 the fi rm only narrowly March 31: Titanic’s keel was laid. became available. an American river boat. escaped bankruptcy. At this time they But the largest of ships’ organs was were also engaged in a collaboration with 1910 1914 destined to be the Britannic’s organ. the Telefunken Company involving the October 20: Olympic was launched. February 26: Britannic was launched Others, mainly on vessels of the White development of electronic organs, using and her fi tting-out begun. Star Line or Lloyds, but including some analog sampling, glass plates and photo- 1911 July 28: beginning of World War I. private yachts such as Howard Gould’s cells. It was a prophetic development for May 31: Titanic was launched; Olympic August: the ship became subject to steam yacht, “Niagara,” which also fea- that time. The collaboration had to be was delivered to the White Star Line. requisitioning by the Admiralty; work tured a Philharmonie, are well chron- terminated because Edwin Welte’s fi rst November: the Philharmonie was was again “slowed.” icled in these catalogues. The Aeolian wife, Betty Dreyfuss, was Jewish. Had publicly demonstrated at the Turin ex- company was also involved in ships’ or- Welte been successful, they might well hibition and the company’s order book 1915 gans. Documents exist showing that the have eliminated the Hammond organ opened. May: mooring trials were undertaken; Britannic was originally intended to have from the pages of history. November 30: Britannic’s keel was Britannic was on standby for military a player organ from Aeolian. World War II fi nally precipitated the laid. service. Of the White Star Line’s three great total demise of the fi rm. Apart from be- November 13: Britannic was offi cially “Olympic” class ships—Olympic, Titanic ing blacklisted by the Nazis, the Freiburg 1912 requisitioned as a hospital ship and fi tted and Britannic—there is neither evidence premises—all but a few scraps of stock, April 1: Titanic’s trials fi rst were sched- out accordingly. nor suggestion that Olympic ever had an instruments and historical documents— uled. December 11: Britannic sailed to Eng- organ. With the later ships, however, were annihilated by Allied bombing in April 15: Titanic’s sinking. land and entered service on the 23rd. there are different stories to be told. November 1944. The ruined Welte fac- Work ceased on Britannic pending tory was something of a landmark next the Titanic inquiry, after which some 1916 Titanic to the Freiburg railway station until the changes to design were made, mainly November 21: Britannic hit a German On-board entertainment was an im- mid-1950s. No trace of it remains to- safety items. mine and sank off the Greek island of portant item in the inventory of luxu- day—a housing estate replaced it. Welte fi rst made their Philharmonie Kea (Tzia) in the Aegean Sea. ries aboard these ocean liners. Titanic available in a range of specifi c models. had no less than four uprights and one Time lines The Seewen Britannic organ grand piano. In the light of this, oft-re- 1913 Until recently it was unclear exactly peated suggestions that “an organ” was 1902–3 Welte consolidated their organ de- when the organ now preserved at the Mu- planned, built, or even installed aboard Olympic and Titanic were fi rst signs, including modifi cations to their seum für Musikautomaten was originally Titanic, cannot be ignored. There are planned. Orchestrions and other me- 1909 Freiburg recording organ, pos- built. The museum contains a major col- said to be survivors’ reports of an or- chanical musical instruments had long sibly on advice from Edwin Lemare lection dedicated to mechanical musical gan that “played” (Internet Site 1—see been available. (Kurt Binninger, 1987). Variant models instruments and musical automata, and below). The detail is vague and the re- became available in the same year, in- is located at Seewen, Switzerland (http:// port is seriously questioned. If it has any 1908 cluding the largest, as represented by www.landesmuseen.ch/e/seewen/index. credibility at all, then we might extract December 16: Olympic’s keel was the Seewen instrument, whose speci- php). 1912–1920 were the considered from it that “played” might suggest an laid. fi cation well matches the Freiburg re- limits since such instruments had only orchestrion aboard. It does not discredit 24 THE DIAPASON Mar 08 pp. 24-28.indd 24 2/11/08 10:30:05 AM Welte-Philharmonie aboard the “Niagara,” a luxury yacht belonging to Howard Gould other reports, although a second instru- was added, jutting out into the stair area. ment aboard is highly unlikely and has Any of these three ships could easily have never been suggested. If an organ was had this modifi cation, but only plans for installed, then it now lies with the wreck Britannic include it. A Philharmonie and all claims of a surviving instrument Grundmodell V–VI could have fi tted “built too late” are completely errant. into this space on any of them. Britannic’s plan with organ shown (provided by Simon Mills) There is an interesting consistency in Orchestrions generally take little more perpetuation of a belief that the Titanic’s ground space than an upright piano. They The two-story space near the stairs used electric actions in “larger organs” organ was not completed in time for typically had about 260 pipes, whereas a offered ideal dimensions for an organ and “where consoles were detached.” the voyage. A number of collections in Philharmonie V–VI could have over 2,000 the original size of Seewen’s. Britannic’s Welte had developed electro-pneumatic North America and Europe possess or- pipes. Orchestrions and salon organs the Philharmonie could easily have been fi n- actions as early as 1885, one of the fi rst chestrions claimed to be “built too late to size of Bruchsal’s (and the other Titanic ished in Freiburg by late 1913 and moved fi rms ever to master this technology. Ar- share the ship’s fate.” Certainly, if there claimants seem to be of commensurate to Belfast, arriving sometime between guments in favor of a fully pneumatic is any element of truth in this, then it size) could have been placed almost any- March and July 1914. We do not know original action also exist. The two main was probably an orchestrion. These were where aboard these ships. These would whether the main staircase was installed manuals of the almost contemporary available for decades before Titanic was not have required identifi cation in ar- before then. The portrayed roll player three-manual organ at Tunbridge Wells conceived. The Deutsches Musikauto- chitects’ plans; detailed accommodation hints at a console and possibly the wind (see Appendix) are pneumatic. Although matenmuseum at Bruchsal in Germany plans show nothing of this kind. apparatus being located underneath, it is unclear until 1937, the Seewen organ has one. It is sometimes claimed that an Even assuming for a moment that the with windchests and pipes on top. The does appear to have always had a hybrid undated letter from Ilse Bockisch (wid- reports of a Welte Titanic organ were apparent width of the roll in the illustra- action. Experts such as Peter Hagmann ow of Karl, his second wife, married in true, which organ was too late? Certainly tion lines up well with the dimensions fully acknowledge this possibility and, 1932) associates it with Titanic. The let- not one of their mass-produced instru- of Welte’s Philharmonie V–VI rolls: the having searched, can fi nd nothing to dis- ter leaves many unanswered questions. ments. Orchestrions, having been in paper was 390mm wide and there were prove it. Suggestions have been made (Internet production for years, should either have fl anges on either side. Another photograph, from 1916, Site 1) that a Philharmonie was originally been in stock or available on very short Welte may well have used a hybrid shows Britannic fi tted out for wartime intended for Titanic. Welte’s Philharmo- notice. This meant that delivery of such pneumatic-electric action. The company service. Explanations accompanying this nie was not offered for sale until some a salon organ should have been easily is reported (Binninger 1987) to have photograph refer to a very basic state of eight months after Titanic’s launch- achievable. It could not be entirely ruled ing. A specifi c model was further out of out that delays in development of the the question until immediately prior to Philharmonie might be the issue here. The Second Decade Titanic’s sea trials. The idea that Welte For what it is worth, Ilse Bockisch’s letter catalogue illustrations (see later) were of describes a failed attempt to deliver “an Albert Schweitzer Organ Festival a Philharmonie organ aboard Titanic is organ” to Titanic at Southampton. Her thus ruled out by the time lines. The ear- letter leaves open too many questions to A Weekend in Celebration of Excellence in Organ Music: liest known illustration is from 1913–14, be trusted as a basis for fi rm conclusions A Gala Concert, ORGAN COMPETITION, Services, and Masterclass well after Titanic’s sinking. If there is in this context. any credibility at all here, then the only We must conclude that Jules Verne’s possibility was an installation after the idea was best going to be realized with High School Division Panel of Judges maiden voyage. Britannic. Most evidence points against an organ Provided by Ahlborn-Galanti Organs, First Prize: $2,000 Other prizes awarded or orchestrion ever belonging to Titan- Discussion points ic. Expert researchers, such as Günter A Welte catalogue of around 1914 has Bäbler and Mark Chirnside, have looked an illustration captioned “Welte-Phil- College/Young Professional* into this matter exhaustively. Both are harmonie-Orgel an Bord eines grossen emphatically of that opinion. engl.[ischen] Dampfers” (“Welte-Phil- harmonie aboard a large English steam- First Prize: $3,500 Other prizes awarded Britannic er”). The vessel is not identifi ed by name. Marilyn By contrast, evidence for an organ in- The illustration is very lifelike, although This includes an appearance on Mason tended for Britannic is overwhelming. some background detail differs from the There is an interesting existing reference known architecture of the ship. Another our 2008-2009 Concert Series to an Aeolian organ with two chests for Welte catalogue from about this time music rolls in the Britannic’s specifi ca- reproduces this but now unequivocally *Through age 26 tion book. There is no evidence that identifi es it as “WELTE-PHILHAR- these plans ever proceeded. Illustrations MONIE-ORGEL auf S. S. Britannic der in Welte’s catalogues are renderings that White Star Line” (“Welte-Philharmonie AUDITION TAPES/CDS: are so accurate that they appear to be or on the White Star Line’s steam ship Bri- have been made from photographs. The tannic”). (See page 26.) The architect’s Due on June 1, 2008 Gerre fi rm variously identifi es them as “Welte- sketch in the Ulster Folk and Transport Hancock Philharmonie aboard a large English Museum and the Welte illustrations show THE COMPETITION: steam ship” and “Welte-Philharmonie identical organ casework. These all clearly aboard S. S. Britannic.” Surviving ar- identify ship, organ, size and placement. September 5-7, 2008 chitects’ sketches, now preserved in the They show the casework fully in place. Ulster Folk and Transport Museum, Both captions expressly state that the or- show exactly the same organ case in the gan was “aboard.” This suggests its pres- For Information & stairwell area of Britannic. The ship’s ence behind the case. Since a responsible Application: plans allocate this space as “ORGAN.” and proud fi rm repeated this in at least Frederick Seewen’s organ has “Britanik” inscribed two catalogues, it can leave no doubt that First Church of Christ Hohman in at least six places. the organ was a Philharmonie and that it The dimensions of the original See- probably was installed. No fi nal proof ei- 250 Main Street wen organ have been carefully checked ther way is yet to hand. Wethersfield, CT 06109 against the ship’s plans. It fi ts exactly into Time lines easily allow this. By Febru- PAST JUDGES: Colin Andrews, the space allocated. ary 1914 there was ample time to build Diane Meredith Belcher, Benjamin and transport the organ. By the end of Doby, Paul Fejko, Janette Fishell, www.firstchurch.org/asof Time and space considerations July there was also time to install and re- Paul Jacobs, Marilyn Mason, What was possible? Plans survive for move it. The illustrations appear to have all three ships showing their main stair- been the property of Welte themselves, 860.529.1575 Ex. 209 Katharine Pardee, Cherry Rhodes, well areas. These are virtually identical, so all evidence points to the instrument Catherine Rodland, John Rose, except that on Britannic a rectangular being at least in preparation for, or pro- [email protected] John Walker and John Weaver space identifi ed with the word “ORGAN” cess of, installation by summer 1914. MARCH, 2008 25 Mar 08 pp. 24-28.indd 25 2/11/08 10:30:23 AM Wolfgang Rehn (Orgelbau Kuhn), Heinrich Weiss, Christoph E. Hänggi, and David Rumsey organ could logically have been installed mid-1919. A Steinway piano thought to was February 26 to late summer 1914. have been lost with the ship, was found This is far more time than an installa- after government compensation for the tion would have required. Britannic’s ship’s loss had been agreed in 1917. It fi nal requisitioning theoretically allowed was then offered for sale “as Admiralty until November 1915 for de-installation, property,” after which all traces of it dis- although Welte staff could hardly have appear. An organ would have been even remained or returned then. We do not more obvious. We can only assume that yet know if anybody from Welte was in the organ was not part of the compen- Belfast, so we simply cannot say if instal- sation negotiations and therefore was From a Welte catalog about 1914 (provided by the Augustinermuseum, Freiburg) lation was proceeding or completed be- either still or once again in Welte’s pos- fore late July 1914. Welte’s illustrations session in Freiburg in 1919. furnishing—just white-painted metallic specifi cally meant that it had a keyboard. and captions prima facie support the no- walls. Woodwork from the stairwell later The ship’s plans unequivocally identify its tion that it was. From 1920 onwards appeared as collectors’ items. Stored space as “organ.” It is instructive to com- If Karl Bockisch was in Ireland for Around 1920, an organ was sold by items from the ship were publicly auc- pare the design with the Welte-Philhar- the installation, then he may have had Welte to Dr. August Nagel (1882–1943) tioned in Belfast in 1919, and many are monie at the Salomons Centre, Tunbridge to return quickly to Germany with the for his residence. Nagel began a highly still preserved in private ownership. This Wells, England. This has pipes above and imminent outbreak of war. Edwin Welte successful camera manufacturing busi- indicates that the internal outfi tting of console below, fl anked by pillars. The con- was pursuing an extremely busy traveling ness in 1908 that later became the the ship was probably advancing at the sole is on the inside, screened off from the schedule, especially across the Atlantic, “Contessa” brand. He was a great mu- time that possible requisitioning became auditor. It is exactly the arrangement with although he was known to be “in Eng- sic lover and lived in a magnifi cent villa an issue during August 1914. Welte’s organ for Britannic, only decora- land” (which could include Northern in Stuttgart. In 1926 his business went Although the Welte catalogues show the tive details differ and the specifi cations are Ireland) at about this time. In 2005 some to the Zeiss-Ikon concern. In 1928, he roll-playing mechanism, no keyboard is ap- very similar. missing documentation that might clarify founded another camera manufacturing parent. This might lead to a belief that this the fi rm’s travel arrangements came into company that fl ourished in spite of hard instrument was a large orchestrion. How- Installation aboard Britannic 1914 the possession of Gerhard Dangel of the times. This was taken over by Kodak in ever, Welte calls it a Philharmonie. This The overall period during which the Augustiner Museum, Freiburg, but it 1932. No photographs have yet been lo- has so far proven inconclusive. There is cated of the instrument in Nagel’s pos- evidence that the Welte family traveled session. Indeed, the apparent absence on the German steamer, the Kronprinz- of even one photograph of this organ is professional essin Cecilie, in September 1912 (this curious for a camera manufacturer: one ship also had a Welte-Mignon piano reason could be that the organ simply aboard), but no records have yet been was not visible and had no casework to found clarifying the movements of Welte photograph (see later). It seems that the musiciansicianiician employees. Since they were quite itiner- new owner had two small supplemen- ant, we must assume these records are tary windchests built to accommodate pastoral theological now missing. Further clarifi cation as to some additional stops. whether Bockisch or his team were ever Nagel returned the organ to Welte in Ireland seems now dependent on fi nd- in 1935 for reasons that are now un- ing something of this kind or from dives clear. In 1937, after work on it in their to the wreck planned for 2008. Freiburg workshop, Welte sold it on to Master of Welte staff would rapidly have found Dr. Eugen Kersting (1888–1958), own- themselves behind enemy lines by July er of “Radium GmbH,” an electrical 28, 1914. The inscriptions “Britanik” manufacturer. Werner Bosch (1916– and “Salomoons” in the Salomons Cen- 92), German organ builder, worked on Sacred Music tre organ at Tunbridge Wells make it it as a young employee of Welte’s at the clear that Welte identifi ed their clients time. It was installed in the Radium www.luthersem.edu/msm and organs in this way, a practice al- Company’s Concert and Meeting Hall ready established for their pianos and in Wipperfürth, Germany. Changes pneumatic roll player devices. were made at Kersting’s request— mainly two reed ranks added and some “We seek to give musical and theological 1917–19 interesting but small concessions made There is a lack of surviving documen- to organ reform movement principles. flesh and bone to those who are called tation that might indicate the fate of the Once again modifi cations to suit a cli- to serve the church as leaders of the organ between 1914 and 1919. Since ent were a normal part of Welte’s op- people’s song.” Britannic sank in 1916, the organ could eration. The original Wienerfl öte was not be returned to her. After the war, in replaced by a Harmoniefl öte (also by – Dr. Paul Westermeyer, Director the natural course of events, ownership Welte), and somewhat miraculously and other details had to be sorted out. all pipes of both stops have survived. White Star Line—no doubt in some dis- The Wienerfl öte can now be returned array with the loss of two of its three most to its proper (and original “Britannic”) prestigious ships—had no further use confi guration. There was again no sign for it. So the instrument (with or with- of earlier original casework: a simple out casework) would have been available but elegant wooden grille appeared in for sale, presumably around 1919, allow- Wipperfürth. ing for decisions, communications and Towards the end of World War II, in paperwork (and possibly transportation 1945, water damage occurred as a result back from Belfast). of bombing. The instrument survived There were negotiations between this quite well and was offered for sale shipping company, state and insurance through Werner Bosch during the 1960s. brokers that lasted until 1919 when fi - No buyers were forthcoming. In 1961 nal damages were paid and an auction of it was used to make an important LP remaining items took place. The organ, recording, issued in English-speaking being a part of this, would not have been circles as Reger plays Reger. The organ available for sale until all was fi nalized. It was selected as the best available for this probably elucidates the timing of its sale purpose, having a specifi cation capable Armstrong Aspaas Ferguson Rodland Westermeyer in 1920. As far as we can currently ascer- of closely reproducing organists’ regis- tain the organ was not mentioned in the trations on the original Freiburg record- inventory of items for auction in Belfast ing organ. 26 THE DIAPASON Mar 08 pp. 24-28.indd 26 2/11/08 10:30:44 AM The restored organ in its new environment at Seewen By 1969, after the meeting room had The fate of the organ’s original been turned into a storeroom and the casework organ had become an encumbrance, Welte’s case designs are not noted for it was to be sold for scrap. Heinrich standardization, although stylistically Weiss-Stauffacher (*1920), who owned they are mostly consistent with their a collection of automatic musical instru- epoch. Cases and organs are sometimes ments that later formed the basis of the sold separately. No surviving organs or Seewen collection, was informed. He photos show other Welte instruments acquired the organ at the last minute with casework in the style of Britannic’s. and, in somewhat dramatic circum- Welte also specialized in installa- Motor and blower awaiting restoration stances, packed and moved it carefully tions in basements, attics and “adjacent to its present home. There, after reno- rooms,” the organs speaking through century and located not far from Welte The organ’s wind supply is designed as vation, its re-inauguration was celebrat- holes in walls or fl oors. This may well in Freiburg. Their records only date a regulated system and virtually never ed on May 30, 1970. have been the reality with Nagel’s resi- back to about the 1960s. From its serial needs the full amount of wind (over-) During its removal to Switzerland, dence and might explain a lot in this con- number, we only know that it was cer- supplied by the blower. Two experts also Bosch’s experience was critical in en- nection—e.g., the suitability of an organ tainly made before then. Both motor and independently estimated that the motor suring its preservation and proper func- on offer without a case and the absence blower are being restored as part of the itself is “probably early 20th century.” tioning. He and Basel organ builder of case photographs. Since the Philhar- historically conscious approach to the Thus, it is just possible that this motor Bernhard Fleig helped Weiss with the monie was totally enclosed in a swell- project. It is interesting to observe that and/or blower could have come down re-installation and subsequently also its box, façade pipes, where they existed, it is rated at 220 volts DC and the ship’s from the original Britannic installation. maintenance. Apart from normal wear were always “dummies.” electric supply came from four 400 kW From about 1885, a growing prefer- and tear, the organ has remained in Was the casework removed with the steam generators, each providing 100 ence for power reticulation using alter- good original condition, with few losses refi t to a hospital ship? The photo of volts DC. Expert opinion informs us that nating current was beginning to overtake or changes. the bare-walled area can but indirectly the voltage difference from running two that of direct current. By 1913–1914, suggest that it was not there. Simon generators in parallel—sensible electri- AC might normally have been the prime The restoration Mills’s Britannic Foundation, now own- cal engineering with two in parallel and choice for such a motor, but the fact Years of investigation into these in- ers of the wreck, believe that whatever two in series—to provide 200 volts is not that the ship’s supply was DC must have struments (and submissions from experts was installed—probably not much—was critical to the operation of this motor. determined a DC motor. This further and organ builders) began in 1998 with simply covered up and left in place. Re- the Seewen organ’s removal and storage ports of Jacques Cousteau’s divers who while the museum prepared for exten- went down there in 1976 could point to INTHROP NIVERSITY The work of the sions. These created much needed ad- the organ case still being present. They W U Æolian-Skinner Organ ditional space, partly to properly accom- identifi ed “an organ” and reported “met- Rock Hill, South Carolina Company under the modate and display the organ. al organ pipes.” The value of these re- The restoration contract was award- ports has been questioned—indeed the leadership of G. Donald Harrison (1889-1956) has garnered much interest ed to Orgelbau Kuhn, Männedorf, in rendering published by Welte in their in the past decade, though the number of instruments remaining in 2006. In early 2007, in the course of catalogues hints at wooden pipes or just unaltered condition from his tenure is lamentably few. Winthrop restoration, the “Britanik” inscriptions simple slats of wood, “pipe look-alikes.” began to show up around the original If the Cousteau report turns out to be University’s Opus 1257 was an windchests. The beams were carefully true, then that could hint that the organ all-new instrument when checked to see if they might have be- was at least partially installed when hos- completed in 1955 and has seen longed to another organ. However, all tilities began. experts—two highly experienced organ An exhibition in Kiel, Germany in mid- only two minor changes since builders, the museum director, its con- 2007 reconstructed the Titanic’s stair- then, showing a respectful servator and the organ consultant—in- well. Given that the three ships’ designs awareness of this instrument’s dependently concluded that the beams were essentially identical here, it was and the organ were part of the same clear that the organ could be installed or value. original instrument. removed with its façade in place. Being The D. B. Johnson Memorial Very few relevant Harland and Wolff a totally enclosed instrument, the façade Organ is located in the resonant (shipbuilders of Belfast, Ireland) and es- was purely decorative. The Britannic sentially no Welte records have survived. Foundation has undertaken more recent Byrnes Auditorium and However, all evidence overwhelmingly dives to the Britannic wreck and is cur- displays all of the hallmarks of points to the Britannic and Seewen or- rently planning another for about mid- Harrison’s style, including a relatively mild Great division without reeds; gans being one and the same instrument, 2008 when currents are favorable. The little changed in its 90 years of existence. area where the organ was to be placed several mixtures with each providing a different texture; a powerful Swell The Britannic’s pipework, windchests, will then be very closely investigated. division with French-inspired reeds; and a general emphasis on tonal clarity console and possibly the action are all Effectively, Britannic’s casework has over density. either fully original or have been only now completely disappeared. It is either, slightly modifi ed, overwhelmingly by as per the Cousteau hint, barnacle-en- We are honoured to have been selected by Winthrop University to carry Welte themselves. The organ’s 1920 and crusted some fathoms under the Aegean out a mechanical restoration of this exceptional instrument. At the 1937 forms are fully valid Welte confi gu- Sea, or it was destroyed, saved in an un- completion of our work in the fall of 2008, every aspect of Æolian- rations, developed out of their Grund- known location, or broken up for use in modell V–VI. In the few cases of missing other organ façades. Skinner’s Opus 1257 will have been examined, documented and or damaged pipework, replacement has conservatively restored without tonal changes. Throughout this project, it been arranged with surviving original The motor and blower is our pleasure to work in close consultation with the instrument’s curator Welte pipework or pipes carefully re- Speculation of wind-raising using constructed to the fi rm’s manufacturing Britannic’s steam power sometimes and Professor of Music Emeritus at Winthrop, Dr. David Lowry. methods and standards. arises (Internet Site 3). The availability The Seewen/Britannic organ is today of electric power, and potential evidence probably the most typical, intact and of a possibly original blower and electric ORGUES LÉTOURNEAU LIMITÉE best preserved of its size and kind. So far action argue very strongly against steam. as is currently known, there is only one In fact, steam was rarely used as motive United States Canada other Philharmonie of comparable size, power for organ blowing. Even then it 1220 L Street NW 16355 avenue Savoie Freiburg manufacture and with tonal was associated more within the period of Suite 100 – No. 200 St-Hyacinthe, Québec resources capable of doing justice to the 1812–85 than the early 20th century. Washington, DC J2T 3N1 full-sized rolls (Tunbridge Wells, see Ap- An old motor and blower has survived 20005-4018 Tel: (450) 774-2698 pendix below). The collection of rolls at with the organ. No dates are evident. Tel: (800) 625-PIPE Fax: (450) 774-3008 Seewen—nearly 1,300 of them—is well The motor is rated at 220 volts DC and Fax: (202) 737-1818 [email protected] in excess of any other existing collection was made by Meidinger of Basel. The [email protected] www.letourneauorgans.com currently known. fi rm was established in the late 19th MARCH, 2008 27 Mar 08 pp. 24-28.indd 27 2/11/08 10:34:30 AM supports the possibility that the surviv- survivor, its basic specifi cation includes 1921 and 1928 saw the instrument en- David Rumsey: Reger und die Auffüh- ing blowing installation at Seewen could the full Philharmonie Grundmodell V–VI larged to 14 stops by Welte, with one of rungspraxis seiner Zeit—die Welte-Auf- have been that of Britannic. Q stops, with resources that sometimes dif- their player mechanisms substituted for nahmen u.a. Regers aus der Sammlung des fer slightly from Seewen’s. Apart from that of Aeolian. It was restored in 2003 Museums für Musikautomaten Seewen (So- lothurn, Schweiz), Referat gelesen an den Appendix the Echo-division, the percussion acces- by Orgelbau Klais of Bonn. Associated Internationalen Reger-Tagen, Bruckner- sories in particular show some variance, with it is a collection of about 110 usable Univsersität, Linz, Österreich, Mittwoch Seewen and similar known e.g.,“tubular bells” in place of Seewen’s rolls recorded by Ramin, Straube, Sittard, 13. April 2005. / Reger and the Performance surviving Welte-Philharmonie “Harfe” and “Glocke” registers. The con- Mania, Lemare and Reger—a repertoire Practice of his Era—the Welte recordings, player organs sole was required, as per the contract, to surveying Bach, Beethoven, Brahms, including Reger’s own, from the collec- Full 150-note functioning Welte play- be modeled on English systems—pistons Chopin, Gluck, Händel, Haydn, Liszt, tion at the Museum für Musikautomaten, er mechanisms appear to survive in no rather than fi xed combinations, manual Mozart, Mendelssohn, Reger, Schubert Seewen (Switzerland), paper given at the more than ten organs worldwide. Details compasses reaching to 61 notes instead and Wagner. Five rolls are of popular mu- International Reger Symposium, Bruck- ner University, Linz, Austria, Wednesday are scarce, so only tentative information of 58, stop-knobs rather than rocker-tabs, sic. These appear to duplicate many rolls April 13, 2005. Published in German only can be offered as set out below. In the and the stop nomenclature is entirely in the Seewen collection, as would be ex- in Querstand II (2006/7), house journal of September 2006 issue of Mechanical English. There is no crescendo pedal. pected, bearing in mind the Welte cata- the Anton Bruckner University, Linz, Aus- Music, Durward R. Center published Even so, the general size and layout is re- logue marketing system. The Orgelbau tria. Also available in German or English at an article entitled “Welte Orchestrions / markably similar to Seewen’s. It plays rolls Klais website has details: 28 THE DIAPASON Mar 08 pp. 24-28.indd 28 2/11/08 10:35:17 AM Thomas Ekundayo Phillips: Pioneer in Nigerian Church Hymn Composition Godwin Sadoh he arrival of the Christian faith a large body of minority groups includ- in Nigeria around the mid-19th ing the Edo, Urhobo, Isoko, Ishekiri, Tcentury introduced not only the Kwale, Efi k, Tiv, Ijaw, Ibibio, and Fu- Gospel of Jesus Christ, but also church lani. All these groups speak different music to one of the most populous Af- languages and hundreds of dialects. rican countries. At the turn of the 20th When you move from one small town century, indigenous church musicians to another, you might neither be able began to develop a repertoire of music to understand nor speak the language for worship. The music included church there, even though you are a Nigerian. hymns, chants for singing Psalms, versi- For illustration, I am a Nigerian born cles and responses, and choral anthems, to a Yoruba mother, but my father is as well as organ pieces. The pioneers of from Edo State in the midwest region of church music composition endeavored the country.9 As a result of being raised to write music that would be close to in Lagos, I am very fl uent in the Yoruba the cultural roots of the congregations language; however, I can neither speak through the incorporation of traditional nor understand the local dialect of my music resources. Foremost among the father’s ethnicity. Each time I go to Edo fi rst generation of composers was Thom- State, I communicate in English, a lan- as King Ekundayo Phillips (1884–1969), guage common to all or most Nigerians. popularly referred to among Nigerian It follows, then, that a hymn composer musicologists as the “father of Nigerian in Nigeria must always have a targeted church music,” for his immense contri- congregation in mind when writing a new butions to the development, growth, and song for worship. If the composer wants stabilization of Christian music. his/her songs to be sung in the southwest region, the hymn must be in Yoruba. And Short biography if the primary congregation is situated in Thomas King Ekundayo Phillips was the southeast, the hymn must be in Igbo. born in 1884 and he attended the Church Alternately, a wise composer who wishes Missionary Society Grammar School to reach a larger body of Christ that cuts (CMS), Lagos. Phillips received his fi rst across ethnic barriers, would write the organ lesson from his uncle, Johnson, hymns in English. With this approach, who was an Anglican priest. At the age all the ethnic groups within the nation of eighteen he was appointed organist may be able to understand the message of St. Paul’s Anglican Church, Bread- of the hymns. fruit, Lagos, and served in this capacity Ironically, this procedure may even for nine years. In 1911 he proceeded to create a greater problem because there the Trinity College of Music, London, to are some churches that have adamantly study piano, organ, and violin, becoming adhered to conducting services in their the second Nigerian to receive profes- indigenous language and would not ac- sional training in music abroad and the commodate songs in any other language. fi rst Nigerian to formally study organ in Among these churches, there are some a school of music (Robert Coker was the educated people who could communi- fi rst Nigerian to study European music cate well in English, and there are also abroad in Germany in 1871).1 those who cannot read nor write the Upon his return to Nigeria in 1914, English language. Phillips was appointed to the position For instance, there are several Igbo of organist and master of the music at Anglican (Episcopal) churches in Lagos, the Cathedral Church of Christ, Lagos.2 Thomas Ekundayo Phillips at the 1932 organ at the Cathedral Church, Lagos a Yoruba community. The Igbo Anglican Phillips’ tenure marked a great transition churches were founded by Igbo priests and a period unparalled in the history book represents the fi rst musicological concert tours at home as well as in Lon- who were confronted with fi erce opposi- of Nigerian church music. His accom- research and documentation of African don to seek funds for the instrument, tions in convincing ministers in Yoruba plishments far outshone those of all his traditional music by a professionally and he was able to raise over half of the churches to create English services to predecessors at the church. He led the trained native. His postulations and re- budgeted amount. Works performed by accommodate non-Yoruba speaking na- Cathedral Choir to great heights within search fi ndings were circulated among the choir during these tours included tives. The Igbo priests made this move a short period of time, since the choir church musicians through public presen- Felix Mendelssohn’s Elijah, John Stain- to prevent further loss of Igbo Anglicans was established to be a model for other tations such as lectures, conferences, and er’s Daughter of Jairus, and the Yoruba to other denominations.10 churches. The choir sets the musical symposia. His Passacaglia on an African songs composed by Phillips. The money The only places where English hymns standard for choral performance in the Folk Song for Organ and Variations on was used to purchase a three-manual thrive are the newly founded evangeli- country. In this way, Phillips succeeded an African Folk Song for Organ are rep- pipe organ built by Abbot & Smith Co. cal churches, chapels on college and in revolutionizing church music in Lagos resentative works based on the ideas in 1932.6 In 1964 Phillips was awarded university campuses, and a few denomi- and in Nigeria as a whole. from his Yoruba Music. Fourth, Phillips an honorary Doctor of Music degree by national churches such as the Cathedral Phillips embarked on a massive cam- founded the Conference of Church Or- the University of Nigeria, Nsukka, for Church of Christ, Lagos, where services paign to educate Nigerian congregations ganists and other musical organizations his contributions to the development of are conducted mainly in English. These in the latest repertoire. First, he concen- such as the Association of Diocesan Or- church music in Nigeria. Phillips also congregations have a larger population trated on an intensive training of his choir ganists, which was a forum for church trained most of the prominent and inter- compared to small parish churches be- on sight reading, vocal production and musicians to interact and exchange ideas nationally famous Nigerian musicians, cause they are pan-ethnic and globally blend, and modern techniques of chant- on various aspects of sacred music from such as Fela Sowande (organist-compos- intercultural in their modes of worship. ing the Psalms. Second, Phillips estab- congregational singing to choral training er, 1905–1987), Ayo Bankole (organist- In most of the evangelical churches, lished a musical journal of which he was to organ playing. composer, 1935–1976), his son, Charles you will fi nd Igbo and Yoruba as well as the editor-in-chief. He used the journal Phillips frequently gave lectures, ad- Oluwole Obayomi Phillips (organist and other minority ethnic groups worshiping to disseminate cogent information about dresses, and demonstrations for the choir director, 1919–2007), and Christo- together. On college and university cam- sacred music to the Yoruba congregations improvement of musical taste and de- pher Oyesiku (singer, choral conductor, puses, English is the offi cial language of in southwest Nigeria, including its role in velopment in the church. He wrote and broadcaster, 1925–).7 Thomas Ekun- instruction; accordingly, services are con- worship and its relationship to the cul- numerous articles on harmonium and dayo Phillips directed the music ministry ducted in English at all worship centers ture of the people. Third, Phillips wrote organ playing as well as on the main- at the Cathedral Church of Christ for including student fellowship meetings. a treatise on the compositional devices of tenance of these instruments. At his 48 years (Trinity Sunday 1914 to Trinity The second problem a hymn writer early Nigerian church music entitled Yo- instigation, some of the sermons at the Sunday 1962). He was succeeded by his may have to grapple with is the transla- ruba Music.3 In this monumental book, Cathedral Church of Christ during this son, Charles Oluwole Obayomi Phillips, tion of hymn texts. This may be in the Phillips described methods that compos- period were directed towards enlight- who served as organist and master of the form of translating English hymns to any ers could use to create new forms of mu- ening the congregation on devotional music from Trinity Sunday 1962 to Trin- of the indigenous languages or the trans- sic that employ Nigerian indigenous mu- and reverential singing. The historical ity Sunday 1992.8 lation of a particular local dialect to an- sic resources—such as melodies, scale, background of some of the hymns was other within the country. In the fi rst situ- and rhythms—to which congregations also incorporated into the sermons. All Issues in Nigerian hymn ation, the composer may fi nd it diffi cult could relate. Nigerian congregations these efforts led to a tremendous growth composition to translate certain English words that tend to embrace and appreciate hymns, in the musical standard of the choir and The art of hymn composition in Ni- do not exist in Nigerian culture. For in- anthems, and instrumental works based the congregation in Lagos State and oth- geria is confronted with several related stance, we do not have snow, winter, hail, on indigenous popular melodies and er parts of the country. The Cathedral problems. The fi rst issue to be tackled or ginger bread in the Nigerian cultural rhythms. According to Bode Omojola, Choir rendered settings of canticles, by a hymn writer is that of ethnic diver- experience. Therefore, the hymn com- Phillips’ views in his Yoruba Music are responses, anthems, hymns, and diverse sity—who is your audience or which of poser will experience diffi culty in trans- summed up in three salient points: 1) choral works by famous European and the ethnic groups is your primary tar- lating these words into an indigenous Yoruba music is often based on the pen- indigenous Nigerian composers. get? Nigeria as a nation is made up of language and choosing descriptive words tatonic scale; 2) harmony rarely exists in When the church was to be elevated three major ethnic groups: Yoruba in that can best convey the exact meaning Yoruba music; and 3) Yoruba music, like to cathedral status in 1923,5 the con- the southwest, Igbo in the southeast, to Nigerian congregations. In another in- all other musical traditions, is undergo- gregation decided to buy a bigger pipe and Hausa to the north. In addition to stance, when words are translated from ing an evolutionary process.4 Phillips’ organ. Phillips embarked on several this powerful tripartite caucus, there is one language to the other, there may be MARCH, 2008 29 Mar 08 pp. 29-33.indd 29 2/11/08 10:36:09 AM Thomas King Ekundayo Phillips with Kenneth Jones (organ builder) and Derek Thomas King Ekundayo Phillips at his retirement, 1962 Cantrell (organist of Manchester Cathedral, UK), June 1966 that such cultic songs belong to the devil, symposium, and conference. An alterna- too many syllables to be inserted into a portant English words under the strong and, because of this, they should refrain tive available to the composer is to write single note, or there may be too many accents such as the fi rst or third beats of from incorporating them into Christian original melodies that align with new text words within a phrase that would not fi t each measure. In other instances, after worship. These songs are well known to or pre-existing words. into the melodic phrase. creating a literal translation of the hymn the people; engaging in the singing of The fourth major problem confront- The hymn writer is then confronted text, the composer still has to rearrange those songs may bring back to their con- ing a hymn composer in Nigeria is me- with the problem of choice: which words the words. sciousness the images of traditional gods lodic construction. After overcoming the are more important to retain and which The third obstacle to be addressed and goddesses that they have disowned issues of ethnic and language diversity, are less important, to be deleted. A Yo- in composing hymns in Nigeria is the for the true God of the Christian faith. translation barrier as well as choice of ruba Christian song, Kokoro Ayo lowo issue of melodic choice. The composer Popular band songs on the other hand melody, the hymn writer will still have to Mi, when literally translated into English will need to choose between pre-exist- are perceived to be too “worldly” and contend with the issue of tonal aspects becomes “The Key of Joy in My Hands.” ing tunes such as folk songs, traditional mundane for true worship in the church. of indigenous languages. Because all lan- There are several problems with this songs that belong to specifi c cults, popu- The argument here is that juxtaposing guages and regional dialects have tonal translation. The Yoruba text has eight lar dance tunes, or original melodies. such melodies with sacred texts may infl ections, the composer must be mind- syllables and melodic notes to go with Folk songs are generally acceptable be- bring back memories of “worldly” experi- ful of the melodic shape of each note it, while the English translation has only cause their texts deal with simple social ences that do not bring glory to God and assigned to every syllable. Any discrep- seven syllables. The composer will have life experiences, whereas traditional Jesus Christ. In Nigeria, there has been a ancies between the melodic contours to create an additional English word to songs that are devoted to specifi c dei- long controversy and debate on the issue and indigenous language can adversely complete the sentence or she/he may try ties or divinities may be diffi cult to per- of employing popular band tunes played dislocate the intended meaning to be to force two notes into a single syllable suade Nigerian congregations to sing. at night clubs to accompany sacred texts. conveyed to the congregation. of the text. The other problem with this The church members were taught by The Christian community has vehement- Most Nigerian dialects normally have translation is that of positioning the im- the early foreign missionaries to believe ly opposed this practice at every seminar, three to four tonal infl ections. Yoruba language has three main tone patterns on its words: the low, middle, and high Russian Gnessins‘ Academy of Music, Moscow tones. Consequently, if the tonal infl ec- tion of a word is high, the melodic con- 3. International Organ Symposium tour must correspond to it by rising; if March 2008 the infl ection is low or middle on the word, the melodic contour has to move Program in that direction. In other words, the melodic shape of words in Nigeria has 26. March 29. March to run parallel with the rising and falling 19.30 – Catholic Cathedral 15.00 – Gnessins’ Academy pitches of the local dialects. Organ recital by of Music, Main Hall Among the Yoruba, the word Ade Prof. Wolfgang Seifen (Germany) Organ concert by students means crown, and its tonal infl ections are middle and high. Hence, the ap- of the Academy propriate notes for the two syllables can 27. March Direction: Prof. Alexander Fiseisky be re–mi, mi–so, la–do, or so–la. If the 10.00 -18.00 – Gnessins’ Academy (Russia) hymn writer chooses a melody in the op- of Music, Organ Hall posite direction, the meaning of the text International organ conference 18.00 – State M. Glinka Museum will change and it will not make sense of Music Culture to the Yoruba congregation. By choos- 19.00 – Lecture / Recital by Lecture / Recital by ing different tonal pitches, this word can Simon Lindley (UK) Prof. Harald Vogel (Germany) mean ade (crown), ade (to cover), ade (to tighten), or Ade (the name of a person from a royal lineage). The composer of 28. March 30. March indigenous Nigerian church hymns will 10.00 -18.00 – Gnessins’ Academy 17.00 – Concert Hall in Dubna have to take into account this problem in order to write meaningful and logical of Music, Organ Hall Organ recital by songs for Nigerian congregations. International organ conference Jean-Paul Imbert (France) The fi fth problem a Nigerian hymn writer faces is that of harmonic organi- 19.00 – Vocal- and Organ music 19.30 – Catholic Cathedral zation. Nigerian traditional music has a Performed by students Organ recital by concept of polyphony. Indigenous har- of the Academy Jürgen Sonnentheil (Germany) monic usages can be observed in both Direction: Prof. Eva Märtson traditional vocal songs and instrumental Russian Gnessins’ Academy of Music, Organ Hall, Henry Jones organ (London, 1871, II/P/10) (Germany) music. While there is a predilection for thirds, fourths, fi fths, and parallel har- monies in the musical repertoire of tradi- 30 THE DIAPASON Mar 08 pp. 29-33.indd 30 2/11/08 10:36:33 AM In Nigeria today, traditional musical with percussion instruments and inevita- instruments are employed in accompa- bly move the congregation to dance. In nying congregational singing at various Nigeria, dance is visualized as an act of indigenous churches and established worship to God. We may ask at this junc- traditional churches such as Anglican, ture: how did Thomas Ekundayo Phil- Baptist, Catholic, Lutheran, Presbyte- lips solve the aforementioned problems rian, and Methodist. Even European or in the hymns he wrote, and how did the American hymns are accompanied with congregations react to his compositions? indigenous drums, iron bells, sekere (shaking idiophone), and hand clapping. Selected indigenous hymns The only exception to this practice is to Thomas Ekundayo Phillips wrote be found at the Cathedral Church of several songs of worship for the Cathe- Christ, Lagos, where hymns are still ac- dral Church of Christ, Lagos, and other companied only with the pipe organ and smaller parish congregations. His hymns piano. The Cathedral Church is the only are in both English and Yoruba languag- church in the country that strictly kept es. Although services were conducted intact the European worship traditions mainly in English at the Cathedral in post-colonial Nigeria. The worship ex- Church, Phillips’ compositions in Yoruba perience in the church is comparable to language were permitted for rendition any of the British cathedrals such as St. during special occasions such as choir Paul’s or Westminster Abbey. In addition concerts, synod services, diocesan events, to instrumental accompaniment, services and ordination of a bishop or archbishop have been conducted exclusively in Eng- in the church. Such events attracted peo- lish, from the inception of the Cathedral ple from various backgrounds, both the Cathedral Church, Lagos Church of Christ in 1867 to the present. well-educated and the less-educated. As The only occasions when other types the church was located in a Yoruba state, tional music, one can also hear the clash- composition and congregational singing of musical instruments and indigenous the majority of the guests from other ing of seconds in tone clusters among the in Nigeria is that of instrumental ac- language is tolerated are during special parishes were Yoruba; therefore, they Ijesha and Ekiti from southwest Nigeria. companiment. During the early stages services dedicated to the youth of the felt more at home singing songs in their Interestingly, the concept of harmony of Christian worship in Nigeria, espe- church or during diocesan events. Even own language. Phillips’ music represents is more pronounced in the southern cially in the 19th century, congrega- in these specialized services, Western the fi rst generation of Nigerian compos- regions of Nigeria, such as the Yoruba, tional hymns were accompanied mainly musical instruments such as trap drum ers. Works in this era are quite simple, Igbo, Edo, Ijaw, Efi k, etc. The northern with organ, harmonium, or piano in set, electric guitar, and electric keyboard short, and tonal. Hausa-Fulani sings mostly in unison or most churches. Unfortunately, native are mostly used in accompanying con- Phillips’ Versicles and Responses what Kwabena Nketia calls “polarity,”11 worshipers could not easily relate to temporary praise choruses from America (Awon Adura Kukuru ati Idahun Won)13 which is a very strong infl uence from nor embrace singing songs without and Nigeria. These instruments are used was specifi cally written for worship in the Arabic culture. The reason for this movement. They were used to dancing, to play music that the youth of the church the smaller Yoruba parish churches in might be twofold: 1) the southerners hand clapping, and all manner of bodily would like to hear and sing. The Standing southwest Nigeria. It is a canticle of have a long history of harmonic singing movements in their traditional culture. Committee of the Cathedral Church ap- prayer sung in morning and evening in their traditional culture, in particular, The singing of European or indigenous proved the use of foreign instruments in worship. The performance technique the Igbo and Midwestern regions; and 2) hymns with the exclusion of the dance order to keep their youth in the church of the song is the African “call and re- the church music introduced by the ear- experience created a major hindrance and perhaps attract more young men sponse,” with simple organ accompani- ly missionaries from America and Eng- and stumbling block to congregational and women to their congregation. Prior ment. The priest (Alufa) sings the solo land was restricted mainly to the south. singing. This impasse created schisms to this era, which began in late 1990s, while the congregation (Ijo) responds in Consequently, the foreign hymns in four- and eventually led to the fragmentation the Cathedral Church was losing a lot of unison. The organist plays the fi rst note part harmony simply reinforced the con- of the early church in Nigeria into vari- their young people to the newly founded of the opening solo and the priest sings cept of polyphony among the southern ous factions and denominations. From contemporary churches where those in- his line a cappella, but the organ ac- peoples. As one may recall, the colonial this fragmentation evolved indigenous struments were being used to accompany companies the congregational response. policy encouraged the northern Muslims independent churches such as the Ala- modern praise choruses. Since the Versicles and Responses is in to continue in their Islamic faith, while dura (Prayer) Church in early 20th cen- Therefore, a hymn writer in Nigeria Yoruba language, it cannot be sung at the southerners fully embraced the new- tury, where traditional musical instru- needs to recognize the important issue worship in other regions of the coun- ly found Christian faith.12 ments were fully utilized to accompany of movement in worship. The composer try. The melody is original and in fi ve- The fi nal problem confronting hymn congregational singing of hymns. is compelled to write songs that can align note pentatonic scale (do–re–mi–so–la), 9ALE 5NIVERSITY GRADUATE STUDY IN ORGAN PERFORMANCE AT 9ALE )NSTITUTE OF 3ACRED -USIC AND 3CHOOL OF -USIC FACULTY 4HOMAS -URRAY 0ROFESSOR OF /RGAN -ARTIN *EAN 0ROFESSOR OF /RGAN *EFFREY "RILLHART /RGAN )MPROVISATION DEGREES OFFERED -ASTER OF -USIC -ASTER OF -USICAL !RTS !RTIST $IPLOMA $OCTOR OF -USICAL !RTS #HURCH -USIC 3TUDIES CURRICULUM AVAILABLE &ULL TUITION SCHOLARSHIPS AWARDED TO ALL )NSTITUTE STUDENTS 'ENEROUS STIPENDS AVAILABLE TO QUALI½ED APPLICANTS 9ALE 5NIVERSITY )NSTITUTE OF 3ACRED -USIC 0ROSPECT 3TREET .EW (AVEN #4 TEL WWWYALEEDUISM MARCH, 2008 31 Mar 08 pp. 29-33.indd 31 2/11/08 10:36:58 AM Example 1. Versicles and Responses Example 2. Vesper Hymn Example 3. Yoruba Magnificat in C which is commonly found in Yoruba folk ship before the recessional hymn is sung. songs. The vocal compass of the song is The organist plays the fi rst chord as writ- nearly an octave, making it easy for the ten in the score, then the congregation members of the congregation to sing sings the entire song as quietly as possi- without straining their voices. While ble. Apart from one sub-dominant note, the melodic line employs a pentatonic the melody is in fi ve-note pentatonic scale, the organ accompaniment uses a scale (do–re–mi–so–la), and its range is a free diatonic harmony with occasional seventh. The melodic shape of the hymn tonicization of the dominant. The me- strictly mirrors the tonal infl ections of the lodic contour mirrors the tonal patterns Yoruba text, and it is an original hymn. of the Yoruba text throughout the mu- Consequently, by observing the compo- sic. The translation of the fi rst page of sitional rules, Phillips was able to retain the Responses is as follows: the intended meaning of the Yoruba words. The congregation sings in unison, Priest: Oluwa, Iwo si wa l’e te (Lord but the organ accompanies with conven- open our lips) tional four-part harmony and closes with Congregation: Enu wa yio si ma fi iyin a plagal cadence. The song is a prayer Re han (Our mouths shall sing forth Thy praise) for God’s protection at night. Below is a Priest: Olorun, sise ki o gba wa la (Lord translation of the Yoruba text: make haste to save us). Baba a f’ara wa Example 1 shows the fi rst page of Phil- Si iso re l’ale yi lips’ Versicles and Responses. Dabobo wa ko pawa mo Phillips wrote a very short Yoruba Ves- Titi ‘le o fi mo, Amin. per hymn for the closing of evening ser- Father we surrender ourselves vice, entitled Baba a f’ara Wa (Father, Under your care tonight we surrender ourselves). This hymn is Protect and keep us safe usually sung at the end of evening wor- Until tomorrow morning, Amen. See Example 2 for Phillips’ Vesper Hymn. Yoruba Magnifi cat in C (The Song of Mary) is another evening hymn com- posed by Ekundayo Phillips. The text of this hymn is derived from Luke 1:46–55 in the King James Bible. It is a Yoruba hymn-anthem for four-part choir, con- gregation, and organ accompaniment. The hymn is commonly sung during a synodical or any other diocesan service that involves the Cathedral Church of Christ and other parishes in the commu- nity. Compositional technique combines mirrors the contours of the infl ection of Phillips wrote several Antiphons to monophony, polyphony, and contrapun- the words. As regards tonality, Phillips Psalms with organ accompaniment. tal devices. Structurally, the hymn-an- uses the conventional diatonic scale for These short songs are all in Yoruba lan- them is in three-parts: A) the congrega- the melody, while the organ has more guage and they are meant to be sung in tion sings with organ accompaniment in notes. Harmonically, there is a prepon- unison before, during, and at the end C major; B) alternation of solo passages derance of thirds, fourths, fi fths, sixths, of the Psalms. The melodies use tetra- with full chorus in the key of G major; and unison in the vocal lines. In addition, tonic and pentatonic scales, and they are and A) full chorus with organ. Phillips he uses all types of dynamics—mf, f, ff, generally within the range of an octave. maintains strict observance of parallel cresc., dim., as well as rallentando, allar- The melodic contours strictly imitate motion between the melodic shape and gando, etc. Example 3 shows an excerpt the infl ections of the Yoruba words. The the Yoruba text. The original melody from the Yoruba Magnifi cat in C. organ accompaniment is simple and of- 32 THE DIAPASON Mar 08 pp. 29-33.indd 32 2/11/08 10:37:17 AM Example 4. Antiphons to Psalms Example 5. From Glory to Glory. tor of programs at the Nigerian Broadcasting Nigeria,” Sunday Independent, November Corporation, Lagos. He served in this capacity 13, 2005. until 1981. He also taught and directed choirs 10. Ibid. at the Oyo State College of Education, Ilesha 11. Kwabena Nketia, The Music of Africa (1981–1987), and the Department of The- (New York: W. W. Norton & Company, 1974), ater Arts, University of Ibadan (1987–1994). p. 161. ten closes with either a plagal or perfect tonal patterns of Yoruba text in order to Oyesiku was well known in Nigeria, all over 12. Godwin Sadoh, “An Historical Survey authentic cadence. The composer gives convey the intended meaning to his Yo- Africa, and Great Britain as an extraordinary of Congregational Singing and Hymnody clear instructions on performance tech- ruba congregations. bass singer. He performed bass solos in sever- in Nigeria,” The Hymn 56, no. 3 (Summer nique and at which points the antiphons A large number of Phillips’ composi- al cantatas, oratorios, operas, and variety con- 2005), p. 31. certs. He is an outstanding choral conductor 13. Thomas Ekundayo Phillips, Awon Adu- are to be sung in the Psalms. Example 4 tions are in Yoruba language, meaning as well as music educator. Oyesiku is presently ra Kukuru: Versicles and Responses (London: shows the opening page of the Antiphons that his targeted audience was the Yor- retired from an active music career and now Novello & Co. Ltd., 1926). to Psalms. uba congregations in southwest Nigeria. lives with his wife in London, England. 14. Godwin Sadoh, E Korin S’Oluwa: Fifty From Glory to Glory is a four-verse This corroborates the prevalent ethnic 8. Obayomi Phillips occupied the posi- Indigenous Christian Hymns from Nigeria English hymn by Ekundayo Phillips, diversity among the Christian congre- tion of organist and master of the music at (N.C.: Wayne Leupold Editions, 2005). written in four-part harmony with short gations in post-colonial Nigeria. Subse- the Cathedral Church of Christ, Lagos, for organ interludes inserted between all quent generations of composers rely on over 30 years. He was succeeded by one of Godwin Sadoh is a Nigerian organist- the verses except the fi nal. This hymn his research from well-documented fi eld his private organ students, Tolu Obajimi, in composer, church musician, pianist, choral the early 1990s. Obajimi was a graduate of conductor, and ethnomusicologist. He is the is frequently sung at evening services work on Yoruba music found in his book the Guildhall School of Music and Drama, author of several books, including The Organ and festive occasions at the Cathedral and his compositions. However, some London, where she majored in piano per- Works of Fela Sowande: Cultural Perspec- Church of Christ. In this hymn, Phillips modern Nigerian composers are mak- formance and music education in the 1960s. tives (2007), Intercultural Dimensions in Ayo keeps the melodic construction simple ing efforts to alleviate the issue of ethnic Obayomi Phillips gave Godwin Sadoh his Bankole’s Music (2007), and Joshua Uzoigwe: and the harmonization diatonic. He is confl icts by writing songs in diverse in- fi rst lessons in organ. Memoirs of a Nigerian Composer-Ethnomu- not compelled to observe the Nigerian digenous languages as well as borrowing 9. Sunday Michael, “Thank God, We sicologist (2007). Sadoh is presently Professor indigenous creative principles because folk and popular songs from various eth- Were Pushed out of the Anglican Church of of Music at Talladega College, Alabama. of the English text. In fact, the harmony nic groups in the country in their works. briefl y tonicizes C in the third and fourth My new hymn book, E Korin S’Oluwa,14 measures. However, the singing alter- is a major contribution towards uniting nates between monophonic and poly- the vast ethnic groups in Nigeria. The phonic phrases. Phillips’ Yoruba hymns indigenous texts are in Yoruba, Igbo, as were well received and are still popu- well as English language, and pre-exist- Fratelli Ruffatti invests its time and money lar today in most Anglican churches in ing songs are borrowed from all the ma- southwest Nigeria, especially Lagos. In jor ethnic groups in the country. I am but in research to make a better pipe organ. fact, the current Cathedral Church of one of a growing number of Nigerians Christ Choir recorded some of Phillips’ who have been touched by Thomas King hymns and anthems in 2006 to celebrate Ekundayo Phillips, and so his efforts to his musical legacy. From Glory to Glory build the musical life of the Nigerian We’ve been working for years with noted institutions in is shown in Example 5. church continue after his death. Q Italy and Germany, inventing and testing new ideas for Conclusion Notes Thomas Ekundayo Phillips indeed 1. Godwin Sadoh, “A Profi le of Nigerian making better and more ef¿ cient pipe organs. is the father of Nigerian church hymn Organist-Composers,” The Diapason, Au- composition. He laid a solid foundation gust 2003, p. 20. 2. The Cathedral Church of Christ, Lagos, Considering that your new pipe organ is for the composition of indigenous hymns is the headquarters and seat of the Archbish- through his numerous compositions and op of the Anglican Communion in Nigeria. one of the biggest investments you’ll ever make, his book, Yoruba Music. He continu- 3. Thomas Ekundayo Phillips, Yoruba ally strove to encapsulate the theoretical Music (Johannesburg: African Music Society, what does that mean to you? framework of Yoruba traditional music 1953). in his compositions for the Christian 4. Bode Omojola, Nigerian Art Music church in Nigeria. In the area of tonality, (Ibadan: Institute for Research in Africa, 1995), p. 30. he uses the popular fi ve-note pentatonic 5. It was simply called Christ Church up to scale, occasionally deviating from this the 1920s. method in songs such as From Glory to 6. Godwin Sadoh, “A Centenary Epitome Glory, which is in English. Therefore, it of the Organs at the Cathedral Church of would not be wrong to admit that Phil- Christ, Lagos, Nigeria,” The Organ, no. 320 lips adheres strictly to pentatonality (May-June 2002), pp. 28–29. in his Yoruba hymns, but uses the dia- 7. Christopher Oyesiku was a chorister and tonic scale freely in composing English private pupil of Ekundayo Phillips at the Ca- thedral Church of Christ, Lagos, in the 1930s. Your international investment ¿ rm. hymns. Phillips solved some of the prob- He received his fi rst lessons in voice and the- lems in composing indigenous hymns by ory of music from Phillips. He later studied writing original texts and melodies. This music at the Guildhall School of Music and procedure enabled him to successfully Drama, London, from 1955 to 1960. Oyesiku www.ruff atti.com Via Facciolati, 166 • 35127 Padua, Italy organs@ruff atti.com juxtapose the two entities in which the returned to Nigeria in 1960 and in 1962 was Telephone (39-049) 750-666 Telefax (39-049) 850-483 In the U.S. 330-867-4370 melodic contours consistently mirror the appointed to the position of assistant direc- MARCH, 2008 33 Mar 08 pp. 29-33.indd 33 2/11/08 10:37:34 AM Cover feature J.H. & C.S. Odell, East Hampton, Connecticut, Opus 647 St. Ann’s Roman Catholic Church, Nyack, New York The picturesque village of Nyack is situated on the western bank of the Hud- son, less than 20 miles north of Manhat- tan. Home to 19th-century realist painter Edward Hopper, the village was perhaps better known for its sandstone quarry and as a locus of shipbuilding. These industries declined after 1900, though there was renewed shipbuilding activity during the world wars, with submarine chasers being built there as late as 1948. In the postwar years, the completion of the Tappan Zee Bridge contributed to signifi cant growth in population and commerce. The village underwent a ma- jor urban revitalization project to com- mercialize the downtown area and to expand its economy in the 1980s; today the village center is home to many new business establishments. I took note of this downtown revi- talization when I fi rst visited St. Ann’s Church on a warm spring day in 2006. I New Pedal Trumpet 16′ had been contacted by Jennifer Pascual in her capacity as chair of the organ com- mittee for the New York Archdiocesan Music Commission. Several weeks prior, Dr. Pascual had asked that I meet with the staff of St. Ann’s, survey the organ, and make recommendations. On entering the building, to my delight I discovered a well-appointed church sanctuary with terrazzo fl oors, high ceil- ing, and best of all, an organ located in the gallery on the central axis. Finally a room that we could work with instead of against! I quickly set about my work, du- tifully examining the pipe organ. Little is known about the life and work of Francis John Newton Tallman, a builder who, according to David A. Fox’s A Guide to North American Organbuild- ers, based his operations in Nyack from 1894 to 1903, during during which time Odell Opus 647, St. Ann’s Roman Catholic Church, Nyack, New York the organ for St. Ann’s was built. In ad- dition to his organ factory, Tallman also maintained a music store in Nyack vil- New and old: Swell Bourdon BBB and lage. Prior to life in Nyack, Tallman was CC employed by the Roosevelt fi rm, and when he left Nyack in 1904 he report- edly relocated to Brooklyn to work with Reuben Midmer. The organ Tallman built for St. Ann’s was originally a two-manual instrument with mechanical action, and of his sur- viving instruments, St. Ann’s was pur- portedly among the largest. There was evidence that the original keydesk was situated en fenêtre; the panel that re- placed the keydesk’s entry point into the case was without the lancet molding treatment found in the rest of the case, as well as being from an entirely differ- Wood pipes prior to voicing ent species of wood. The interior layout of the organ suggested a backfall action state capture and control system with our had been employed for the Great, with standard complement of accessories and squares and trackers for the Swell. The relief carving for the music desk. Pedal was divided, on ventil chests. The Great division of the organ is un- In the 1930s, the organ’s action and changed but for the addition of a prin- winding system were removed by local cipal-scaled Seventeenth to fi ll out the service people as part of the process of chorus. In the Swell, the Bourdon 16′ has introducing the organ to the benefi ts of Looking over pipes in new Great windchest been made full compass with a bottom electricity. Pneumatic pulldown systems octave built and scaled in our shop to pre- were connected to the slider chests, with general workmanship we saw little to im- to save the case and pipes and start over. cisely match its 8′ octave. The Diapason a similar arrangement for the Pedal, prove upon. From a modern tonal stand- With this as a departure point, the 8′, which originally shared a stopped bass, though the ventil system was retained. point, the only serious defi cits were in members of the Archdiocesan Organ now has its own bottom octave. Other ad- The organ continued this way until the the Swell, which lacked an Oboe and an Committee requested we consider some ditions to the Swell include an entirely 1960s, when a supply house console was undulating rank of any variety. Certain additions. The possibility of the use of new Oboe (available at 16′ and 8′), a installed by well-known New York organ ranks—such as the Swell Diapason 8′, digital voices was discussed, though we GG-compass Celeste, a new 2′ Flute and man Louis Mohr (also a former Roos- Salicional 8′, and Bourdon 16′—omitted made clear our preference for a pipe- Mixture III based on 2′ pitch. Additions evelt employee). Thereafter some minor bottom octaves as was often the custom only design, concentrating instead on to the Pedal include extending the Great changes were made to the specifi cation, with smaller instruments of this vintage. fi lling out a more conservative two-man- Trumpet with a new 16′ octave and a fully but otherwise the original pipework The Pedal division was spare, but the ual specifi cation rather than stretching independent Principal 8′. survived intact. Apart from decay and basics were in evidence, with a suitably the limits for a three. Our proposal was Members of our staff who contributed neglect, most damage to the metal fl ues scaled Open Wood and Bourdon. accepted, and design work commenced to this project include: Edward Odell was from “aggressive” cone tuning. Even Mechanically, things were far less in the fall of 2006. (mechanical design, console), Holly with the mechanical alterations, tuning clear cut. The collection of cone-valve The mechanical design of the or- Odell (fl ue voicing), shop foreman John access was diffi cult. When I inspected style regulators that replaced the original gan is entirely new from the ground up: Williams (windchests, reservoirs, pipe- the organ, most of it, save for a portion winding system were arranged in a way new conventional wind reservoirs and setting, electrical), Curt Goettlich (fi n- of the Great, was inoperable. that frustrated access to the mechanism. windchests, all of our own design and ishing, wooden pipe fabrication, cabinet As we often restore 19th-century pipe- They were also not terribly well built. construction. We designed and built a work, expression enclosure), Stewart work, there were few surprises. Scaling The slider chests and the pulldown sys- new Swell enclosure to accommodate Skates (metal pipemaking and repair), and voicing of fl ue pipes were very much tems installed were all in very bad shape. our additions to the division. We also con- and Tristan Bowen, with assistance from in line with our own 19th-century prac- Both manual chests had runs and frozen structed a new two-manual console using Richard Hamar and William Harper. tices. While restoration and remedial sliders. With so many changes of ques- our popular terrace-jamb design in quar- Reeds were voiced by Sam Hughes. voicing work were certainly required, in tionable provenance, we felt it was best ter-sawn white oak, incorporating a solid- We are grateful to the Archdiocesan 34 THE DIAPASON Mar 08 pp. 34-36.indd 34 2/11/08 10:40:55 AM J.H. & C.S. Odell Opus 647 St. Ann’s Roman Catholic Church, Nyack, New York GREAT 8′ Open Diapason existing, restored, common metal from 4′ C 61 pipes 8′ Viola di Gamba existing, restored 61 pipes 8′ Doppel Flute existing, restored, wood 61 pipes 4′ Principal existing, restored, common metal 61 pipes 4′ Chimney Flute existing, restored, common metal 61 pipes 2 2⁄3′ Twelfth existing, restored, common metal 61 pipes 2′ Fifteenth existing, restored, common metal 61 pipes 3 1⁄5′ Seventeenth new, matching scale, common metal 61 pipes 8′ Trumpet existing, restored and revoiced 61 pipes Chimes new 21 tubes SWELL Expressive—in reconfi gured expression chamber 16′ Bourdon new, extension 8′, custom matching scale 61 pipes 8′ Open Diapason existing, restored with new bottom octave 61 pipes 8′ Stopped Diapason existing, restored 61 pipes 8′ Salicional existing, restored with new bottom octave 61 pipes 8′ Voix Céleste new, GG compass, 55% tin to 4′ C 54 pipes 4′ Violina existing, restored 61 pipes 4′ Harmonic Flute existing, restored, harmonic at middle C 61 pipes 2′ Harmonic Piccolo new, matching scale to 4′, harm. at middle C, 55% tin 61 pipes III Mixture new, 15-19-22 183 pipes 16′ Bassoon new, dual taper resonators, tapered shallots 12 pipes ′ Façade pipes being stripped and repaired 8 Oboe new, dual taper resonators, tapered shallots, 49 reeds 61 pipes 8′ Trumpet from Great — Tremulant PEDAL 16′ Open Wood existing, restored 32 pipes 16′ Bourdon existing, restored 32 pipes 8′ Octave new, zinc to 4′ G, remainder 55% tin 32 pipes 8′ Gedeckt new, extension Bourdon 16′ 12 pipes 4′ Choralbass new, extension Octave 8′ 12 pipes 16′ Trumpet new, matching scale to 8′, tapered shallots 12 pipes 16′ Bassoon from Swell — 8′ Trumpet from Great — 4′ Clarion from Great — Mixture composition Couplers and accessories 1 to 25: 15-19-22 Great to Pedal 8 (reversible) 26 to 44: 12-15-19 Great to Pedal 4 45 to 61: 8-12-15 Swell to Pedal 8 (reversible) Swell to Pedal 4 12 general pistons, 6 per division Great to Great 16 12 toe studs with black porcelain heads in Great Unison Off raised, curved, wooden bolsters Great to Great 4 32 levels of capture memory Swell to Great 16 12-step transposer Swell to Great 8 (reversible) MIDI interface, record and playback Swell to Great 4 Programmable sforzando and crescendo Swell to Swell 16 Swell Unison Off Swell to Swell 4 Console carcase Music and Building Commission, as well ting proposals from other builders. as the staff of St. Ann’s Church, espe- The ongoing mission of the New cially Father Robert Henry and George York Archdiocesan Organ Committee Bryant, for the opportunity to create is to ensure that the pipe organs of the something of lasting musical beauty for archdiocese are properly cared for. In this parish. our work, we use our combined knowl- —Edward Odell edge and experience to advise pastoral J.H. & C.S. Odell staff who are in need of guidance with regards to their instruments. This com- During this bicentennial year of the mittee consists of Meredith Baker, direc- Archdiocese of New York, St. Ann’s tor of music at Holy Trinity West Point, Church in Nyack, New York is blessed to New York; Christopher Berry, director have a newly renovated pipe organ. I had of music at the North American College the privilege of playing this organ prior in Rome, Italy; Daniel Brondel, director to its renovation, as the winner of the of music at St. Malachy’s Church/The George Bryant Scholarship, which was Actor’s Chapel, New York City; Jared used towards continuing organ educa- Lamenzo, director of music at Old St. tion. Mr. Bryant is the current director of Patrick’s Cathedral, New York City; and music and organist of St. Ann’s Church, Lawrence Strohm, organist at St. Phillip and this parish is lucky to have such a the Apostle, Pasadena, California, with dedicated and talented musician leading myself as chair. its liturgical music program. Throughout the organ renovation Prior to its renovation, the organ at St. project for St. Ann’s Church, Edward Ann’s had many problems; there were Odell has been in touch with everyone many dead notes, missing pipes, and every step of the way, giving detailed the overall tone was in need of serious updates, sending pictures, and giving Curt Goettlich sanding the new console carcase remedial work. The console, installed in honest suggestions when unexpected the 1960s, was also problematic: many discoveries came up. It has been my pistons were non-functional and there observation that attention to detail and were dead contacts everywhere. Even if highest quality outcome is of the utmost the organ itself were in better condition, importance to everyone of the Odell the console limited the ability to control organ fi rm. Edward and his staff are it effectively. meticulous craftspeople; it is clear they Director of music, George Bryant, and bring dedication, concern and skill to the pastor, Fr. Robert Henry, saw the ob- their work and desire to deliver only the vious need to renovate this instrument, best results. which has served the parish for over 100 It should be noted that over the last years, but had never had a comprehen- 150 years, J.H. & C.S. Odell has built sive rebuild of any kind. After contacting many of the organs housed in churches the Archdiocesan Building Commission in the Archdiocese of New York, a good and Music Commission and taking the number of which still serve their parishes necessary steps to proceed with such an today. Their reputation as builders of fi ne endeavor, St. Ann’s Church awarded the instruments has existed for fi ve genera- contract to renovate the organ to J.H. & tions, and their work today continues to C.S. Odell. support liturgical and concert music in the After making his survey, Edward Odell archdiocese. It pleases me to say St. Ann’s listened to the needs of St. Ann’s parish Church is now fortunate to be among the and submitted his proposal. Working fraternity of churches that house the fi ne with the pastor and organist of St. Ann’s, work of J.H. & C.S. Odell. Shop foreman John Williams brushing members of the organ committee for the —Jennifer Pascual Holly Odell shaping upper lip of Swell toe holes in one of four new manual New York Archdiocesan Music Commis- Chair, New York Archdiocesan Bourdon 16′ windchests sion reviewed the proposal as well as vet- Organ Committee MARCH, 2008 35 Mar 08 pp. 34-36.indd 35 2/11/08 10:41:13 AM New Organs Wahl Organbuilders, to each other and the pedalboard in a Appleton, Wisconsin standard modern arrangement. Private residence, New York City The instrument was built as the third This practice organ was built with two in a series of four similar practice organs. contrasting foundation stops for the prac- Sister instruments are installed in resi- tice of the majority of the organ literature. dences in Neenah and Baileys Harbor, The lower manual has a tapered, open Wisconsin and Richardson, Texas. wood fl ute to balance the stopped ham- MANUAL I mered metal set on the upper manual. ′ Both stops share a common bass octave 8 Open (wood) of stopped wood. The wind is regulated MANUAL II by a large, double-rise wedge reservoir. 8′ Gedact The entire instrument is contained in a casework of quartersawn black ash hard- PEDAL wood. The piano-scale keyboards relate Coupled from Manual I J. Zamberlan & Co., Wintersville, Ohio, and Rosales Organ Builders, Los Angeles, California St. James’ Episcopal Church, Los Angeles, Califi ornia J. Zamberlan & Co. was chosen to build this antiphonal positive division, conceived to provide gentle support for congregational singing as well as to fulfi ll the functions of a small positive division for the literature. The gothic-style case of quarter-sawn white oak now forms the focal point on the rear gallery rail- ing, with the west-end stained glass as its background. Important considerations were that the case be as beautiful as pos- sible, in keeping with the church’s neo- gothic architecture, while also taking as little space as possible, without compro- mising ease of maintenance. Totally self-contained, the casework houses all pipework, wind chests, air res- ervoir and blower. The 8′ Principal is of polished tin, with its four largest wood pipes of cypress mitered inside the case; located in the chancel; it presently con- Wilbur and gilded by Sandy Jensen. ANTIPHONAL POSITIVE 8′ Principal all components and pipes are easily ac- tains 90 ranks and over 5,000 pipes. Manuel Rosales and Kevin Gilchrist pro- ′ cessible for maintenance and tuning. The The project was conceived by organ- vided consultation, voicing and tonal fi n- 8 Gedeckt 4′ Octave (ext) division comprises three ranks and 207 ist and choirmaster James Buonemani. ishing of the pipework. Thomas Trotter 4′ Spitzfl ute pipes and forms the newest part of the The organ was constructed by Joseph G. played for Solemn Evensong, blessing 2′ Spitzfl ute (ext) David John Falconer Memorial Organ, Zamberlan, Dave Young, and Walt Stro- and the inaugural recital on November Cymbalstar originally built by Murray M. Harris and mack. Carvings were executed by Fred 13, 2005. Tremolo 36 THE DIAPASON Mar 08 pp. 34-36.indd 36 2/11/08 10:41:33 AM Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Bach, Easter Oratorio; Holy Trinity Lutheran, Pickle Piano & Church Organs New York, NY 5 pm NEW YORK This calendar runs from the 15th of the Bloomingdale, IL month of issue through the following month. The deadline is the fi rst of the preceding 24 MARCH month (Jan. 1 for Feb. issue). All events are Stephen Alltop; Elliott Chapel, Presbyterian assumed to be organ recitals unless other- Homes, Evanston, IL 1:30 pm Christopher Babcock wise indicated and are grouped within each WILLIAM AYLESWORTH date north-south and east-west. •=AGO chap- 25 MARCH ter event, • •=RCCO centre event, +=new or- C. Justin Smith; Wait Chapel, Wake Forest St. Andrew’s by the Sea, gan dedication, ++= OHS event. University, Winston-Salem, NC 8 pm D. M. Jean Krinke; Church of St. Louis, King of Hyannis Port Information cannot be accepted unless it France, St. Paul, MN 12:35 pm specifi es artist name, date, location, and EVANSTON, ILLINOIS St. David’s, South Yarmouth hour in writing. Multiple listings should be in 26 MARCH chronological order; please do not send du- Stephen Powers; Cathedral Basilica of the plicate listings. THE DIAPASON regrets that Sacred Heart, Newark, NJ 12 noon it cannot assume responsibility for the accu- Christopher Urban; First Presbyterian, Ar- racy of calendar entries. lington Heights, IL 12:10 pm 28 MARCH UNITED STATES Cj Sambach, school INformances; Wesley East of the Mississippi United Methodist, Worcester, MA 10:30 am, 1 pm 15 MARCH Edward Broms & Peter Krasinski, Organ Patrick Allen, Dupré, Symphonie-Passion; Symphony; Holy Name Parish, West Roxbury, Grace Church, New York, NY 4 pm MA 7:30 pm Choral concert, with orchestra; Bryn Mawr University of Montevallo Concert Choir; Cathe- Presbyterian, Bryn Mawr, PA 7:30 pm dral Church of the Advent, Birmingham, AL12:30 Dean W. Billmeyer Northwest Choral Society; Edison Park Lu- pm theran, Chicago, IL 7:30 pm University of Minnesota 29 MARCH 16 MARCH Edward Broms & Peter Krasinski, Organ CONCORA; St. John’s Episcopal, West Hart- Symphony; Holy Name Parish, West Roxbury, Minneapolis 55455 • [email protected] ford, CT 4 pm MA 7:30 pm St. Andrew Chamber Choir, Arvo Pärt: Passio; Calmus Ensemble Leipzig; Marquand Chapel, Madison Avenue Presbyterian, New York, NY 3 Yale University, New Haven, CT 8 pm pm John Weaver; Proclamation Presbyterian, Choral Evensong; Grace Church, New York, Bryn Mawr, PA 7 pm THOMAS BROWN David Chalmers NY 4 pm Ken Cowan; Cabell Hall Auditorium, Univer- Bach, Cantata 182; Holy Trinity Lutheran, New sity of Virginia, Charlottesville, VA 8 pm UNIVERSITY Concert Organist York, NY 5 pm Gillian Weir, masterclass; First Presbyterian, PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Palm Sunday Vespers; Christ Church, New Gainesville, FL 10 am Brunswick, NJ 6:30 pm CHAPEL HILL, NORTH CAROLINA Orleans, MA Singing Boys of Pennsylvania; St. Joseph 30 MARCH Catholic Church, Ashland, PA 3 pm Cj Sambach; Wesley United Methodist, Ken Cowan; Emmanuel Episcopal, Chester- Worcester, MA 2 pm town, MD 4 pm Paul Jacobs; St. John’s Episcopal, Water- STEVEN EGLER Choral Evensong; Cathedral of St. Philip, At- bury, CT 4 pm lanta, GA 4 pm Alan Morrison; St. Paul’s on the Green, Nor- DELBERT DISSELHORST Central Michigan University Aaron David Miller, A Mass for Passion Sun- walk, CT 4 pm First Presbyterian Church day; Monroe Street United Methodist, Toledo, Anthony & Beard; First United Methodist, A. MUS. D. Mt. Pleasant, Michigan 48858 OH 7 pm Schenectady, NY 3 pm UNIVERSITY OF IOWA SOLO Shelly-Egler North Shore Choral Society, with orches- Choral Evensong; Grace Church, New York, RECITALS Flute and Organ Duo tra, Poulenc, Gloria; Pick-Staiger Concert Hall, NY 4 pm Evanston, IL 2:30 pm Bach, Cantata 67; Holy Trinity Lutheran, New Chris Urban, with piano; First Presbyterian, York, NY 5 pm Arlington Heights, IL 4 pm Oliver Brett; St. Thomas Fifth Avenue, New ELLEN KURTZ Sue Walby; First Presbyterian, La Crosse, WI York, NY 5:15 pm JOHN FENSTERMAKER 3 pm The American Boychoir and Alumni Chorus; Richardson Auditorium, Princeton, NJ 3 pm TRINITY-BY-THE-COVE FUNK 17 MARCH Choral concert; Christ Church, New Bruns- M.Mus., A.A.G.O. Bach, Jesu, meine Freude, BWV 227; Grace wick, NJ 6:30 pm, following 6 pm Vespers Concord, California Church, New York, NY 7 pm Tom Trenney; Allegheny College, Meadville, NAPLES, FLORIDA PA 3 pm 18 MARCH Mary Preston; Christ Lutheran, York, PA 4 Bach, Ich ruf zu dir, Herr Jesu Christ, BWV pm 177; Grace Church, New York, NY 7 pm Bells in Motion Handbell Ensemble; Shadyside Organist / Pianist Presbyterian, Pittsburgh, PA 4 pm CHRISTOPHER 19 MARCH Thierry Escaich; St. Paul’s Episcopal, Michael Gailit Offi ce of Tenebrae; Cathedral of the Incarna- Doylestown, PA 4 pm [email protected] GARVEN tion, Garden City, NY 8 pm Karl Moyer; Grace Lutheran, Lancaster, PA http://www.gailit.at Organist & Music Director Couperin, Leçons de Ténèbres; Grace Church, 4 pm New York, NY 9 pm St. Augustine’s Church Church of the Good Samaritan Jeremy Filsell; National Shrine of the Immac- Conservatory / University (Vienna) Paoli, Pennsylvania Offi ce of Tenebrae; St. Peter in Chains Cathe- ulate Conception, Washington, DC 7 pm dral, Cincinnati, OH 7:30 pm Wayne Wold; Coffman Chapel, Hood College, Ed Bruenjes, James Guyer, David Lamb, Frederick, MD 3 pm Lisa Lohmeyer, John Matthews, & John Robert Parkins; Duke University Chapel, Dur- Simpson; First Christian Church, Columbus, IN John M. Gearhart III ham, NC 5 pm Robert Glasgow 12 noon Gillian Weir; First Presbyterian, Gainesville, Michael Gagne; First Presbyterian, Arlington B.A., M.Mus. FL 4 pm Professor Emeritus Heights, IL 12:10 pm St. John the Divine (Episcopal) Marek Kudlicki, with baritone; University of North Florida, Jacksonville, FL 8 pm 2450 River Oaks Blvd. The University of Michigan 20 MARCH Atlanta Baroque Orchestra; Peachtree Road Houston, TX 77019 Joan Lippincott; Peristyle Theater, Toledo, Ann Arbor United Methodist, Atlanta, GA 3 pm OH 8 pm Clayton State Chorale; Cathedral of St. Philip, Stainer, The Crucifixion; First United Method- Atlanta, GA 3:15 pm ist, Columbus, IN 7 pm Choral Evensong; Cathedral of St. Philip, At- lanta, GA 4 pm 21 MARCH JAMES HAMMANN Clive Driskill-Smith; First Congregational, Antone Godding Lessons & Carols for Good Friday; All Saints, DMA-AAGO Worcester, MA 7:30 pm Columbus, OH 4 pm Nichols Hills Rutter, Requiem; First Church of Christ, Richard Steinbach & Howard Helvey, piano; University of New Orleans Church of the Holy Spirit, Lake Forest, IL 4 pm United Methodist Church Wethersfi eld, CT 7 pm Oklahoma City Chapel of the Holy Comforter Fauré, Requiem; Church of the Holy Trinity Bach, St. Matthew Passion; First United Meth- (Episcopal), New York, NY 12 noon odist, Evanston, IL 7:30 pm Erickson, St. John Passion; Holy Trinity Lu- theran, New York, NY 12 noon 31 MARCH Keiser, Passions Oratorium; Grace Church, The American Boychoir; First Church of Christ, LORRAINE BRUGH, Ph.D. New York, NY 7 pm Congregational, Farmington, CT 7 pm A two-inch Bach, St. Matthew Passion; Harris Theater, Bryn Mawr Chamber Singers, with strings; Associate Professor Bryn Mawr Presbyterian, Bryn Mawr, PA 8 pm Chicago, IL 7:30 pm Professional Card Robert Parris; Christ Church Episcopal, Ma- University Organist con, GA 12 noon 1 APRIL in The Diapason Bach, St. John Passion; First Presbyterian, Jon Gillock, Messiaen seminar; Old West Valparaiso University Birmingham, MI 7:30 pm Church, Boston, MA 7 pm Thomas Weisfl og; Rockefeller Chapel, Chi- The American Boychoir; First Parish West- Valparaiso, IN For information on rates and cago, IL 8 pm wood United Church, Westwood, MA 7 pm www.valpo.edu specifi cations, contact: Oratorio arias; St. Luke’s Chapel, Medical Uni- 23 MARCH versity, Charleston, SC 12:15 pm Jerome Butera Frederick Teardo; St. Thomas Fifth Avenue, Clive Driskill-Smith; All Saints Episcopal, At- 219-464-5084 [email protected] New York, NY 2:30 pm lanta, GA 7:30 pm [email protected] Patrick Allen; Grace Church, New York, NY Lily Ardalan; Church of St. Louis, King of 847/391-1045 4 pm France, St. Paul, MN 12:35 pm MARCH, 2008 37 Mar 08 pp. 37-41.indd 37 2/11/08 10:42:16 AM 2 APRIL 11 APRIL The American Boychoir; St. John’s Episcopal, Brian Jones; Wickenden Chapel, Tabor Acad- WILL HEADLEE Harry H. Huber Portsmouth, NH 7 pm emy, Marion, MA 8 pm D. Mus. Woo-sug Kang; Cathedral Basilica of the Sa- Mendelssohn, Elijah; Woolsey Hall, Yale Uni- 1650 James Street cred Heart, Newark, NJ 12 noon versity, New Haven, CT 8 pm Kansas Wesleyan University, Emeritus Syracuse, NY 13203-2816 Gillian Weir; St. Mary’s Episcopal, Richmond, Stephen Tharp; East Liberty Presbyterian, University Methodist Church VA 7:30 pm Pittsburgh, PA 7:30 pm Anita Werling, OrganPlus; First Presbyterian, Janette Fishell; St. Paul’s Episcopal, Rich- (315) 471-8451 SALINA, KANSAS Macomb, IL 7:30 pm mond, VA 7:30 pm Jack Mitchener, with instruments; North Caro- 3 APRIL lina School of the Arts, Winston-Salem, NC 7 pm MICHELE JOHNS The American Boychoir; First Parish Church of Cj Sambach; Purity Presbyterian, Chester, Brian Jones Stow & Acton, Stow, MA 7 pm SC 9 am, 10:30 am, 1 pm INformances A.Mus.D Monte Maxwell; Holy Trinity Lutheran, Akron, 4 APRIL OH 8 pm Organ — Harpsichord Director of Music Emeritus The American Boychoir; Grace Episcopal David Lamb, with soprano; St. Stephen’s Lu- The University of Michigan TRINITY CHURCH Church, New Bedford, MA 7 pm theran, Monona, WI 8 pm School of Music BOSTON Jon Gillock, Messiaen, La Nativité du Sei- gneur; Old West Church, Boston, MA 8 pm 12 APRIL Scott Montgomery; St. Mark’s Episcopal, Co- Gillian Weir; Verizon Hall, Philadelphia, PA 3 lumbus, OH 8 pm pm Thierry Escaich; Cathedral of the Assump- John Schwandt; Forrest Burdette United KIM R. KASLING JAMES KIBBIE tion, Louisville, KY 7:30 pm Methodist, Hurricane, WV 7 pm D.M.A. The University of Michigan 5 APRIL 13 APRIL St. John’s Univeristy Ann Arbor, MI 48109-2085 •Cherry Rhodes, masterclass; South Church, Timothy Smith; St. Anthony’s, New Bedford, 734-764-1591 FAX: 734-763-5097 New Britain, CT 10 am MA 3 pm Collegeville, MN 56321 Seraphic Fire; Battell Chapel, Yale University, Ross Wood, with choir and instruments; email: [email protected] New Haven, CT 8 pm King’s Chapel, Boston, MA 5 pm Solemn Evensong; St. Paul’s, Doylestown, PA Paul Jacobs; Union Church of Pocantico Hills, 5 pm Tarrytown, NY 3 pm Singing Boys of Pennsylvania; Zion Lutheran, Choral Evensong; St. Peter’s-by-the-Sea, Bay David K. Lamb, D.Mus. Old Zionsville, PA 7 pm Shore, NY 5 pm Mark Bani Director of Music/Organist Richard Litterst Janette Fishell, masterclass; Covenant Pres- , hymn festival; Church of St. Vin- byterian, Charlotte, NC 10 am cent Ferrer, New York, NY 3 pm First United Methodist Church Cantata 175; Holy Trinity Lutheran, New York, First Church of Christ, Scientist Hatsumi Miura; First Presbyterian, Evansville, Columbus, Indiana IN 7:30 pm NY 5 pm 812/372-2851 Rockford, Illinois Ken Cowan; St. Norbert Abbey, DePere, WI David Goodenough; St. Thomas Fifth Av- 2 pm enue, New York, NY 5:15 pm Anthony Leach & Christyan Seay; Camp Hill Presbyterian, Camp Hill, PA 4 pm 6 APRIL Alleluia concert; St. John the Evangelist, The American Boychoir; Christ Church Cathe- Severna Park, MD 7 pm BETTY LOUISE LUMBY dral, Springfi eld, MA 4 pm David Lowry Cj Sambach; Purity Presbyterian, Chester, Joseph Olefi rowicz; Wesley United Method- THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD SC 10:30 am INformance, 4 pm recital DSM • FAGO ist, Worcester, MA 12:15 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 Peter Richard Conte; Robert E. Jacoby Sym- Choral Evensong; All Saints, Worcester, MA UNIVERSITY OF MONTEVALLO phony Hall, Jacksonville, FL 3 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY 5 pm Michael Boney; Cathedral of St. Philip, At- ROCK HILL, SC 29733 •Cherry Rhodes; South Church, New Britain, MONTEVALLO, AL 35115 lanta, GA 3:15 pm CT 4 pm An Easter Sequence; Cathedral of St. Philip, Choral Evensong for Easter; Cathedral of the Atlanta, GA 4 pm Incarnation, Garden City, NY 4 pm John Gouwens; The Culver Academies, Cul- Choral Evensong; Grace Church, New York ver, IN 7:30 pm NY 4 pm Mendelssohn, Elijah selections, Symphony James R. Metzler Cantata 146; Holy Trinity Lutheran, New York, No. 5; First Presbyterian, Arlington Heights, IL NY 5 pm, pre-concert lecture 4 pm 4 pm PARK CONGREGATIONAL CHURCH Robert Costin; St. Thomas Fifth Avenue, New Marsha Foxgrover; Trinity Christian College, York, NY 5:15 pm RAND APIDS ICHIGAN Ozinga Chapel, Palos Heights, IL 3 pm G R , M Gavin Black; Christ Church, New Brunswick, ++•Kipp Cortez, Adam Gruber, Micah Raeb- NJ 6:30 pm, following 6 pm Vespers el, Ben Woolsey; Cathedral of the Holy Angels, Gillian Weir; Washington National Cathedral, Gary, IN 3 pm Washington, DC 5 pm Janette Fishell; Covenant Presbyterian, 14 APRIL William H. Murray Charlotte, NC 3 pm Gerre Hancock, with chorus; Cincinnati Mu- Anthony & Beard; Brevard College, Brevard, A.S.C.A.P. seum Center, Cincinnati, OH 7:30 pm NC 3 pm FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. John Scott; University of St. Thomas, St. John Linker; Cathedral of St. Philip, Atlanta, Paul, MN 8:15 pm 345 SADDLE LAKE DRIVE GA 3:15 pm ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas Choral Evensong; Cathedral of St. Philip, At- (770) 594-0949 15 APRIL lanta, GA 4 pm Hermann Kotzschmar tribute; Portland City Thierry Escaich; Hyde Park Community Unit- Hall, Portland, ME 7:30 pm ed Methodist, Cincinnati, OH 4 pm Heinrich Christensen; King’s Chapel, Bos- MARILYN MASON David Higgs; DeBartolo Center for the Per- ton, MA 12:15 pm CHAIRMAN, DEPARTMENT OF ORGAN forming Arts-Reyes Hall, Notre Dame, IN 4 pm Tony Robertson; St. Paul’s Episcopal, Win- UNIVERSITY OF MICHIGAN and 7:30 pm ston-Salem, NC 7 pm Marilyn Keiser; Cathedral Church of the Ad- ANN ARBOR Gillian Weir; First Presbyterian, Newton, NC vent, Birmingham, AL 4 pm 7:30 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Clive Driskill-Smith; East Congregational, Robert Gant; St. Luke’s Chapel, Medical Uni- with awesome technique and a thrilling command of its daring writing.” Grand Rapids, MI 4 pm versity, Charleston, SC 12:15 pm The American Organist, 1980 Christine Kraemer; Glenview Community Clive Driskill-Smith; St. Luke’s Cathedral, Or- Church, Glenview, IL 4 pm lando, FL 7:30 pm VocalEssence; Fitzgerald Theater, St. Paul, Christopher Stroh; Church of St. Louis, King MN 4 pm of France, St. Paul, MN 12:35 pm Mary Mozelle LARRY PALMER 7 APRIL 16 APRIL Concert Organist Martin Jean, masterclass; The Interchurch Ken Cowan; Church of St. Ignatius Loyola, Professor of Center, New York, NY 7:30 pm New York, NY 7 pm Choir of King’s College; St. Peter in Chains Claudia Dumschat, with choir; Church of the “The Sights and Harpsichord and Organ Cathedral, Cincinnati, OH 7:30 pm Transfi guration, New York, NY 7:30 pm Douglas Cleveland; St. Henry Catholic Nancianne Parrella, with choir and orches- Sounds of Meadows School of the Arts Church, Nashville, TN 7:30 pm tra; Church of St. Ignatius Loyola, New York, NY 8 pm the Pipe Organ” SOUTHERN METHODIST UNIVERSITY 8 APRIL Jessica French; Cathedral Basilica of the Sa- The American Boychoir; Emmanuel Episcopal cred Heart, Newark, NJ 12 noon Dallas, Texas 75275 Church, New Bedford, MA 7 pm Jose Gascho, harpsichord; St. Luke Catholic 703.898.9609 David Lamb; Church of St. Louis, King of Church, McLean, VA 1 pm www.PipeOrganPro.com France, St. Paul, MN 12 noon Ingrid Pierson; Cathedral of St. John the Musical Heritage Society recordings The King’s College Choir; Cathedral of St. Evangelist, Milwaukee, WI 12:15 pm Paul, St. Paul, MN 7:15 pm 17 APRIL 9 APRIL Charles Boyd Tompkins; Furman University, Nancianne Parrella, with violin and cello; Greenville, SC 8 pm Arthur LaMirande Church of St. Ignatius Loyola, New York, NY Choral Evensong; Cathedral of St. Philip, At- LaMirande must be complimented upon investi- 7:30 pm lanta, GA 5:45 pm gating music that few of his fellow organists have Frank Fano; Cathedral Basilica of the Sacred Clive Driskill-Smith; Piedmont College, De- had the foresight to examine and to bring before the Heart, Newark, NJ 12 noon morest, GA 7:30 pm public.—American Record Guide The American Boychoir; Church of St. Ann, Lawrenceville, NJ 7:30 pm 18 APRIL L’organiste traversa son programme entier avec Alamire; Case Western Reserve University, Huw Lewis; Westminster Presbyterian, Al- une authorité, une solidité technique et une fraîcheur Cleveland, OH 7:30 pm bany, NY 7:30 pm de registration qui, loin de faiblir en fi n d’exercice, Choir of King’s College, Cambridge; Fourth •Barbara Harbach, with AGO members; Slee accompagnèrent les deux rappels d’ailleurs accordé Presbyterian, Chicago, IL 8 pm Hall, SUNY, Buffalo, NY 8 pm sans la moindre hésitation.—La Presse, Montréal Alison Luedecke, with Millennia Consort; St. 10 APRIL John’s Lutheran, Allentown, PA 7:30 pm 461 Fort Washington Avenue, Suite 33 Works of Palestrina, Allegri and Anerio; Church Maxine Thevenot; Emmanuel Church, Ches- New York, NY 10033 of St. Luke in the Fields, New York, NY 8 pm tertown, MD 8 pm 212/928-1050 [email protected] Wesley Roberts; Loretto Motherhouse, Ner- Janette Fishell; Christ United Methodist, nix (Loretto), KY 7 pm Greensboro, NC 7:30 pm 38 THE DIAPASON Mar 08 pp. 37-41.indd 38 2/11/08 10:42:38 AM Daniel Sullivan; St. Petersburg College, St. Craig Cramer; Pine Street Presbyterian, Har- Petersburg, FL 7:30 pm risburg, PA 7:30 pm Dvorák, Stabat Mater; First Presbyterian, Bir- Alleluia! Ringers; St. Lorenz Lutheran, Fran- LEON NELSON mingham, MI 7:15 pm kenmuth, MI 7 pm DOUGLAS REED Paul Jacobs; St. Paul’s Episcopal, Indianapo- David Schrader; Christ Church Cathedral, In- FIRST PRESBYTERIAN CHURCH lis, IN 7:30 pm dianapolis, IN 4:30 pm ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Bradley Hunter Welch; First Baptist, Chatta- Fauré, Requiem; St. John United Presbyte- NORTH PARK UNIVERSITY nooga, TN 7:30 pm rian, New Albany, IN 8 pm EVANSVILLE, INDIANA Choir of St. Thomas Church, New York City; CHICAGO, IL 60625 19 APRIL St. John’s Episcopal, Memphis, TN 7:30 pm Paul Bisaccia, piano; Trinity Episcopal, Tor- Mozart, Grand Mass in c, K. 427; Cathedral of rington, CT 7:30 pm St. John the Evangelist, Milwaukee, WI 8 pm James David Christie, masterclass; First Stephen G. Schaeffer ROBERT L. Presbyterian, Rocky Mount, NC 10 am 26 APRIL D.M.A. Bach cantatas, with New Trinity Baroque; Ca- David Briggs, silent fi lm accompaniment; thedral of St. Philip, Atlanta, GA 7:30 pm Ascension Memorial Episcopal, Ipswich, MA The Cathedral Church SIMPSON Todd Wilson, workshops; First Presbyterian, 4:30 pm of the Advent Christ Church Cathedral Birmingham, MI 9 am, 11 am, and 2 pm John Schwandt, with Saginaw Bay Sympho- 1117 Texas Avenue Festival Bell Choir; Lutheran Church of the Re- ny; Temple Theater, Saginaw, MI 8 pm Birmingham, Alabama 35203 Houston, Texas 77002 deemer, Birmingham, MI 4 pm John Gouwens, carillon; The Culver Acad- emies, Culver, IN 4 pm 20 APRIL Paul Jacobs; Weidner Center for the Perform- David Spicer; First Church of Christ, Wethers- fi eld, CT 7 pm ing Arts, Green Bay, WI 7:30 pm Stephen Tappe Gail Archer, works of Messiaen; Church of St. Organist and Director of Music 27 APRIL Joe Utterback Vincent Ferrer, New York, NY 3 pm Saint John's Cathedral Cantata 229; Holy Trinity Lutheran, New York, Three Choirs Festival, works of Vaughan Wil- COMMISSIONS & CONCERTS NY 5 pm liams; South Church, New Britain, CT 4 pm Denver, Colorado Andrew Scanlon; St. Thomas Fifth Avenue, Gerre Hancock; St. Peter’s-by-the-Sea Epis- www.sjcathedral.org 732 . 747 . 5227 New York, NY 5:15 pm copal, Bay Shore, NY 6 pm Alison Luedecke, with Millennia Consort; Sa- Andrew Pester & Enrico Contenti; Cathedral cred Heart Cathedral, Newark, NJ 4 pm of the Incarnation, Garden City, NY 4 pm Vincent Carr; Christ Church, New Brunswick, Renée Anne Louprette; Church of St. Igna- NJ 6:30 pm, following 6 pm Vespers tius Loyola, New York, NY 4 pm David Wagner David Hurd; Washington National Cathedral, Frank Crosio; Cathedral of St. Patrick, New Marcia Van Oyen DMA Washington, DC 5 pm York, NY 4:45 pm James David Christie; St. Paul’s Episcopal, Cantata 108; Holy Trinity Lutheran, New York, First United Methodist Church, Madonna University Greenville, NC 5 pm NY 5 pm Plymouth, Michigan Livonia, Michigan Andrew Kotylo; Cathedral of St. Philip, At- Joanna Elliott; St. Thomas Fifth Avenue, New lanta, GA 3:15 pm York, NY 5:15 pm mvanoyen.com [email protected] Choral Evensong; Cathedral of St. Philip, At- Vernon Williams; Christ Church, New Bruns- lanta, GA 4 pm wick, NJ 6:30 pm, following 6 pm Vespers Lessons & Carols for Eastertide; Peachtree Rachel Laurin; Shadyside Presbyterian, Pitts- A Professional Card in Road United Methodist, Atlanta, GA 7:30 pm burgh, PA 4 pm Paul Jacobs; Trinity Episcopal Cathedral, Children’s Chorus of Washington; Old Presby- Kevin Walters The Diapason Cleveland, OH 2 pm terian Meeting House, Alexandria, VA 3 pm For rates and digital specifi cations, Karel Paukert, with viola and cello; St. Paul’s Bruce Neswick, hymn festival; St. James M.A., F.A.G.O. Episcopal, Cleveland Heights, OH 3:30 pm contact Jerome Butera Episcopal, Greenville, SC 7 pm 847/391-1045 Joan Lippincott, Bach, Art of Fugue; United Domenico Severin; Cathedral of St. Philip, Rye, New York Methodist Church, Berea, OH 2:30 pm Atlanta, GA 3:15 pm [email protected] Michael Brittenback, with oboe; St. George’s Choral Evensong; Cathedral of St. Philip, At- Episcopal, Dayton, OH 4 pm lanta, GA 4 pm •John Weaver; Mayfl ower Congregational, Bach, Mass in b; Christ Church Cathedral, In- Grand Rapids, MI 4 pm dianapolis, IN 4:30 pm Gospel Choir concert; Augustana Chapel, Lu- Janette Fishell; Christ Church Cathedral, theran School of Theology, Chicago, IL 4 pm Cherie Wescott Nashville, TN 4 pm KARL WATSON Concerts • Masterclasses • Coaching Choir of St. Thomas Church, New York City; 21 APRIL St. Paul’s Episcopal, Mobile, AL 4 pm Stephen Cleobury, with chorus; Calvary Epis- STATEN ISLAND 405/942-3958 Douglas Cleveland; Winnetka Congregation- copal, Cincinnati, OH 7 pm e-mail: [email protected] al, Winnetka, IL 5 pm John Weaver, workshop; Mayfl ower Congre- University of Chicago Motet Choir and Alei gational, Grand Rapids, MI 8 pm Gefen Chorus of Tel Aviv; Rockefeller Chapel, 22 APRIL Chicago, IL 7:30 pm Lee Ridgway; King’s Chapel, Boston, MA Davis Wortman 12:15 pm 28 APRIL RONALD WYATT Domenico Severin; Church of St. Louis, King Choir of St. Thomas Church, New York City; of France, St. Paul, MN 12:35 pm Cathedral Church of the Advent, Birmingham, AL St. James’ Church Trinity Church 7:30 pm 23 APRIL Margaret Kemper; Elliott Chapel, Presbyte- New York Galveston Donald Meineke; Cathedral Basilica of the rian Homes, Evanston, IL 1:30 pm Sacred Heart, Newark, NJ 12 noon 29 APRIL 25 APRIL Ben van Oosten; Portland City Hall, Portland, Monteverdi, Vespers of the Blessed Virgin; ME 7:30 pm Charles Dodsley Walker, FAGO Woolsey Hall, Yale University, New Haven, CT Choir of St. Thomas Church, New York City; Artist-in-Residence Founder/Conductor 8 pm Christ Episcopal, Charlotte, NC 7:30 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458 Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0809 - The American Muse…a birthday tribute to Samuel Adler, ORGAN DUO th and a further foray into some home-grown 20 century repertoire 3355 Queen Mary Road, Apt 424 for the ‘king of instruments’. M Montreal, H3V 1A5, P. Quebec A #0810 - Bach’s Scores?…music beyond the standard repertoire, Canada R some of it recently discovered, some of questionable authenticity, (514) 739-8696 but all sounding splendid on an international collection of C ‘Bach’s Royal Instruments’. Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Cathedral Associate Organist- H [email protected] Music & Organist Choir Director #0811 - A Resurrection Festival…celebratory music for choirs and instruments in observance of the springtime Christian Easter. 2 0 #0812 – Conversations With a Great Dame…a visit with world- DAVID SPICER 0 travelling British recitalist and teacher Dame Gillian Weir. First Church of Christ Wethersfi eld, Connecticut Carol Williams 8 #0813 - From the Chambers and Chapels of Kings…instruments historic and modern in Versailles, Berlin, Dresden, London and Cambridge where royalty communed and consorted. San Diego Civic Organist From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford MARCH, 2008 39 Mar 08 pp. 37-41.indd 39 2/11/08 10:42:58 AM Carolyn Diamond; Church of St. Louis, King Scott Montgomery; Holsclaw Recital Hall, 7 APRIL Louis Perazza; St. Mary’s Cathedral, San of France, St. Paul, MN 12:35 pm University of Arizona, Tucson, AZ 7 pm Joseph Adam; Benaroya Hall, Seattle, WA Francisco, CA 3:30 pm Roger Sherman, with viola; St. Mark’s Cathe- 12:30 pm Frederick Swann; First Presbyterian, Fort 30 APRIL dral, Seattle, WA 2 pm Smith, AK 4 pm Aaron Goen; Cathedral Basilica of the Sacred Leonard Danek; First Baptist, Seattle, WA 8 APRIL Heart, Newark, NJ 12 noon 3 pm Clive Driskill-Smith; Central Presbyterian, 28 APRIL Paul Kosower; Cathedral of St. John the Kraig Scott, with baroque fl ute; Christ Episco- Des Moines, IA 7:30 pm Joseph Adam; Benaroya Hall, Seattle, WA Evangelist, Milwaukee, WI 12:15 pm pal, Tacoma, WA 8 pm Gillian Weir; Wiedemann Hall, Wichita State 7:30 pm Christoph Tietze; St. Mary’s Cathedral, San University, Wichita, KS 7:30 pm Francisco, CA 3:30 pm Cherie Wescott; Trinity Episcopal, Tulsa, OK UNITED STATES Ian Tracey; Grace Cathedral, San Francisco, 12:05 pm INTERNATIONAL West of the Mississippi CA 4 pm, following 3 pm Evensong Hymn Sing; Trinity Episcopal, Santa Barbara, 9 APRIL CA 3:30 pm Gillian Weir, Messiaen masterclass; Wiede- 16 MARCH 15 MARCH mann Hall, Wichita State University, Wichita, KS Nigel Ogden; Alexandra Palace, London, UK Paul Woodring; Cal Poly Foundation for the 31 MARCH 10 am 2:30 pm Performing Arts Center, San Luis Obispo, CA The Chenaults; Hendrix College, Conway, 8 pm AR 7:30 pm 10 APRIL 19 MARCH Clive Driskill-Smith; Trinity Episcopal, Tulsa, Yuko Sakiyama; Minato Mirai Concert Hall, 16 MARCH 1 APRIL OK 7:30 pm Yokohama, Japan 12:10 pm Bach, St. Matthew Passion; Christ the King Christopher Young; Recital Hall, Texas A&M James Vivian; Temple Church, London, UK Lutheran, Houston, TX 5 pm International University, Laredo, TX 7:30 pm 11 APRIL 1:15 pm Christopher Marks; Lagerquist Hall, Pacifi c John Scott; St. Margaret’s Episcopal, Palm Daniel Sullivan; St. John’s Cathedral, Den- Steven Grahl; St. Marylebone Parish Church, Lutheran University, Tacoma, WA 3 pm Desert, CA 7:30 pm ver, CO 7:30 pm London, UK 7 pm 17 MARCH 3 APRIL 12 APRIL 21 MARCH J. Melvin Butler, Dupré, Stations of the Cross; Choral concert; St. Francis Xavier Cathedral, Scott Montgomery; Church of St. John the Alexander Baboschkin, with soprano; Kirche St. Mark’s Cathedral, Seattle, WA 7:30 pm Alexandria, LA 7 pm Evangelist, Rochester, MN 7:30 pm “Zur frohen Botschaft,” Berlin Karlshorst, Ger- Alan Jones & Jeffrey Smith; Grace Cathe- many 5 pm dral, San Francisco, CA 6 pm 4 APRIL 13 APRIL Telemann, Lukas-Passion; Stadthalle, Bad Choir of King’s College, Cambridge; Cathedral Mary Preston; St. Paul United Methodist, Lin- Hersfelder, Germany 7 pm 18 MARCH Basilica of St. Louis, St. Louis, MO 8 pm coln, NE 3 pm Bach, St. Matthew Passion; Christ the King K. Joyce Mynster; St. Paul United Methodist, Stephen Hamilton; St. John’s Lutheran, To- 22 MARCH Lutheran, Houston, TX 7 pm Lincoln, NE 12 noon peka, KS 3 pm Christoph Bergner, harpsichord; J. S. Bach- Choral Evensong; All Saints’ Church, Beverly Sebastian Knebel, with instruments; Christ Haus, Bad Hersfelder, Germany 4:30 pm, 7 pm 19 MARCH Hills, CA 7:30 pm the King Lutheran, Houston, TX 5 pm Robert Bates; Palmer Memorial Episcopal, George Baker; St. Vincent’s Cathedral, Bed- 23 MARCH Houston, TX 12:10 pm 5 APRIL ford, TX 6 pm Bach, Osterkantaten; J. S. Bach-Haus, Bad Gerre Hancock, class; Second Baptist, Lub- Cathedral Choir of Men and Boys; Grace Ca- Hersfelder, Germany 7 pm 21 MARCH bock, TX 10 am thedral, San Francisco, CA 3 pm Bach, St. Matthew Passion; Christ the King Benjamin Bachmann; St. Mark’s Episcopal, 26 MARCH Lutheran, Houston, TX 3 pm 6 APRIL Berkeley, CA 6:10 pm Wolfgang Seifen; Catholic Cathedral, Mos- Maxine Thevenot, Messiaen, Les Corps glo- Choral Evensong; Cathedral Church of St. Choral Evensong; All Saints, Pasadena, CA cow, Russia 7:30 pm rieux; Cathedral Church of St. John, Albuquer- John, Albuquerque, NM 4 pm 5 pm Rolf-Henry Kunz; Kathedrale, Dresden, Ger- que, NM 8:45 pm Huw Lewis; St. Luke’s Episcopal, Dallas, TX Frederick Swann; First Congregational, Los many 8 pm 4 pm Angeles, CA 4 pm 23 MARCH Gerre Hancock; Second Baptist, Lubbock, Clive Driskill-Smith; St. James Episcopal, 27 MARCH David Hatt; St. Mary’s Cathedral, San Fran- TX 10 am worship service, 6 pm recital Los Angeles, CA 6 pm Simon Lindley, lecture/recital; Organ Hall, cisco, CA 3:30 pm Craig Williams; Grace Lutheran, Tacoma, Gnessins’ Academy of Music, Moscow, Russia WA 3 pm 18 APRIL 7 pm 27 MARCH Paul Jacobs; St. Paul’s Episcopal, Salem, Susan Landale; Bales Organ Recital Hall, Jeremy Bruns; First Presbyterian, Midland, OR 4 pm University of Kansas, Lawrence, KS 7:30 pm 28 MARCH TX 7:30 pm David Goodenough; St. Mary’s Cathedral, Rupert Lang, with brass; Christ Church Ca- San Francisco, CA 3:30 pm 19 APRIL 30 MARCH thedral, Vancouver, BC, Canada 7:30 pm William Peterson; Cal Poly Foundation for Choral Evensong; St. Paul’s Episcopal, Burl- Pavel Cerny; Christ the King Lutheran, Hous- the Performing Arts Center, San Luis Obispo, ingame, CA 5 pm 29 MARCH ton, TX 5 pm CA 3 pm Harald Vogel, lecture/recital; M. Glinka Mu- 20 APRIL seum of Music Culture, Moscow, Russia 6 pm Robert Huw Morgan; Cathedral Church of St. Anne Page; St. Saviour’s Church, St. Albans, ORGAN BUILDERS John, Albuquerque, NM 4 pm UK 5:30 pm Clive Driskill-Smith; Grace Cathedral, San Francisco, CA 4 pm 30 MARCH Cj Sambach; First United Methodist, Lompoc, L. W. BLACKINTON THE NOACK ORGAN CO., INC. Jean-Paul Imbert; Concert Hall, Dubna, Mos- and associates, inc. MAIN AND SCHOOL STREETS CA 3 pm INformance cow, Russia 5 pm GEORGETOWN, MA 01833 Jürgen Sonnentheil; Catholic Cathedral, www.noackorgan.com 21 APRIL 380 FRONT ST. Moscow, Russia 7:30 pm EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America The Chenaults; Central United Methodist, Kansas City, MO 7:30 pm 2 APRIL Guy Bovet; Kreuzkirche, Dresden, Germany martin ott pipe 22 APRIL 8 pm organ Choir of St. Thomas Church, New York City; St. Olaf College, Northfi eld, MN 7:30 pm 4 APRIL company Gillian Lloyd; Parish Church of SS. Peter and inc. 23 APRIL Paul, Godalming, UK 1 pm Lynne Davis, children’s concert; Wiede- Clive Driskill-Smith; Cathedral Church of the 1353 Baur Boulevard mann Hall, Wichita State University, Wichita, St. Louis, Missouri 63132 Redeemer, Calgary, AB, Canada 8 pm (314) 569-0366 KS 10:30 am 6 APRIL 25 APRIL Irene & Roland Götz; Pfarrkirche St. Michael, Frederick Swann; All Saints Episcopal, Fort NEW INSTRUMENTS Mühltal, Germany 5 pm Worth, TX 8 pm MAINTENANCE Duo Majoya; Westminster United Church, RESTORATIONS Parkey Maxine Thevenot; St. John’s Cathedral, Den- ver, CO 7:30 pm Winnipeg, MB, Canada 8 pm OrganBuilders 974 AUTUMN DRIVE •John Ferguson, hymn festival; Bethany Lu- Arthur LaMirande; Holy Rosary Cathedral, ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs theran, Englewood, CO 7:30 pm Vancouver, BC, Canada 7 pm ABR 847-395-1919 F INCY 3870 Peachtree Ind. 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David Moore, Inc. _The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected] 40 THE DIAPASON Mar 08 pp. 37-41.indd 40 2/11/08 10:43:15 AM 11 APRIL Solano Parish, Rancho Santa Margarita, CA, win, transcr. Shackelford; The Star Spangled Choral concert, with orchestra; Lessing-Gym- November 3: Concertato on O God Beyond Banner: Concert Variations, op. 23, Buck. nasium, Frankfurt, Germany 5 pm Organ Recitals All Praising, Proulx; Entrata Festiva, op. 93, Sophie-Veronique Cauchefer-Choplin; Holy Peeters; Fugue in E-fl at, BWV 552/2, Bach; BRIAN SWAGER, California Palace of the Rosary Cathedral, Vancouver, BC, Canada 8 pm Nun bitten wir den heiligen Geist, BuxWV Legion of Honor, San Francisco, CA, Novem- DAVID BRIGGS, Church of St. Igna- 208, Buxtehude; Prélude, Fugue, et Variation, tius Loyola, New York, NY, November 4: ber 17 & 18: Paraphrase on a Chorus from 13 APRIL op. 18, Franck; Hymne d’Actions de Grâces Handel’s Judas Maccabaeus, Guilmant; Pre- The Sorcerer’s Apprentice, Dukas, transcr. Te Deum, op. 5, no. 3, Langlais; Rhosymedre, Ruben Sturm, with violin; Pfarrkirche St. Jo- Briggs; Symphony No. 6, Mahler, transcr. lude in G, BWV 541, Fugue in g, BWV 578, sef, Neu-Isenburg, Germany 5 pm Vaughan Williams; Canzon Duodecimi Toni, Bach; Prelude in B, Dupré; Andantino in D- Briggs; improvisation. Gabrieli; Litanies, Alain; Prelude on Gift of fl at (“Moonlight and Roses”), Lemare; Sketch Finest Wheat, Callahan; Choral, Var. I, Var. 16 APRIL CHRISTOPH BULL, University of Califor- in D-fl at, op. 58, Schumann; Elegy, Thalben- Hansjürgen Scholze; Kathedrale, Dresden, III, Var. VI (Partite on “Sei gegrusset, Jesu Ball; Scherzo, Allegro (Symphony II), Vierne. nia, Los Angeles, CA, November 29: “Little” gutig”), BWV 768, Bach; As Newborn Stars Germany 8 pm Prelude in e, Bruhns; Prelude in G, Bach; Pre- Andrew Reid; Temple Church, London, UK Were Stirred to Song, Hirten; Toccata (Sym- J. RICHARD SZEREMANY, with orches- lude and Fugue in c, Mendelssohn; Trio, Rhein- phony V, op. 42), Widor. 1:15 pm berger; Schmücke dich, o liebe Seele, Brahms; tra, Robert Frankenberry, conductor, East German Folk Song Arrangement, Bull; Toccata Liberty Presbyterian Church, Pittsburgh, PA, 17 APRIL Schlafes Bruder, Schneider; organ and fi lm: MASSIMO NOSETTI, Münster, Herford October 28: Grand Choeur Dialogué, Gigout; David Coram; St. Matthew’s Westminster, Berlin—Die Sinfonie einer Großstadt. Germany, September 9: Suite Evocatrice, op. Suite of Dances, Campra; Poème Héroïque, London, UK 1:05 pm 74, Tournemire; Suite Médiévale, Langlais; Dupré; Concerto for Organ, Strings and JAMES DAVID CHRISTIE, The Church Suite, op. 5, Durufl é. Harp, Hanson; Concerto for Organ, Strings 20 APRIL of the Holy Trinity (Episcopal), New York, and Timpani, Lafford; Concerto in g for Or- Anthony & Beard; Moscow International Per- NY, November 19: Batalla Famossa, Anon. CHRISTA RAKICH, The First Church gan, Strings and Timpani, Poulenc. forming Arts Center, Moscow, Russia 7 pm 17th-century Spanish; Tiento de 1° tono de of Deerfi eld, Deerfi eld, MA, November 11: Beate Kruppke; Kirche “Zur frohen Botschaft,” mano derecha y al medio a dos tiples, Bruna; Prelude, Fugue and Ciacona in C, BuxWV STEPHEN THARP, First Presbyterian Berlin Karlshorst, Germany 5 pm La Béatitude, Piroye; Cromhorne en taille (1er 137, Nun komm, der Heiden Heiland, BuxWV Church, Arlington Heights, IL, November ton), Jullien; Passacaglia in d, BuxWV 161, 211, In dulci jubilo, BuxWV 197, Puer natus 11: Music for the Royal Fireworks, Handel, in Bethlehem, BuxWV 217, Gelobet seist du, transcr. Tharp; Ave Maria von Arcadelt, S. 23 APRIL Canzona in d, BuxWV 168, Praeludium in g, BuxWV 148, Buxtehude; Acclamations (Suite Jesu Christ, BuxWV 189, Buxtehude; Trio So- 659, Liszt; Prière, op. 37, no. 3, Jongen; Toc- Franz Danksagmüller; Kreuzkirche, Dresden, nata No. 4 in e, BWV 528, Two settings of Nun cata (Deuxième Symphonie, op. 26), Dupré; Germany 8 pm Médiévale), Langlais; Elégie, Christie; Incan- tation pour un jour saint, Langlais; Compline komm, der Heiden Heiland, BWV 659, BWV Improvisation on Bolero Rhythm, Cochereau; John Kitchen; Temple Church, London, UK 661, Bach; Praeludium in F, Fanny Mendels- Ave Maria, Ave Maris Stella (Trois Paraphras- 1:15 pm (The Book of Hours), Pinkham; Six variations sur un psaume huguenot, op. 1, Isoir. sohn; Three versets on Sine nomine, Wood- es Grégoriennes, op. 5, no. 2), Langlais; Toc- Arnfi nn Tobiassen; St. Marylebone Parish man; Nun danket, Rakich/improvisation; Nun cata and Fugue on BACH, Newman. Church, London, UK 7 pm PHILIP CROZIER, Dom St. Marien, danket (Cantata 79), Bach, arr. Grace; Sonata Wurzen, Germany, July 14: A Trumpet Minuet, in Sea: Cape Cod, Woodman. MAXINE THÉVENOT, Salisbury Cathe- 26 APRIL Hollins; Six Interludes, Bédard; Passacaglia in d, dral, Salisbury, UK, August 15: Cortège et Works of Bach; J. S. Bach-Haus, Bad Hers- BuxWV 161, Fugue in G, BuxWV 175, Praeludi- RUDY SHACKELFORD, Bethany United Litanie, op. 19, no. 2, Dupré; Five Liturgical feld, Germany 4 pm um in E, BuxWV 141, Buxtehude; Ach bleib bei Methodist Church, Gloucester Point, VA, Inventions, Togni; Alleluyas, Preston; Chant David Goode; St. Peter’s Church, St. Albans, uns, Herr Jesu Christ, Walcha; Remembrance November 4: Trumpet Voluntary, Shackel- de paix, Nazard, Langlais; Symphonie III, op. UK 5:30 pm (Hommage à Jean-Philippe Rameau), Chant de ford; Nimrod (Enigma Variations), Elgar, arr. 28, Vierne. Ashley Grote, works of Messiaen; King’s Col- Paix (Neuf Pièces), Langlais; Partite diverse so- Gower; Prelude and Fugue in e, BuxWV 142, lege Chapel, Cambridge, UK 6:30 pm pra De Lofzang von Maria, Post. Buxtehude; Buxtehude Redux: Fantasy on a CHERIE WESCOTT, St. Paul’s Episcopal Hymntune by Percy Whitlock, Prelude on St. Cathedral, Oklahoma City, OK, October 28: 30 APRIL AUDREY JACOBSEN, with choir, Anne, Shackelford; Fugue in E-fl at, BWV 552, Praeludium in f-sharp, BuxWV 146, Ciacona in Matthias Grünert; Frauenkirche, Dresden, Rich Chasins and Kurt Curtis, trumpet, Bach; Concerto on Amsterdam, Variations on e, BuxWV 160, Praeludium in F, BuxWV 145, Germany 8 pm Lisa Cherry, French horn, Brent Anderson, Aberystwyth, Fuguing Tune on Lenox (Charles Nun freut euch, BuxWV 210, Canzona in C, Christopher Robinson; Temple Church, Lon- trombone, Jeff Stupin, trombone/tuba, and Wesley Organbook), Shackelford; Canzonetta, BuxWV 166, Magnifi cat on the 1st Tone, Bux- don, UK 1:15 pm Damien Frigillana, timpani, San Francisco op. 71, no. 4, Foote; Preludes for Piano, Gersh- WV 203, Toccata in F, BuxWV 156, Buxtehude. Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera Dia_1ColumnInchAd.ai 4/5/05 10:13:38 847/391-1045, 2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com Visit The Diapason website: www.TheDiapason.com CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December paragraph “want ad” style. First line only of each ad in bold face type. Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER Display classifi ed advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the Ad Copy ______advertisement. ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 19.00 ______Display Classifi ed, per word 1.25 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. Orders will be accepted for one, two, three, four, fi ve, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to designate Name ______Phone ______appropriate classifi cation to advertisements, and to reject the insertion of advertising Address ______Total Enclosed ______deemed inappropriate to this magazine. City/State ______Zip ______E-mail ______ MARCH, 2008 41 Mar 08 pp. 37-41.indd 41 2/11/08 10:43:39 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 41. POSITIONS POSITIONS PUBLICATIONS/ PIPE ORGANS AVAILABLE AVAILABLE RECORDINGS FOR SALE Position available for Organ Curator. Friends Director of Music, Saint Paul’s Episcopal Three-rank tracker organ, 1975 Hendrickson. of the Kotzschmar Organ, Portland, ME, are Church, Philadelphia, in Chestnut Hill, in north- Harpsichord Technique: A Guide to Two manuals and pedal, solid red oak cabinetry, seeking organ builder/tuner/technician to pro- west Philadelphia. This full-time position pro- Expressivity, 2nd edition with CDs, by excellent condition, $20,000. Located in ZIP 54650. vide regular care for 100-rank 1912 Austin vides creative leadership of a music ministry Nancy Metzger. Still available and still the Telephone 608/779-5857, or [email protected]. Organ. Comprehensive annual tuning plus tun- that supports and encourages the worship of the practical hands-on choice! www.rcip.com/ ing for twenty concerts/year along with general congregation. The Director of Music is a mem- musicadulce. maintenance. Qualifi ed candidate will be famil- ber of the senior staff, who strive for cohesive- Continuo organ, 8′, 4′, 2′, 8′ principal c1–g3 iar with Austin actions and have experience ness, fun and an energy that is contagious. A playable at A-440 or A-415; portable. $39,000. tuning large organs. Send résumé to Executive congregation of 400 households, Saint Paul’s CD Recording, “In memoriam Mark Buxton A. David Moore Inc., telephone: 802/457-3914. Director, FOKO, PO BOX 7455, Portland, ME values an outstanding choral and music minis- (1961–1996).” Recorded at Église Notre-Dame 04112. try within the parish as well as to the community. de France in Leicester Square, London, between Auditioned choir of 40 voices including 6 paid 1987 and 1996. Works of Callahan, Widor, W. Zimmer & Sons 2-manual organ; 11 ranks soloists. 4/110 Aeolian-Skinner organ, with divi- Grunewald, Salome, Ropartz, and Boëllmann, unifi ed to 21 stops. Principal, Gedackt, Sesquial- University Carilloneur. The University of Michi- sions in the chancel, nave ceiling and gallery. along with Buxton’s improvisations. $15 post- ter, Mixture III, Rohrfl öte, Gemshorn, 16′ Fagott, gan School of Music, Theatre & Dance is ac- The 3/70 chancel section is the last instrument paid: Sandy Buxton, 10 Beachview Crescent, To- 16′ Subbass. Built 1987, casework with hand- cepting applications for a faculty position in the to be personally fi nished by G. Donald Harrison. ronto ON M4E 2L3 Canada. 416/699-5387, FAX carved pipe shades. Southern Michigan. Photos Organ Department. The post of University Caril- 3 Sunday services: 9 a.m. alternative liturgy, led 416/964-2492; e-mail [email protected]. and stoplist available. 951/452-0339. lonneur will begin September 2008. Rank is ten- by a Children’s Music Minister; 10:30 a.m., the ure track assistant professor. Duties: Administer principal worship service, with full choir, sermon all aspects of the carillon program including the and Eucharist. All Sunday worship is the Holy Historic Organ Surveys on CD: recorded during Casavant pipe organ for sale. View www. scheduling and performance (or delegation) of Eucharist: Rite II. Master’s degree and minimum national conventions of the Organ Historical So- casavantorganforsale.com. 706/453-0980. weekly recitals during the fall and winter terms fi ve years experience preferred. Competitive ciety. Each set includes photographs, stoplists, at both Lurie and Burton Memorial Towers, and compensation. Saint Paul’s has been described and histories. As many organists as organs and performances during the summer as needed. as one of the fi nest examples of Neo-gothic repertoire from the usual to the unknown, Arne 1976 Schantz—19 ranks, 2 manuals and pedal. Maintain the carillon library. Teach private les- church design in America. Chestnut Hill, called to Zundel, often in exceptional performances on Pristine condition; playable. Asking $185,000 + sons and studio classes in carillon. Supervise a “suburb in the city,” is located within two blocks beautiful organs. Each set includes many hymns cost of removal. For details contact Pastor Judy any work done on the University carillons by of commuter rail lines into center city (about 30 sung by 200–400 musicians. Historic Organs of Anderson at [email protected]. outside contractor. Repair equipment between minutes). Compensation if desired can include Louisville (western Kentucky/eastern Indiana) scheduled maintenance. Develop effective out- an apartment at the church. Initial inquiries may 32 organs on 4 CDs, $29.95. Historic Organs of reach to the local community. Duties may also in- be made to [email protected]. To Maine 39 organs on 4 CDs, $29.95. Historic Or- 1960s Walcker (German) 14-rank tracker clude teaching courses in organ literature, and a see more you may visit us on the web at www. gans of Baltimore 30 organs on 4 CDs, $29.95. organ. Open toe voicing on 2′ wind pressure. campanology course in the College of Engineer- stpaulschestnuthill.org. Historic Organs of Milwaukee 25 organs in Wis- Reverse console built into case. Footprint is 6′ ing. Qualifi cations: DMA preferred; teaching and consin on 2 CDs, $19.98. Historic Organs of New wide by 11′6″ deep (including console and pedal fi eld experience in campanology. Signifi cant ac- Orleans 17 organs in the Bayous to Natchez on stops), 9′10″ tall. All encased with 4′ Principal complishment as an organist is highly desirable. PUBLICATIONS/ 2 CDs, $19.98. Historic Organs of San Francisco façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- To apply: Send letter of application, curriculum 20 organs on 2 CDs, $19.98. Add $4 shipping quialtera, II–III Mixture. Manual II—8′ Gemshorn, vitae, and a list of at least fi ve references with RECORDINGS in U.S. per entire order from OHS, Box 26811, 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— contact information to: Carillonneur Search Com- Richmond, VA 23261, by telephone with Visa or 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and mittee, c/o Julie Smigielski, University of Michi- The Lost Chord has been found! See the MasterCard 804/353-9226; FAX 804/353-9266. in use regularly. Asking $28,000. For recordings gan, School of Music, Theatre & Dance, 1100 fi rst organ transcription of Sullivan’s chestnut. and pictures contact [email protected]. Baits Drive, Ann Arbor, MI 48109-2085. (Do not Visit our website to hear a recording of Arthur The OHS Catalog is online at www.ohscata- send supporting materials at this time.) Review Sullivan speak. michaelsmusicservice.com; log.org. More than 4,000 organ and theatre of applications will begin on March 1, 2008; the 704/567-1066. organ CDs, books, sheet music, DVDs and 1999 Morel & Associates organ. Two manual position will remain open until fi lled. VHS videos are listed for browsing and easy and pedal, 17 stops, 20 ranks. Originally built for ordering. Use a link for adding your address a chamber installation, organ has a handsome Send recital programs to THE DIAPASON, 3030 W. to the OHS Catalog mailing list. Organ Histori- colonial-style case front. Excellent condition. Classifi ed Ads must be prepaid and may be Salt Creek Lane, Suite 201, Arlington Heights, IL cal Society, Box 26811, Richmond, VA 23261. Brochure and demonstration CD available. Call ordered for 1, 2, 3, 4, 5, or 6 months. 60005. E-mail: [email protected]. 303/355-3852, or e-mail [email protected]. glück newyork orgaNbuilders 170 Park Row, Suite 20A New York, NY 10038 212.608.5651 www.glucknewyork.com Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail: THE ORGAN COMPANY 1220 Timberedge Road Lawrence, Kansas 66049 (785) 843-2622 www.reuterorgan.com 3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com 42 THE DIAPASON Mar 08 pp. 42-43.indd 42 2/11/08 10:44:25 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 41. PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES 1927 Moller pipe organ—electropneumatic Atlantic City Pipe Organ Co.—Johnson pipe- Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- action, four manuals, drawknob console, 28 work, good condition: Principal chorus with livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic ranks. Available for removal Immediately. Mixture, broad scale Strings, 16′ Tuba, 8′ Cor- organs.com. action. Removal and installation service avail- Buyer to remove. Make offer. Currently in use. nopean, Oboe, Cornet. Check website: http://my- able. Full warranty. Skinner, Casavant and Contact Salem United Church of Christ, 435 webpages.comcast.net/acorgan; 609/641-9422. Kimball specialty. Spencer Organ Company, South 9th St, Quincy, IL 62301, 217/222-0601, The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation offi [email protected]. organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, Odell/Hutchings 8′ ViolonCello—32 pipes, full and tonal work. Finest materials, expert work- www.spencerorgan.com. length. $350. Buyer to remove. Also, old set of manship. K.E.M. Pipe Organ Builders, Austin, A college in Nashville closed its music program Maas chimes, 23 tubes—3 have been repaired. TX. 800/792-8180. in 1988 and is offering two practice organs for $150. [email protected]. RELEATHERING: also Pipe Organ Re- sale (a 2-manual and pedal Schlicker—SOLD, building, Repair and Maintenance Service and a 2-manual and pedal Zimmer and Sons). Highest quality organ control systems since in New England area. Years of experience, Contact Milnar Organ Co. 615/274-6440 or www. 1920s Gottfried French Horn, very good re- 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, milnarorgan.com for details. storable condition. $2,000 +shipping/handling; action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- 1929/1930 Skinner Harp/Celesta unit, very good are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail restorable condition $2,000 FOB Eagleville, pricing, custom software to meet all of your [email protected]. Bedient “Lincoln” practice organ, Opus 62, Tenn. 615/274-6400 or www.milnarorgan.com. requirements. For more information call Westa- 1999. Manual I: Rohrfl ute 8, Manual II: Gedackt cott Organ Systems, 215/353-0286, or e-mail 8, Pedal: pull-down from II. Mechanical action. [email protected]. Austin actions recovered. Over 30 years Fits under 8′ ceiling. White oak case. Located Blowers, chests, pipes, reservoir and more. experience. Units thoroughly tested and fully near New Haven, CT. $30,000. merema@ Pay for ad and it’s yours. Call for details. 303/978- guaranteed. Please call or e-mail for quotes. sbcglobal.net; 203/481-8139. 0725. Buyer MUST pick up—Denver, CO area. Columbia Organ Leathers sells the fi nest leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, punched pouches and pre-assembled pouches, Inc., 42 N. River Road, Tolland, CT 06084. Vintage consoles, pipes, relays, magnets and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. REED ORGANS and numerous miscellaneous parts. Let us know vices. Call today for a catalogue. 800/423-7003 [email protected]. FOR SALE what you are looking for. E-mail orgnbldr@com- or e-mail: [email protected]. cat.com (not comcast), phone 215/353-0286 or 215/788-3423. New classified advertising rates went into Mason and Hamlin, three manual and pedal. effect January 1, 2008. See page 41 for $3,500, including blower. Rare. A.D. Moore Inc., Need help with your re-leathering information. 802/457-3914. Laptops, Pocket PCs and Tuning Software— project? All pneumatics including tune harpsichords and pianos. Herb Huestis, Austin. Over 45 years experience 1502–1574 Gulf Road, Point Roberts, WA 98281. (on the job assistance available). If your company was not listed in THE DIA- Mason and Hamlin reed organ, 10 stops plus Phone 604/946-3952, e-mail: [email protected]. 615/274-6400. PASON 2008 Resource Directory, be sure to be forte stop and octave coupler, with bench. Excel- Computer tuning software is sensitive to 1/10 part of the 2009 issue! Visit our website, www. lent condition. Best offer. Nelson, 847/367-5102 cent, much greater than dial tuners. Over 100 TheDiapason.com, and from the upper left col- or 312/304-5287. programmable temperaments. Check it out on umn select Supplier Login. For information, www.tunelab-world.com. Pocket PC Ipaq 3650 ALL REPLIES contact Joyce Robinson, 847/391-1044, e-mail: with shareware tuning software, $150, includes TO BOX NUMBERS [email protected]. MISCELLANEOUS stand, power supply and shipping. 8x10x2 small FOR SALE Toshiba laptop used for shop tuning: $200 in- that appear cluding shipping. Requires external microphone which is included. Spreadsheets of historical without an address Postal regulations require that mail 3-manual pipe organ console—new Peterson tunings showing both aural and electronic tun- should be sent to: to THE DIAPASON include a suite num- combination action. 10 generals, 5 manual pis- ing data, $18 including shipping. Improve your ber to assure delivery. Please send THE DIAPASON tons; couplers, transposer, 4-level memory. Oak tuning skills! all correspondence to: THE DIAPASON, fi nish. Buyer to remove summer 2008. Can be 3030 W. Salt Creek Lane, Suite 201 coordinated with installation of new console. 3030 W. Salt Creek Lane, Suite 201, For further specs contact: [email protected] or Classifi ed Ads must be prepaid and may be Arlington Heights, IL 60005 Arlington Heights, IL 60005. 718/325-5531. ordered for 1, 2, 3, 4, 5, or 6 months. Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930 GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC Charles W. McManis NEW INSTRUMENTS REBUILDS - ADDITIONS “Three Generations at Organ Building” In Memoriam TUNING & SERVICE 1070 N.E. 48th Court CHARLOTTE, NORTH CAROLINA 28218 FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852 Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of fi rst issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073 MARCH, 2008 43 Mar 08 pp. 42-43.indd 43 2/11/08 10:44:57 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008 Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode* CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Saint Thomas Church, NYC John Scott, Director April 21-27, 2008 The Choir of St. John’s College Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Cambridge, UK West Coast USA Tour Spring 2009 *=European artists available 2008 -2009 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter* WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com John Weaver Gillian Weir* Todd Wilson Christopher Young