THE DIAPASON AUGUST, 2011
St. Philip Presbyterian Church Houston, Texas Cover feature on pages 26–27
Aug 2011 Cover.indd 1 7/14/11 1:27:45 PM James David Christie Peter Richard Conte Isabelle Demers Clive Driskill-Smith David Enlow Jeremy Filsell S. Wayne Foster
Christopher Houlihan David Hurd Paul Jacobs Martin Jean Bálint Karosi Huw Lewis Bruce Neswick
Nigel Potts Mary Preston Raúl Prieto Ramírez Jean-Baptiste Robin John Rose John Scott Dong-ill Shin
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Elisabeth von Trapp Tin Pan Alley Alive Peter Fletcher Duo Noire Paul Bisaccia Steinbach & Helvey True North Brass
Aug 2011 pp. 2-18.indd 2 7/14/11 1:29:42 PM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 8, Whole No. 1221 AUGUST, 2011 In the wind . . . due simply to the timing differences Established in 1909 ISSN 0012-2378 In his column in the June issue of The between the two notes. The evidence An International Monthly Devoted to the Organ, Diapason, John Bishop reminds us of suggests that the basic design of the bar the Harpsichord, Carillon, and Church Music the effect of releasing chords on organs and slider chest actually makes it dif- with ‘fl exible’ wind. It may not just ap- fi cult for the player to vary the move- ply to big chords, although the effect will ment of the pallet even with different subtler. GOArt in Sweden and the East- key movements in typical organs. CONTENTS Editor & Publisher JEROME BUTERA [email protected] man School of Music did some measure- It is, therefore, of course, possible to 847/391-1045 ments a few years ago showing transients get transient variation with an electric FEATURES in the wind trunks at the attack and re- action. Emulation and Inspiration: Associate Editor JOYCE ROBINSON lease of a note. There is much work still to be done, J. S. Bach’s Transcriptions [email protected] from Vivaldi’s L’estro armonico I have followed this up as part of my requiring the active involvement of organ by H. Joseph Butler 19 847/391-1044 project on mechanical actions at Edin- builders and musicians. Organ playing is burgh University (funded by the Arts and essentially an art, but by understanding Birds, Bells, Drums, and More in Contributing Editors LARRY PALMER Harpsichord Humanities Research Council). I had a more of the science, we can concentrate Historical Italian Organs, Part 2 masters student (Jia Min Tan) measure more on the important elements. by Fabrizio Scolaro, English translation by Francesco Ruffatti 22 JAMES MCCRAY the pressure in the pallet box during the Alan Woolley Choral Music attack and release of a note with a single Post Doctoral Research Fellow pipe, using my experimental model or- University of Edinburgh BRIAN SWAGER NEWS & DEPARTMENTS Carillon gan. The pressure in the pallet box var- Musical Acoustics Editor’s Notebook 3 ied by around 10% and clearly varied School of Physics and Astronomy Letters to the Editor 3 JOHN BISHOP the sound envelope. She removed a pipe In the wind . . . Here & There 3, 4, 6, 8, 9, 10 from the chest so that just the second Insta-Temperament pipe could be recorded. Simple listening I am always delighted to fi nd, lurking Appointments 6 GAVIN BLACK tests demonstrated that depressing the amongst the classifi ed advertising, one of Nunc Dimittis 10 On Teaching key of the second note as consistently your bold-print items that brings me up In the wind . . . by John Bishop 12 as possible produced differing sounds to date on leading-edge organ technol- On Teaching by Gavin Black 14 Reviewers John M. Bullard depending on when it was pressed rela- ogy. As inventor of the Ultra-high-tech John L. Speller tive to the release of the fi rst note. This black-box technology that makes the REVIEWS Jay Zoller can be in the relatively stable air before Insta-Temperament system possible Music for Voices and Organ 15 John Collins the fi rst note is released, in the increased (March 2011), I am prepared to reveal Book Reviews 16 pressure as the fi rst note is released, in the secret of its workings. A bottle of he- New Recordings 16 the reduced pressure as the pressure os- lium is kept in the organ chamber and New Organ Music 17 cillates or in turbulent air if many notes the gas is metered into each pipe through are being played. needle valves controlled by stepper mo- NEW ORGANS 28 THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt The main part of my work to date tors. The computer-monitored stepper SUMMER CARILLON CALENDAR 29 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. (Proceedings of the International Sym- motor adjusts the fl ow to raise the pitch Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 posium on Musical Acoustics, Sydney of the pipe by just the right amount to at- CALENDAR 30 MSG RLY. E-mail:
AUGUST, 2011 3
Aug 2011 pp. 2-18.indd 3 7/14/11 1:30:20 PM St. Paul R.C. Cathedral, Pittsburgh, Ransdell Chapel. [See the article, “Far- sponsors promising artists in concert. It The Berlin Hook Organ Festival Pennsylvania, continues the summer rand & Votey Organ Installed in Rans- is not a contest, but rather consists of 2011, “America and Europe—Partner- recital series on its restored Beckerath dell Chapel,” by Wesley Roberts, The high-profi le engagements for those who ship in Organbuilding,” takes place Oc- organ: August 7, Stephen Schnurr; 8/14, Diapason, September 2009.] August have already won competitions. Next tober 20–23, at the Kirche zum Heiligen Donald Fellows; 8/21, Kathy Sacco; 8/28, 30, Maria LeRose; September 6, Neva- winter, Wesleyan University, University Kreuz in Berlin-Kreuzberg, Germany. Daniel Sañez. For information: 412/621- lyn Moore; October 4, Rodney Barbour; of Washington and Plymouth Congre- The schedule includes recitals by Kevin 6082;
E. Ray Peebles and Frederick Swann Organ Music in the Garage performers: Rachel Matthew, Anna Jeter, Phillip Wahl- beck, and Shirley Wiebe First United Methodist Church, the main organ. The organ was revoiced Shreveport, Louisiana, celebrated the in 2002 by Bruce Shultz and Associates. The tenth annual Organ Music At ist at Eastminster Presbyterian Church; 25th anniversary of its fi ve-manual, 110- A plaque was installed on the choir rail the Garage (OMAG) was held on May Rachel Matthew, a student of Jeter; rank M.P. Möller pipe organ with a re- adjacent to the organ, listing the organ- 12. The organ is in the garage of Phil- Shirley Wiebe, organist at the Church turn recital engagement by Frederick ists who have served the church since lip and Donna Wahlbeck, Wichita, Kan- of the Magdalen; and Phillip Wahlbeck. Swann. The celebration also included the installation of the Möller organ: sas—an Austin Chorophone, Opus 994, In addition, Rachel Matthew played vio- recognition of director of music Will Arie Tubb Motschman (1985–1989), built in 1921. A Trumpet stop was added lin, and Michaelie Wiebe played fl ute. K. Andress for his 40 years of service, Gayle Andrews Sullivan (1989–1990), to the original Chorophone. The garage OMAG was originally suggested by Kay and organist E. Ray Peebles, who is ap- Stephen Distad (1990–1996), Jeremy door was opened, and the audience Buskirk, a violist with the Wichita Sym- proaching 15 years as organist/artist in Bruns (1996–1997), and E. Ray Peebles brought lawn chairs. Organists for the phony Orchestra, as an enjoyable venue residence. Five octaves of English hand- (1997 to present). program were Anna Jeter, professor of for the public to hear a pipe organ fol- bells were added in 1990, playable from organ at Friends University and organ- lowed by dessert.
4 THE DIAPASON
Aug 2011 pp. 2-18.indd 4 7/14/11 1:30:47 PM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Aug 2011 pp. 2-18.indd 5 7/14/11 1:31:11 PM Early Music America announces the 1327). Nicholas E. Schmelter, a former winners of its 2011 summer workshop Appointments student of Dr. Egler, is director of mu- scholarships. Among this year’s winners sic ministries at First Congregational are Gabriel Benton, harpsichord, an un- Church, and was appointed to that posi- dergraduate student at York College of tion in February 2011. Pennsylvania, who will attend the Ober- lin Baroque Performance Institute, and Shin Hwang, fortepiano, a graduate stu- dent at the University of Michigan, who will attend the Westfi eld Center Sum- mer Academy at Cornell University. For information: 206/720-6270;
Timothy E. Guenther The Riverside Church Steven L. Egler (photo: Robert L. Barker) Timothy E. Guenther, DMA, The Riverside Church, New York Steven L. Egler has been appointed AAGO, ChM, has been appointed direc- City, presented its annual summer se- Artist in Residence at First Congrega- tor of music ministries at Gethsemane ries of organ recitals July 5–August 2. tional Church, Saginaw, Michigan. His Lutheran Church, Columbus, Ohio. At Featured artists included Christopher one-year term begins September 1. As Gethsemane he will direct the adult and Johnson, John Cantrell, Marvin Mills, the congregation’s fi rst resident musi- handbell choirs, serve as principal organ- Brian Harlow, and Edward Alan Moore. cian, Dr. Egler will make use of the ist, and supervise the details of the mu- Each program was preceded by a recital church’s facilities for practice, teaching, sic program. He leaves a similar position on the Laura Spelman Rockefeller Me- and recording purposes, take part in the of 21 years at First English Lutheran morial Carillon at Riverside. For infor- congregation’s Friends of Music series of Church, Mansfi eld, Ohio. He continues mation: 212/870-6721; recitals, be active in the commissioning in his responsibilities as university or-
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6 THE DIAPASON
Aug 2011 pp. 2-18.indd 6 7/14/11 1:31:47 PM Aug 2011 pp. 2-18.indd 7 7/14/11 1:32:17 PM té de Compiègne in France. Grassin was two festivals—in Avignon in Vaucluse, The Danish Marcussen organ and invited to join Noack after meeting with France; and Le Voci della Città in Milan, Wiedemann Hall are intimately connect- all members of the team and receiving Italy. The concluding recital on July 23 ed—built in 1986, they were designed their enthusiastic endorsement. He will took place in the Basilica of the Sacred for each other: the organ was built for participate in many aspects of the fi rm’s Heart in Torino. For information:
Joshua Taylor
various instrumental groups, and will work with Thomas F. Froehlich, who has been the organist of the church for 35 years. A member of the AGO and the ACDA, Taylor is the youngest person ever to serve on the national board of the Presbyterian Association of Musicians. Peter King Peter King is featured on a new recording, Liszt: The Essential Or- Here & There gan Works, on the Regent label (REGCD278). The three-CD set, con- Lynne Davis CD cover taining all of Liszt’s major original organ Christopher Ahlman, a student of works, along with selected transcriptions Gerre Hancock, presented a recital on Lynne Davis has released a new CD of Liszt’s orchestral and piano works (by Andrew Henderson May 4 at Bates Recital Hall on the cam- on the Marcussen organ at Wichita State Saint-Saëns, Reger, Lemare, Nicolas pus of the University of Texas at Austin. University, Wichita, Kansas. The CD Kynaston, and Peter King), was recorded Andrew Henderson has been ap- The program included works by Dupré, project was sponsored by Dr. and Mrs. on the Klais organ of Bath Abbey. Each pointed assistant organist at Congrega- Correa, Buxtehude, Bach, Hindemith, Dennis Ross of Wichita. Proceeds of CD is arranged as a self-contained re- tion Emanu-El, New York City. He will and Reger, and was given in partial fulfi ll- its sales will go to the organ scholarship cital. For information: assist organist and choirmaster K. Scott ment of the Doctor of Musical Arts de- fund at Wichita State University.
8 THE DIAPASON
Aug 2011 pp. 2-18.indd 8 7/14/11 1:32:46 PM rctodc.organ>. The Treasury CD also dio Orkney prior to his performances. features the Hanoverian Ensemble in Utterback was also interviewed in June works by Quantz, Buxtehude, Telemann, for several airings of the Jerry Laird Pachelbel, Fasch, Lübeck, and Bach; Show on cable TV channel 12 in Nor- MSR Classics 1380. walk, Connecticut. At the AGO regional convention this past July in Morristown, New Jersey, Joe Utterback presented a workshop, “Hymn Improvs with a Jazz Perspective”. For information, and to hear the interview with Dave Gray, visit
Dan Locklair
The world premiere of composer Dan Locklair’s Concerto for Organ and Orchestra was performed by the East- ern Music Festival Orchestra, Gerard Schwarz, conductor, and soloist Susan Bates on June 29 at Christ United Meth- odist Church, Greensboro, North Caro- Kent Tritle (photo: Jennifer Taylor) lina. This was a commission from the American Guild of Organists, Greens- Kent Tritle is featured on two new boro Chapter, for the 2011 Region IV recordings. On the solo disc, he plays the AGO convention in Greensboro June Noack organ at the Old Dutch Church Joe Utterback 26–29. The composer has written the of Sleepy Hollow; and in A Treasury of Carol Williams following about the new work, German Baroque Music, he plays the Joe Utterback recently traveled to 2002 Paul Fritts organ at Vassar College. Scotland, where he performed at the Carol Williams and Melcot Music My Concerto for Organ and Orchestra The Old Dutch Church CD includes Lynnfi eld Hotel in Kirkwall, and the announce the release of TourBus 6 in the is cast in three movements. Approximately works by Bach, Buxtehude, Sweelinck, Busta House Hotel in Shetland. He was DVD series of great organs of the world. twenty minutes in length, the composition is cyclic in nature, with all movements be- and Walther; available through
Larry Palmer Often Imitated Larry Palmer presented a harpsi- • chord recital on May 22 at Resurrec- tion Parish in Santa Rosa, California. Never Duplicated The program included works by Bach, Buxtehude, Couperin, J.K.F. Fischer, Rudy Davenport, and Glenn Spring, on an instrument by Roberts and Brazier of Los Angeles. A faculty member since 1970 at the NORTH AMERICA’S PREMIER Meadows School of the Arts, Southern Methodist University, Dallas, Palmer is PIPE ORGAN BUILDING AND SERVICE FIRMS currently Professor and Head of Organ and Harpsichord, and University Organ- BUILDER MEMBERS ist. Educated at Oberlin College Con- ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS PARSONS PIPE ORGAN BUILDERS servatory and the Eastman School of BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PASI ORGANBUILDERS, INC. Music, Dr. Palmer’s publications include BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PATRICK J. MURPHY & ASSOCIATES INC. Hugo Distler and his Church Music BIGELOW & CO. ORGAN BUILDERS HENDRICKSON ORGAN COMPANY PAUL FRITTS & CO. ORGAN BUILDERS (1967), and Harpsichord in America—a BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY QUIMBY PIPE ORGANS, INC. 20th-Century Revival (1988/1993), and BUZARD PIPE ORGAN BUILDERS, LLC KEGG PIPE ORGAN BUILDERS RANDALL DYER & ASSOCIATES, INC. over 150 articles, many of them for The LÉTOURNEAU PIPE ORGANS SCHANTZ ORGAN COMPANY Diapason, which he serves as harpsi- C.B. FISK, INC. chord editor. His discography includes CASAVANT FRÈRES NOACK ORGAN COMPANY, INC. SCHOENSTEIN & CO. recordings for the Musical Heritage TAYLOR & BOODY ORGANBUILDERS Society, Encore Performance/Limited Editions Records, and SoundBoard. SUPPLIER MEMBERS Palmer’s most recent book, Letters from A.R. SCHOPP’S SONS, INC. SOLID STATE ORGAN SYSTEMS Salzburg: A Music Student in Europe HARRIS PRECISION PRODUCTS OSI - TOTAL PIPE ORGAN RESOURCES PETERSON ELECTRO-MUSICAL PRODUCTS, INC. 1958-59 (Eau Claire, Wisconsin: Skyline Publications, 2006), tells of his fi rst en- counters with the harpsichord and with the highest standards of integrity, quality and craftmanship in pipe organ building noted teacher Isolde Ahlgrimm. 1-800-472-5270Free Prospectus Available www.apoba.com www.TheDiapason.com
AUGUST, 2011 9
Aug 2011 pp. 2-18.indd 9 7/14/11 1:33:15 PM Grove Auditorium in New Jersey; Gor- Many former students also hold promi- sic publisher, featuring such composers a directory of published settings of the don Turk, organist of the Great Meeting nent positions in churches in the United as Vicki Tucker Courtney, Sandra How- new Order of Mass, at
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11040111_JOH_ADVERT_USA_DEALERS_DIAP.indd 1 5/12/11 2:23 PM Aug 2011 pp. 2-18.indd 10 7/14/11 1:33:42 PM 11040111_JOH_ADVERT_USA_DEALERS_DIAP.indd 1 5/12/11 2:23 PM whose writing I admire and enjoy enough the country, thousands of churches origi- faux pas in which the best man’s pants to justify periodic re-reading. But I can nally equipped with perfectly good pipe fall down just as the couple starts to ex- In the wind . . . organs have discarded and replaced them imagine the anguish and insecurity he with instruments more in tune with cur- change their vows. As you might expect, by John Bishop felt waiting the days and weeks it took for rent trends, more in sync with the style and the groom found that to be pretty fun- the 1929-style U.S. postal service to get preferences [italics mine] of current musi- ny—hilarious, in fact. The bride joined his manuscripts to New York and his edi- cians…” in, and the church was full of real, hon- tor’s responses back to Brooklin, Maine. He continues: “Over the decades of ser- est laughter for quite a while. The min- (I know he had those feelings because he vice that is the life of a great organ . . . ” ister was a trooper, acknowledging the wrote about them—thank you, Jerome, [italics mine]. humor of the situation. You can fi nd Now, Mr. Bishop surely must be aware for your dependable quick responses.) that there are hundreds of organs in Eu- the video at
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12 THE DIAPASON
Aug 2011 pp. 2-18.indd 12 7/14/11 1:34:32 PM Vox Angelica on?” From the chamber, were wholly unsatisfactory installations in that year. Taxi drivers were on strike and city” buildings, just as we marvel in the the fi rst place. The same fate awaits sta- “Yes!” “Make it softer.” tionary items of poor quality and artistic Harrison had to walk many blocks in city great museums, theaters, orchestras, While it may be okay for an organ merit with equity. heat to get home. He died of a heart at- and other institutions that can only be to cipher or a participant’s pants to fall tack on the evening of June 14 (93 days supported in a city like New York. I care down somewhere else, it is not okay at I agree fully with everything Mr. after I was born) while watching Victor a lot about the homeless and I try to do Westminster Abbey. And St. Thomas’ Baker says here. I appreciate his inter- Borge on television. The organ has sub- all I can to support them, but I don’t go Church shoulders a similar responsibil- est in including these thoughts in this sequently been revised several times. It’s to St. Thomas’ Church to hear a sub- ity for dignity, grandeur, eloquence, and debate. I’ve been in and out of hundreds 98 years since Ernest Skinner fi nished standard organ any more than I want to perfection, inasmuch as perfection is hu- of church buildings (actually probably the organ, which has now been altered see plastic fl owers on the altar in front of manly possible. The much-altered Aeoli- thousands, but that sounds specious) and just about every generation with dimin- that reredos. an-Skinner organ there is not the artistic I’ve seen countless examples of beauti- ishing degrees of success. All this talk about expensive art leads equal of the famed and fabled St. Thom- ful liturgical and architectural appoint- us to the world of philanthropy. Any as’ Choir, and while the brilliant musi- ments that have been discarded in favor When there’s so much need in the church that plans to acquire a new pipe cians who play on it don’t miss a beat, we of newer, lesser “looks,” and I’ve seen world . . . organ will rely on the availability of a few can only imagine what it will be like to less-than-thrilling original equipment Mr. LaMirande’s letter ends: large gifts to make it happen. I’ve long experience worship there when the new replaced to great benefi t. However, what assumed and often witnessed that those organ is complete. The musicians there I wrote (page 12, fourth column, second Incidentally, I can’t resist pointing out individuals who are capable of making a can almost taste it. And the responsibil- paragraph) is, “But seldom, if ever, do we that while St. Thomas Church is prepared major gift in support of an organ project to spend the extraordinary sum of $8 million ity born by the leadership and member- hear of a place like St. Thomas’ Church the homeless and destitute are ensconced do so because of their personal interests. ship of that church is heightened by the replacing their windows or reredos.” The on the front steps of this church every night But I’ve been privileged to witness an- simple fact that in an age when a pipe or- key word is “like.” of the week! . . . How many homeless and other level of philanthropy that has in- gan of average size installed in a “usual” I wrote, “Just imagine the stunned destitute could be fed, clothed, and housed formed and affected me deeply. Wendy church can cost more than a million dol- silence in the vestry meeting when the for that $8 million? served on the board of a major university lars, an instrument for such a place as St. rector proposes the replacement of the for nearly twenty years. During that ten- Thomas’ absolutely costs many millions. reredos.” The allusion is to the vestry This is one of the most diffi cult ques- ure we became friends with a lovely cou- Samuel Baker of Alexandria, Virginia and rector at St. Thomas’ Church, not tions we face as we propose, plan, and ple of immense wealth. They are dedi- wrote: the Second Congregational Church in create pipe organs for our churches. Of cated to philanthropy—she focuses on Newcastle, Maine. On Easter Monday course, it’s the mission of the church to social and humanitarian projects and he In the June issue, John Bishop suggests I was writing with tongue in cheek— care for homeless, destitute people— supports the arts. Their names are at the that perfectly good pipe organs are discard- but it’s fun to revisit the image. I don’t to comfort the affl icted and affl ict the top of donor lists for every show in town. ed and replaced with instruments more in tune with current trends and more in sync know any of them personally, and I comfortable. It’s also the mission of the Several years ago during dinner at our with the style and preferences of current haven’t been in their meeting rooms, church to provide and present worship house, the husband told us how a rep- musicians because pipe organs are in mo- but I imagine it would be an august experiences at every level. The Royal ertory theater company had approached tion, whereas windows and statues are not group of accomplished, insightful, and Wedding was cause for national and him asking for a signifi cant grant to sup- replaced because they are static; physically infl uential people sitting at an elegant international celebration, but Oliver port the production of a controversial they stay still. table in a grand room. And they would Twist and his cronies still haunt the back play that tackled some of our thorniest Despite Bishop’s claim that seldom if be stunned. Images of that reredos streets of London. Without the church’s social issues. He disagreed with a lot of ever are original design elements integral have been published on calendars, re- need for illustration of religious texts, te- the content and was uncomfortable with to the style of the building itself subject to change because they are considered old cord jackets (remember those old black nets, and principles, we would not have most of it, but he thought it was his re- fashioned, many examples are easily found LPs?), CD jewel-cases, postcards, and the sculpture or painting of Michelan- sponsibility to make the gift anyway. He in my neck of the woods of Federal-style publicity photos for generations. The gelo, the organ music of Bach, the cho- said something to the effect of, “I knew churches being “Victorian-ized” or Victori- choir, resplendent in scarlet and white, ral music of Mozart and Haydn, or the if I gave them the money I’d have to go an-style churches receiving neo-whatever stands in the chancel with that heap of Gothic cathedrals. If it had developed at see the play.” treatments. saints in the background. Replace the all, without the infl uence and resources I was impressed and moved by this And certainly organs are replaced be- reredos? No, Father. It’s staying. of the church, the pipe organ would be story, and in the years since I’ve often cause styles of organbuilding and prefer- The Aeolian-Skinner organ was fa- a wholly different entity. And the maj- refl ected on the nature of philanthropy ences of musicians change but, rather than ascribe the reason that windows and mously revised by G. Donald Harrison esty of our great churches as they serve and how much we all benefi t from it. statues are safe but organs are not to the in 1956, converting the 1913 four-man- as fi gureheads and examples for all wor- Whether it’s a church organ, a statue in premise that one is in motion and the other ual E. M. Skinner instrument (91 stops) shipful expression supports and inspires the park honoring a public servant, an isn’t, I would propose that many more pipe from symphonic to neo-classical in style. the work of the church at all levels and academic building, or a shelter for the organs are replaced because they were Harrison was personally working on the in all places. Those who toil in suburban homeless, the world relies on philan- poorly designed, built with sub-standard project, hurrying toward completion in and rural vineyards travel to the big city thropy. The trick is to be sure that all the materials, received little or no voicing, and time for the AGO national convention to experience “big city” worship in “big bases are covered. Q
RIE BLOOMFIELD ORGAN SERIES 2011-2012 JEHAN ALAIN 1911-1940 “The American Festival” September 28, 29, 30, 2011 ŢWichita State University Ţ8JDIJUB ,4ŢWiedemann Hall - Marcussen Organ
Celebrating the 100th anniversary of the birth of Jehan Alain. Keynote speaker: AURELIE DECOURT, PhD, noted musicologist and author, niece of Jehan Alain, daughter of Marie-Claire Alain. Featuring the complete organ works of Jehan Alain played by former students of Marie-Claire Alain. Presentations on the Alain/Romainmoutier organ, Alain editions, performance practice, registration. An all-Alain concert with music for voice, strings, winds, piano. An evening on the New York Paramount Wurlitzer at Century II by Jim Riggs celebrating the 100th anniversary of the “big band era”
For more information, contact: Lynne Davis Ann & Dennis Ross Endowed Faculty of Distinction Associate Professor of Organ XXXMZOOFEBWJTOFUŢXXXBNFSJDBOBMBJOGFTUJWBMDPNŢMZOOFEBWJT!XJDIJUBFEV
AUGUST, 2011 13
Aug 2011 pp. 2-18.indd 13 7/14/11 1:34:58 PM memory. As far as I know, this is in- André Marchal, and other blind organ- to have studied the music before playing deed true, although it is often the case ists played from memory. Judging from it. Good sight reading is a useful practi- On Teaching that before the fi rst famous person did photographs, Charles Tournemire played cal skill, especially for the most practical by Gavin Black any particular thing, there were less from music. situations: the moment in church when famous—or more-or-less unknown— That is, Walcha, Langlais, and many the minister changes the hymn (to an people doing that same thing. In any others played from memory, or Tourne- unfamiliar one!) at the last minute, or case, when Schumann and, soon after mire played from music, when they were the sudden request to participate in a her, Liszt began to play public piano not improvising. The place of memori- vocal or chamber music recital. Ideally recitals from memory, it was greeted as zation in the history of organ playing we can all choose our own repertoire in something new. It was also not greeted must be seen, in part, in relation to the plenty of time to learn it the right way. universally favorably. Both of these great importance of improvisation in the work In real life that does not always happen, performers were criticized for showing of organists over the centuries. If much and good sight-reading skills can come off, for putting their own displays of vir- of what is being done at the organ is im- to the rescue. Good sight reading can tuosity ahead of the musical integrity of provisation, then the relative importance also play an important part in the pro- what the composers had written. (Ap- of playing music that other people have cess of learning a piece carefully and parently Clara Schumann came in for already written is reduced. Perhaps the well. Of course, learning any piece starts more of this criticism than Liszt, perhaps sense of whether or not it is worth the with reading something, whether that is because she was the fi rst, but, unfortu- time to memorize that music is affected a series of separate contrapuntal voices, nately, also because she was a woman.) by this. or separate hands and feet, or a whole It was probably largely the extraordinary At the same time, in a different way, I texture in small increments. The more popular success that Liszt enjoyed as a believe that the phenomenon of impro- accurate and comfortable that reading virtuoso performer—success that put visation has shaped our perception of the is, the more smoothly and, probably, the him easily in the “rock star” category— meaning or importance of memorization more quickly the process will go. That that led to the spread of the practice of in the opposite direction. Improvisation process can work perfectly well as long playing piano music from memory. is a directly creative art, more directly as the player can read music at all, but It is interesting to speculate for a mo- creative than playing music that oth- the earlier the reading is the faster the ment about the relationship of memori- ers have written, though not necessar- process will normally be. Memorization II zation to the notion of authenticity to the ily more important to the listening pub- However, really great sight reading— Last month I staked out a position composer. Of course, the most basic way lic or to the world of music as a whole. the kind that permits a player to sit down about memorization that went something to apply that type of “authenticity” to the Improvisation is done without music on and perform a piece without having like this: that asking students to perform memorization question would be to sug- the music desk. I think that there is a looked at it previously—can be a trap from memory is not in any way a neces- gest that music should be memorized if chance that when some people react to that leads to artistically unconvincing sary part of asking those students to per- the composer expected or wanted it to performance from memory—without performances. This is because it allows form well, or to become fully competent be memorized, and not memorized if music on the music desk—as being on players to short-circuit the process of re- or indeed great players; that in many or the composer did not. It seems extreme- a higher artistic level than performance ally studying the music, discovering what most cases, a focus on memorization is ly unlikely that very many perform- from printed music, they are being infl u- is going on in the music, what the pat- damaging to the student’s work because ers approach it this way. I have never enced in that judgment by the image of terns are, what the overall shape is, what it is disproportionately time-consuming myself noticed a pianist playing Liszt improvisation. At least, I think that this the rhetoric of each section or passage is and it leads to increased anxiety—anx- or other late nineteenth- or twentieth- may be true—probably subconscious- about. Of course, this trap in its full form iety that is often justifi ed, since the at- century composers from memory, but ly—for some people, and it may shape only lies in wait for a few of us, the most tempt to play from memory does indeed not Beethoven, Brahms, or Schubert. the nature of the discussion about the elite sight readers. (It is not a problem often lead to reduced security and thus Memorization seems as a normal mat- supposed advantages or merits of play- for me, for example.) However, it is a less command of the music; and that any ter to be associated with the identity of ing from memory. reminder of the major caution that I or meaningful advantages that are some- the performer rather than the identity any of us who do not practice or advocate times ascribed to memorization—which of the composer. However, it is quite Related musical skills memorization must give to ourselves. can be summed up as “knowing the common for players who do regularly There are also other ways in which play- Since we allow ourselves to rely on the music really well, inside and out”—can memorize their repertoire to report, as ing from memory shares outward forms printed music in performance, we have actually be achieved better by studying a matter of their experience, that old- with other musical skills that themselves a solemn responsibility not to use that the music extremely thoroughly in a way er music is harder or in some way less are often admired. For example, playing music as a crutch propping up an inad- that is governed by the idea of studying natural to memorize than later music. from memory is clearly easier for those equately prepared performance. This is the music thoroughly, not by the goal of On the whole, composers are probably who have perfect pitch, and when an au- what leads to the claim that un-memo- then being able to play it from memory. more interested in having performers dience sees a performance from memo- rized performance exists at a lower artis- A substantial amount of what I have writ- play their music promptly than in having ry, some of that audience probably react tic level than memorized performance. ten in this column in the last few years them memorize it. It would make sense to that performer as being more profes- I have been arguing that any suggested has been geared towards helping stu- for composers to want good performers sional, more of a musician even, because advantages to memorization in the realm dents and their teachers develop ways of to be available routinely to learn new the memorized performance seems to of artistic quality of performance can studying music very thoroughly, in a fo- music rather than to spend their time imply perfect pitch. Or, to put it another actually be attributed to thorough study cused and effi cient way. Further aspects on memorization. This, rather than any way, it looks a lot like “playing by ear”, a of the music, not to memorization itself. of this study will of course occupy future particular diffi culty in memorizing the skill that is often admired. (In fact, play- Obviously, in order for a non-memorized columns as well. type of music, may explain why in the ing by ear is another one of those skills performance to express the fruits of thor- In this month’s column I will write twentieth century there was an informal that are sometimes used almost to defi ne ough study, that study must have taken about a few more aspects of the memo- tradition against memorizing modern or great musicianship: “When he was only place. Over-reliance on reading ability is rization issue, including a (very) little bit avant-garde music. fi ve years old he could hear something a threat to this, and we who do not mem- about the history of memorization, the once and sit right down and play it,” etc.) orize must be conscientious and honest relationship between memorization and Memorized works vs. Of course, playing by ear is an impres- with ourselves about this, and teach our sight-reading, and some of what I think improvisations sive skill, and it has uses in music-mak- students—and then expect them—to do that we and our students can learn from After the growth of Lisztian memo- ing. Perfect pitch can also be impressive, the same. thinking about the concept of memoriza- rized performance in the world of con- though its relationship to making music is tion, even without taking the step of de- cert piano playing, the historical situa- complicated and not always positive. It is Pros and cons ciding to perform pieces from memory. tion in the organ world was mixed. It is important, however, not to confuse these Although I have outlined reasons for I will also focus more on the other two well known that Marcel Dupré played various issues. The impressiveness of the not expecting our students to memorize aspects of playing—or learning to play— from memory and expected his students feat of playing by ear does not address or, certainly, requiring them to, I do that I have mentioned as being related to do so; Maurice Durufl é did not. Sur- anything about whether playing from not believe that memorization and per- to memorization, that is, sight-reading viving photographs of Alexandre Guil- memory leads to better performances. formance from memory should be ex- and looking or not looking at the hands mant playing all show him with scores punged from the life of the student and and feet. on the music desk. Pictures of Joseph Sight reading teacher. To start with, if a student wants It is commonly said that Clara Schu- Bonnet playing are always devoid of mu- Sight reading is, in a way, the opposite to memorize pieces, I have no particular mann and Franz Liszt were the fi rst sic, as are those of Günther Ramin. Of of playing from memory. It by defi nition interest in discouraging that, let alone keyboard players to play in public from course Helmut Walcha, Jean Langlais, requires the printed music, and the bet- trying to forbid it. Some students, of ter a player is at it, the less he or she has course, come to their fi rst organ teacher having already learned to memorize rep- ertoire from the experience of studying piano. Some students do indeed fi nd that they memorize fairly easily and naturally. However, just as we who per- form from scores have a responsibility to be honest about the pitfalls of that ap- proach, any student who wants to play from memory must realize the pitfalls of that approach. The fi rst of these that can affect even very willing and successful memorizers is the time that it consumes. Is that worth it? The same time could be spent learning more music. Would, for example, learning all three Franck Cho- rals rather than memorizing one of them
Request a free sample copy of The Diapason for a friend, student, or colleague. Jerome Butera 847/391-1045 [email protected]
14 THE DIAPASON
Aug 2011 pp. 2-18.indd 14 7/14/11 1:35:24 PM add to a student’s musical understanding refrain. With a text that says, “Light a static and do not dominate the anthem, of the Choral that the student might Music for voices candle in the darkness through the war- often providing background for the so- otherwise have memorized? Would ring madness,” this setting will be a gen- loist. The music builds to a dramatic, the time spent memorizing the Bach and organ tle, simple commemoration. The music loud ending that will be a wonderful “Dorian” Toccata be better spent learn- by James McCray for the C instrument is included and the start to the choir’s church year. ing a couple of Buxtehude Praeludia so congregation’s part is on the back cover as to understand better the background for duplication. The keyboard’s music How Firm a Foundation, Kenneth to Bach’s work? This particular question Rally-Day dilemma has numerous arpeggios and provides a Kosche. SATB, brass quartet or or- is less relevant the faster and easier a fl owing background. gan, MorningStar Music Publica- memorizer a student is, but it is of some They shall not grow old, as we that are left tions, MSM-59-60071, $1.70 (M-). relevance to anyone who expresses a grow old: I Choose You, Deborah Governor. There is a long instrumental intro- Age shall not weary them, nor the years preference for memorization. condemn. SAB, oboe, and keyboard, Becken- duction, which leads to the opening Here’s another pitfall: Is a student At the going down of the sun and in the horst Press, BP 1913, $1.95 (M). verse, sung in two parts by the men. In- memorizing only because he or she feels morning The text “When I am weak and heavy strumental music connects each of the the need to look steadily at the key- We will remember them. laden, lean on me” brings a message of four verses, but only the last two are for board? If so, then the time spent memo- For the Fallen hope in this anthem. The lyrical oboe SATB choir, and their music is easy, in a rizing is clearly being misdirected. That Laurence Binyon (1869–1943) line plays throughout and adds warmth traditional style. The rousing tempo and student should, as a matter of overall to the music. The keyboard part, on two familiar melody/text will provide a fes- security and reliability, learn to play with In most churches, the fi rst Sunday staves, is busy but not diffi cult. The cho- tive opening for Rally Day. much less looking: the occasional glance after Labor Day is a return to a myriad ral parts are syllabic and often chordal. rather than the eyes glued. After this has of activities. Sunday School, choirs, and This setting is also available for SATB Christ, Whose Glory Fills the Skies, been accomplished—or indeed while it other groups resume their weekly meet- and/or two-part choir. David Barton. SATB and organ, is being worked on—the commitment to ings, and the church springs to life after Augsburg Fortress, 978-0-8066- memorization can be re-evaluated. Per- a more leisurely summer hiatus. But Comfort, Comfort Now My People, 9823-6, $1.75 (M). haps there will be other, better reasons this year, the fi rst Sunday after Labor arr. Valerie Shields. SATB, piano, This is not an arrangement of the fa- for that student to continue to work on Day is September 11, the tenth anniver- and optional C instrument, GIA Pub- miliar music, but rather fresh music for memorization, perhaps not. (Incidental- sary of that fateful day when terrorists lications, Inc., G-7429, $1.85 (M). the Charles Wesley text. The middle ly, learning to play with very little look- attacked the Twin Towers in New York Using musical material from the Ge- section contrasts with the outer areas ing at the keyboard will greatly improve City. Many churches will have some nevan Psalter, 1551, and the well-known (ABA) as the music slows; the men sing a student’s relationship to sight reading type of commemoration on that Sunday text from Isaiah 40, this setting focuses in unison above sustained organ chords. and to the early stages, at least, of work- and some may postpone their Fall Rally on the remembrance message. The The choral parts are on two staves and ing on a piece.) Day to the following week. This can cre- work begins with a long instrumental are syllabic. The anthem closes with a Also, a student who chooses to memo- ate problems. introduction. The C instrument’s music loud, dramatic “Amen” coda. rize must be honest about whether that If the church determines to retain tra- is on the back cover, but is not indicated memorization work is really—really— dition and begin their fall schedule on on the choral score. The text begins, Joy! Because the Circling Year, correlated with thorough study of the September 11, that complicates music “Comfort, comfort now my people; Leo Nestor. SATB and organ, E.C. music. It is certainly true that the pro- choices. Normally, Rally Day is celebra- tell of peace.” The choral parts, on two Schirmer and Co., ECS 7607, $3.40 cess of memorization involves going over tive in nature with an emphasis on fast, staves, are very traditional in style. (D). the music a lot in a way that can be short- uplifting music that fi lls the sanctuary Commissioned by the AGO for their circuited by those of us who play from with joy. But, a commemoration of the A later Rally Day (September 18, national convention, this is a challeng- score. However, to the extent that that tragedy of 2001 also is most appropri- 2011) ing work for both singers and organist; repetition is training the muscle memory ate, and that strongly suggests a more there are several organ solo passages. to react correctly and carry out the ges- meditative approach to the music. Care- Great Day!, arr. Howard Helvey. The opening choral section is in Latin ture that is supposed to come next, it isn’t ful planning will be needed to strike the SATB, soprano or tenor solo, and (Veni, Sancte Spiritus); after a lengthy necessarily about musical understanding right balance. piano, Beckenhorst Press, BP 1937, and busy organ solo, the main text, in at all. Also, if memorization is mostly A simple solution is to delay Rally Day $2.10 (M). English, is an excerpt from the Latin physical—if the student would not be until September 18, but that creates nu- In this setting of the traditional spiri- opening. The organ music is on three able to write the piece out from memory, merous internal problems for the church. tual, the soloist plays a major role, al- staves and will require signifi cant prep- or even to know and be able to describe So, in these halcyon summer days it is though that music is not diffi cult. The aration. The work builds to a force- away from the keyboard most of what highly recommended that the church introduction is for unaccompanied ful “Alleluia, Amen” ending. Although comes next as the piece unfolds—then it staff address this Rally-Day dilemma choir; it then connects to a rhythmic pi- this is a traditional Pentecost work, it is notoriously unreliable. In particular, it early to reduce the many problems that ano pattern that is a background for the would make a dramatic opening for the is subject to falling apart in the face of may emerge from this sad, yet important soloist. The choral parts are somewhat church’s Rally Day if there were experi- any distraction and then being very hard ten-year commemoration. indeed to put back together. The music reviewed this month fea- Even a student who is not committed tures fi ve works to help create the fes- to memorization might be intrigued by tive spirit associated with Rally Day, and trying it out as a special project or chal- fi ve to address the seriousness related to lenge on an occasional piece. I have no the remembrance of “9/11”. Good luck problem with this, as long as it is kept with this unusual situation that starts the separate from an expectation that mem- church choir’s year. orization will become the norm. It might make sense to start with a short piece— Remembering the anniversary an Orgelbüchlein chorale, perhaps, or (September 11, 2011) one of the short Vierne pieces. And this would be a particularly intense and inter- Heal Us Lord, Liam Lawton, arr. esting challenge if it were approached— Paul Tate. SAB, congregation, and at fi rst—away from the keyboard. If, keyboard, with optional guitar, GIA for example, a student memorizes each Publications, Inc., G-7564, $1.85 separate voice of a short chorale prelude (M+). away from the instrument—so that he This gentle setting has a congrega- or she could write it down—then brings tional part on the back cover and would each voice over to the console separately be most appropriate for a remembrance at fi rst, and then puts those voices to- of the tragedy. The congregation’s text gether from memory, that constitutes an is “Heal us, Lord. May your word renew intense and challenging mental workout. us, may your touch restore us.” There It is also a version of the kind of separate- are three verses, which are sung by the voice study that I would recommend in choir; the refrain has the congregation any case. singing above a sustained choral back- Looked at this way, memorization has ground. The calm music is easy for both something in common with, for exam- singers and keyboardist. ple, learning to read from seventeenth- century tablature, or making one’s own Wherever You Go, David Lantz III. organ transcription of a song or a string SATB and keyboard, Beckenhorst quartet. It is a mental and musical exer- Press, BP 1922, $1.95 (M). cise that might well be interesting and Although this is more rhythmic and challenging, and that might yield some less meditative than other reviewed insights or unexpected results. settings, the text (“When the danger is This topic of memorization is one great, we remember God’s promise to about which I would particularly wel- the end of the age. I am there at your come feedback—ideas, anecdotes, reac- side.”) seems to blend the anniversary tions to anything that I have said. I will and Rally Day together. The choral parts include some of that feedback in a future are on two staves with some brief use of column. Q divisi. The keyboard part is syncopated and usually chordal. The music builds to Gavin Black is Director of the Prince- a loud fi nal statement from the choir. ton Early Keyboard Center in Princeton, New Jersey. He can be reached by e-mail Light a Candle, Lori True. Two-part, at
AUGUST, 2011 15
Aug 2011 pp. 2-18.indd 15 7/14/11 1:35:47 PM enced performers with ample rehearsal describes her work as “a complimentary strains of 1960s protest songs, and, dur- the Methuen Organ Co., and Treat’s time. Outstanding music! study rather than an update.” Barbara ing the sermon, produced a guitar and foreman, John Ingraham, took over. It Owen is the foremost authority on the launched into ‘I can see a new day.’” A is at this point that we come to Searles’ Praise, Praise the Lord, Jay Althouse. history of the organ in America, and her new 9:15 Folk-Rock service was insti- largest and most famous organ project. SATB and piano or optional brass excellent books are defi nitive reference gated, and the new assistant rector hired In 1884 the Boston Music Hall igno- quartet, Hope Publishing Co., C works. For her to write a monograph a rock band to provide the music. The miniously threw out their magnifi cent 5649, $1.95 (M). on the musical history of anyone’s local diminishing congregation feared that the E. F. Walcker organ. A Mr. Grover pur- Althouse’s familiar style of repeated church is the highest compliment. But it end of their beloved choir of men and chased it and put it in storage. In 1897, chords combined with syncopation is more probable that what she meant to boys was at hand. Some applicants for following Mr. Grover’s death, Searles dominates the accompaniment. The state was that her book on Trinity Church the organist/director position were dis- purchased the Walcker organ at auction, choral parts, on two staves, are not dif- is a “complementary” (with an “e”) study couraged when the new rector and his and between 1899 and 1911 Searles and fi cult and have some unison passages. to Byles’s, in the sense of completing assistant roared up for the interview on Vaughan worked on building Serlo Hall This will be a fun, spirited setting to what he had begun. motorcycles! But Stephen Loher got the in Methuen to house the instrument. open the choral year. She makes it easy. The book falls into job and confronted it with tact and ef- The rest, of course, is history. two parts: a 40-page historical and bio- fective creativity—and prevailed. Craig In a couple of instances—for example, graphical account of the organists and Biddle retired in 1978 and with him the All Saints’ Episcopal Church (now St. choirmasters who served Trinity from Folk-Rock service, although like many Andrew’s) and St. George’s Primitive Book Reviews its founding in 1752 to 2010, and a 25- other churches in similar situations, a Methodist Church in Methuen—Searles page account of every organ the historic vestigial “informal” service remains. But not only donated an organ, but donated church possessed through the years, in- the male choir of tradition survives at the church to house it as well. For the All Music on the Green: The Organists, cluding stoplists, descriptions, contem- Trinity Church-on-the-Green. Saints’ organ, Searles got Jesse Wood- Choirmasters, and Organs of Trinity porary newspaper accounts, cost to the Although a slight volume, this little berry & Co., the fi rm of which Treat Church, New Haven, Connecticut, church, and critical evaluations. The fi rst book contains two unexpected and valu- was then tonal director, to build chests by Barbara Owen. Richmond, Vir- was an English import by Henry Holland able appendices: (1) an account of the similar to the original Walcker ones in ginia: OHS Press, 2010. ISBN 978-0- (1785) I/6; replaced by William & Thom- tower bells and (2) photocopies of origi- the Boston Music Hall organ. The chests 913499-28-3; 98 + xiii pages, paper- as Redstone (1816) II/11; then came nal compositions by Trinity’s organists fi tted with cone valves proved to have a back, $26.95; one by the famous New Yorker Henry and choirmasters. In 1887 the Meneely very heavy touch, so the Methuen Organ
16 THE DIAPASON
Aug 2011 pp. 2-18.indd 16 7/14/11 1:36:18 PM Wells. Dean Mitchell was not only very into scherzos that fi t together to create a prelude Simple Gifts, from which the supportive of the organ reconstruction coherent whole. This, combined with the New Organ Music volume takes its title, has two repetitions project, but expanded the work to in- freshness and neoclassicism of the piece, of the melody, each time calling for it clude a lovely new case designed by makes for an extremely original and in- to be played on a 4′ fl ute. Each phrase Alan Rome. The instrument was trans- teresting composition. By contrast, the Simple Gifts—Four American Hymn is set apart by a brief fanfare on an 8′ formed into one of the outstanding Brit- Offertoire pour la Fête du Christ-Roi, Preludes for Organ, by Kenneth T. fl ute. The music reminds me of some of ish cathedral organs of the period, a fi ne performed on the Dijon organ, is much Kosche. MorningStar Music Publish- Haydn’s music for mechanical clock! example of the British equivalent of the more mystical and introspective in char- ers MSM-10-574, $10.00. The prelude Beach Spring is also “American Classic” style of instrument. acter. These two compositions taken to- It seems that many composers are rather soft, 8′ and 4′ fl utes with a soft solo When I fi rst saw and heard the remod- gether represent the opposite poles of a writing pieces based on hymn tunes stop coming in with the melody. The in- eled instrument, I could hardly believe compositional style that ranges from the these days. For the church musician, terludes also use the tune against chang- my eyes and ears. How was it possible neoclassical to the impressionistic. this is a real blessing, which provides ing chords. A gentle crescendo is made that such a perfectly dreadful organ The last two pieces on the recording an alternative to the constant use of by the addition of more stops, before it could have been transformed into such are two fairly lengthy improvisations. Baroque or Romantic-period compo- subsides at the end. Prospect, the third a magnifi cent instrument? The fi rst, Improvisation d’un Poème sitions. Particularly usable are these tune in the volume, was my least favor- Rupert Gough is the assistant organ- symphonique, was played on the Basel compositions, based on American tunes ite. It calls for 4′ fl utes on both manuals ist of Wells Cathedral and the organ tu- organ and is a tone poem based on three that are well known to church congre- against a Rohrschalmei or 4′ Choralbass tor at Wells Cathedral School, an inde- ideas of Jean-Pierre Vallotton: Le Mun- gations. Dr. Kosche, who currently re- in the pedal. Meant to sound improvisa- pendent boarding school that doubles ster roman de Basel, Les tableaux du sides in Wisconsin, has had over 250 tory, the two manual parts, which imitate as the cathedral choir school. On this Musée de Basel, and Le Rhin qui coule à compositions published; the majority of each other and stay very close to each recording he has brought together an Basel. The fi nal piece is a set of variations them are for use in liturgical settings. A other in pitch, seem to confuse the ear. eclectic program of organ compositions on a theme that was supplied by Maurice considerable amount of his music is for Dove of Peace rounds out the collec- and transcriptions from various periods, Clerc during a concert in Dijon Cathe- SATB chorus, handbells, instruments, tion. Calling for a small plenum against all of which come off extremely well on dral. The theme has a certain quizzical and organ solo. In addition, he has writ- a solo stop, it has, in its 6/8 meter, a nice this instrument, and all of which would character that communicates itself to the ten a book on conducting. motion, which carries it through to a sat- be likely to appeal to a general audience improvisation at several points, although The volume entitled Simple Gifts is isfying conclusion. as well as specifi cally to organists. This it also has some very serious moments. It just that: simple, and delightful. The The music is on the easy side, but makes would be an ideal recording to introduce builds up from a quiet start to a magnifi - the general public to the world of organ cent climax on full organ at the end. music and to give them an enjoyable fi rst The Hortus compact disc is entirely experience of the pipe organ. taken up with compositions of Dupré, Franck, and Vierne, played on the 58- stop, three-manual-and-pedal 1860 Rolande Falcinelli in concert: Franck, Cavaillé-Coll organ at the Cathédrale de Dupré, Falcinelli, Improvisation. Saint-Jean-Baptiste at Belley, near Lyon Organs of Dijon Cathedral, France in France. At the instigation of one of her and Basel Minster, Switzerland. Édi- students, Jean-Pierre Millioud, Rolande tion Festivo compact disc 6952.062. Falcinelli organized a series of summer
AUGUST, 2011 17
Aug 2011 pp. 2-18.indd 17 7/14/11 1:36:41 PM for satisfying voluntaries. I have used two A. de Cabezón, Selected Works for 1557, the rest from the Obras de Mu- be much better known. Volume 4 con- of the pieces in services. They make good Keyboard, edited by Gerhard Do- sica, including three of the fi ve pieces cludes with seven sets of variations and offertories, as they are each around two derer and Miguel Bernal Ripoll, four attributed to Hernando himself. Vol- the glosa on Dont vient cela. The varia- minutes in length. Although not among volumes. Bärenreiter BA9261–9264, ume 1 contains 20 pieces: nos. 1–10 are tions cover three dances (two settings of the most noble of hymn settings, they are €29.95. taken from the Henegas print, including La Pavana Italiana, and La Galliarda delightful for what they are, and I recom- Antonio de Cabezón, ca. 1510–66, is four simple hymn settings, a short se- Milanesa), the ground bass song Las Va- mend the set most highly. considered to be the greatest Spanish quence Dic nobis Maria, and fi ve multi- cas, and three popular songs, including composer for keyboard of the 16th cen- thematic tientos moving predominantly the lovely La dama le demanda. All are 10 Choral Preludes (opus 70) for tury. His duties as organist to the court in half and quarter notes, of which no. written in beautifully fl owing four-part Organ by Johanna Senfter. Edition of Charles V took him across Europe 6 is based on the chanson Malheur me counterpoint and are probably the most Schott ED 9603, ISMN 979-0-001- and into contact with some of the lead- bat. Notable is no. 7 with its isolated accessible of Cabezón’s pieces to today’s 13459-0, €12.95; ing musicians, including two visits to alternate-bar treble whole notes in bars player and listener.
18 THE DIAPASON
Aug 2011 pp. 2-18.indd 18 7/14/11 1:37:05 PM Emulation and Inspiration: J. S. Bach’s Transcriptions from Vivaldi’s L’estro armonico H. Joseph Butler
t is well known that Bach aggressively Extant Bach concerto transcriptions I studied the music of his contempo- raries and predecessors as he developed his own personal and unique style. In particular, his work transcribing Viv- aldi’s string concertos is often cited as a watershed in Bach’s education. How- ever, a closer look at the concerto tran- scriptions and their genesis will encour- age us to re-evaluate their role in Bach’s stylistic development. The transcriptions stem from Bach’s Weimar years, probably between 1713 and 1717. It is believed that much of the source material was provided by his patron, Prince Johann Ernst. In 1713, Ernst visited Amsterdam and purchased a large quantity of music, likely including Vivaldi’s newly published Opus 3, L’estro armonico.1 The chart to the right shows the extant concerto transcriptions made by Bach; there are 23 transcriptions from 21 originals.2 Bach was not alone in mak- ing concerto transcriptions; from Johann Gottfried Walther, his colleague in Wei- mar, we have 14 surviving transcriptions.3 The purpose of Bach’s concerto tran- scriptions has been debated and probed at length. At fi rst, scholars were inclined to believe the words of Johann Nikolaus Forkel, who wrote in 1802 that Bach un- dertook the transcriptions for the pur- pose of education.4 However, the extent of Bach’s activity in this area seems to exceed the needs of self-improvement; one does not need to make dozens of 1711; soon thereafter, it was published Illustration 1. Vivaldi, Op. 3, No. 8/2, facsimile idiomatic keyboard arrangements of by Walsh in London (1715 and 1717). concertos to learn how to write one for Several French editions followed, be- strings. And of course, if the purpose of ginning in the 1730s. Roger reissued the exercise were purely educational, the collection no less than twenty times, there would have been no need to tran- fi nally ending production in 1743. Its scribe the works of the teenage Prince popularity only rivaled by Corelli’s Op. Johann, who was himself a student of 6, L’estro armonico established Vivaldi’s Walther and Bach. Therefore, it is now reputation throughout Europe. widely believed that the transcriptions The publication was exceptional in were actually commissioned by the that it consisted of eight part books: prince, a theory fi rst advanced by Hans- four violin parts, two viola parts, one Joachim Schulze.5 cello part, and one part for double bass, Also diffi cult to discern is what Bach which included the fi gures. A more typi- actually learned from Vivaldi. Forkel cal concerto publication would be in just wrote that from Vivaldi, Bach learned fi ve parts, the solo part plus the usual “musical thinking” and the concepts of quartet of string parts. In fact, Vivaldi’s “order, continuity, and proportion.”6 As later concerto publications were gener- Christoph Wolff has asserted, this state- ally à cinque; none are in eight parts. In ment may be reliable precisely, and all cases, production of a score was left to ironically, because Forkel had no knowl- the purchaser. edge of Vivaldi’s music and no way to The eight-part presentation of Op. know what Bach learned from it; there- 3 allowed for considerable variety in fore, the statement could well originate solo groups: there are concertos for from Bach’s sons who were in contact one, two, or four soloists. In addition, with Forkel in the late 18th century.7 the cello is often emancipated from the Nevertheless, there were many other continuo and is able to join the soloists Italian models at Bach’s disposal, not to in virtuoso passagework. One player mention the works of Telemann, an es- per part is suffi cient to perform a con- tablished master who was close at hand. certo; solo and tutti contrasts are pro- And it has been observed that Bach was vided by the doubling in the part writ- able to create a coherent ritornello form ing, not by the use of a large ensemble. as early as 1708, in the opening move- The bass part is fully and carefully fi g- ment of Cantata 196.8 Taking all that into ured, even in Vivaldi’s frequent unison account, perhaps it is more interesting passages (Illustration 1). to observe what Bach did not learn from The structure of Op. 3 is ingenious. Vivaldi: that is, what musical elements There are twelve concertos in four did he alter in Vivaldi and subsequently groups of three: the fi rst of each three is avoid in his own works? for solo violin, the second for two violins, The concertos Bach transcribed from and the third for four violins. Superim- Vivaldi’s Op. 3 provide the best avenue posed on this scheme is a tonal arrange- for this study. These works are the most ment in pairs, alternating major and elaborate of Bach’s transcriptions, and minor keys, with the last pair reversed they were based on outstanding origi- to end in major. Unfortunately, Vivaldi’s nals available to Bach in an authoritative elegant concept is violated by most mod- published edition. His other Vivaldi tran- ern editions10 and obscured by the com- scriptions were made from manuscript monly used Ryom catalogue.11 Manualiter transcriptions concertos at the keyboard was especial- sources of varying integrity.9 There is also an intriguing logic to The manualiter concertos are prob- ly fashionable on the organ; in fact, the Bach’s approach to the source material. ably the most neglected works in this practice may have been fi rst popularized The source From the twelve concertos of Op. 3, he genre. Robert Marshall makes the case by an organist in Amsterdam, Jan Jacob Op. 3 was Vivaldi’s fi rst publication of arranged three solo violin concertos for that the classifi cation of these as harpsi- de Graaf, whose profi ciency perform- orchestral music, an ambitious offering keyboard without pedal, two double vio- chord works in the Bach index, and in ing concertos at the organ was praised with the brazen title L’estro armonico, lin concertos for organ with two manuals editions of the keyboard works, is arbi- by Mattheson.13 Three, Bach’s primary “harmonic inspiration.” Vivaldi chose the and pedals, and one concerto for four vi- trary, and that they are equally likely to role at Weimar was organist, not harp- Amsterdam publisher Etienne Roger olins is transcribed for four harpsichords be organ works.12 Various factors sup- sichordist. Four, the manualiter tran- for this collection for two reasons: the and orchestra. Although there may have port this theory: One, there was a tra- scriptions were transposed and adapted superiority of Roger’s work and the op- been more transcriptions made and sub- dition of composing organ pieces both to fi t the range of the organs played by portunity to exploit the strong demand sequently lost, these six arrangements pedaliter and manualiter, sometimes Bach in the Weimar region, which was for Italian music in Northern Europe. seem to comprise an orderly exploration in complementary fashion, as we fi nd four octaves, from C to c′′′. In general, Initial publication in Amsterdam was in of the original material. in Clavierübung III. Two, performing there is a modern tendency to overlook
AUGUST, 2011 19
Aug 2011 pp. 19-21.indd 19 7/15/11 7:12:37 AM Example 1. Vivaldi, Op. 3, No. 3/1, and BWV 978/1, mm. 1–4 Example 3. Op. 3, No. 8, and BWV 593, mm. 19–20
Example 4. BWV 593/3, 87–89 Example 2. Op. 3, No. 3/1, and BWV 978, mm. 7–9
Example 5. Op. 3, No. 11/3, and BWV 596/3, mm. 67–70
the need for 18th-century musicians to even those that are concerto-inspired, no play organ music without pedals; such manual changes are indicated and the pieces would have been attractive to counterpoint makes changes awkward.15 gentlemen amateurs, ladies, and young Again in the organ transcriptions we people, as well as professional organists see Bach’s tendency to fi ll in the rests and in smaller churches. While there is cer- longer note values with continuous 16ths, tainly no reason to exclude one instru- perhaps with a bit more fi nesse than in the ment or the other, organists should be manualiter transcriptions. In Example 3, aware that the manualiter transcriptions he not only fi lled in the rests in Vivaldi’s contain some excellent material rarely original but also created a quasi-imitative heard on their instrument. sequence. The challenging sixteenth- We can study many of the traits of the note pedal passages Bach added in BWV manualiter transcriptions by looking at 593/3, mm. 59–63, lend further weight BWV 978 (Example 1).14 The transposi- to the argument that the transcriptions tion by Bach to F major avoids the note were intended for virtuoso performance d′′′, which is prevalent in the original. rather than theoretical study. More interesting is Bach’s complete re- Mm. 51–54 in the fi rst movement of working of the bass line; the left hand BWV 593 are peculiar for their use of does not wait for the opening theme to octaves where Vivaldi’s original is fully be stated, but enters early with a closely harmonized, a rare instance where Bach related countermelody. Throughout the is less full in texture than his model.16 manualiter transcriptions, Bach adds Another oddity is the indication “Or- passagework in the left hand, leaving the gano pleno” in m. 51; most likely, this is treble mostly unchanged. In mm. 7–11, a copyist’s error for “Oberwerk.” It does Example 6. Op. 3, No. 11/5, and BWV 596/5, mm. 70–73 Vivaldi’s homophonic eighth-note accom- not signal a registration change, but sim- paniment is replaced by broken-chord ply a return to the main keyboard with sixteenth-note fi guration in the left hand its plenum. (Example 2). Perhaps a better solution to Sometimes exceptional means are this problem would be found by a later used to create a solo and accompaniment generation with the Alberti bass. (Example 4). It is strange, and perhaps Another trend in the manualiter tran- disappointing, that Bach never used this scriptions is Bach’s avoidance of manual kind of multi-layered symphonic texture changes and dynamic contrast. Note that in his own organ works. the original’s echo is gone and the added BWV 596 in D minor is the only key- counterpoint makes a manual change im- board concerto that survives in autograph possible (Example 1, m. 3–4). Through- (Illustration 2, on page 21). It was long out the manualiter transcriptions there thought to be a work of Wilhelm Friede- is no attempt to render solo and tutti mann Bach because of the inscription “di contrast with manual changes. There W. F. Bach” followed by “in manu mei are only occasional dynamic effects re- Patris descript” (“written in the hand of quiring two keyboards, and these are for my father”). However, in this case “di” echo gestures within the tutti ritornello, means “of” or “owned by”; Wilhelm as in Op. 3, No. 12 and BWV 976, m. 2. Friedemann was claiming ownership of the manuscript, not authorship of Organ transcriptions the piece. As a result of this misunder- The two best-known concerto tran- standing, BWV 596 is missing from the scriptions are those for organ with two Bach Gesellschaft, Peters, and Widor- manuals and pedals, in A minor (BWV Schweitzer editions of the organ works. 593) and D minor (BWV 596); these The D-minor concerto is perhaps are part of the standard concert reper- the most interesting of all the Weimar toire for organists and are on a higher era transcriptions, and if the survival of and Pedal Principal 8′.17 This registra- Bach made an interesting change in level of virtuosity and complexity than an autograph is any indication, it may tion was not an aesthetic choice, but was this opening passage, rewriting the two the manualiter concertos. In the organ have been Bach’s favorite as well. One contrived for a purely practical reason, solo violin lines to make a strict canon transcriptions, two manuals are consis- remarkable characteristic of the original to avoid the d′′′ prevalent in the origi- and adding an extra measure where the tently and effectively used for dynamics, is Vivaldi’s rigorous and energetic fugue, nal. Since transposition of the concerto canon winds down (m. 10).18 This change solo with accompaniment, and solo-tutti which exhibits ingenious invertible to C minor would have made the fugue, is unique in Bach’s transcriptions; nor- contrast. The manual changes are clearly counterpoint as well as solo/tutti con- with its fast parallel thirds and sixths, mally, he maintained the dimensions of notated and the voice leading and beam- trast. Surely, this piece served as inspira- very awkward to play, Bach used 4′ stops the original, neither adding nor subtract- ing designed to accommodate them. De- tion for Bach’s concerto movements that and played the opening section an octave ing measures. The addition of a canon to spite this successful experience adapting synthesize fugue and concerto (e.g., fi nal lower. This registration should not be this concerto confl icts with the tradition- Vivaldi’s dynamic effects to the organ, movements of Brandenburg Concertos considered a model for registering other al view, stated by Forkel, that Bach used Bach almost universally avoided manual Nos. 4 and 5). concerto movements and playing entire Vivaldi as a guide away from improvised changes and dynamics in his own organ The beginning of the concerto has at- movements on a single principal stop. It “fi nger music” toward a more intellectual works, the exceptions being the Toccata tracted considerable attention for Bach’s is a unique exception to the normal reg- and organized approach to composition. in D Minor, BWV 538, and the Prelude in unusual registration instructions: Ober- istration for concerto fast movements, In this passage, BWV 596 is clearly more E-fl at, BWV 552/1. In other organ works, werk Octave 4′, Brustpositiv Octave 4′, which is organo pleno. cerebral than the model.
20 THE DIAPASON
Aug 2011 pp. 19-21.indd 20 7/15/11 7:13:13 AM Illustration 2. Facsimile, fi rst page of BWV 596 autograph 7. Christoph Wolff, Bach: Essays on His Life and Music (Cambridge, MA: Harvard University Press, 1991, 72–83, and Johann Sebastian Bach: The Learned Musician (New York: W.W. Norton, 2000), 169–174. 8. Williams, 203. 9. See chart above. For more detail on Bach’s sources for the concertos see Taglia- vini, 240–256, and Schulenberg, 95–101. 10. An exception is Antonio Vivaldi, L’estro armonico Op. 3, in Full Score, ed. E. Sel- fridge-Field (Mineola, NY: Dover Publica- tions, 1999). 11. Op. 3, Nos. 1–12 are RV 549, 578, 310, 550, 519, 356, 567, 522, 230, 580, 565, 265. The problem will be remedied in a new edi- tion and catalogue by the Istituto Italiano An- tonio Vivaldi. 12. Robert Marshall, “Organ or ‘Klavier’? Instrumental Prescriptions in the Sources of Bach’s Keyboard Works,” in J.S. Bach as Organist: His Instruments, Music, and Per- formance Practices, ed. G. Stauffer and E. May (Bloomington: Indiana University Press, 1986), 212–240. 13. Johann Mattheson, Das beschützte Or- chestre (Hamburg, 1717; reprint Laaber: Laab- er-Verlag, 2002), 129f, cited in Schulze, 6. 14. Vivaldi examples will be reduced to two or three staves. 15. See also George Stauffer, “Bach Organ Registration Revisited,” in Stauffer and May, 203–207. 16. In this regard, note that Bach did not realize the fi gured bass in Vivaldi’s unison pas- sages, resulting in transcribed passages less harmonically rich than the original; cf. Illus- tration 1 and BWV 593/2, mm. 1–4. 17. By all accounts, there was no Rückposi- tiv on the Castle Church organ in Weimar; hence, the indication of Brustpositiv is logical; however, with puzzling inconsistency, Rück- At the end of the fugue, Bach made a A Minor, BWV 1065, based on concer- Notes positiv is indicated as a secondary manual in signifi cant change (Example 5); in order to No. 10 for 4 violins in B minor. This 1. Peter Williams, The Organ Music of the fi nale of this concerto. Williams, 221, and J.S. Bach (New York: Cambridge University Ulrich Dähnert, “Organs Played and Tested to effect a stronger conclusion, he added transcription is much later than those for Press, 2003), 202. more harmonic interest, rhythmic drive, keyboard solo. Stemming from around by J. S. Bach” in Stauffer and May, 7f. 2. Material in this chart is gleaned from 18. Observed by James Welch in “J. S. and a Picardy third ending. 1730, it is a Leipzig work destined for a number of sources, including Richard Bach’s Concerto in D Minor, BWV 596, after Another interesting change is found performance by Bach’s Collegium Musi- Douglas Jones, The Creative Development of Vivaldi: Its Origin, Questioned Authorship, at the end of the last movement (Ex- cum. Here we fi nd little trace of Bach the Johann Sebastian Bach (Oxford: Oxford Uni- and Transcription,” The Diapason 74 (May ample 6). Vivaldi’s tremolo string writing learner, as he takes a fi ne Vivaldi original versity Press, 2007), 141–152; David Schu- 1983): 6–7. is fruitless on the organ, so Bach used and puts his own stamp of genius upon lenberg, The Keyboard Music of J.S. Bach sustained chords in conjunction with a it, enriching the texture and harmony (New York: Schirmer Books, 1992), 90–109; H. Joseph Butler is Professor of Music and Uni- Luigi Tagliavini, “Bach’s Organ Transcription versity Organist at Texas Christian University in newly added tenor line. The added line throughout. Of particular interest is the of Vivaldi’s ‘Grosso Mogul’ Concerto” in J.S. is suffi ciently violinistic that few organ- poignant chromaticism added to Vivaldi’s Fort Worth, where he also serves as Associate Bach as Organist: His Instruments, Music, Dean of the College of Fine Arts. He holds a DMA ists suspect it is not original to Vivaldi. diatonic sequence in mm. 82–85, and the and Performance Practices, ed. G. Stauffer and Performer’s Certifi cate from the Eastman Bach used nearly the same tenor fi gura- 32nd-note keyboard fl ourish in mm. 90– and E. May (Bloomington: Indiana University School of Music, an MM from the New England tion to replace a tremolo passage in an- 91, the latter similar to some passages in Press, 1986), 240–256; Williams, 201–224. Conservatory, and a BA from Bowdoin College. other Vivaldi concerto; see Op. 7, Bk. 2, Brandenburg Concerto No. 5. 3. According to Hans-Joachim Schulze, He has studied organ with Russell Saunders, No. 5 and BWV 594/1, mm. 26–27, 32, “J. S. Bach’s Concerto Arrangements for Or- Yuko Hayashi, Harald Vogel, Bernard Lagacé, 34, etc. Conclusion gan—Studies or Commissioned Works?” Or- and Marion R. Anderson, and harpsichord with gan Yearbook 3 (1972): 6 and note 9, Walther Colin Tilney and Arthur Haas. In conclusion, there can be no doubt claimed to have made 78 concerto transcrip- Tonal considerations that Bach learned certain elements of An active scholar in the area of early key- tions; however, the composer actually states board music, he has published articles in The That these two movements were al- composition from working with Viv- that he arranged 78 pieces (Stücke) by other New Grove Dictionary, Organ Yearbook, The tered to end with a major chord is reveal- aldi’s models; indeed, Op. 3 was a mu- composers. See Walther’s autobiography in American Organist, Bach, Early Keyboard ing. Such a change is unnecessary in the sical landmark that infl uenced most Johann Mattheson, Grundlage einer Ehren- Journal, and THE DIAPASON. His book, The context of a transcription, and thus rep- composers in the early 18th century. Pforte (Hamburg, 1740), ed. Max Schneider Peter Pelham Manuscript of 1744: An Early resents a purely aesthetic choice made However, there is suffi cient musical (Kassel: Bärenreiter, 1969), 389. American Keyboard Tutor, is published by by the arranger. Comparing how each evidence in the transcriptions to sug- 4. Johann Nicolas Forkel, Johann Sebas- Wayne Leupold Editions. tian Bach: His Life, Art, and Work (Leipzig, Dr. Butler has performed widely in the Unit- composer ends minor key movements gest that Bach was a mature, confi dent, 1802), 23, and The Bach Reader, ed. Hans T. ed States, England, and Hong Kong. His latest leads to some striking differences. In and highly original composer in the David and Arthur Mendel (New York: W. W. CD, the fi rst-ever recording of the complete Op. 3, there are 24 minor-mode move- early Weimar years, before he made Norton, 1966), 317. keyboard works of Julius Reubke, in collabo- ments; none ends with a Picardy third. the concerto arrangements. Q 5. Schulze, 4–13. ration with John Owings, pianist, is available Further, in the Op. 4, 7, and 8 concertos 6. Forkel, 23, and Bach Reader, 317. from Pro Organo Records. one searches in vain for a Picardy ending. Bach did not publish any large sets of concertos; nevertheless, we can observe that all six Brandenburg concertos are in major keys—which may be signifi cant ST MICHAEL’S CHURCH BECKENHAM, LONDON in and of itself. Of the minor-key slow movements, only one ends on a minor chord. One ends Picardy and another St Michael and All Angels, Beckenham is a lively church in South East two end with a Phrygian cadence, more London, which centres its worship in the Catholic tradition of the Church in the manner of Corelli than Vivaldi. Looking at some other organized sets of of England. Bach works from Weimar or soon there- after, we see that in the Orgelbüchlein and Well-Tempered Clavier I every mi- nor-key piece ends with a major chord, The previous church was damaged beyond repair in the last war and the except one (BWV 863/2). There are other signifi cant tonal dif- present building replaced it. ferences one could explore; Vivaldi often tends to have all three movements in the same key, and in some cases will have the The new two manual and pedal organ of fifteen stops is to be placed on a slow movement of a minor-key concerto in the subdominant, also minor. On the gallery at the rear of the church. It is to have mechanical key, pedal and other hand, Bach will more typically use a mediant relationship for the middle drawstop actions. Completion is due for early 2012. movement, exploiting the relative minor or major. Ending a major-key movement, Vivaldi will stay in tonic, without hint of other keys; Bach will usually tonicize the subdominant just before closing. All of St Peter’s Square - London E 2 7AF - England [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 [e] [email protected] this leads to the conclusion that Bach did not emulate Vivaldi in some crucial mat- ters of harmony and tonality. MANDER ORGANS Orchestral transcription The last concerto Bach transcribed from Vivaldi’s Op. 3 was the Concerto www.mander-organs.com for Four Harpsichords and Strings in
AUGUST, 2011 21
Aug 2011 pp. 19-21.indd 21 7/15/11 7:13:42 AM Birds, Bells, Drums, and More in Historical Italian Organs, Part 2 Fabrizio Scolaro, English translation by Francesco Ruffatti
Photo 8. The bass drum of the organ at Faiano (Salerno), dating from 1842.
was playing after prayer times during the day, and at sunrise and sunset. One of the peculiarities of the “Turk- ish” music was the great importance (and loudness) of the percussions. The bass drum (Photos 7 and 8), the crash cymbals (Photo 9), the “Sistro” or “Chi- nese hat” (Turkish crescent or Jingling Johnny54) (Photo 10), and the triangle impressed and captivated European musicians, who, starting from the sec- ond half of 1700, adopted them in their Photo 7. The 18th-century organ, modifi ed by Quirico Gennari in 1842, in the church musical creations. One of the fi rst to of S. Benedetto at Faiano (Salerno). Gennari, while retaining the original windchests utilize them was Gluck (probably on and classical stops, introduced a number of “new” effects, among which were the that occasion, but even in prior per- percussions. The instrument was restored by Fratelli Ruffatti in 2007. formances of his works, like the Cadi Dupé, in 1761, by hiring Turkish musi- Part 1 was published in the July 2011 ish military band. Such type of musical cians who lived in Vienna at the time) issue of THE DIAPASON. band was already known in Europe, both for his opera La rencontre imprévue ou because the Turkish diplomatic delega- Les Pèlerins de Mecque (1764). It was an The “Turkish” Percussions tions were accompanied by such bands, opera that even Mozart likely heard and Between the fi rst and the second de- and also for having been heard during appreciated, to the point that he wrote cades of the 18th century (available doc- the wars against the Turks. In 1683, the the twelve variations in G major, K. 455, uments do not agree on the exact timing) Austrian troops and population, during on the theme from an aria of La rencon- the Ottoman Sultan Ahmed III sent as a the siege of Vienna, were psychologically tre. Since then, many musicians have gift to the Polish King a complete Turk- troubled by a Turkish musical band that adopted both the style and the instru- mentation of Turkish music. Mozart, in 1775, wrote a concerto for violin (no. 5 in A major, K. 219) sometimes named “Turkish” for the peculiar structure of Photo 10. The “Chinese hat,” one of the the last tempo; in 1778, the piano so- elements of the “Turkish band.” This unit was manufactured by Fratelli Ruffatti as nata in A major, K. 331, with the famous a copy in 1988 during the restoration of rondo “Alla turca” (“in Turkish style”); the Tronci organ, 1778, modifi ed by Agati and, in 1782, the opera Die Entfüh- Tronci in 1898, in the church of S. Pietro rung aus dem Serail. But even Haydn at Casalguidi (Pistoia). The original had (for example in the symphonies 63, 69, been removed and eliminated from the and 100) and then Beethoven (from instrument during the 20th century. Die Ruinen von Athen in 1812 until the last movement of the Ninth Symphony) The popularity of opera in the 18th and even the musicians of the Strauss and 19th centuries and at the beginning dynasty adopted Turkish instrumenta- of the 20th in Italy is a phenomenon tions and styles.55 In a matter of a very that is being studied from every possible few years, composers and orchestras angle. An interesting aspect is the great throughout Europe adopted the exotic appreciation, almost a sort of fan-like Viennese acquisitions. exaltation, of the music of Verdi, which Manufacturers of fortepianos were had a strong political connotation, being also fascinated by the instrumentation linked to a sort of underground rebellion “in the Turkish style,” and around the against Austrian rule and against all other year 1800 they began to manufacture oppressors of the Italian people. Often, instruments that included a stop called one could fi nd “W VERDI” graffi ti, not “Turkish music”56 or Janitscharenzung, referring to composer Giuseppe Verdi, consisting of a pedal-activated mecha- but instead an acronym of the phrase nism hitting the soundboard and also Viva (long life to) Vittorio Emanuele Re activating a sort of Chinese hat. (king) D’ Italia (of Italy), the Savoy dy- After the Congress of Vienna, most nasty King of Piedmont, who was being of northern Italy (the present regions encouraged by many patriots to free Italy of Lombardy, Veneto, Trentino, and from foreign rule and to unite it under Friuli-Venezia Giulia) fell under Aus- one single reign. (Photo 11) trian rule. This undoubtedly facilitated It was also common for the lower social the transferring of ideas and merchan- class of people to attend the opera. Many dise between Italy and Austria. There travelers throughout Italy were impressed are many Viennese-made fortepianos by the fact that operatic pieces were be- today in public and private collections, ing played and sung everywhere, even in and many of them came to Italy during churches! Hector Berlioz, who was trav- that period. eling in Italy between 1831 and 1832,
22 THE DIAPASON
Aug 2011 pp. 22-25.indd 22 7/15/11 7:14:43 AM Example 1. Padre Davide da Bergamo, Verset n. 3,94 for the use of the Turkish Band
sion of chapter fi ve, where the stops are In 1837, the Pistoia-born composer described, one can read that this true Luigi Gherardeschi called for the use of drum can only be used for the playing the Band in a section of his Gran Marcia of a few marches, and in some chordal per Organo, and the points for its use are inserts of harmony in symphonies and indicated as “B”.66 largo movements, “always limiting the Padre Davide da Bergamo uses the hit according to the force [meaning vol- device with great rationality and parsi- ume] of the parts.” Immediately follow- mony; here are some examples.67 ing, Calvi adds: “it is advisable not to use • In the series 15 pezzi di musica pel the Band too often and the Campanelli nuovo e magnifi co organo di S. Maria [Glockenspiel], particularly during the di Campagna in Piacenza (15 pieces of sacred functions.”64 music for the new and magnifi cent organ The recommendations by Castelli, of S. Maria di Campagna in Piacenza), published thirty years later, are not much published in 1839, both at bar 153 of the different. After stating that this effect is Polonese68 in D major and at the begin- more in use in countryside churches and ning of the “Presto” section, he indicates Photo 9. The crash cymbals in the Faiano organ, with their complicated mechanism. that the imitation “of the military and “Con banda.” dance music is not fi tting to the religious • In a Sonata Marziale69 in F major, drum, rolling drum, Chinese hat, and dignity of the sanctuary,” he suggests he indicates fi rst “Banda” (measure 3) cymbals) by the Serassi Brothers is found “not to make too frequent use of it” and and then “B.a” (measures 7, 11, 15), sub- in the organ of the Collegiate Church limiting its use either to a fi nal march, sequently indicating “F con banda,” fi ve in Treviglio (Bergamo), built in 1816; or to a fi nale using the fortissimo, or to times in all within a rather long piece— however, there is evidence of the intro- insert it when the rituals represent “a re- by analyzing the piece, it seems there duction of such a device in organs, even ligious rejoicing.”65 are other points at which to use it (for though possibly in part, around 1814: in Castelli again provides a complete example, measure 87 and the Finale). the poem dedicated to the building of description of the mechanism and its • In the third of a series of Versetti,70 a the organ of Revere (Mantova), the Ca- use. He fi rst explains that it is com- piece of slightly more than 50 measures, tuba (bass drum)62 is mentioned. Around posed of the bass drum (or leather he requests the “Banda” to be used ten that time and for about 50 years follow- drum), the crash cymbals, sistro [Chi- times! (Example 1) ing, many organs were built throughout nese hat], and a rolling drum [made • In a Suonata71 in B-fl at major, he Photo 11. Graffiti found over the balcony Italy equipped with this fantastic effect, with organ pipes], which is activated by specifi cally requests “Con sistro Cinese” rail in the Church of S. Maria Assunta, which is found almost exclusively in the a pedal similar to the one used for the (with Chinese hat), then simply “Sistro,” called “dei Cancelli” in Senigallia. It romantic Italian organ. In fact, it is not at tutti. He then describes a very imagi- three times in all (measures 8, 16, and was most likely made during the his- all present in Austria, it sporadically ap- native use for this device: 27). Evidently he refers to the use with torical period of the Italian Insurgence (between the fi rst and the second half pears in France in a few organs around By pushing down the pedal “gen- “sharp but light hit” as described by Cas- of 1800). It was not intended so much the end of the 18th century that no lon- tly and slowly” the sound of the rolling telli in his book, which allows the activa- to praise the famous composer, but in- ger exist today (in this case, however, drum alone can be obtained (which can tion of only one part of the Banda; the stead to give honor to the Savoy dynas- limited to the drum only), and in a cou- be used in the place of the one that he special effect is requested in its totality ty King of Piedmont. The king was be- ple of English organs, but the extensive previously refers to as Tremolo, or even in a following section of the piece (mm. ing encouraged by many patriots to free use during the 19th century is a typically in tandem with it); 45, 102). (Example 2, on page 24) Italy from foreign and Vatican rule and Italian phenomenon. By hitting the pedal with a “sharp but These few indications in almost 60 to unite it under a single reign. In fact, As mentioned above, opera was very light hit” the bass drum and the rolling organ pieces show us that Padre Davide W VERDI is the acronym of the phrase Viva Vittorio Emanuele Re D’Italia (long much loved, and piano transcriptions of drums can hardly be heard, but it is pos- was convinced of the need to not abuse life to Vittorio Emanuele, King of Italy). operas were very common. The treatise sible to obtain “the distinct sound of the this effect, as indicated by Castelli. It is by Calvi63 features an entire chapter ded- cymbals and of the Chinese hat, which is very likely, in fact, that Castelli was in- icated to the “Method to register several useful in adding a special color to some fl uenced by the indications of this inge- wrote: “I have often heard the overtures pieces transcribed for pianoforte,” in brilliant passages even when piano.” nious composer, given P. Davide’s close of the Barbiere di Siviglia, of Ceneren- which he explains in fairly good detail As far as this special effect is con- contacts with the Serassi family, and con- tola and Otello [by Rossini]. Such pieces how to use the stops to play an opera’s cerned, in the performance of roman- sequently with Castelli himself. seemed to form the favorite repertoire of sinfonia, arias, or duets. This chapter fol- tic Italian organ literature, we can fi nd In spite of the recommendations of organists, who very pleasantly inserted lows a small paragraph dedicated to the several instances in which composers— various composers and writers to use them in the divine services.”57 The com- “Method to imitate the arrival of a band,” unlike those of previous times, who were restraint with such effects as the Ban- ment of Gaspare Spontini, as sent in an specifying that by following the sugges- very restrained in giving suggestions—do da, and to perform pieces in keeping 1839 letter by Franz Liszt to the director tions in reverse order one can also imi- write rather precise indications for the with “the holiness of the site and the of a magazine in Paris, is however of a tate the departure of the band. It is clear registration of their pieces. Normally the religious majesty with which the sacred very different note. The Italian musician that the use of the Turkish band was Turkish Band is referred to in the mu- services are to be accompanied,”72 a bit was absolutely adding realism to symphonies or other sic as “Banda” or “B.da”, or even “Con of everything was performed in Italian orchestral pieces. In fact, in the conclu- Banda,” “B.a” or simply “B”. churches. A clear picture of what Ital- . . . shocked, scandalized, as are all those who unite the religious sentiment to the artistic one, when listening, during the religious services, and during the celebra- tions of the holy mysteries, to only ridicu- lous and indecent theatrical reminiscenc- es, full of anger in seeing the organ, this majestic voice of the cathedrals, making its large pipes resonate only with cabalet- tas in fashion.58
In such a musical climate it is very likely that the Italian organbuilders, in order to adapt operatic transcriptions for the organ in a more realistic way—possi- bly infl uenced by the effects introduced by the Austrian pianoforte, which was then in common use—may have begun to propose the introduction of Turkish instruments in their new organs, having been requested to do so by organists or even deciding to do so on their own. References to such instruments start to appear around the second decade of the 19th century. Padre Davide da Ber- gamo59 (one of the most important fi gures in Italian organ romanticism), organist at S. Maria di Campagna in Piacenza, wrote in 1822 to the Serassi Brothers about the organ that he wanted them to build for him, for which he requested “. . . the tamburo reale” [the real drum], and in another letter he specifi ed “as Tamburo reale I mean properly the drum of natu- ral leather . . . .”60 One of the fi rst applications of the entire device subsequently referred to as “Turkish Band”61 (consisting of bass
AUGUST, 2011 23
Aug 2011 pp. 22-25.indd 23 7/15/11 7:15:12 AM Example 2. Padre Davide da Bergamo, Sonata in B-fl at Major.95 Evidently the com- poser in this case refers to the use of the Band “with sharp but light hit” as speci- fi ed by Castelli in his treatise, which activates only the Chinese hat.
ian organists played during the second half of the 19th century—besides the testimonials by Berlioz and Liszt as pre- Photo 13. Vignole (Pistoia). The organbuilder’s name chart, glued inside the pallet viously described—is offered by a list box of the main windchest. It contains a most unusual citation for the time: the of “forbidden music,” published by the name of a female organbuilder, Pietro’s wife Giustina. Catholic Church in 1884, which forbids in a church even the smallest part or reminiscence of theatrical operas, of dance pieces of any kind such as Polka, Walzer, Mazurkas, Minuets, Rondo, Schottish, Varsoriennes, Quadriglias . . . National hymns, Popular, erotic or comic songs, Romanzas . . .73 This excessive freedom in the choice of repertoire, together with the new or- ganbuilding ideas coming, once again, from across the Alps, produced towards the end of the 19th century a reaction against the shining sonorities of the ro- mantic Italian organ, which led to the modifi cation of many instruments by Photo 12. Church of S. Michele Arcan- means of the suppression of reed stops gelo, Vignole (Pistoia); organ by Pietro, and cornets, the reduction in number of Giustina and Giosuè Agati, 1979, re- the Ripieno ranks, and the dismantling of stored by Fratelli Ruffatti in 1990. Tuscan the most characteristic effects74 in favor organs of this period normally incorpo- of strings. This change produced a modi- rated a number of special effects for the fi cation of the music being performed, performance of opera-style music. which became surely more severe and solemn, but also more boring! netian style, also wrote a Rondò con imi- tazione dei Campanelli. Photo 14. The Campanelli (Glockenspiel) in the Vignole organ. They were recon- The Campanelli (Bells, Glockenspiel) In various organs built from the end structed by Fratelli Ruffatti during restoration. The original set had been removed The Venetian organbuilder Gaetano of 1700, however, the real Campanelli and eliminated at the beginning of the 20th century. Callido, between the 18th and 19th cen- appear among the special effects, some- turies, never failed to include, among times also called Gariglione (a term that Between 1591 and 1600, we fi nd an- nelli, Calvi states that “a good effect can be the registrations suggested for his in- comes from the Italianization of “Caril- other piece of evidence in the sonaglini obtained by playing them with the Flauto struments, the one “ad imitazione dei lon”). It is a stop limited to the treble (small bells) by Fulgenzi for the Orvieto in Ottava alone, and by accompanying campanelli” (“to imitate the Campan- portion of the keyboard, and is made organ,77 but it is only during the end of them with Fagotto and Ottavino [2′ fl ute] elli”), which could be obtained by reg- up of a series of tuned bells in the form the 18th through nearly the entire 19th with arpeggiato passages in the bass.” He istering the Principale over the entire of small bronze “cups,” featuring a very century that the Campanelli were in- suggests their use even in conjunction keyboard compass, the Voce Umana and bright sound. (Photos 12, 13, and 14) cluded in new organs or added to exist- with the Cornetto. He also includes the one Ripieno rank (the Vigesimanona) of Back in 1589, Emilio de’ Cavalieri had ing instruments. possibility of their use in “mezzoforte and ½′, and by playing “spiccato” or “arpeg- a series of 36 bells made for him, which Luigi Gherardeschi from Pistoia used forte” movements, suggesting not to play giato nel basso.”75 were likely connected to an organ, even them in a section of the Gran Marcia per chords without accompaniment.79 Giovanni Morandi (1777–1856), a though this is not absolutely certain. In Organo of 1837, by adding the Garigli- A few years later, Castelli included composer of the Marche region whose such a case, the stop extension would one (bells) together with the Cornet, to a them in the specifi cations for his “middle compositions were entirely written for have been much greater than the one in registration formed of Principale basso, size organ” and the “large size organ” the type of organ built by Gaetano Cal- use between the 18th and 19th centuries: Bordone basso and Bordone soprano, (Massimo), among the three versions that # 3 78 lido or, more generally, for the type of from A1 to A4 or from F 1 to F4, depend- Flauto, Tromba, and Decimino (1 ⁄5′). he considers possible, but he does not talk organ built in the late 18th-century Ve- ing upon the keyboard’s compass.76 In his manual dealing with the Campa- about their use, as he had done for other effects or accessories.80 However, in the Prontuario di registrazione (registration instruction manual), he suggests three 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ registrations that utilize them: The fi rst (to be used in staccato or DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX puntato passages) includes the Campan- 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV elli, Traverse Flute, Octavin, Octave and Viola in the bass; ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG The second (for fast and virtuoso pas- OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV sages, to imitate a carillon) consists of Flute in XII, the Second Principal in &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK the treble, and again the Octave and the Viola in the bass; 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ The third registration (for marches) WKHLQVWDOODWLRQ includes the Tromba, Traverse Flute, Oc- tavin, Fagotto and Octave in the bass.81 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX The Terza Mano (“Third Hand” or super coupler) PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW The “Third Hand” was an accessory 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations that gained a great deal of popularity during the romantic Italian organbuild- FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions ing period, and consists of a super cou- pler for the upper part of the keyboard. Solutions for Old Pipe Organs It was invented around 1816 by Giuseppe II Serassi (1750–1817), an ingenious or- ganbuilder. The Quarta Mano (Fourth Hand) (the sub coupler in the fi rst half of the keyboard)82 was invented along with it, but will not be dealt with here, since this device was much less com- mon in the Italian organs of that period. (Photo 15) The Third Hand was highly successful, however, and it was adopted www.rodgersinstruments.com in new organs throughout Italy, as well as being added to existing instruments. It can be operated by a pedal, by a stop le-
24 THE DIAPASON
Aug 2011 pp. 22-25.indd 24 7/15/11 7:15:56 AM Example 3. Padre Davide da Bergamo, cam, 25 settembre 1884, art. 11. Sinfonia in D Major.96 The use of the 74. Under Article 12 of the Order by the Holy Third Hand is shown here, to make more Roman Church, the use in churches of too-loud “brilliant and marked” a theme that is instruments such as the drum, the bass drum, being played in the middle section of crash cymbals, etc., as well as the instruments the keyboard. used by the jesters, was also forbidden. 75. Parish Church of San Mauro in Izola, built in 1796, San Servolo martire, op. 287, built in 1791, Buje. See G. Radole, “L’arte or- ganaria in Istria,” in L’Organo VI (1968), n. 1, pp. 56 and 94. Pieve di S. Maria Assunta, Can- dide (Belluno), op. 367, built in 1797–1799. See V. Giacobbi, O. Mischiati, “Gli antichi organi del Cadore,” in L’Organo III (1962), p. 54 (n. 9). 76. P.P. Donati, “Emilio dei Cavalieri or- ganologo,” in Informazione Organistica, New Series, Year XIV (2002), n. 3, pp. 201–202. vol. 19 (London, 1995), p. 258. 77. B. Brumana, G. Ciliberti, Orvieto, 57. H. Berlioz, Mémoires (Paris, 1991, una cattedrale e la sua musica (1450–1610) Pierre Citron), chapter XXXIX. (Firenze, 1990, Olschki), p. 81. 58. F. Liszt, “Lettre d’un bachelier ès- 78. Pineschi, “L’uso dei registri,” p. 11 (n. 13). musique à M. le directeur de la Gazette 79. Calvi, Istruzioni, p. 12. Musicale. De l’état de la musique en Italie,” 80. Castelli, Norme generali, pp. 5–6. in Revue musicale. Journal des artistes, des amateurs et des Théâtres, n. 13, 28 mars, VI 81. Ibid., pp. 22–23. (1839); in Artiste et société, by Rémy Stricker 82. G. Berbenni, “Le offi cine Serassi. Le (Flammarion, Paris, 1995), p. 153. maestranze. I miglioramenti e le invenzioni,” 59. Felice Moretti, born at Zanica (Berga- in I Serassi. Nella cultura organaria e musi- cale dell’Ottocento (Atti della giornata di stu- Photo 15. The intricate mechanical connections and mechanisms in the organ by mo) in 1791, studied music with organist Da- vide Bianchi; he had contacts with Gaetano dio nel trentennale del restauro dello storico Adeodato Bossi Urbani, 1851, in the Basilica of S. Domenico, Bologna. Immedi- organo Serassi di Santa Maria di Campagna ately above the keyboard, right side: the mechanism for the “third hand” (super Donizetti and Johann Simon Mayr. In 1818 he entered the Franciscan order of the Minori in Piacenza, 7 giugno 2008) (Piacenza, 2009, coupler). At the left side, the “fourth hand” (sub coupler). Above: the rollerboard Tip.Le.Co.), p. 80. for the Campanelli. Riformati and took up the name “Davide da Bergamo”; he was ordained in 1819 and died 83. Castelli, Norme generali, p. 12. in 1863. 84. Calvi, Istruzioni, p. 12. ver, or by both controls within the same in advance, which Castelli called Tira- 60. Mischiati, L’organo di Santa Maria, p. 211. 85. The messa di voce is an embellishment, 61. Sometimes the version “Albanian band” used by instrumentalists but mostly by sing- organ. The most predictable and trivial tutto preparato (pre-arranged tutti). It ers, consisting of a crescendo on a single held use is surely that of utilizing it in octave was later adopted by many organbuild- can also be found. 62. Information kindly supplied by Maestro note, starting from pianissimo. passages, where, rather than going to ers with the name Combinazione alla Giosuè Berbenni. 86. Calvi, Istruzioni, p. 11. the trouble of playing two notes at once, Lombarda (Combination in the Lom- 63. Calvi, Istruzioni, chapter VII, pp. 14–16. 87. Calvi, Istruzioni, p. 9, nota 1. one can activate the device and simply bard style). This mechanism allows the 64. Ibid., pp. 12–13. 88. Padre Davide da Bergamo, 15 pezzi, p. 20. play the lower note on the keyboard; it organist to add a series of previously 65. Castelli, Norme generali, p. 17. 89. Ibid., p. 41. is quite obvious that, by doing so, speed “prepared” (by the organist) stops to a 66. Pineschi, “L’uso dei registri,” p. 11 (n. 13). 90. Padre Davide da Bergamo, GAO, p. 6. and accuracy of playing increases. registration. It is activated by a pedal 67. Since a complete edition of his many 91. Ibid., p. 88. Castelli, however, gives us a very de- protruding from the casework located at works does not yet exist, I have limited the ex- 92. G. Berbenni, “Tipologia ed evoluzione tailed account of the less-obvious use the right side of the pedalboard. amples to pieces that have been recently pub- degli organi Serassi,” in I Serassi e l’arte or- for this device in a special chapter of his For this mechanism, Castelli again il- lished and are readily available in the market. ganaria fra Sette e Ottocento (Atti del Con- 83 68. Modern edition, Armelin, Padova, 2003, vegno internazionale di studi, Bergamo 21–23 treatise. He suggests using it to rein- lustrated an original use, which was later vol. 1, p. 32; from this point on abbreviated as aprile 1995) (Bergamo, 1999, Carrara), p. 136. force the soprano line in theme repeti- exemplifi ed in one of the Petrali compo- 15 pezzi. 93. Castelli, Norme generali, pp. 14–15. tions, in order to create a crescendo ef- sitions attached to his treatise (number 69. Padre Davide da Bergamo, Grande An- 94. GAO, p. 157. fect, but he also states that it is effective 21). The more common use is that of add- tologia Organistica (Armelin, Padova, 2001), p. 95. GAO, p. 194. even in piano passages. It is useful, he ing a registration to another one to form a 47; from this point on abbreviated as GAO. 96. GAO, p. 88. assures us, in making “more brilliant and crescendo. Another, more interesting use 70. Ibid., p. 157. marked” a passage that is written in a low is by means of small percussive taps of 71. Ibid., p. 194. Hear audio samples of the effects tessitura. Furthermore, in the case of the pedal, for example on the weak beats 72. Castelli, Norme generali, p. 32. discussed in this article at notes or chords held in the central part of the measure, while chords are being 73. S.C.R., Ordinatio quoad sacram musi-
AUGUST, 2011 25
Aug 2011 pp. 22-25.indd 25 7/15/11 7:16:27 AM Cover feature
Paul Fritts & Co., Tacoma, Washington St. Philip Presbyterian Church, Houston, Texas
From the organist Nearly a decade ago, St. Philip Pres- byterian Church began planning a major renovation of its facilities. In addition to a new educational building, plans were made to gut the sanctuary and make it a more vibrant and fl exible space. By 2004 a new organ was on the horizon as well, thanks to an old electric-action instru- ment whose shortcomings had become obvious, an enthusiastic committee, and an expert consultant. In 2005 we bid good-bye to the old sanctuary and organ and signed a letter of intent with Paul Fritts for his Opus 29, a three-manual and pedal mechanical-action instrument of 48 stops, which was delivered and installed in the renovated sanctuary in early 2010. And we couldn’t be happier! The new The upper, center portion of the façade. organ and sanctuary are a perfect match, The Swell division is at the top so the center fl at is made up of Positive with the instrument speaking directly ′ into the room from its lofty position in Principal 8 bass pipes. a new gallery. Signifi cant changes had to be made to the former choir loft to sup- port the new organ, with the new gallery extending forward into the sanctuary to accommodate both choir and organ. Fortunately, we were blessed with a building whose basic shape—tall, long, and slender—presented a potentially ideal acoustical environment for organ and choral music. The transformation has been stark: a room that formerly had abundant absorptive and soft surfaces now has several seconds of reverbera- tion. It’s also become a much more ap- pealing visual space: the modernist light- fi lled sanctuary now boasts handsome millwork, beautiful stained glass, a tile mosaic front wall, and in the rear gallery, a stunning new organ. Our selection of Paul Fritts & Co. as builders refl ects St. Philip’s longstanding commitment to excellence in its music program and the amazing foresight and generosity of its members. Now just a little over a year old, the Fritts organ has Matthew Dirst, organist at St. Philip Presbyterian, prepares for an evening generated a great deal of local and even program. international enthusiasm, and we’re de- lighted to be sharing it with a wide com- The treble sections curve forward to the munity of music lovers. I’m especially bass side towers, adding an interesting pleased that organ students from the three-dimensional quality to the case. University of Houston are able to use Pipes arranged this way are typical of Fritts Opus 29 for weekly practice and early Dutch cases. degree recitals, since a splendid instru- ment like this has so much to teach us. what builder they wanted for St. Philip. —Matthew Dirst The size of organ was never the driving Organist force, and in fact the church initially con- St. Philip Presbyterian Church tracted for a smaller (and less expensive) two-manual instrument. I know Matthew From the organ consultant Dirst would have been content with it. Long before I became the consultant But additional funds became available, for a new organ at St. Philip Presbyterian and the size and scope of the instrument Church in 2004, Matthew Dirst set the increased accordingly. groundwork for the project. For many Besides the desire for a quality instru- years he had developed a solid relation- ment that could lead in worship and be ship of trust, goodwill, and mutual re- featured in concerts, the people of St. spect between himself and the musicians, Philip Church wanted an instrument that clergy, and congregants of St. Philip. It could be used for educational purposes. is certainly safe to say that without that The organ majors of the University of special relationship, this project would Houston now practice on this instru- never have happened. Soon before I ment almost every day, take weekly les- came on board, an organ committee had sons at the church, and present degree been formed and fundraising had begun. recitals on it every semester. Last year, I quickly learned that music was very im- the church began an internship pro- portant to the people of St. Philip. The gram, which lends support to one lucky committee made clear that they wanted UH graduate student in organ. In its role an instrument that could lead in worship, as music educator, the instrument will accompany the choir, and make possible be featured in numerous conferences the performance of great organ music— and workshops in the years to come, in- especially music played by their world- cluding a national conference sponsored famous organist! But something else by the Westfi eld Center for Early Key- came through from our initial meetings. board Studies to be held April 12–15, The committee wanted an instrument of 2012, and the AGO national convention, high quality that would stand the test of scheduled for the summer of 2016. We time, and of real beauty that would lead are most grateful! people to a fuller spiritual life. My congratulations go fi rst to Matthew The committee considered several Dirst, Associate Professor of Musicology builders. Committee members took at the University of Houston and organ- their responsibilities seriously, and some ist of St. Philip Church, for his many of them made trips well outside the state years of strong leadership and impec- of Texas to hear recent installations. As A view from the front of the church. The remodeled gallery provides an ideal place cable musicianship. He really deserves soon as they heard the Fritts organ at the for choir and instrumentalists. The organ speaks freely into the nave, in close such an instrument! I also want to thank University of Notre Dame, they knew proximity to the ceiling, an important refl ective surface. the St. Philip Organ Committee—espe-
26 THE DIAPASON
Aug 2011 pp. 26-28.indd 26 7/15/11 7:17:20 AM through the façade—that is, no divisions speak through other divisions, contribut- ing to an easy balance among them. The manual divisions are positioned center case, with Positive at the bottom, Great above, and Swell at the top. The Pedal is divided on each side. The people of St. Philip Presbyterian are to be much admired for their unyield- ing support throughout the process lead- ing up to the dedication of the organ in the spring of 2010. I am also humbled by my talented staff who work skillfully and with dedication. We strive to build last- ing instruments—instruments that are both durable and very much cherished by those who play them and those who Stop knobs and preset system drawer listen. Projects like this have the added benefi t of the involvement of a wide having to be loud. They lead rather than group of people, a group too numerous direct a congregation. This rather strict to individually name here. I thank the St. approach surprisingly enables an organ Philip family for their support on many to be more eclectic or universal in its levels throughout the process, and I capabilities. And, most importantly, they thank my wonderful crew for their con- are supremely musical. tinued excellence and support. These thoughts were on our minds —Paul Fritts as we considered the design and con- Paul Fritts & Co. Organ Builders struction of the new St. Philip Presbyte- rian Church organ. Many ideas garnered St. Philip Presbyterian Church from the study trips expand the design, Paul Fritts & Co. Organ Builders construction, and voicing, along with the Opus 29, 2009 collective experience of our seven crafts- GREAT men. The case appearance, in keeping ′ with the spare nature of the church ar- 16 Principal* 8′ Octave chitecture, is an original design and in- 8′ Rohrfl öte corporates ideas found in revered cases 8′ Salicional to make it more interesting. The treble 4′ Octave fl ats curve inward and alternate direc- 4′ Spitzfl öte 2 tion in ancient Dutch fashion, and the 2⁄3′ Quint proportions of the bass and tenor fl ats 2′ Octave 3 ′ follow well-established trends. Straight- 1⁄5 Terz forward moldings properly adorn the IV–VI Mixture V Cornet (mounted) case and each vertical stile is framed 16′ Trompet with decorative insets. The carvings are 8′ Trompet contemporary creations inspired by Re- 4′ Trompet naissance-era Italian organ pipe shades. 8′ Baarpfeife All is painted a glossy white with gold leaf highlights. The result in the church SWELL 8′ Principal is both a striking appearance and a com- ′ fortable feeling that it belongs. 8 Bourdon 8′ Violdigamba Tonally the organ is more strict and at 8′ Voix celeste its core Germanic. Arp Schnitger’s work 4′ Octave forms the basis of our recipe, and for 4′ Koppelfl öte 2 good reason. The level of sophistication 2⁄3′ Nasat in the pipe-making and voicing is a true 2′ Blockfl öte 3 inspiration. Congregational support is of 1⁄5′ Tierce paramount importance and was at the IV–V Mixture 16′ Fagott An inside look at the Great pipework, the “C” side of the organ. The tenor and treble forefront of our thinking when envision- ′ sections are in major third arrangements, that is, neighboring pipes are a major 8 Trompet ing the St. Philip tonal design. 8′ Hautbois third higher or lower, facilitating easier access (the walkboard is to the right, out of There is an abundance of reed stops, frame) and more efficient use of space. Top left is the mounted Cornet V. and these pipes follow the same prin- POSITIVE ciples as the fl ue pipes. They are made 8′ Principal cially its remarkable chairperson, Eliza- Over the course of many study trips, to produce a strong fundamental tone 8′ Gedackt beth Duerr—for years of hard work and I have noticed things common to instru- combined with color and refi nement. 8′ Quintadena 4′ Octave unwavering commitment to excellence. ments I consider magical. Interestingly, The resonators are cut long to facilitate ′ And, fi nally, thanks go to Paul Fritts these outstanding instruments are not this, and a welcome consequence is tun- 4 Rohrfl öte 2′ Octave and his entire team for the construction limited to any national style or time pe- ing stability. 1 1⁄3′ Larigot and installation of an instrument of real riod. When comparing the experiences, Eclecticism within this structure can II Sesquialtera quality—one that I know will inspire the I fi nd a substantial convergence in areas fl ourish. For the St. Philip instrument IV–V Scharff congregants of St. Philip and the citizens of sound. The sounds of the pipes are we have included many stops and fea- 8′ Dulcian of Houston for many years to come. complex and yet they have an unusual tures that broaden the scope. A Swell is —Robert Bates combination of qualities often diffi cult present with shades on three sides, along PEDAL 16′ Principal Professor of Organ to achieve but deliberately sought after: with the required string stops plus the ′ University of Houston their harmonic content is both refi ned Hautbois (a strict Cavaillé-Coll copy) 16 Subbaß 8′ Octave Organ Consultant and colorful, and it is balanced with a stop. A string stop is also present on 8′ Bourdon* St. Philip Presbyterian Church generous amount of fundamental. The the Great, and there is a wide variety of 4′ Octave speech is quick and elegant. These quali- fl utes throughout the organ. VI–VIII Mixture From the organbuilder ties are especially challenging, since cus- We have also added an electric stop ac- 32′ Posaune* Many decisions contribute to the tomary ways of refi ning speech generally tion piggybacked to the mechanical stop 16′ Posaune building of an organ, and these deci- kill the unique harmonic content we hear action. We do this since there is a vastly 8′ Trompet sions become more signifi cant when in the old pipes. Interestingly, we fi nd different life span between the two sys- 4′ Trompet virtually every part is designed and built these sonic qualities in other fi ne instru- tems. Any electric computer system will in the builder’s workshop. This distinc- ments: violins, harpsichords, pianos, and fail within a relatively short time com- *Some pipes transmitted from other stops tion, achieved by our fi rm in 1984 when many others. There seems to be a con- pared to a well-made mechanical system Couplers the pipe shop was established, enables nection to the human voice—richness that can function for centuries. We can Swell to Great creativity to fl ourish—we can build any- is present, combined with clarity—and avoid this dilemma if the electronic com- Positive to Great thing we want. all of this is accomplished, in the case of ponents are included in a non-intrusive Swell to Positive Organbuilders have been practic- the organs, without excessive intensity, way and are easy to replace when it be- Great to Pedal ing their art for centuries, often with through the use of relatively low wind comes necessary. In the meantime, the Swell to Pedal extravagant support. Today we can visit pressure. The organs somehow function organ will not be seriously disabled by Positive to Pedal
existing organs from most periods and on a human scale in spite of being grand failures of these electrical components, Compass: Manual, 58 notes; Pedal, 30 notes national styles and still experience them both in appearance and sound. The pipes since the mechanical system will contin- fi rsthand. These visits become more have open feet and fl ueways and relative- ue to work. As is usual with modern elec- Other: challenging since we must also account ly high cutups, but are mostly controlled trical preset systems, there are the usual Polished tin front pipes for things outside the original builder’s in their sound production by the organ’s features, including hundreds of memory Solid wood casework with carved pipe shades intention. We are experiencing instru- wind pressure, the main determinant levels and a sequencer. Suspended, direct mechanical key action ments through the veil of rebuilds and of the organ’s overall intensity. These The wind system is substantial, with Mechanical stop action with electric pre-set restorations over the centuries, some not things contribute to what has been aptly four large bellows fi tted with all the levers system Tremulant so sensitive. We must also develop a good called a relaxed intensity—the pipes sing and check valves necessary to foot-pump Multiple wedge bellows with foot pumping understanding of the acoustical environ- robustly without shouting. Many other the organ. When this novelty is utilized levers ment these organs are speaking in, often aspects fall into place when stops are and the audience is informed, the perfor- Wind Stabilizer a far cry from the typical modern Ameri- working this way. The blend between mance takes on new meaning. There is can space. We can both experience how them is enhanced and many more stop a connection to the organ’s legacy—the 70 ranks, 48 stops, 3,488 pipes these organs sound and behave today, combinations work together. The organs organ is functioning on a human scale. and also imagine how they once were. carry a space remarkably well without All of the four divisions speak directly Photo credit: Paul Fritts
AUGUST, 2011 27
Aug 2011 pp. 26-28.indd 27 7/15/11 7:17:59 AM New Organs
Moorhead, Minnesota. Placed in front of a large stained-glass window, the organ was a tuning nightmare with the result- ing sunlight. With the 1962 installation went new supply-house chests, addition- al principals, and all new reeds, for a new total of 22 ranks. In 2004, with the deterioration of the chest leather, the church contracted with Johnson Organ Company, Inc. (Lance E. Johnson) to rebuild the organ—all- encased, with new Johnson-made elec- tric-slider chests and three manuals. The unique swell box design, in the form of a horseshoe, allows the window to show through without adversely affecting tun- ing. The roofs of the box can be lifted for better tuning access. Since the balcony fl oor was on fi ve levels, the engineering was very complex and required fourteen pages of drawings, which included plans for the remodel- ing of the balcony organ space. The new footprint is about half its previous size, allowing more space for the choir. Gold decorations are of gold-metal foil, which has better color longevity than gold leaf or paint. The case fi nish is a combination of blond, like the rest of the nave, and a darker shade to refl ect the original woodwork still evident in the balcony end of the church. The console is the French type, featuring Johnson- made rosewood with mild tracker-touch keys. The switching system is Peterson. Much of the 1906 Möller pipework was retained, which blended unusually well with the newer principals, for a total now of 28 ranks. Among employees on this project were Michael Johnson, Skip Johnson, Sonia Carlson, and Estera Favalora, who Johnson Organ Company, made the 8′ Copula and the 4′ Rohrfl öte Moorhead, Minnesota for the Positiv. Tonal fi nishing was per- Bethlehem Lutheran Church, formed by Michael Johnson and Fred Fergus Falls, Minnesota Heffner. During the installation, Rev. Bethlehem Lutheran Church of Fer- Paul Nelson was senior pastor, and Carol gus Falls, Minnesota, purchased the fi rst Andstrom, organist. The rededication pipe organ for their new church, built in concert was performed by Michael Ol- 1922, after the previous building was de- son of Fargo, North Dakota. Later, a spe- molished by an F-5 tornado in 1919 that cial open house was hosted for the Red destroyed two-thirds of the city of 8,000, River Valley AGO chapter. killing 54. M.P. Möller built the organ, —Lance E. Johnson of two manuals and twelve ranks, which was placed to the side of the chancel. Photo credit: Mark Anthony of Vision- A used 1906 Möller organ of two aries Photography manuals and sixteen ranks replaced the GREAT (unenclosed) twelve-rank organ in 1952 when the ′ church was enlarged. The old instru- 8 Principal 56 pipes 8′ Lieblich Gedeckt 56 pipes+ ment was sold to a rural church. The or- 4′ Octav 56 pipes++ gan was moved to the balcony in 1961– 4′ Flute Harmonique 56 pipes+ 62 by Lance E. Johnson, who was then 2′ Fifteenth 56 pipes++ an organ major at Concordia College of III Mixture 168 pipes 16′ Trumpet (Pedal) 8′ Trumpet 56 pipes++ Zimbelstern SWELL (expressive) /44/ (%533 /2'!. 0!243 8′ Stopped Diapason 56 pipes+ 8′ Salicional 56 pipes+ 8′ Vox Celeste 44 pipes+ 4RADITION AND 0ROGRESS 4′ Gemshorn 56 pipes ++ 4′ Flute d’Amour 56 pipes+ 2′ Flautino 56 pipes+ &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN II Sesquialtera 112 pipes++ CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 8′ Oboe 56 pipes+ Tremulant ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS POSITIV (unenclosed) ′ UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY 8 Copula 56 pipes / 8′ Dulciane 56 pipes+ MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR 4′ Rohrfl öte 56 pipes EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP 2′ Lieblich Principal 56 pipes++ 1 ′ MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES 1⁄3 Quinte 56 pipes++ III Cymbal (prepared) 8′ Krummhorn 56 pipes++ 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING PEDAL (unenclosed) 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS 16′ Principal 12 pipes++ 16′ Bourdon 32 pipes+ ′ %VERYWHERE AND AROUND THE WORLD 8 Octav 32 pipes++ 8′ Gedeckt 12 pipes+ /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING 4′ Choralbass 12 pipes++ II Rauschquint 64 pipes++ 16′ Posaune 12 pipes++ 8′ Trumpet (Great) 4′ Klarion (Great)
/44/ (%533 'MB( n 'ERMANY Unison couplers only Full complement of pistons 0HONE n s &AX n + 1906 retained E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE ++ 1962 addition 28 ranks, 31 stops
28 THE DIAPASON
Aug 2011 pp. 26-28.indd 28 7/15/11 7:18:31 AM 2011 Summer Carillon Concert Calendar Bert Adams, FAGO by Brian Swager Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Alfred, New York Luray, Virginia Pickle Piano & Church Organs NEW YORK Alfred University, Davis Memorial Carillon Luray Singing Tower Bloomingdale, IL August 2, Sharon Hettinger, 7 pm Tuesdays, Thursdays, Saturdays and Sun- days in August at 8 pm, David Breneman, Allendale, Michigan carillonneur Grand Valley State University, Cook Caril- Christopher Babcock lon, Sundays at 8 pm Mariemont, Ohio August 7, Open Tower Mary M. Emery Memorial Carillon August 14, Patrick Macoska Sundays at 7 pm St.St. Andrew’sAndrew’s byby thethe Sea,Sea, August 21, Julianne Vanden Wyngaard August 7, August 21, September 5, 2 pm, Hyannis PortPort Richard D. Gegner Ames, Iowa August 14, September 4, Richard M. SSt.t. David’s, South Yarmouth Iowa State University Watson September 24, Arie Abbenes August 28, Richard D. Gegner & Richard M. Watson Bloomfi eld Hills, Michigan Kirk in the Hills Presbyterian Church Middlebury, Vermont Sundays at 10 am and noon Middlebury College, Fridays at 7 pm September 4, Dennis Curry August 5, George Matthew, Jr. August 12, George Matthew, Jr. Centralia, Illinois Centralia Carillon Montreal, Quebec September 3, Jeff Daehn, 2 pm St. Joseph’s Oratory September 3, Linda Dzuris, 2:45 pm August 7, Jonathan Hebert & Andrée- September 4, Laura Ellis, 2 pm Anne Doane, 2:30 pm September 4, Carlo van Ulft, 2:45 pm September 9, Carlo van Ulft, 7 pm Naperville, Illinois Dean W. Billmeyer GAVIN BLACK September 16, Carlo van Ulft, 7 pm Naperville Millennium Carillon Princeton Early Keyboard Center September 23, Carlo van Ulft, 7 pm Tuesdays at 7 pm University of Minnesota August 2, Stefano Colletti 732/599-0392 Chicago, Illinois August 9, Melissa Weidner University of Chicago, Rockefeller Chapel August 16, Janet Tebbel Minneapolis 55455 • [email protected] www.pekc.org Sundays at 6 pm August 23, Andrew Wetzel August 7, Melissa Weidner August 14, Janet Tebbel New Haven, Connecticut August 21, Andrew Wetzel Yale University, Yale Memorial Carillon Fridays at 7 pm Byron L. Blackmore THOMAS BROWN Cohasset, Massachusetts August 5, Wesley Arai UNIVERSITY St. Stephen’s Episcopal Church August 12, Jessica Hsieh & Darren Zhu Crown of Life Lutheran Church PRESBYTERIAN CHURCH Sundays at 6 pm Sun City West, Arizona August 7, Lee Cobb Northfi eld, Vermont CHAPEL HILL, NORTH CAROLINA August 14, Jonathan Lehrer Norwich University 623/214-4903 ThomasBrownMusic.com August 6, George Matthew, Jr., 1 pm Culver, Indiana Culver Academies, Memorial Chapel Carillon Norwood, Massachusetts September 3, John Gouwens, 4 pm Norwood Memorial Municipal Building Mondays at 7 pm David Chalmers Dayton, Ohio August 1, Gordon Slater DELBERT DISSELHORST Deeds Carillon August 8, Lee Cobb Concert Organist August 7, 21, 3 pm August 15, Jonathan Lehrer GLORIÆ DEI CANTORES Professor Emeritus August 27, 2 pm Orleans, MA University of Iowa–Iowa City September 5, noon Plainfi eld, New Jersey September 11, 3 pm Grace Episcopal Church Larry Weinstein, carillonneur August 21, Gerald Martindale, 12:30 pm Denver, Colorado Princeton, New Jersey JAMES DORROH, AAGO, PhD STEVEN EGLER University of Denver, Williams Carillon Princeton University, Grover Cleveland Central Michigan University Wednesdays at 7 pm Tower, Sundays at 1 pm Saint Luke’s Episcopal Church Mt. Pleasant, Michigan August 3, Carlo van Ulft August 7, Carol Jickling Lens Samford University Artist in Residence August 14, Lee Cobb August 17, Janet Tebbel Birmingham, Alabama First Congregational Church August 21, Ed Nassor Saginaw, Michigan East Lansing, Michigan August 28, James Fackenthal Organ Consultant Organ Recitals [email protected] Michigan State University, Beaumont Tow- September 4, Doug Gefvert er Carillon August 3, Sally Harwood, 6 pm Rochester, Minnesota Mayo Clinic Organist / Pianist Erie, Pennsylvania August 7, Laura Ellis, 4 pm JOHN FENSTERMAKER Penn State University, Smith Chapel Michael Gailit August 4, Sharon Hettinger, 7 pm Rochester, New York TRINITY-BY-THE-COVE www.gailit.at University of Rochester, Hopeman Memo- [email protected] rial Carillon Fort Washington, Pennsylvania NAPLES, FLORIDA Konservatorium Wien University St. Thomas Church, Whitemarsh August 1, Sharon Hettinger, 7 pm University of Music, Vienna August 2, Lisa Lonie, 7 pm Springfi eld, Missouri Gainesville, Florida Missouri State University, Jane A. Meyer University of Florida Carillon, Sundays at 7 pm A Professional Card in August 14, Jonathan Casady, 3 pm August 14, Laura Ellis September 11, Janet Tebbel The Diapason For rates and digital specifi cations, Glencoe, Illinois Valley Forge, Pennsylvania contact Jerome Butera Chicago Botanic Garden Washington Memorial Chapel 847/391-1045 Mondays at 7 pm Wednesdays at 7:30 pm [email protected] August 1, Stefano Colletti August 3, Doug Gefvert August 8, Melissa Weidner August 10, Carol Jickling Lens August 15, Janet Tebbel August 17, Lee Cobb August 22, Andrew Wetzel August 24, Doug Gefvert & Irish Thun- August 29, Christine Power ANDREW HENDERSON, DMA der Pipes & Drums WILL HEADLEE September 5, Mark Lee August 31, James Fackenthal 1650 James Street Madison Avenue Presbyterian Church Hartford, Connecticut Victoria, British Columbia New York, NY Trinity College Chapel, Wednesdays at 7 pm Syracuse, NY 13203-2816 Netherlands Centennial Carillon August 3, Wesley Arai Sundays at 3 pm in August (315) 471-8451 www.andrewhenderson.net August 10, George Matthew, Jr. Rosemary Laing, Carillonneur August 17, Jon Lehrer Wellesley, Massachusetts Jackson, Tennessee Wellesley College, Saturdays at 6 pm LORRAINE BRUGH, Ph.D. First Presbyterian Church August 6, Daniel Kehoe August 28, Jackson Symphony Orches- August 13, Jonathan Lehrer tra and carillon, 6:45 pm Associate Professor Williamsville, New York University Organist Kennett Square, Pennsylvania Calvary Episcopal Church Longwood Gardens, Sundays at 3 pm August 3, Sharon Hettinger, 7 pm August 12, 7:30 & 8:30 pm: Cast In Valparaiso University Bronze (mobile carillon) Valparaiso, IN August 14, Carol Jickling Lens www.valpo.edu August 21, Lisa Lonie with the Alexan- der Brass Quintet Be sure to check out new audio and visual fi les on 219-464-5084 LaPorte, Indiana The Presbyterian Church of LaPorte TheDiapason.com! [email protected] August 28, John Gouwens, 4 pm
AUGUST, 2011 29
Aug 2011 pp. 29-33_FINAL.indd 29 7/15/11 11:04:29 AM CALIFORNIA LUTHERAN UNIVERSITY MICHELE JOHNS A.Mus.D Dr. Kyle Johnson Calendar Organ — Harpsichord University Organist The University of Michigan 31 AUGUST rLFKPIOT!DBMMVUIFSBOFEV This calendar runs from the 15th of the month of Luca Massaglia, with saxophone; Methuen School of Music issue through the following month. The deadline is www.callutheran.edu Memorial Music Hall, Methuen, MA 8 pm the fi rst of the preceding month (Jan. 1 for Feb. Gordon Turk; Ocean Grove Auditorium, Ocean issue). All events are assumed to be organ recitals Grove, NJ 7:30 pm unless otherwise indicated and are grouped within Ralph & Marillyn Freeman; St. Paul Lutheran, each date north-south and east-west. •=AGO chap- Neenah, WI 12:15 pm Brian Jones KIM R. KASLING ter event, • •=RCCO centre event, +=new organ dedi- Stephen Steely; Sinsinawa Mound, Sinsina- D.M.A. cation, ++= OHS event. wa, WI 7 pm DirectorDirector of Music Emeritus Information cannot be accepted unless it speci- St. John’s University fi es artist name, date, location, and hour in writ- TRINITY CHURCH 1 SEPTEMBER ing. Multiple listings should be in chronological order; Daniel Schwandt; Zion Lutheran, Appleton, Collegeville, MN 56321 BOSTON please do not send duplicate listings. THE DIAPA- WI 12:15 pm SON regrets that it cannot assume responsibility for the accuracy of calendar entries. 3 SEPTEMBER John Gouwens, carillon; Memorial Chapel, JAMES KIBBIE Culver Academies, Culver, IN 4 pm UNITED STATES 5 SEPTEMBER The University of Michigan East of the Mississippi Gordon Turk & Michael Stairs; Ocean Grove Ann Arbor, MI 48109-2085 ORGAN CONSULTANT Auditorium, Ocean Grove, NJ 7:30 pm 734-764-1591 FAX: 734-763-5097 www.gabrielkney.com 15 AUGUST email: [email protected] 6 SEPTEMBER Brett Judson & Lars Gjerde, with saxophone; Nevalyn Moore; Ransdell Chapel, Campbells- Ogunquit Baptist Church, Ogunquit, ME 7 pm ville University, Campbellsville, KY 12:20 pm Marijim Thoene; St. Francis of Assisi, Ann Ar- D.Mus. bor, MI 7 pm 7 SEPTEMBER David K. Lamb, William Tinker; Sinsinawa Mound, Sinsinawa, ARTHUR LAMIRANDE 16 AUGUST WI 7 pm Director of Music/Organist Dave Wickerham; Merrill Auditorium, Portland, First United Methodist Church [email protected] ME 7:30 pm 9 SEPTEMBER Columbus, Indiana Jen McPherson; Old West Church, Boston, The Fairfi eld Four; St. Mary’s Episcopal Cathe- 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 MA 8 pm dral, Memphis, TN 7 pm
17 AUGUST 11 SEPTEMBER Mark Steinbach; Methuen Memorial Music Bruce Neswick; Cathedral Church of St. John Hall, Methuen, MA 8 pm the Divine, New York, NY 5 pm David Lowry Tyler Canonico & Justin Weilnau; First Unit- Ken Cowan; Christ Episcopal, Reading, PA ed Methodist, Hershey, PA 7 pm 4 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD Jiyoung Jeoung; First Congregational, Michi- •Fauré, Requiem; Trinity Episcopal Cathedral, 1512 BLANDING STREET, COLUMBIA, SC 29201 gan City, IN 12:15 pm Miami, FL 6 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Blake Doss; First English Lutheran, Appleton, ROCK HILL, SC 29733 WI 12:15 pm 13 SEPTEMBER Derek Nickels; Sinsinawa Mound, Sinsinawa, Marilyn Keiser; All Saints Church, Atlanta, GA WI 7 pm 8 pm
19 AUGUST 14 SEPTEMBER Hector Olivera; Christ Church Episcopal, John Weissrock, with violin; Church of the James R. Metzler Greenville, SC 7:30 pm Gesu, Milwaukee, WI 6 pm Park Congregational Church A.S.C.A.P. Grand Rapids, Michigan FELLOW, AMERICAN GUILD OF ORGANISTS 21 AUGUST 16 SEPTEMBER Kathy Sacco; St. Paul R.C. Cathedral, Pitts- Leo Abbott, Barbara Bruns, Mark Dwyer, www.youtube.com 345 SADDLE LAKE DRIVE ROSWELL-ATLANTA, GEORGIA 30076 burgh, PA 4 pm John & Carolyn Skelton, with piano; Methuen TheCathedralOrganist (770) 594-0949 Gail Archer; St. Paul’s Episcopal, Rock Creek Memorial Music Hall, Methuen, MA 8 pm Parish, Washington, DC 5 pm Peter Richard Conte; U.S. Naval Academy, Leo Abbott; Basilica of the National Shrine of the Annapolis, MD 7:30 pm Immaculate Conception, Washington, DC 6 pm Dongho Lee; St. Paul’s Episcopal, Indianapo- OUGLAS EILL Nathan Laube; Madonna della Strada Chapel, lis, IN 7:30 pm LEON NELSON D O’N Loyola University, Chicago, IL 3 pm Felix Hell; First Presbyterian, Lexington, KY Cathedral of the Madeleine Andrew Wetzel, carillon; University of Chica- 8 pm University Organist go, Chicago, IL 6 pm Janette Fishell; Shryock Auditorium, Southern North Park University Salt Lake City, Utah Illinois University, Carbondale, IL 7:30 pm Chicago, Illinois [email protected] 23 AUGUST 801/671-8657 Chelsea Chen; Merrill Auditorium, Portland, 17 SEPTEMBER ME 7:30 pm John Weaver; Bowdoin Chapel, Brunswick, Peter Kranefoed; King’s Chapel, Boston, MA ME 3 pm 12:15 pm David Higgs, masterclass; Stambaugh Audito- MARILYN MASON Brandon Santini; Old West Church, Boston, rium, Youngstown, OH 10 am CHAIRMAN, DEPARTMENT OF ORGAN MA 8 pm UNIVERSITY OF MICHIGAN 18 SEPTEMBER Renée Anne Louprette; Church of the Resur- ANN ARBOR 24 AUGUST Andrew Sheranian; Methuen Memorial Music rection, New York, NY 3 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Hall, Methuen, MA 8 pm James Wetzel; Cathedral Church of St. John with awesome technique and a thrilling command of its daring writing.” Peter Richard Conte; Ocean Grove Audito- the Divine, New York, NY 5 pm The American Organist, 1980 rium, Ocean Grove, NJ 7:30 pm Jeremy Filsell, piano and Nigel Potts, organ; Derek Nickels; St. Joseph’s Catholic Church, Cathedral of the Sacred Heart, Newark, NJ 4 pm Appleton, WI 12:15 pm Peter Richard Conte; Camp Hill Presbyterian, R. Monty Bennett; Sinsinawa Mound, Sinsi- Camp Hill, PA 4 pm SYLVIE POIRIER nawa, WI 7 pm David Arcus; Duke University Chapel, Dur- LARRY PALMER ham, NC 2:30 pm, 5 pm 25 AUGUST Hector Olivera; St. John’s United Methodist, Professor of PHILIP CROZIER Donald VerKuilen; First Presbyterian, Nee- Augusta, GA 3 pm ORGAN DUO nah, WI 12:15 pm Christopher Houlihan; Forrest Burdette Unit- Harpsichord and Organ ed Methodist, Hurricane, WV 3 pm 3355 Queen Mary Road, Apt 424 27 AUGUST +David Higgs, with Youngstown Symphony (Saint-Saëns Symphony No. 3, Poulenc Con- Meadows School of the Arts Exsultemus & Newton Baroque, Telemann Montreal, H3V 1A5, P. Quebec cantatas; Second Church in Newton, West New- certo); Stambaugh Auditorium, Youngstown, OH 4 pm SOUTHERN METHODIST UNIVERSITY Canada ton, MA 8 pm Gordon Turk; Ocean Grove Auditorium, Ocean 19 SEPTEMBER (514) 739-8696 Grove, NJ 12 noon Dallas, Texas 75275 •Hector Olivera, workshop; St. John’s United Fax: (514) 739-4752 Methodist, Augusta, GA 8 pm 28 AUGUST Karen Beaumont; Summerfi eld Methodist, Musical Heritage Society recordings [email protected] Daniel Sañez; St. Paul R.C. Cathedral, Pitts- Milwaukee, WI 1 pm burgh, PA 4 pm •Laura Dilts, Layton Graves, Christina 20 SEPTEMBER Mitchell, Hannah O’Donnell, Sarah O’Donnell, Gail Archer; Davidson College Presbyterian, Adrian Paskey, & Daniel Rothermel; First Unit- Davidson, NC 7:30 pm ed Methodist, Hershey, PA 4 pm James Metzler; Park Congregational, Grand Federico Andreoni; Basilica of the National Rapids, MI 12:15 pm A four-inch Professional Card Shrine of the Immaculate Conception, Washing- HE IAPASON ton, DC 6 pm 23 SEPTEMBER in T D Nathan Laube; Shepherd of the Bay Lutheran, Hector Olivera; First Presbyterian, Lockport, Ellison Bay, WI 7 pm NY 7:30 pm For rates and specifi cations Dean Whiteway; Shrine of Our Lady of Gua- Diane Meredith Belcher; Downtown United contact Jerome Butera dalupe, La Crosse, WI 3 pm Presbyterian, Rochester, NY 8 pm 30 AUGUST 24 SEPTEMBER 847/391-1045 Ray Cornils, with Kotzschmar Festival Brass; Isabelle Demers; Abingdon Episcopal, White Merrill Auditorium, Portland, ME 7:30 pm Marsh, VA 5 pm [email protected] Lisa Massaglia; King’s Chapel, Boston, MA 12:15 pm 25 SEPTEMBER Maria LeRose; Ransdell Chapel, Campbells- Chelsea Chen; Chapel of St. Peter & St. Paul, ville University, Campbellsville, KY 8 pm St. Paul’s School, Concord, NH 7:30 pm
30 THE DIAPASON
Aug 2011 pp. 29-33_FINAL.indd 30 7/15/11 11:05:17 AM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Stephen Hamilton; St. James Episcopal, Hen- 29 AUGUST dersonville, NC 4 pm Carol Williams; Spreckels Organ Pavilion, Bal- Stephen G. Schaeffer Joan Lippincott; Grace Episcopal, Gaines- boa Park, San Diego, CA 7:30 pm BEDE JAMES PARRY ville, GA 5 pm Recitals – Consultations Gillian Weir; Trinity Episcopal, Columbus, GA 30 AUGUST 7 pm Merrill Davis III; Trinity Lutheran, Rochester, ALL SAINTS’ CHURCH Cathedral Church of the Advent Dongho Lee; First Presbyterian, Athens, OH MN 12:10 pm Birmingham, Alabama 4 pm LAS VEGAS, NEVADA www.AdventBirmingham.org Paul Jacobs; First Baptist, Nashville, TN 3 pm 11 SEPTEMBER Michael Burkhardt; Zion Lutheran, Wausau, Edwin Rieke; Bates Recital Hall, University of WI 3 pm Texas, Austin, TX 4 pm Bálint Karosi; Cathedral of the Madeleine, ROBERT L. Stephen Tappe 26 SEPTEMBER Salt Lake City, UT 4 pm Christopher Houlihan; Capitol Hill United Angela Kraft Cross; St. Mary’s Cathedral, San Organist and Director of Music Methodist, Washington, DC 8 pm Francisco, CA 3:30 pm SIMPSON Saint John's Cathedral Marilyn Keiser, workshop; St. John Presbyte- Christ Church Cathedral 12 SEPTEMBER Denver, Colorado rian, New Albany, IN 7 pm 1117 Texas Avenue Larry Palmer; Caruth Auditorium, Southern Graham Davies; Elliott Chapel, Presbyterian Houston, Texas 77002 www.sjcathedral.org Homes, Evanston, IL 1:30 pm Methodist University, Dallas, TX 8 pm 13 SEPTEMBER 30 SEPTEMBER Los Angeles Master Chorale; Hollywood Bowl, Joseph Olefi rowicz; Methuen Memorial Mu- ORGAN MUSIC OF THE SPANISH BAROQUE Hollywood, CA 8 pm sic Hall, Methuen, MA 8 pm David Higgs; All Saints Episcopal, Worcester, Joe Utterback 14 SEPTEMBER David Troiano MA 8 pm David Lamb; St. Andrew’s Cathedral, Hono- DMA MAPM COMMISSIONS & CONCERTS David Lamb ; First Presbyterian, Richmond, lulu, HI 12:15 pm KY 7 pm 586.778.8035 732 . 747 . 5227 [email protected] 16 SEPTEMBER Jonathan Ryan; Samuelson Chapel, California UNITED STATES Lutheran University, Thousand Oaks, CA 7 pm West of the Mississippi Sheila Bristow; Christ Episcopal, Tacoma, WA 12 noon David Wagner David Lamb; Central Union Church, Honolulu, DMA Kevin Walters 15 AUGUST HI 7 pm David Arcus; Spreckels Organ Pavilion, Bal- Madonna University M.A., F.A.G.O. boa Park, San Diego, CA 7:30 pm 17 SEPTEMBER Livonia, Michigan Ken Cowan, masterclass; Chapel of the Incar- [email protected] Rye, New York 16 AUGUST nate Word, San Antonio, TX 10 am Christine Schulz; Bethlehem Lutheran, Mankato, MN 12:10 pm 18 SEPTEMBER William Wilson; Trinity Lutheran, Rochester, Ken Cowan; Chapel of the Incarnate Word, MN 12:10 pm San Antonio, TX 3 pm Robert Gurney; St. Mary’s Cathedral, San KARL WATSON Cherie Wescott 17 AUGUST Francisco, CA 3:30 pm Concerts • Masterclasses • Coaching Wyatt Smith; First Lutheran Church, Fargo, SAINT LUKE’S ND 3 pm 19 SEPTEMBER 405/942-3958 Jonathan Ryan; O’Donnell Auditorium, Ne- METUCHEN e-mail: [email protected] 19 AUGUST braska Wesleyan University, Lincoln, NE 7 pm Jonathan Wohlers; Christ Episcopal, Tacoma, WA 12 noon 20 SEPTEMBER Houston Chamber Choir; Co-Cathedral of the 21 AUGUST Sacred Heart, Houston, TX 7:30 pm Davis Wortman Anthony Rispo; St. Mary’s Cathedral, San RONALD WYATT Francisco, CA 3:30 pm 23 SEPTEMBER Carol Williams; Spreckels Organ Pavilion, Bal- Matt Lehman; Trinity Lutheran, Rochester, MN St. James’ Church Trinity Church boa Park, San Diego, CA 2 pm 12:10 pm Christopher Howerter; Spanaway Lutheran, New York Galveston 22 AUGUST Spanaway, WA 12 noon Dennis James, silent fi lm accompaniment; 24 SEPTEMBER Spreckels Organ Pavilion, Balboa Park, San Di- Janette Fishell, masterclass; Edythe Bates ego, CA 7:30 pm Charles Dodsley Walker, FAGO Old Recital Hall, Rice University, Houston, TX 1 pm Artist-in-Residence Founder/Conductor 23 AUGUST Saint Luke’s Parish Canterbury Choral Society Matt Lehman; Trinity Lutheran, Rochester, MN 25 SEPTEMBER 1864 Post Road 2 East 90th Street 12:10 pm Ken Cowan; First Presbyterian, Columbia, MO Darien, CT 06820 New York, NY 10128 4 pm (917) 628-7650 (212) 222-9458 28 AUGUST Nigel Potts; Trinity Episcopal, Tulsa, OK 7 pm Hector Olivera; Cathedral of the Immaculate Robert Bates; Trinity Lutheran, Spring, TX Conception, Kansas City, MO 2 pm 4 pm Christoph Tietze; St. Mary’s Cathedral, San Janette Fishell; Edythe Bates Old Recital Hall, William Webber, C.A.G.O. Francisco, CA 3:30 pm Rice University, Houston, TX 7 pm Carol Williams; Spreckels Organ Pavilion, Bal- Martin Jean; Highland Park Presbyterian, Dal- Organist/Director, First Christian Church, Danville, KY boa Park, San Diego, CA 2 pm las, TX 7 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
AUGUST, 2011 31
Aug 2011 pp. 29-33_FINAL.indd 31 7/18/11 8:38:50 AM Bradley Hunter Welch; Christ United Method- Felix Hell; Marienkirche, Trier (Pfalzel), Ger- 1 SEPTEMBER 24 SEPTEMBER ist, Plano, TX 7 pm many 7 pm Wolfgang Baumgratz; St. Petri Dom, Bremen, Stephen Tharp; St. Peter, Recklinghausen, Paul Tegels; Queen Anne Lutheran, Seattle, Jan Jansen; Maria von Jessekerk, Delft, Neth- Germany 7 pm Germany 9:15 pm WA 3 pm erlands 3 pm Gillian Weir; Marienkirche, Muhlhausen, Ger- Esteban Elizondo Iriarte; Chiesa di S. Maria Christoph Tietze; St. Mary’s Cathedral, San George Baker; Cathedral, Chartres, France many 7:30 pm della Pace, Pralungo, Italy 9 pm Francisco, CA 3:30 pm 4:30 pm Vincent Thévenaz; Eglise Chalmers-Wesley, 3 SEPTEMBER 25 SEPTEMBER 28 SEPTEMBER Vieux-Québec, QC, Canada 6 pm Richard Salmon; Liverpool Cathedral, Liver- Stephen Tharp; St. Clemens, Dortmund- Lynne Davis; Wiedemann Hall, Wichita State pool, UK 4 pm Brackel, Germany University, Wichita, KS 7:30 pm 24 AUGUST Esteban Elizondo Iriarte; Chiesa di S. Mi- Felix Hell; Frauenkirche, Dresden, Germany 4 SEPTEMBER chele Arcangelo, Cavaglià, Italy 9 pm 30 SEPTEMBER 8 pm Felix Hell; Johanneskirche, Iserlohn, Germany Jim Riggs; Wichita Convention Center, Wich- Stephen Tharp; De Grote of Sint Jacobskerk, 6 pm 27 SEPTEMBER ita, KS 8 pm Den Haag, Netherlands 8:15 pm David Saint; St. Michael’s Abbey, Farnbor- Stephanie Burgoyne & William Vander- William Maddox; St. James’ Anglican Church, ough, UK 3 pm, Choral Vespers 4:45 pm tuin; St. Paul’s Cathedral, London, ON, Canada Orillia, ON, Canada 12:15 pm 12:15 pm INTERNATIONAL 9 SEPTEMBER 25 AUGUST Jean Guillou; Laurenskerk, Rotterdam, Neth- 28 SEPTEMBER erlands 8:15 pm Klemens Schnorr; St. Petri Dom, Bremen, Stephen Tharp; Kaiser- und Mariendom, Jérôme Faucheur, with chamber orchestra; 16 AUGUST Germany 7 pm Speyer, Germany 8 pm Lynne Davis; Domkirke, Haderslev, Denmark Jonathan Oldengarm; Church of St. Andrew Sint-Bertinuskerk, Poperinge, Belgium 8 pm 8 pm and St. Paul, Montreal, QC, Canada 12:15 pm Renata Lesieur; Chiesa di S. Maria, Valdug- Philip Crozier; St. Johanniskirche, Lüneburg, gia, Italy 9 pm Germany 8 pm 26 AUGUST Felix Hell; Ev.-Luth. Kirche “St. Mauritius”, 10 SEPTEMBER Organ Recitals 17 AUGUST Frauenpriessnitz, Germany 7:30 pm Gillian Weir; Gewandhaus, Leipzig, Germany David Rosevear; St. James’ Anglican Church, Gustav Leonhardt; Sint-Martinuskerk, Har- 8 pm Matthew Atherton; Liverpool Cathedral, Liver- Orillia, ON, Canada 12:15 pm inge, Belgium 8 pm pool, UK 4 pm ROBERT BATES, The University of Kan- sas, Lawrence, KS, March 11: Praeludium in 18 AUGUST 27 AUGUST 11 SEPTEMBER F, BuxWV 145, Buxtehude; Ave maris stella, Christian Skobowsky; St. Petri Dom, Bre- Gillian Weir; Domkirche, Erfurt, Germany Edward de Geest; Laurenskerk, Rotterdam, Titelouze; Tiento de medio registro de tiple men, Germany 7 pm 7 pm Netherlands 3 pm de segundo tono, Correa de Arauxo; Prelude Andrew Sampson; St. Matthew’s Westmin- Alex Davies; Liverpool Cathedral, Liverpool, and Fugue in e, BWV 548, Bach; Deuxième ster, London, UK 1:05 pm UK 4 pm fantaisie, Alain; Charon’s Oar, Last Judgment, Kurt-Ludwig Forg; Church of St. Andrew and 14 SEPTEMBER Gillian Weir; Merseburg Dom, Merseburg, Bates; Scherzo symphonique, Cochereau, St. Paul, Montreal, QC, Canada 12:15 pm 28 AUGUST Germany 7 pm transcr. Filsell. Felix Hell; St. Georg, Berka (Thüringen), Ger- Jeremy Filsell; Ridley College, St. Catharines, 19 AUGUST many 7 pm ON, Canada 7:30 pm JAMES BIERY, with Marilyn Biery, Grosse Philip Crozier; Dorfkirche, Trebbus bei Dober- László Fassang; Cathedral, Chartres, France lug-Kirchhain, Germany 7:30 pm Pointe Memorial Church, Grosse Pointe 4:30 pm 15 SEPTEMBER Felix Hell; Evangelische Kirche, Fürth i. Oden- Farms, MI, March 6: Piece d’Orgue, BWV David Jernigan; Westminster Abbey, London, Gillian Weir; Merseburg Dom, Merseburg, wald, Germany 8 pm UK 5:45 pm 572, Bach; Fantasy and Fugue on BACH, Germany 7 pm Liszt; Elegy, J. Biery; Psalm Variations, Hop- Stephen Tharp; Stiftskirche, Stuttgart, Ger- Jacques Boucher, with soprano; Eglise Chal- Andrew Sampson; St. Matthew’s Westmin- many, 7 pm mers-Wesley, Vieux-Québec, QC, Canada 6 pm kins; Solemn Prelude on a Theme of Thomas ster, London, UK 1:05 pm Tallis, Near; Prelude and Fugue on the name ALAIN, op. 7, Durufl é. 20 AUGUST 29 AUGUST 16 SEPTEMBER Felix Hell; St. Maria-Magdalena, Roxheim, Ian Wells; Liverpool Cathedral, Liverpool, UK Gillian Weir; Merseburg Dom, Merseburg, Germany 7 pm 11:15 am Germany 7 pm GAVIN BLACK, harpsichord, St. Andrew’s Philip Crozier; Dorfkirche, Wittmannsdorf bei Margherita Sciddurlo; Chiesa dei SS. Giulio Episcopal Church, Lambertville, NJ, March Lübben (Spreewald), Germany 7:30 pm 31 AUGUST ed Amatore, Cressa, Italy 9 pm 20: Toccata in d, BWV 913, Bach; Suite in e, Keith Hearnshaw; Liverpool Cathedral, Liver- Felix Hell; Sankt-Petri-Dom, Schleswig, Ger- Froberger; Biblical Sonata No. 6, Kuhnau; pool, UK 4 pm many 8 pm 17 SEPTEMBER Sonata in G, Handel; Variations on La Ca- Peter Stevens; Westminster Cathedral, Lon- Gillian Weir; Merseburg Dom, Merseburg, pricciosa, Buxtehude. 21 AUGUST don, UK 7:30 pm Germany 7 pm Philip Crozier; Stiftskirche, Neuzelle bei John McElhiney; St. James’ Anglican Church, Ennio Cominetti, with baritone; Abbazia di S. THOMAS BROWN, piano and organ, The Eisenhüttenstadt, Germany 5 pm Orillia, ON, Canada 12:15 pm Silano, Romagnano Sesia, Italy 9 pm Brick Presbyterian Church, New York, NY, March 15: Quejas ó La Maja y el Ruiseñor 18 SEPTEMBER (Goyescas), Granados; Sonatine, Ravel; Au Stephen Tharp; St. Michael, Saarbrücken, martin ott pipe jardin, Balakirev; Etude-Tableau in e-fl at, op. organ Germany 5 pm 39, no. 5, Rachmaninoff; Ballade in g, op. 23, company Petra Veenswijk; Maria van Jessekerk, Delft, Chopin; Scherzo (Dix Pièces), Gigout; Choral inc. Netherlands 3 pm in b, Franck; Andante sostenuto (Symphonie 7408 Somerset Ave. Gothique, op. 70), Widor; Toccata (Suite, op. St. Louis, MO 63105 21 SEPTEMBER 314-504-0366 Phone 5), Durufl é. 314-569-3879 Fax Stephen Tharp; Essener Dom, Essen, Ger- 801-756-5777 Martin Ott [email protected] many 7:30 pm Orgelbaumeister www.ottpipeorgan.com www.bigeloworgans.com Julian Collings, with cello; Concert Hall, STEPHANIE BURGOYNE and WIL- Reading, UK 1 pm LIAM VANDERTUIN, The Cathedral Michel Bouvard; Westminster Cathedral, Lon- Church of St. Paul, London, ON, Canada, don, UK 7:30 pm March 29: Intrada (Sinfonietta), Bédard; Lar- Parkey go ma non tanto, Bach. arr. Biery; Toccatina 23 SEPTEMBER in D, Boodle; Adagio (Sonata in d, op. 30), OrganBuilders Matteo Galli; Santuario di Sant’Euseo, Ser- Merkel; Tema con variazioni e Finale (Sonata Distinguished Pipe Organs ravalle Sesia, Italy 9 pm da Chiesa), Andriessen. 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Suite 150-285 Fax 770-368-3209 Duluth, Georgia 30096 www.parkeyorgans.com
NEW INSTRUMENTS sound INSPIRATION MAINTENANCE RESTORATIONS Acoustical Design & Testing • Organ Consultation & 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training ABR 847-395-1919 ATOS F I N C Y PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 ExperienceAmerican Theatre Organ Society email: [email protected] www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Preserving a unique art form. GAN BUILDERS - EST E OR . 187 PIP 7 Concerts, education, silent film, preservation, Pipe Organ Craftsmen & Builders _ fellowship and more. www.atos.org Hupalo GF 1785 Timothy Drive, Unit 4 Jim Merry, Executive Secretary, [email protected] & San Leandro, CA 94577 P.O. Box 5327, Fullerton, CA 92838 Repasky Tel: 510 483 6905 SAN FRANCISCO www.hupalorepasky.com w ww 58 .sch 47-58 oenstein.com - (707) 7
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32 THE DIAPASON
Aug 2011 pp. 29-33_FINAL.indd 32 7/15/11 11:15:32 AM JAMES DAVID CHRISTIE, Winnetka phony Gothique), Widor; Communion, Final Böhm; Lamento, Sicilienne, Hymn au soleil, Fiacco, cello, Church of St. Ignatius Loyola, Congregational Church, Winnetka, IL, March (L’Orgue Mystique), Tournemire; Hosanna Feux follets, Clair de lune, Toccata (Pièces de New York, NY, March 16: Sonata No. 6 for Vi- 18: La Béatitude (Pièces choisies), Piroye; Filio David, Demessieux; Final (Symphonie Fantaisie, Suite II, op. 53), Vierne. oloncello and Basso Continuo, RV 46, Vivaldi; Daphne, Camphuysen manuscript; Almande, Romane), Widor. Concerto No. 2 in a for Two Organs, Soler; Susanne van Soldt manuscript; Rondò in G, AARON DAVID MILLER, Christ the Three Duets, op. 39, Glière; Hymne d’Actions Gherardeschi; Ballo della Battaglia, Storace; CALVERT JOHNSON, Augustana College, King Lutheran Church, Houston, TX, March de grâces (Te Deum), Langlais; Poème, op. 25, Ciaconna in B-fl at, J. B. Bach; Praeludium Sioux Falls, SD, March 13: Obra de 8o tono alto: 6: Praeludium in e, Weckmann; Allegro (Con- Chausson; Scherzo (Sonata for Cello in A, op. in d, Böhm; Sortie en si bémol majeur (Six Ensalada, de Heredia; Fantazia of foure parts certo in a), Vivaldi, arr. Bach; Magnifi cat Toni 69), Beethoven; Aria (Suite for Harp and Or- pièces), Ropartz; Scherzo, A. Alain; Canzona (Parthenia), Gibbons; Bergamasca (Fiori musi- VII, Scheidemann; Andante with Variations gan), White; Suite for Violin, Cello, and Or- (Folkloric Suite), Langlais; Élégie, Christie; cali), Canzona Quarta (Il secondo libro di Toc- in D, Mendelssohn; Prelude and Fugue in a, gan, op. 149, Rheinberger; Sounding Heaven Litanies, Alain. cate), Frescobaldi; Echo [Fantasia], Sweelinck; BWV 543, Bach. and Earth, McDowall. Prelude and Fugue in b, BWV 544, Bach; Mys- CRAIG CRAMER, Trinity Lutheran tic Moments, Wang; Wind of Ryukyu, Inagi; FLORENCE MUSTRIC, Trinity Luther- DOROTHY YOUNG RIESS, M.D., Still Church, Lynnwood, WA, March 6: Prelude Miyabi: Ballad for Pipe Organ, Arima; Sonata an Church, Cleveland, OH, March 2: Fugue Hopes Episcopal Community, West Colum- and Fugue in G, BWV 541, Bach; Aria in a No. 4 in B-fl at, op. 65, no. 4, Mendelssohn. in A, Anonymous; Three preludes on tunes bia, SC, March 10: In dir ist Freude, BWV with 15 variations, J. C. Bach; Komm, heiliger from The Sacred Harp, Read; Passacaglia, 615, Jesus bleibet meine Freude, Bach, arr. Geist, Herre Gott, BWV 652, Schmücke dich, SARAH MAHLER KRAAZ, Cattedrale Kerll; Slane, Caoineadh na marbh (From the Biggs; Herzlich thut mich erfreuen, op. 122, o liebe Seele, BWV 654, Herr Jesu Christ, di Pistoia, Pistoia, Italy, March 6: Ave maris Gaelic), Healey; Complainte, Sicilienne (Suite no. 4, Brahms; Pilgrim’s Chorus (Tannhaus- dich zu uns wend, BWV 655, Von Gott will stella, Cavazzoni; Capriccio, Merula; Toccata Française), Poulenc; Pedal exercise, Bach. er), Wagner, arr. Liszt; Andante (Sonata No. ich nicht lassen, BWV 658, O Lamm Gottes, ottava di durezze e ligature (Secondo Libro), 3, op. 65, no. 3), Mendelssohn; Wir glauben unschuldig, BWV 656, Wenn wir in höchsten Canzona dopo l’Epistola (Messa della Do- LEON NELSON, with Mike Nelson, vio- all’ an einen Gott, BWV 680, Bach. menica), Frescobaldi; Toccata Settima, Par- lin, First Presbyterian Church, Deerfi eld, IL, Nöten sein, BWV 668a, Passacaglia et thema March 20: A Trumpet Fancy, Nelson; The fugatum in c, BWV 582, Bach. tite sopra La Romanesca, Rossi; Toccata in JOHN CHAPPELL STOWE, with Edith Emperor’s Fanfare, Soler; Praise to the Lord, Hines, violin, University of Notre Dame, re, Pasquini; Ballo della Battaglia, Storace; the Almighty, Great Is Thy Faithfulness, JEREMY FILSELL, The Episcopal Tempo di marcia P. VI, 18, Andantino P. VI, South Bend, IN, February 20: Toccata Prima DeRousse; Plein Jeu, Fugue sur la Trom- (Toccate d’intavolatura per organo e cem- Church of Bethesda-by-the-Sea, Palm Beach, 16, Gherardeschi; Offertorio, Elevazione, pette, Recit de Chromhorne, Dialogue sur la FL, March 27: No. 1 in B (Trois Préludes Post Communio, Ite missa est (Missa piana Trompette, et sur la Montre, le Bourdon et balo, Libro Secondo), Frescobaldi; Ricercar et Fugues, op. 7), Dupré; Les Cloches de per Organo con registri a piacere), Anonimo Nazard (Mass for the Convents), Couperin; secondo (Partito de Ricercari e Canzoni alla Hinckley, Vierne; No. 2 in f (Trois Préludes (Toscana, sec. XVIII). No. 3, Pour light upon us from above (Three francese), Cima; Sonata IV (Sonate a 1, 2, 3) et Fugues, op. 7), Dupré; Concert Overture in Liturgical Improvisations), Oldroyd; Medita- Fontana; Canzon dopo l’Epistola (Missa dell’ c, Hollins; Symphonic Dances III, Rachmani- ANDRÉ LASH, Central United Method- tion (Thaïs), Massenet; Variations on O for a Apostoli, Fiori Musicali), Frescobaldi; Sonata nov, transcr. Filsell; No. 3 in g (Trois Préludes ist Church, Spartanburg, SC, March 25: Cho- Thousand Tongues to Sing, Hopson; Andante III, Fontana; Passagagli (Selva di varie com- et Fugues, op. 7), Dupré. ral in a, Franck; Were You There?, Sowerby; Cantabile (Serenade for Strings), Tchai- positioni d’intavolatura per cimbalo ed orga- Batalha de 5o Ton, da Conceição; In Dulci Ju- kovsky; Ave Maria, Schubert; Come, Thou no), Storace; Chiacona, Bertali; Toccata in G, ADAM GRUBER, St. Simon’s Episcopal bilo, Toccata and Fugue in d, BWV 565, Bach; Fount of Every Blessing, Manz; Jesus Loves Froberger; Gelobet seist du, Herr Jesu Christ, Church, Arlington Heights, IL, March 13: Improvisation on ‘Victimae Paschali’, Tourne- Me, Hustad. Weckmann; Contrapunct sopra la Baßigaglos Prelude and Fugue in G, BWV 541, Bach; mire, reconstructed Durufl é; Scherzo, op. 2, d’Altr., attr. Strungk; Toccata in d, BuxWV Litanies, Alain; Passacaglia, Northway; Gal- Durufl é; Adagio quasi Largo (Symphonie III), MASSIMO NOSETTI, Presbyterian 155, Buxtehude. eries Ancien, Janzer; Pièce Héroïque, Franck; Vierne; Prelude and Fugue in B, Dupré. Homes, Evanston, IL, March 28: Sinfonia, Trumpet Tune, German; Toccata in d, Nevin; Moretti; Ciaccona con Variazioni, op. 142, STEPHEN THARP, Walt Disney Concert Final (Symphonie I), Vierne. RENÉE ANNE LOUPRETTE, Church of no. 7, Karg-Elert; Scherzo in D, Capocci; Hall, Los Angeles, CA, March 13: Disney’s St. Ignatius Loyola, New York, NY, February Tango över Psalm 303, Sixten; Pomp and Trumpets, Tharp; Scherzo in b-fl at, op. 31, TIMOTHY HUTH, with Rose Carmel 27: Praeludium in g, BWV 550, Bach; Pavana Circumstance—Military March No. 4, op. 39, Chopin, arr. Tharp; Prière, op. 37, no. 3, Burgess, IHM, Cantor, Motherhouse Cha- Bassano, Almande trycottee, Almande Brun Elgar, transcr. Sinclair; Allegretto, de Boeck; Jongen; The Fair (Petrushka), Stravinsky, pel, Sisters of the Immaculate Heart of Smeedelyn, Van Soldt; Praeambulum Primi Toccata, Somma. arr. Tharp; A Night on Bald Mountain, Mus- Mary, Monroe, MI, November 7: Improvi- Toni a 5, Weckmann; Aus tiefer Not schrei ich sorgsky, arr. Tharp; Intermezzo in A, op. 118, sation on the Te Deum, Tournemire; Rorate zu dir, Böhm; Aus tiefer Not schrei ich zu dir, NANCIANNE PARRELLA, with Jorge no. 2, Brahms, arr. Tharp; Totentanz, Liszt, Coeli, Demessieux; Final/Variations (Sym- BWV 686, Bach; Freu dich sehr, o meine Seele, Ávila, violin, Victoria Drake, harp, and Arthur arr. Tharp.
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PUBLICATIONS/ PUBLICATIONS/ REED ORGANS PIPE ORGANS RECORDINGS RECORDINGS FOR SALE FOR SALE
Fountain Reverie, by Percy Fletcher, is highly Certifi ed appraisals—Collections of organ Vocalion—Completely restored, excellent con- 1924 Malarkey Organ— rebuilt 1994 J. Dower. recommended as an audience favorite. See books, recordings, and music, for divorce, es- dition. 2-manual, full pedalboard with blower. 21 ranks, 2 manuals and pedalboard; $10,000. a video of Justin Hartz performing at Long- tate, gift, and tax purposes. Stephen L. Pinel, Asking $4500 or best offer. Located in Michigan; Available September 2011. Please contact E. Sta- wood Gardens at michaelsmusicservice.com; Appraiser. [email protected]; 609/448-8427. 313/770-2970. ton at St. Mark’s Lutheran Church: 704/857-2092; 704/567-1066. [email protected]. Two fi lms on DVD about J. S. Bach’s “Art of PIPE ORGANS Eight Historic Pipe Organs of the Copper Fugue,” and 2 CDs of the entire work played by Moeller Artiste, 3 ranks, very good condition, Country, located in towns on Michigan’s Upper George Ritchie, as well as two hours of video FOR SALE some renovation completed, builder ready to Peninsula, surrounded by Lake Superior, are lecture by Ritchie at the organ, receive rave re- assist in moving for additional cost. $10,000/ played by Christina Harmon on a new CD, Ra- views from all quarters and are sold as a set, Studio Pipe Organ—$9000, or free to quali- best offer. 414/228-8737; jennifer.ankerberg@ ven OAR-928. The repertoire includes the fi rst FSF-DVD-001, for $39.95 postpaid worldwide fied non-profit organization. This is a seven sbcglobal.net. recording of a Theme with Variations composed by Raven, Box 25111, Richmond, VA 23261, rank pipe organ suitable for a residence or by the late Dallas pedagogue Robert T. Anderson www.RavenCD.com. small church. It is currently in active use. and unusual works by Langlais, Powell Weaver E-mail for pictures. There are seven ranks Kimball unit console—Most pipes Wangerin, (Copper Country Sketches), Everett Titcomb, from which the stoplist is constructed. These Lyon & Healy, others. Need the space; daugh- and many others. The organs are by builders Fruhauf Music Publications is pleased to high- are: 16′ Bourdon, 8′ Gedeckt, 8′ Quintedena, ter and children moving home. Buyer to remove. Garret House (1874) of Buffalo, NY; 1893 Lan- light two seasonal choral selections: A Starlit 4′ String, 4′ Principal, 4′ Dulciana (providing $2,000. 219/322-5613. cashire-Marshall of Moline, IL; Carl Barckhoff Night It Was in Bethlehem—Christmas Carol the Celeste), 2′ Rohrflöte. The organ has two (1899) of Latrobe, PA; William Schuelke (1902) verse anthem (SATB, SAB, Unis. & Org., 10 p.), manuals, with the Positiv and Choir divisions of Milwaukee; Kilgen (1905) of St. Louis; Estey moderately difficult; Let All Mortal Flesh Keep Si- 1869 E. & G.G. Hook organ for sale. The or- (1908) of Brattleboro, VT; Austin (1913) of Hart- lence – 4-verse unison hymn anthem (Eucharist playing from the upper manual and the Great from the one below. On the Great, the stops gan measures 14 ft. wide, 10 ft. deep (with pedal) ford, CT; and one of 52 organs built by Casavant or Epiphany, 5 pages), easy. Visit www.frumus- ′ ′ ′ and is 20 ft. tall. It has mechanical action, Great, (1916) at the South Haven, Michigan, plant which pub.net to view listings and place e-mail orders; are: 16 Quintedena, 8 Hohlflöte, 8 Dulciana, 4′ Principal, Unison off, G/G 4′, Great/Positiv Swell, Pedal divisions, two combination pedals, operated 1912–1918. $14.98 postpaid worldwide also download gratis .PDF fi les of 2 perennial or- ′, ′. 15 ranks; removal date January, 2012. $95,000, from Raven, Box 25111, Richmond, VA 23261, gan favorites. Order from the website or contact: 8 Choir/Great 8 On the Positiv, the stops are: ′, ′, 2 ′, www.RavenCD.com. [email protected]; 805/682-5727 (mornings, Gedeckt 8 Rohrflöte 4 Nasat 2 ⁄3 Rohrflöte negotiable. Please contact Stephen Tappe at 3 Saint John’s Cathedral in Denver for more infor- PDST); or: Fruhauf Music Publications, P.O. Box 2′, Terz 1 ⁄5′, Unison Off. On the Choir, the 22043, Santa Barbara, CA 93121-2043. stops are: Viola 8′, Dulciana 8′, Quintedena mation: [email protected]. ′, ′, ′, ATTENTION ORGANISTS AND CHOIR 8 Rohrflöte 4 Octavin 2 Unison Off. The DIRECTORS! Summertime’s easier sched- console is a Klann from the mid 20th century Historic Organs of Seattle: A Young Yet Vibrant with ivory keys. The wind chest magnets, the A 1966 classic design, electro-pneumatic ule allows you the time to put things back in coupler switches, and the stop switches are Moller pipe organ in Madison, Wisconsin, with order again. We can help eliminate some of History, the latest OHS release, is a four-disc set recorded at the 2008 OHS national convention, all Reisner. The presets are not connected but three manuals, 18 stops, and 21 ranks. $10,000, the drudgery! From the folks who brought held in the Seattle area, featuring historic organs could be. The instrument is ideal for a practice buyer to move. Call 608/238-5656 or e-mail you the Anthem Retrieval Service, we now by Aeolian-Skinner, Casavant, Hook & Hastings, studio or chapel, but too quiet for a large sanc- [email protected]. offer the CHOIR FOLDER USED TISSUE Hutchings-Votey, Kilgen, Tallman, Woodberry, tuary. The footprint of the windchest is 7′ long, REMOVAL SERVICE—who wouldn’t want Hinners, Cole & Woodberry, plus instruments 3′ wide. That of the console and pedals is 5′ to be spared that task? Also available is by Flentrop, C. B. Fisk, and Rosales, and Pacifi c x 4½′ deep. The tallest Bourdon pipe is 9½′. Martin Pasi pipe organ—Two manuals, 24 the HYMNAL RETRIEVAL SERVICE—just Northwest organbuilders Paul Fritts, Martin Pasi, Price is negotiable. Buyer to remove. You are stops, suspended-tracker action. $350,000. Web: like the Anthem Retrieval Service, we can John Brombaugh, Richard Bond, and many more! welcome to come play the instrument. Please http://martin-pasi-pipe-organ-sale.com; phone: track down all those expensive hymnals O rganists Douglas Cleveland, Julia Brown, J. Mel- feel free to ring me at 512/452-7723 if you 425/471-0826. that have gone missing. When they return, vin Butler, Carole Terry, Bruce Stevens, and oth- have any questions. Location: Austin, TX. apply our exclusive GPS tape so that you ers are featured in live performances on 24 pipe can track their future whereabouts! Box organs built between 1871 and 2000. Includes a Audio and video clips are now available on Patterson-Con, THE DIAPASON, jrobin- 36-page booklet with photographs and stoplists. Three small pipe organs for sale. Great prices. TheDiapason.com —featuring the special effects [email protected]. $34.95, OHS members: $31.95. For more info or For more information, please go to our website, on historic Italian organs, including birds, bells, to order: http://OHSCatalog.com/hiorofse.html. www.milnarorgan.com. drums, and more!
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.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
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PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
34 THE DIAPASON
Aug 2011 pp. 34-35.indd 34 7/15/11 11:17:12 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 33
PIPE ORGANS MISCELLANEOUS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1929 Estey “Minuette” with 3 unifi ed Wood pipes. Missing pipes made to match. Consoles, pipes and numerous miscellaneous Highest quality organ control systems since ranks, a very rare 2-manual instrument in Damaged pipes in any condition repaired. Over parts. Let us know what you are looking for. 1989. Whether just a pipe relay, combination a grand piano style case. Completely re- 25 years experience. Filip Cerny, 814/342-0975. E-mail [email protected] (not comcast), action or complete control system, all parts built including case refi nishing and a new phone 215/353-0286 or 215/788-3423. are compatible. Intelligent design, competitive blower. $20,000. Contact Box JU-6101, pricing, custom software to meet all of your re- THE DIAPASON. 16′ Principal pipes, wooden, small scale, Moller quirements. For more information call Westa- low 12 notes, cost $4000. 8′ Tuba, large scale, SERVICES/ cott Organ Systems, 215/353-0286, or e-mail Tellers, cost $1200. Deagan Xylophone, 37 notes, [email protected] 1981 Lauck Residence Organ—2-manual, 3 needs releathering, cost $800. 24-note Harp SUPPLIES ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe needs releathering, $600. Reisner direct action TC 49. Unifi ed to 19 stops. Expression, tremu- magnets, 77 3/4, 66 1-1/8, 159 5/8, cost $350 Aeolian/Robert Morton-style maroon leather Releathering all types of pipe organ actions lant, combination action. Natural ash casework: each. Siedle Organ Company, 412/221-5484. is now available from Columbia Organ and mechanisms. Highest quality materials ″ ″ ″ 94 high, 72 wide, 24 deep. Movable. Presently Leathers! Highest quality. 800/423-7003, and workmanship. Reasonable rates. Columbia being restored. $18,000. Lauck Pipe Organ Co. www.columbiaorgan.com. Organ Leathers 800/423-7003. www.columbia 269/694-4500; e-mail: [email protected]. Quality vintage pipework for sale: 16′ Open organ.com/col. Wood, Bourdon; 8′ Principal, Doppelfl öte, VDO, ′ Vox, etc; 4 Harmonic Flute, D’amour, etc. Call Austin actions recovered. Over 40 years 1960s Walcker (German) 14-rank tracker organ. Mike Jalving, 303/621-6708. experience. Units thoroughly tested and fully Open toe voicing on 2″ wind pressure. Reverse ANNOUNCEMENTS ′ ′ ″ guaranteed. Please call or e-mail for quotes. console built into case. Footprint: 6 wide by 11 6 Technical assistance available. Foley-Baker, ′ ″ Theater Organ pipes and parts— ′ HE IAPASON deep (including console and pedal stops), 9 10 Wurlitzer 8 Inc., 42 N. River Road, Tolland, CT 06084. Are you receiving T D E-News? Our tall. All encased with 4′ Principal façade. Manual Clarinet, $250; Wurlitzer 16′ Diaphone (1–12), newsletter is e-mailed monthly to our registered ′ ′ $250; Kimball 8′ Post Horn, $900; Kimball 4′ Phone 1-800/621-2624. FAX 860/870-7571. I—8 Gedackt, 4 Octave, II Sesquialtera, II–III [email protected]. subscribers; a separate issue each month Mixture. Manual II—8′ Gemshorn, 4′ Rohrfl ote, 2′ Concert Flute, $50; Kimball Bass Drum & Cym- sends you our web classifi ed ads. Don’t miss Principal, 1-1/3′ Quinte. Pedal—16′ Bourdon, 8′ bal, $100; 2 Kimball tremolos, $25 each; Kim- out! To register, visit www.TheDiapason.com, Flute, 4′ Choralbass. Playing and in use regularly. ball combination action with setter-board, $25; click on Newsletter, and enter your contact in- Asking $12,000. For recordings and pictures con- stop action chest for a 3-manual organ, $25; 3 formation. tact [email protected]. Wurlitzer traps relays, $15. Philadelphia area. Need help with your re-leathering Phone: 610/627-2452. project? All pneumatics including Austin. Over 45 years experience (on the job assistance available). Postal regulations require that mail 1969 Möller Double-Artiste. 2 manuals, 9 ′ ranks (including Mixture and 16′ Trompette), 28 Atlantic City Pipe Organ Company—8 Eng- 615/274-6400. to THE DIAPASON include a suite num- lish Horn, Moller pedal Fagotto with chest, C.S. stops. Newly releathered and renovated. $44,500 ′ ber to assure delivery. Please send plus installation. 617/688-9290. Haskell 16 Principals, Reeds, Strings. 2-manual 3-rank, 5 Walker stops, Peterson relay & action; all correspondence to: THE DIAPASON, fi ts under 8′ ceiling. 10 years old. Ideal for home 3030 W. Salt Creek Lane, Suite 201, or small church. 609/641-9422; mywebpages. Available Summer, 2011. Moller Opus 11546 ALL REPLIES Arlington Heights, IL 60005. (1981), 3-manual, 34+ ranks. Polished zinc ex- comcast.net/acorgan. posed pipes symmetrically set in wood fi nish TO BOX NUMBERS casework. Chicago area. Come try it! Contact ″ THE DIAPASON’s classified ads are now Spencer Orgoblo—3hp, 10 wind, $1500; Reis- that appear available on THE DIAPASON website— Adrienne: 847/816-1468; [email protected]. ner relays and switches (played 3-manual,10- rank unit organ), $100. Schulmerich Carillon Auto without an address including photographs and convenient e-mail links directly to the sellers! Visit Bell roll player with rolls, $250. Philadelphia area. should be sent to: ELECTRONIC ORGANS Phone: 610/627-2452. www.TheDiapason.com and in the left- FOR SALE THE DIAPASON hand column, look for SPOTLIGHTS, then click on Classified Advertisements. Request a free sample issue of The Diapason 3030 W. Salt Creek Lane, Suite 201 Follow the links to the classifieds that Allen Organ, MDC Classic 22 with 2 manuals for a student, friend, or colleague. Write to the Arlington Heights, IL 60005 interest you, and click the e-mail but- and 32-note pedalboard. Original owner. Perfect Editor, The Diapason, 3030 W. Salt Creek Lane, ton to contact the sellers. What could for practice or small church. Superb condition. Suite 201, Arlington Heights, IL 60005; or e-mail: be easier? $1,800 O.B.O. Dearborn, MI. 313/791-0590. [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
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 ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-quality organbuilders plaque has a marbleized black fi n- ish; a slot on the back makes it easy 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 to hang for wall display. Made in 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
AUGUST, 2011 35
Aug 2011 pp. 34-35.indd 35 7/15/11 11:24:46 AM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011 SOLD OUT
*=European artists available 2010-2011 and 2011-2012
Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young