THE DIAPASON DECEMBER 2019 — 110th Anniversary Issue

Dunwoody United Methodist Church Dunwoody, Georgia Cover feature on pages 22–24 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK

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

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IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 12, A milestone, indeed! Whole No. 1321 In December 1909, Siegfried E. Gruenstein published in DECEMBER 2019 Chicago and distributed far afi eld the fi rst issue of The Diapa- Established in 1909 son. The current issue, our 1,321st, marks 110 years of qual- Stephen Schnurr ISSN 0012-2378 ity publishing of news of all matters related to the organ and 847/954-7989; [email protected] church music worlds. Can you bring to mind another journal www.TheDiapason.com An International Monthly Devoted to the Organ, that has been doing this monthly for over a century? the , , and Church Music We could not put this issue together without you—your Speaking of subscriptions subscription, your advertisement, your articles and news items, There will be slight adjustments to subscription rates on CONTENTS your support. The staff of The Diapason is grateful for your January 1. A one-year print subscription will be $44, two years FEATURES part in making this possible, and we look forward to many more $81, and three years $112. Mailing surcharges to other coun- Ernest M. Skinner in The Diapason years of publishing. tries will be slightly adjusted, as well. Rates for the digital issue by Joyce Johnson Robinson 16 and student subscriptions will remain the same price, $35 and Partners For Sacred Places announces The Gruenstein Award $20, respectively. initiative to preserve historic organs in Do not forget that we are now by Jonathan Eifert 21 accepting nominations through In this issue January 31, 2020, for our fi rst Gru- Joyce Johnson Robinson, former editor of The Diapason, NEWS & DEPARTMENTS enstein Award, honoring the work of presents an overview of Ernest M. Skinner and his appearances Editor’s Notebook 3 a young scholar through a feature- in The Diapason over the decades, from the 1910s through Here & There 3 length article in the May 2020 the 1960s—a most appropriate article for our anniversary. Appointments 6 issue. Submissions of articles are Jonathan Eifert reports on an exciting groundbreaking initia- Carillon Profi le by Kimberly Schafer 8 sought from those who have not yet tive overseen by Partners for Sacred Places to preserve historic Harpsichord Notes by Larry Palmer 11 On Teaching by Gavin Black 12 reached their 35th birthday by Janu- organs in churches in Philadelphia, Pennsylvania. In the wind . . . by John Bishop 14 ary 31, 2020. For further details, see John Bishop, in “In the Wind . . .,” enlightens us with remi- the September 2019 issue, page 3, niscences of his recent visits to several monumental European REVIEWS or visit www.thediapason.com. historic organs. In “Harpsichord Notes,” Larry Palmer contin- New Organ Music 10 1909 110 2019 ues recounting his years of training and his career as an educa- New Recordings 10 That perfect gift for a friend tor. We are especially pleased to have his column this month, In this season of gift giving, I as his home was damaged during the October 21 tornado that CALENDAR 25 remind you that a gift subscription to The Diapason makes hit , Texas. In “On Teaching,” Gavin Black continues his RECITAL PROGRAMS 29 the perfect remembrance for a friend who enjoys reading discussion of J. S. Bach’s The Art of the Fugue, BWV 1080. CLASSIFIED ADVERTISING 30 about the organ, harpsichord, carillon, and church music. Our cover feature is the recently completed organ by Quimby Through December 31, any new or gift subscription qualifi es Pipe Organs of Warrensburg, Missouri, for Dunwoody United for one, two, or three free CDs from Raven. This offer is even Methodist Church, Dunwoody, Georgia. The large instrument THE valid for our digital subscription (only $35) and our student rate contains a considerable amount of historic pipework from two DIAPASON (an incredible deal at $20). For details, visit www.thediapason. redundant organs, blended with new pipework for a fl exible DECEMBER 2019 — 110th Anniversary Issue com/subscribe. and comprehensive instrument. Q Here & There

Events €500. Deadline for application is March 31, 2020. For information: www.klingende- kirche.de or www.saarlouiser-orgeltage.de.

Dunwoody United Methodist Church Dunwoody, Georgia Cover feature on pages 22–24 Awards

COVER Dunwoody United Methodist Church, Dunwoody, Georgia; Quimby Pipe Organs, Warrensburg, Missouri 22 St. Paul’s Episcopal Church, Greenville, Advent Lutheran Church, , North Carolina, C. B. Fisk Opus 126 Florida, Schlueter Editorial Director STEPHEN SCHNURR and Publisher [email protected] Deadline for application is February 15, 847/954-7989 Advent Lutheran Church, Mel- 2020. For information and application, President RICK SCHWER bourne, Florida, announces its 2019–2020 email Andrew Scanlon: [email protected] concert series: December 8, “Savior of [email protected]. 847/391-1048 the Nations, Come,” hymn festival, with Michael Burkhardt; February 2, 2020, The Friends’ Association “Klin- Editor-at-Large ANDREW SCHAEFFER [email protected] Jillian Gardner; May 17, Sam Backman. gende Kirche” of the Catholic Par- An Advent organ recital series is ish, Saarlouis-Lisdorf, Germany, in Sales Director JEROME BUTERA offered, Wednesdays at noon: December association with the City of Saarlouis [email protected] 608/634-6253 4, Silviya Mateva; 12/11, Betty Jo Couch; and the Diocese of Trier, announces the Circulation/ 12/18, Barbara Larson. For information: Ninth International Organ Composi- Subscriptions THE DIAPASON www.adventbrevard.org. tion Contest. Compositions for solo P.O. Box 300 Lincolnshire, IL. 60069-0300 organ, solo instrument and organ, and Joan Lippincott (photo credit: Christian [email protected] solo voice and organ are eligible for Steiner) Toll-Free: 877/501-7540 Competitions entry. Compositions must not have been Local: 847/763-4933 East Carolina University, Green- published or premiered, and should be Joan Lippincott has been named Designer KIMBERLY PELLIKAN ville, North Carolina, announces its 2020 8 to 10 minutes in length and be specifi - the 2019 International Performer of the [email protected] Young Artists Competition for Pre-Col- cally composed for the 1987 mechanical- Year by the Chapter of 847/391-1024 lege , open to any pre-college Mayer organ in the Catholic Par- the American Guild of Organists. The Contributing Editors LARRY PALMER organ student in the . The ish Church of Saarlouis-Lisdorf. International Performer of the Year Harpsichord competition will take place March 21, The jury is chaired by Thomas Daniel Award was created in 1978 to recognize 2020, in St. Paul’s Episcopal Church, Schlee of , Austria. The grand prize excellence in organ performance and to BRIAN SWAGER Carillon which houses C. B. Fisk Opus 126. First consists of €2,000, a master recording of increase public awareness of the organ prize is $1,500; second prize is $750; the work, and a premiere performance and its performers and is given bienni- JOHN BISHOP third prize is $300. A Bach prize and a during the 2020 Saarlouis Organ Festival. ally. For information: www.nycago.org. In the wind . . . hymn-playing prize offer $100 each. Second prize is €1,000, and third prize is ³ page 4 GAVIN BLACK On Teaching THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles Reviewers John Collins 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. John L. Speller Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 3 Here & There

³ page 3 for the conven- tion held in Dallas this past summer. Scholarships Froehlich’s husband of 19 years died The Kotzschmar Memorial Trust, suddenly in the summer of 2018. He has Portland, Maine, is accepting applica- recently remarried and will be moving to tions for the Kotzschmar Memorial Trust Huntsville, Alabama, for his retirement. Scholarship through January 15, 2020. The scholarship was established in 1911 to provide fi nancial aid “in the musical education of such pupil or pupils, of marked musical ability.” According to the terms of the trust, preference is to be given to promising students of the organ. If no such promising student is found, the trust states that the award “may be used in aid of students of marked music ability in , violin, other musical Front row: Joseph Russell, Elena Baqueriza, and Alexander Pattavina; back row: instruments or voice culture.” Auditions, Vaughn Mauren, artistic director, with competition judges Thomas Murray, Diane to be held March 14, 2020, are open to Meredith Belcher, and John Rose students age 10–18 (grades 4–12), and age 19–25, in the greater Portland area The Albert Schweitzer Organ Festival Hartford announced winners of its studying organ, piano, voice, and all Michael Daugherty and in Young Professional Division competition, held September 28 in Hartford, Con- orchestral instruments. For information: Kansas City necticut. Alexander Pattavina, of New York, New York, is the winner. The fi rst www.foko.org. prize was $15,000. The second prize of $7,500 was awarded to Joseph Russell of In October, Paul Jacobs was the , Texas. The third prize of $3,500 was presented to Elena Baquerizo of soloist in three performances with the New York, New York. The hymn-playing award of $2,500, given in memory of festival People Kansas City Symphony of Michael co-founder David Spicer, was presented to Joseph Russell. Daugherty’s organ concerto, Once Baquerizo and Pattavina study organ at The Juilliard School with Paul Jacobs, Upon a Castle, conducted by Jason who was winner of the festival’s fi rst Young Professional competition in 1998. Russell Seber at the Kauffman Center. Jacobs recently completed a degree in organ performance at the Shepherd School of Music recorded this work with the Nashville at , having studied with Ken Cowan, and previously at the Curtis Insti- Symphony in 2015 and performs it again tute of Music with Alan Morrison. Russell won the High School Division competition in February 2020 with The Philadelphia in 2012. This year mark’s the festival’s 23rd season, and the competition was held in Orchestra. For information: Trinity College Chapel, Hartford. For information: www.asofhartford.org. www.pauljacobsorgan.com.

Thomas F. Froehlich

Thomas F. Froehlich has retired from his position as associate director of music and at First Presbyterian Church of Dallas, Texas, where he served The choirs of St. Paul’s-on-the-Green Episcopal Church, Norwalk, Connecticut, and for 42 years. Froehlich earned degrees St. John’s Episcopal Church, West Hartford, Connecticut, at Washington National from Lawrence and Northwestern Uni- Cathedral versities and spent three years doing James Kibbie post-graduate studies in Paris, France, The RSCM-affi liated choirs of St. Paul’s-on-the-Green Episcopal Church, with Marie-Claire Alain. At that time he James Kibbie continues his annual Norwalk, Connecticut, Jake Street, organist/choirmaster, and St. John’s Episcopal served as organist and choirmaster at St. tradition of offering free downloads of a Church, West Hartford, Connecticut, Scott Lamlein, organist/choirmaster, combined Michael’s Anglican Church in Paris. recording on his house organ, a seven- for a residency at Washington National Cathedral, Washington, D.C., July 5–10. The The start of his tenure in Dallas was stop Létourneau tracker, as an “audio treble choristers sang Sunday Eucharist alone, and the combined choir of 45 sang Even- just after the installation of a new organ holiday card.” This year’s recording, the song that day in addition to Monday and Tuesday. The group also sang a choral postlude by Robert L. Sipe Co. Under his guid- 18th in the series, is Joe Utterback’s Song on Saturday at the Basilica of the National Shrine of the Immaculate Conception, and ance the church acquired a Cavaillé- of the Magi, available in MP3 format at Evensong Wednesday at the Cathedral of St. John the Divine, New York City. Coll-inspired organ for its chapel, built www.umich.edu/~jkibbie. Repertoire included works by John Abdenour, Bruckner, Dyson, Balfour Gardiner, by Jaeckel Organs. He has served as Ola Gjeilo, Howells, Sarah MacDonald, Parry, Radcliffe, Sowerby, Sumsion, Tallis, a clinician at the Montreat Music and Dan Locklair’s Holy Seasons: Four Vaughan Williams, and Charles Wood. For information: https://sjparish.net and www. Worship conference and as a member of Tone Poems for Organ was premiered stpaulsnorwalk.org. committees within the Dallas Chapter of September 28 at Bruton Parish Church, the American Guild of Organists. Most Williamsburg, Virginia, by Rebecca recently, he was featured as a recitalist Davy, music director and organist, as also performed. The 25-minute work, published by Subito Music, was com- missioned for the occasion and was composed in late 2017 and early 2018. The movements are entitled “The Call of Advent,” “Christmas Lullaby & Pas- torale,” “An Aria for Lent,” and “Easter Joy.” For information: www.locklair.com.

After twenty years, Penny Lorenz will retire from and close her artist management business at the end of 2019. Lorenz considers it an honor and privilege to have managed the careers of Rebecca Davy and Dan Locklair at the artists Robert Bates, Douglas Cleveland, console of the Dobson organ, Bruton Craig Cramer, Katherine Handford, Parish Church, Williamsburg, Virginia (photo credit: Gregory Davy) Balint Karosi, Christophe Mantoux, Aaron David Miller, and Jack Mitchener. These organists will continue to perform, part of a concert entitled “New Music and they can still be contacted through AUSTINORGANS.COM for a New Organ” in celebration of Lorenz. Some of the performers will join t8PPEMBOE4U)BSUGPSE$5 the church’s new Dobson other management agencies, which will Builders, Ltd., pipe organ. For this pro- be announced shortly. In order to assure gram, JanEl Will, the church’s organist, ³ page 6

4 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM www.ConcertArtistCooperative.com

Colin R. Monty Elisa Jackson Shin-Ae Leon W. Andrews Bennett Bickers Borges Chun Couch III

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

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

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Appointments André J. Thomas is appointed visiting profes- Jacob Benda is appointed director of sacred sor of choral conducting for the Yale School of music and liturgy for Our Lady of Lourdes Music and Yale Institute of Sacred Music, New Catholic Church, Minneapolis, Minnesota, Haven, Connecticut, and interim conductor of the where his duties will include presiding over Yale Camerata in the 2020–2021 academic year. the Wicks pipe organ, directing the semi- Thomas is the retired Owen F. Sellers Profes- professional parish choir, and developing a sor of Music, director of choral activities, and concert series. A parish with a rich history, the professor of choral music education at Florida building is the oldest continuously used church State University, Tallahassee. He has served building in Minneapolis and is part of the St. as a choral adjudicator, clinician, and director Anthony Falls Historic District. In addition to throughout North America, , Asia, New his church work and performance schedule, Zealand, , and Africa. His domestic and Benda is a published author, producer, and international conducting credits include leading member of various boards. He earned his Doc- convention choirs for the National Association for Jacob Benda tor of Musical Arts degree from Louisiana State André J. Thomas Music Education, the American Choral Directors University in 2015 under the mentorship of Association (ACDA), and the World Youth Choir; Herndon Spillman. He is represented by Seven Eight Artists. For information: and orchestras ranging from the Birmingham Symphony Orchestra (England) to www.seveneightartists.com. China’s People’s Liberation Orchestra. He recently retired as artistic director of the Tallahassee Community Chorus. Frederick Hohman is appointed organ- Thomas has been recognized for his dedication to and accomplishments in the cho- ist for Sunnyside Presbyterian Church, South ral arts. In 2011, the African Diaspora Sacred Music and Musicians Program honored Bend, Indiana. He succeeds Rachel Lorber, him as a Living Legend. In the same year, Chorus America presented him with its who has retired after serving as organist at Sun- Distinguished Service Award. In 2017 the ACDA presented Thomas with its high- nyside Church for over twenty years. Hohman est honor, The Robert Shaw Award, and the National Collegiate Choral Organization will accompany the church choirs, led by direc- presented him with its Lifetime Achievement Award. In January 2019 he was inducted tor of music Yvonda Kisor, and provide organ into the Florida Music Educator’s Hall of Fame. He is a past president of the Florida music leadership for the 9:30 a.m. Sunday ACDA and the past president of the Southern Division of ACDA, and the current vice service, which is streamed live at the church’s president of National ACDA and the artistic chairman of the 2021 national convention. website (www.sunnysidechurch.org). He will Thomas will lead the Camerata in its four major concerts next season, and will present a solo organ recital each fall and spring join Jeffrey Douma and David Hill next year in instruction of graduate majors in on the church’s three-manual, 38-rank organ, choral conducting. Douma will serve as overall coordinator for the program and rebuilt this year by Fabry, Inc. For information: teach second-year students, and Thomas and Hill will each teach two of the fi rst- Frederick Hohman www.frederickhohman.net. year students. For information: ism.yale.edu. Q

³ page 4

Peter Richard Conte and Carol Williams at the Wanamaker Organ, Macy’s De- partment Store, Philadelphia, Pennsyl- vania (photo credit: Kerry Bell) James F. Mellichamp in (photo credit: J. Mellichamp) was with Peter Richard Conte at , . On May 29, he the Wanamaker organ in Philadelphia, performed as part of the Piccolo Spoleto Pennsylvania. Williams has been named Festival at the Cathedral of St. John the Elizabeth C. Patterson (photo credit: Steve artistic director of Viscount Organs, Penny Lorenz (photo credit: William T. Van Baptist (Bedient organ), Charleston, Sherman) North America. For information: Pelt) South Carolina. And on October 13, he performances and promotion of Ameri- www.melcot.com. performed as part of the Autumn Fes- can music. The American Prize is the a smooth transition, Lorenz can still be tival Series at the Oratory of St. Joseph nation’s most comprehensive series of contacted at [email protected] or (Beckerath organ), Montreal, Canada. contests in the classical arts. Publishers [email protected]. In addition to promoting new Ameri- Gloriae Dei Cantores and its direc- can composers at home, Patterson led James F. Mellichamp completed a tor emeritus, Elizabeth C. Patterson, Gloriæ Dei Cantores on numerous inter- year of performances crisscrossing the have been awarded the 2019 American national tours. From New York to places North American continent. On January Prize Ernst Bacon Memorial Award, such as San Francisco, London, Venice, 10, he performed at the Cathedral of recognizing Patterson’s conducting and Prague, , and Siberia, Gloriæ Dei Our Lady of the Angels (Dobson organ), leadership, as well as the ensemble’s Cantores and Patterson brought not only American music to foreign countries, but also music native to the countries in which they were performing. MANDER ORGANS Elizabeth Patterson has overseen the development of a repertoire incor- porating over 2,400 works including New Mechanical Action Organs world premieres and commissions by American composers Samuel Adler, Dominick Argento, Gerald Near, and Mark O’Connor. Her work to promote international understanding and cultural integrity have won her critical acclaim in concert halls in Albania, Belgium, Bul- garia, Canada, Croatia, Czech Republic, OHS 2020 Calendar England, France, Finland, Greece, Hungary, Italy, Netherlands, Poland, The Organ Historical Society has ³ St. Peter’s Square - London E 2 7AF - England Romania, , Scotland, Slovakia, released its 2020 calendar, celebrating Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 Switzerland, and Wales. For informa- the OHS 65th annual convention in Continuo Organs [e] [email protected] tion: https://gdcchoir.org. Columbus, Ohio, July 26–31, 2020. The www.mander-organs.com calendar features organs by Kimball, Carol Williams’s On The Bench Schuelke, Koehnken, Skinner, Klais, YouTube series has just recorded its 51st Brown, Beckerath, Schantz, Fisk, and Imaginative Reconstructions program. The most recent interview ³ page 8

6 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM UNITING TRADITION AND INNOVATION

The Organ at St. Timothy Catholic Church LUTZ, FLORIDA

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

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

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

Carillon Profi le Holy Name of Jesus Cathedral, Raleigh, North Carolina Royal Eijsbouts, Asten, the Netherlands; installation by the Ver- din Company, Cincinnati, Ohio

Newly arrived bells (photo courtesy: Catholic Diocese of Raleigh)

One of the largest bells of the carillon (photo courtesy: Catholic Diocese of Raleigh)

Newly arrived bells, waiting for blessing Newly installed bells in the upper tier and installation (photo courtesy: Catholic (photo courtesy: Catholic Diocese of Raleigh) Diocese of Raleigh)

The 49-bell carillon of Holy Name of Jesus Cathedral was installed in 2017 as part of construction of the new cathedral. An additional bell in the tower came from the former Holy Name of Jesus Chapel, which was located where the cur- rent cathedral sits. The instrument was generously donated by Joseph and Debbie Gordon. The decision to donate the carillon came after Mrs. Gordon realized that One of the largest bells of the caril- the newly planned cathedral had no provision for real bells, only a digital facsimile. The traditional baton keyboard (photo lon (photo courtesy: Catholic Diocese of To the Gordons, bells represented the constant presence of God, and they were courtesy: Catholic Diocese of Raleigh) Raleigh) honored to impart this gift to the diocese. The carillon was installed prior to the dedication of the building, and the bells were blessed in a private ceremony by the through programmed automation via computer. The bells ring daily via automated Most Reverend Michael F. Burbidge, the previous bishop of Raleigh. This caril- programming to mark the hour and also to play hymns at noon and 5:00 pm. The lon is the only one in the city of Raleigh, and the third in the Research Triangle bells peal before and after the Saturday evening and Sunday morning Masses. Q of Durham–Chapel Hill–Raleigh. Raleigh will soon welcome another carillon at —Kimberly Schafer, PhD North Carolina State University. Founder and Partner, The bells were cast by Royal Eijsbouts, Asten, the Netherlands, while the Verdin Community Bell Advocates, LLC Company, Cincinnati, Ohio, installed the instrument. The bells can be played in three www.communitybelladvocates.com ways: 1) through a traditional baton keyboard; 2) through a MIDI keyboard; or 3) [email protected]

³ page 6 Choral works: Magnifi cat and Nunc Fritts, with photography by Len Levas- Dimittis (1962M, $2.90), by Larry J. seur. Non-members $21; members $18. Long, for 2 treble voices; How Beauti- For information: ful Is Your House, O Lord (1955M, organhistoricalsociety.org. $2.20), by J. William Greene, for SATB and piano/organ; Make Haste, O God Sterling Publishing Co., Inc., (1960M, $1.70), by David Ashley White, announces a new book, Notre-Dame de for SATB; and Behold a Simple Tender Paris: History, Art, and Revival from 1163 Babe (1944M, $3.10), by Martin Lead- to Tomorrow (9781454938316, $24.95), better, for SATB. For information: by Antonia Felix, author of books about www.paracletesheetmusic.com. Michelle Obama and Ruth Bader Gins- burg, among other topics. The 208-page, hardbound book with dust jacket contains Recordings numerous illustrations, historic and con- temporary, and traces the history of the cathedral from its founding through the Notre-Dame de Paris: History, Art, and April 15, 2019, fi re that burned much of Revival from 1163 to Tomorrow the interior. A brief history of the cathe- dral organs is included, with quotations and Philippe Lefebvre. For information: from Stephen Hamilton, Rollin Smith, www.sterlingpublishing.com. Organa Europae 2020 Confident pedal work Oberlin Librairie has released the comes with practice and 53rd edition of Organa Europae, pro- duced by photographer Pierre Marcel the right shoes and author Christian Lutz. The 2020 calendar features organs from Belgium, on the Czech Republic, Denmark, France, Germany, Italy, Spain, and Switzerland. Johannes Ockeghem: Complete Songs, pedals Price is $31, postpaid. For further Volume 1 information: 03-88-32-45-83; librairie@ x Men’s & Women’s oberlin.fr; www.oberlin.fr. Blue Heron, Cambridge, Massachu- setts, Scott Metcalfe, music director, with suede soles and heels Paraclete Press announces new announces the release of the fi rst in a x Whole & Half publications. For organ: A Song of Hope series of recordings dedicated to the (1953M, $5.00) and Ceremonial March: music of Johannes Ockeghem and his Sizes in 3 Widths In Terra Pax (1954M, $7.50), by Vernon contemporaries. Johannes Ockeghem: x Quick & Easy Hoyle; “Andante,” from Concerto for Complete Songs, Volume 1 (BHCD Returns Violin and Organ (1957M, $7.50), op. 1010, $19.99), is the fi rst of two discs that 64, by , abridged and will present all of the composer’s songs in OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET transcribed by Robert Thompson; and a complete set; the second is planned for 44 Montague City Rd Email: [email protected] The Organbook (1950M, $20.00), by release in 2022. The disc is available for Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes Benjamin Cornelius-Bates. purchase at www.amazon.com.

8 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Here & There

Ken Nafziger Thomas H. Troeger

Hodie! The Choral Music of Benjamin Hymns: Works for Organ and Piano in- The Hymn Society of the United States and Canada bestowed its highest Britten and Daniel Pinkham spired after Hymns of our Western Tradi- honor on two men for their work in church music and hymnology at its conference tion—Gregory Hamilton, Composer in Dallas, Texas, on July 17. Named as Fellows of the society are Ken Nafziger and Gothic announces a new CD: Hodie! Thomas H. Troeger. The Choral Music of Benjamin Britten Composer. Selections on the disc have Nafziger is professor emeritus of music at Eastern Mennonite University, Har- and Daniel Pinkham (G-49317, $18.98, been inspired by music from Gregorian risonburg, Virginia. He is also artistic director and conductor of the Shenandoah individual track downloads available), chant to Gospel hymns to contemporary Valley Bach Festival and Winchester Musica Viva. He was honored for his work as a featuring the Dale Warland Singers, composers, from chorale prelude, free conductor, educator, hymnal editor, and practitioner of church music. Dale Warland, conductor. Selections fantasia, Baroque textures, Romantic Troeger is professor emeritus of Yale Divinity School and the Institute of Sacred include Britten’s A Ceremony of Carols and Gospel styles to the fugue. Gregory Music at , New Haven, Connecticut, having previously taught at Col- and Pinkham’s Christmas Cantata (Sin- Hamilton holds master’s and doctoral gate Rochester Divinity School, Rochester, New York, and Iliff School of Theology, fonia Sacra). For information: degrees from the University of Michigan Denver, Colorado. Troeger was honored for his work as a hymnwriter. For informa- www.gothic-catalog.com. and serves on the faculty at Holy Trin- tion: thehymnsociety.org. ity Seminary in Texas. For information: The Indianapolis Symphonic www.gregoryhamilton.org. Choir announces its second release Möller “Artiste” (Opus 7212) of three on Naxos Records, Festival of Carols. ranks to St. Paul’s Lutheran Church, The disc features a selection of holiday Organbuilders Brimfi eld, Illinois. music performed by the choir, the India- The service department of Buzard There have also been projects napolis Chamber Orchestra, and Sylvia Pipe Organ Builders, Champaign, involving console renovations for the McNair, soprano, recorded live at the Illinois, has relocated a 1974 Phelps Wicks organ at Fairbury Presbyte- choir’s Festival of Carols performances mechanical-action organ for use as rian Church, Fairbury, Illinois; the in 2015 and 2016. For information: a practice instrument at the Uni- Gratian organ at Fairbury Method- https://naxos.lnk.to/FestivalOfCarols. versity of Tampa, Florida. Factory ist Church; the Pilcher organ at work included comprehensive action Phelps practice organ for University of Grace United Methodist Church, RosaMystica Recordings announces refurbishment and improvements, and Tampa Rockford, Illinois; and the Wicks a new CD: Hymns: Works for Organ the installation of a prepared-for 4′ organ at Peace Lutheran Church, and Piano inspired after Hymns of our Flute. (See “Restoring a 1973 Phelps May 2017, pp. 26–27.) Buzard has also Thomasboro, Illinois. For information: Western Tradition—Gregory Hamilton, Practice Organ,” by Viktoria Franken, restored and relocated a 1945 M. P. https://buzardorgans.com. Q

Butz Organ Editions - All New and Fascinating

César Franck: L‘Organiste vol. 1+2 (BU 2932/2942) Franck’s well-known harmonium pieces in a version for 2-manual organ. Volume 3 in preparation.

Andreas Willscher: 15 Momenti Francescani (Manuals only) (BU 2952)

M. Chr. de Jong: Variations for four hands (BU 2931) Stille Nacht, heilige Nacht (BU 2936) The three award-winning organ pieces in the 2018 Karl Josef Jonkisch: Sonata for viola and organ Burghausen “Silent Night” composition competition. (BU 2943)

J. G. Rheinberger: Eight early Organ Pieces Charles Villiers Stanford: Concert Piece for Organ (Three first prints!) (BU 2939) and Orchestra op. 181 (First print!) (BU 2900)

Andreas Willscher: The Little Prince (BU 2926) And our book bestseller: 15 organ pieces on Saint-Exupéry’s famous novella. Jenny Setchell: Organs and Organists Their Inside Stories. Ludwig Thiele: Organ Works Vol. 2(BU 2917) All you (n)ever wanted to know Two early-Romantic organ works: Conzertsatz No. 1, More than 400 pictures, hardcover (416 p.) BuB 21 Trio Further information about more editions Email orders to: [email protected] and sample pages available on our website: Call us on [+49](0)228-946 949 24 www.butz-verlag.de or send us a fax to [+49] (0)228 946 949 25 Musikverlag Dr. J. Butz • Bonn • Germany or through the OHS (www.organsociety.org)

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 9 Reviews

New Organ Music seventy-eight pages, including three are heard with the solo being in the two convivium, 2. Judas Mercator pessimus, Selected Works for Organ, volumes I falsas, a batalla, a contras, and seven upper voices. The fi nal tiento in this 3. Crucifi xus, 4. When David heard; and II, by Joan Cabanilles, edited by tientos partidos, i.e., where a solo voice volume is headed “partido de dos bajos Four Evening Anthems—1. Bring us, O Gerhard Doderer and Miguel Ber- or voices is given to one hand; given that de primer tono,” indicating that the Lord God, 2. Lighten our darkness, 3. O nal Ripoll. Bärenreiter, BA 11228/9, most stops were available in both bass two lower voices carry the solos. These Lorde, the maker of al thinge, 4. God be €34.95 each. Available from www. and treble, this made such pieces gener- pieces are excellent examples of how the in my head; Requiem in Blue—1. Introit baerenreiter.com. ally playable on one manual, provided composer raised the genre of the tiento and Kyrie, 2. Offertory, 3. Sanctus, 4. Joan (Juan) Baptista Cabanilles that the writing for either the solo or the partido to new heights, unsurpassed by Pie Jesu, 5. Agnus Dei, 6. Libera me, (1644–1712) was fi rst organist of the accompaniment did not stray beyond the few later composers who still wrote Domine, 7. In paradisum. cathedral of Valencia from 1666 until middle C, the usual point of division. in these forms, and range from 140 to Ben Ponniah was born in Ipswich, Eng- shortly before his death. His output However, since Cabanilles’s instrument 244 measures. A few passages containing land, in 1984, where he was a chorister at for keyboard, copied by his pupils in would have had two manuals, this would intervals beyond the stretch of a normal the Church of St. Mary-le-Tower. He was numerous manuscripts, comprises some have facilitated those pieces in which hand will need a considered resolution. educated at Ipswich School, where he 169 tientos of various genres, many of either the solo or the accompaniment The introduction to each volume gives became profi cient in the piano. He went considerable length and proportionate strayed outside this division. For the facts as far as these can be ascertained on to Nottingham University, where he diffi culty, several tocatas, dances, and player without the luxury of divided about the composer’s life, instruments obtained bachelor’s and master’s degrees smaller pieces, almost all of which are or half stops, these pieces will always of the time, the works, and sources, with in economics, and then returned to Ips- available in the nine volumes of the require a two-manual instrument for a valuable section on the genres of the wich where he worked in various fi nancial complete works, although there are their execution. pieces and the meanings of the Spanish jobs, rejoined the choir of St. Mary-le- inaccuracies in many of these. There are The opening three pieces are tientos titles. Unlike his illustrious predecessor Tower, and began composing music. He also almost 1,000 (yes, one thousand!) de falsas, pieces written to be played dur- Francisco Correa, Cabanilles left no trea- now lives and works in Oxford. versos, some of quite a length, for use in ing Mass at the elevation of the host and tise on playing and only very rarely is a trill He describes his music as being the liturgy, of which only a small number containing dissonances in the manner of indicated in the manuscripts; although infl uenced by “Francis Poulenc, Olivier have been made available in a modern the Italian durezze and ligature; the fi rst there is a far greater incidence of written Messiaen, Alexander Scriabin, John edition. Selecting thirty-fi ve representa- two are contrapuntal whereas the third is out ornaments: more can—and indeed, Tavener, Arvo Pärt, and John Coltrane, tive pieces from this enormous output to homophonic. The fourth tiento is entitled almost certainly should—be added. Many amongst others.” John Coltrane appears be included in three volumes has been a “de batalla de quinto tono punto bajo,” of the rumors that passed around after his in Ben Ponniah’s penchant for jazz har- task of Herculean proportions. i.e., in B-fl at. It is imitative, with passages death are discussed and evaluated. monies and rhythms. These choral works These two volumes present twenty- recalling trumpet calls, the fi nal section A list of modern editions, including reminded me most of Poulenc’s Quatre two tientos covering the different genres in triple time closing with dotted rhythms the even less well-known vocal music, motets pour un temps de pénitence and that this term embraces. The fi rst volume before a short fl ourish. The fi fth tiento, de and an extensive bibliography of per- Quatre motets pour le temps de Noël. All contains ten pieces on seventy pages, contras de octavo Tono, is one of a small tinent articles (although the majority of the works featured on this recording all of which are headed Tiento Lleno, number of pieces that have a prescribed are in Spanish or Catalan) will give are sung a cappella. i.e., with the same used for pedal part, long held notes above which the player interested in reading more The Canadian-born musician Sarah each hand; on the contemporary Iberian two-voice passages mainly in eighth notes about this enigmatic, demanding, and MacDonald, who is Fellow and Director organ this would necessitate drawing with occasional passages in quarter notes ultimately most rewarding of composers of Music at Selwyn College, Cambridge, both bass and treble knobs for each stop. or sixteenth notes are repeated in differ- plenty of material in which to immerse should need little introduction. (Read an This genre is much easier to perform on ent tonalities. At 116 measures this is one him/herself. The critical commentary in interview of MacDonald here: https:// modern instruments globally and is also of the shorter pieces. English provides substantial information www.thediapason.com/cambridge-chats- eminently suitable for performance on The seven tientos partidos contain about the sources and corrections made 2-sarah-macdonald.) Here she conducts stringed keyboard instruments. These important information in their titles. The by the editors as well as including pas- the Chapel Choir of Selwyn whose sing- are arranged by order of the Tone in sixth tiento is entitled “partido de mano sages from the source where there may ing is typical of the high standards of which they were composed, two on the derecha de primer tono obre Ave Maris be other solutions available. Oxford and Cambridge colleges these fi rst, one on the second based on In exitu Stella” and carries the solo line in the The printing is very clear, with four or days. An added bonus is the warm acous- Israel, two on the fourth, one on the right hand, based on the plainchant, over fi ve systems to the page, and a few facsim- tic of Selwyn College Chapel. fi fth, two on the sixth, and one each on two voices in the left hand. After a slow iles in each volume show the diffi culties Three Marian/Christmas Anthems the seventh and eighth Tones. opening the solo line soon dissolves into of transcribing the pieces into modern were composed in 2013 and 2014. The There are examples of contrapuntally lengthy fi guration as each phrase of the notation from the partitura format of the second was written shortly after John conceived pieces along with free pieces chant is developed. The seventh tiento original. Editorial suggestions for acci- Tavener’s death, is dedicated to his closer to toccatas (although written in is entitled “partido de mano derecha de dentals are added in a smaller font above memory, and makes passing reference to four voices), as seen in the opening to primer tono en tercio a modo de Italia,” or below the stave, and original nota- Tavener’s own setting of the same text. the fi rst piece. The two pieces on the which tells us that the solo is in the right tion and beaming have been retained. Four Lenten Anthems were composed sixth Tone are in triple time through- hand, in triple time throughout, and in Thought will need to be expended on the over a number of years between 2007 out, and only the tientos on the second Italian style. The eighth tiento has the sometimes complex rhythms and ambigu- and 2017. A couple of them were writ- Tone and the eighth Tone do not have simple title “partido de mano derecha ities in the triple-time sections. The edi- ten in memory of close friends who had a section in either triple time or 12/8. de segundo tono,” telling us that the tors deserve rich commendation for their suffered untimely deaths. Ponniah says The second tiento on the fourth Tone solo is in the right hand, and the next hard work in selecting and presenting that “O Lorde, the maker of al thinge” opens with thick chordal writing before two tientos are marked “partido de mano these twenty-two tientos, a cornucopia of was his “fi rst serious composition” and imitative four-part writing takes over. izquierda de primer tono/segundo tono,” different compositional styles within each was inspired by John Joubert’s setting Length varies from a modest 115 to respectively, indicating that the solo genre, some of which are of considerable of the same text. Ponniah composed a 187 measures. Pedals are required at voice is in the left hand. technical diffi culty, demanding many work named Requiem Mass in 2007 in the end of number 5 for the long held The two tientos that close this volume hours of careful study. memory of his grandfather. The com- bass A. offer a further genre, the eleventh piece —John Collins poser rewrote it substantially in 2015 and The second volume contains being entitled “partido de dos tiples de Sussex, England renamed it Requiem in Blue because of twelve tientos of different genres on cuarto tono,” indicating that four voices its extensive use of jazz harmonies. Ponniah thanks Sarah MacDonald New Recordings in the leafl et for being so progressive Marvellous Light: Choral Works of as to record works by young composers THEHE DIAPASONIA SO iss accepa epঞ nngg Ben Ponniah. The Chapel Choir such as he. MacDonald is not alone in ssubmissionsu missi s oof arঞ cle-lengthc leng of Selwyn College, Cambridge, this, since the premiere performance of UK, directed by Sarah MacDon- Ponniah’s Litany to the Holy Spirit took eessayssaays uunnঞ l JJanuaryanua 331,1 22020,02 fforor ald. Regent Records compact disc, place at Saint Thomas Church, Fifth itsts inauguralaug al GruensteinGrruu nst n AAwardar , REGCD495. Available from www. Avenue, New York, New York, under honoringon i SiegfriedS gfrriied EE. GGruenstein,ru ns in, regent-records.co.uk. Album and the direction of Daniel Hyde, who will individual tracks also available for doubtless be performing more of Pon- ffoundingndi g eeditoritittoor ooff thee jjournal,o rn , fforor download in iTunes: https://itunes. niah’s music as he takes up his new post publicaub icaঞ onon inn thetthhe MMayaayy 2202002200 issue.sue. apple.com/us/album/marvellous- as director of music at King’s College, TheTh aawardwa d rrecognizesogog ize tthehe scholarlycho r light-choral-works-of-ben-pon- Cambridge, UK. Stay tuned for Ben niah/1298701589. Ponniah becoming a household name! I workwork oof a yyoungou g aauthoru ho wwhoho hhasa Three Marian/Christmas Anthems—1. thoroughly recommend this recording as notno rerreachedeach d hherer oorr hhis 3355tht birthdayrrtthday Ave Maria, 2. A hymn to the mother an introduction to his work. of God, 3. O magnum mysterium; —John L. Speller aass of JJanuarya ary 331,1, 2020.02 Four Lenten Anthems—1. O sacrum Port Huron, Michigan 0LOQDU2UJDQ A. Thompson-Allen Co., LLC &RPSDQ\ ForFFooorr completempllee ddetails,eetttaails visitsiitt wwwwww.thediapason.comww.t.thedediaia son.c.c m 11 Court Street /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV oor seeee thehe Septemberep mb r 2201919 issue,su ppagea e 33. New Haven, Connecticut 06511 /LNHQHZ$XVWLQDFWLRQV 203.776.1616 6ROLG-VWDWHV\VWHPV 3URYHQ7UXPSHW(Q&KDPDGHV www.thompson-allen.com --GHQQLV#PLOQDURUJDQFRP ZZZPLOQDURUJDQFRP

10 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

Giving thanks from A to Z, part School in Hawaii, and he was always a Another exceptional artist who graced 2: Moving to Dallas (1970) gracious and most helpful host during the AGO concert series was Don Angle, During late spring of 1970 I was invited my working visits. a graduate of Berklee College of Music to present my Hugo Distler lecture and Not to be forgotten is the support that in Boston and a valued coworker in the a masterclass on his organ music at the Dean Bonelli gave to the harpsichord shop of William Dowd. In my opinion University of Michigan, Ann Arbor. In curriculum through his support for the Don was master of the best harpsichord conversations with the school’s late iconic annual summer workshops that took technique of any American player, and organ professor Marilyn Mason she tried place at Fort Burgwin, SMU’s New his dexterity, largely in his performances to dissuade me from accepting the offer Mexico campus retreat near Ranchos of jazz and very audience-friendly reper- from the Meadows School of the Arts of de Taos. Helpful guest faculty members toire, was absolutely mesmerizing in its Southern Methodist University to join from California included: Neal Roberts ease and beauty. It was another honor to its faculty to continue the harpsichord and Tony Brazier; from London, Jane house such a fi ne artist as a houseguest on studio begun there by James Tallis who Clark and Stephen Dodgson; and closer Cromwell Drive. Both Angle and Leon- had passed away after only one year at to home, Susan Ferré and her husband hardt are no longer with us in person, but the Dallas school. She warned me that Charles Lang, plus many others. It was each has left an unforgettable legacy in I would be quite unhappy working during one of these early retreats that I their recordings and the ease with which with the head of the organ department, met Dr. Charles Mize, who, with his wife they presented great music each time Robert Anderson, especially since I had Susan, had a delightful and welcoming they were seated at the keyboards. been so independent and successful in summer home in Santa Fe, where they Graphic artists also have infl uenced Mabel Zehner (photo credit: Ashland Univer- Norfolk. In reality she was attempting often provided post- or pre-workshop my life, and especially important for my sity Archives, Ashland, Ohio) to keep the Dallas position available for hospitality and other forms of support, submissions to The Diapason, were the her student Allen Shaffer (a talented and as well as generously supporting many caricatures created so expertly by Jane and even, bless him, created the index, delightful person whom I had known other harpsichord-related endeavors. To Johnson. Who could forget her illustra- not one of my favorite tasks as I remem- when he was studying at Oberlin). How- this list I must add my late partner Clyde tions for “A Letter from J. S. Bach,” or ber from the previous publications. Also, ever, having worked with several diffi cult Putman, who delivered many harpsi- her drawings of Mozart, Purcell, the I should remember Alfred Rosenberger, colleagues previously I strode forth into chords to New Mexico, tuned them Harpsichord Murder Mystery Reviews, whom I fi rst met in Haarlem, who became the fray and accepted the Dallas position repeatedly as they adapted to the higher and even her affectionate drawing “Fast the European “manager” who arranged even though it meant a demotion from altitude, and brought them safely back Fingers,” which accompanied several many organ recital dates for me and who my Norfolk full professorship and a huge home to Dallas. Without him I could of my columns, as well as providing the shared his love of Amsterdam and Dutch reduction in salary. As it turned out Allen not have organized and survived these graphic for my note pads? I miss her culture freely. Another departed fi gure did extremely well by fi lling my Norfolk intense (but glorious) summer retreats. nearly every month when I attempt to is the fondly remembered best friend position, where he had fi ne success and Among the many highlights of these fi nd just the right illustration for my sub- of early Dallas days, Sue Stidham, who succeeded Grover Oberle as the musi- forty-fi ve years was that I gave an SMU mission. She, too, has passed away, but is joined forces with me to establish the cian for Christ & St. Luke’s Episcopal faculty recital each fall, usually on the lovingly remembered, and sorely missed. Limited Editions series of house concerts Church—a plum position. fi rst Monday after Labor Day (an SMU Another group of import must be that is now in its thirty-sixth year! And I I did not have the diffi cult time with record, I believe)—most often present- “my” composers. Among the living I should thank the magnifi cent organist Robert Anderson that Mason had envi- ing works for both harpsichord and especially prize Gerald Near who com- André Marchal, blind from birth, who, sioned. We had a mutual respect for organ. Even more memorable, however, posed both his impressive Concerto during a visit to Oberlin, graciously gave each other, and my forty-fi ve years on were the Dallas visits by Gustav Leon- for Harpsichord and Orchestra and his me an organ lesson on early French music the faculty of the Meadows School were hardt, with whom I had studied during equally lovely Triptych for Harpsichord and who was able to criticize some of mostly happy ones (and I did regain two of the summer academies that took for me. The Concerto fi lled a need for my fi ngerings simply by listening to the that full professorship and tenure, too). place in Haarlem, the Netherlands. Dur- such a work to be featured at an AGO results, and who would correct those fi n- Among the early successes in Dallas ing the second of these summer events I national gathering in the Twin Cities gerings by gently placing his hands over were the interactions with the soon-to- found lodging in nearby Amsterdam and of Minneapolis and St. Paul. Gerald mine. The list could go on and on. be stellar harpsichord builder Richard made the daily trip to Haarlem and back conducted the premiere in the Minne- However, I should like to end these Kingston. I introduced him to my by train. Since it was my second work- apolis Orchestra Hall, and the necessity words of gratitude with a return to my beautiful two-manual harpsichord, com- shop with the maestro we were on quite was that it had to be for an instrument fi rst organ teacher, Mabel Zehner. As missioned from William Dowd in 1968 friendly terms, and would often meet at other than organ, since that hall did not her gift to me when I graduated from and delivered shortly after the dawn of the train station to travel together to the have a “king of instruments.” He also Crestline High School, she presented 1969; it was Bill’s penultimate instru- daily masterclasses. conducted that fi rst performance heard me with a copy of the fi rst edition of ment to have foot pedals for changing Having already introduced the Dal- by 1,600 auditors. I have never before The Bach Reader by Hans David and the stops. This harpsichord served as las arts community to the marvelous or since felt so loved by an audience that Arthur Mendel (W. W. Norton, 1945). a major infl uence for Richard’s instru- playing of Isolde Ahlgrimm, it was my applauded for such an extended ovation. I had not consulted it for many years ments. He also benefi ted from several great pleasure while I was dean of the Many of the listeners commented that until recently when I opened the tome of the many harpsichord students that Dallas Chapter of the American Guild it was the best of the new works at that to re-read what she had inscribed on swarmed to SMU in those early years, of Organists to engineer a harpsichord AGO event. And, to my knowledge, it the title page: “To Larry Palmer—one several of whom took part-time jobs at recital as part of the chapter’s annual was not performed again until SMU’s of the most gifted organists it has been Richard’s Dallas shop. We all benefi t- recital series. Leonhardt was the fi rst, magnifi cent student orchestra under the my privilege to teach. God gave you a ted from the generous leadership of the and he was my houseguest during sev- direction of Maestro Paul Phillips (who wonderful talent and may you use it music department head Eugene Bonelli, eral of his visits to “Big D.” Among the was a freshman clarinet major at SMU for a lifetime of Success and Happi- who was promoted to dean of the Mead- many memories from these visits were when I arrived there) gave an even bet- ness.” Signed: Mabel Zehner, May 17, ows School and somewhat later became the rather erotic actions of my female ter performance of this major addition to 1956. While I do not think I deserve CEO of the Dallas Symphony, which dog Hunda Maris, who welcomed the the repertoire. Equally composed for a her highly complimentary remarks, also benefi tted from his leadership, as great artist by trying to hump his leg. A concert celebrating an art exhibition, the it reminded me of her great kindness did the Dallas organ community, for it second memory of that fi rst attempt at Triptych has been an audience favorite and the joy that I felt when I could was under his guidance that the Meyer- hospitality came in the form of the thank during many concerts. When I decided please her at my lessons. She was truly son Symphony Center acquired its C. B. you note in which “Utti” (as he was to move the aforementioned summer an inspiring teacher, and I am grateful Fisk, Inc., organ, Opus 100, and SMU known to his close friends) displayed the harpsichord workshops to venues other that I have lived long enough to share its concert hall organ, Fisk Opus 101, as sharp wit for which he was well known; than the New Mexico home base, one of her memory with others. As teachers well as a Dowd double (complete with a the missive read, “Thank you for Kirk- the places to be selected was in Alsace. and human beings it behooves all of Sheridan German soundboard painting) man and Breakfast,” referring to the fact The townspeople who attended the fi rst us to refl ect and give thanks for those for the harpsichord studio! Guest artists that his bed was constructed above the of the concerts there requested a repeti- who have guided and aided us on our of harpsichord renown included Isolde 1797 Kirkman that was stored tion of Near’s work at the festive recep- career paths and who have helped us to Ahlgrimm (who taught the harpsichord in a wooden case below. tion that concluded the summer event. achieve what we are able to do. students during my fi rst sabbatical leave Leonhardt’s visit to SMU occurred in Equally important are works from § in which I gathered much of the mate- the form of a recital and masterclass dur- Glenn Spring, Rudy Davenport, Neely rial for my second book, Harpsichord ing the festivities when SMU bestowed Bruce, Vincent Persichetti, and others. I The photograph of Mabel Zehner is in America—suffering terribly during on him his fi rst honorary doctorate. As refer you to Frances Bedford’s magnum provided courtesy of Ashland University many visits to Honolulu for multiple part of my twelve years on the SMU opus Harpsichord and Reper- Archives, Ashland, Ohio, and Archivist interviews with Momo Aldrich (Wanda faculty senate I had the opportunity toire of the Twentieth Century (page 597). David Roepke (also an organist, whose Landowska’s fi rst private secretary)—a to suggest that GL was a most worthy So, if I do not draw this article to a close mother studied with Miss Zehner). I generous and gracious person who was recipient. The senators and university it will be next year before we know it! So wish also to give credit and thanks to my most worthy of the book’s dedication president agreed, so one of the proud- many infl uential persons to mention, such SMU colleague and friend Pam Pagels, to her. Another important person who est moments of my life was reading as Ivar Lunde (who edited and published Music and Arts Librarian at the Hamon aided the book project was my longtime the citation that I had written for the Letters from Salzburg when Indiana Uni- Arts Library, for making the connection “older brother that I never had,” Rich- bestowal of the honor at Commence- versity Press sent it back to me with the with Mr. Roepke. Q ard Kurth, whom I fi rst met during my ment. And thus it was that Leonhardt note, “We do not publish memoirs.” Ivar father’s ministry in Neffs, Ohio, while henceforward always addressed his mis- came to the rescue with his Skyline Pub- Comments and questions are wel- we were both still in college. Richard’s sives to his “Doktor-Vater,” perhaps the lications, Eau Claire, and even provided come. Address them to lpalmer@smu. career as a language teacher has been fi rst time in history that a student was the beautiful photo of Salzburg (where edu or 10125 Cromwell Drive, Dallas, spent primarily at the Kamehameha father to the teacher? he, too, had studied) for the front cover Texas 75229.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 11 On Teaching

The Art of the Fugue, part 7 I begin this column with an account of something that happened in a recent lesson, something surprisingly germane, by complete coincidence, to what I had already been planning to write about this Example 1 month. I notice recently that between when I fi nish one column and when I Example 4 am due to start writing the next, some- thing often crosses my path, completely by chance, that is relevant to what is coming next in the column. Sometimes it provides an example, other times an interesting sidelight. Often it essentially ratifi es and strengthens what I had been planning to write; yet sometimes it sug- Example 2 gests a bit of a change. Before I get to my story, it occurs to Example 5 Example 6 me that the fact that I encounter these coincidences as often as I do is itself a What is striking to me about this theme its tonal language, almost pointedly fails commentary on the philosophy and is how comprehensively, systematically, to encompass an octave. However, the purpose of the column. My hypothesis is almost encyclopedically, it lays out all fi rst thing that happens after the fi lled-in that everything is relevant to performing of the intervals that defi ne tonal music. reference to the opening interval that I music and to teaching others about music They occur in what could plausibly be pointed out in Example 1 is a drop of an and performance. I believe everything considered their order of importance, octave: the fi rst octave in the piece. When we encounter in life might be potentially there is essentially no redundancy: the second voice to enter (the soprano fruitful for our music and our teaching. almost no interval is repeated until each voice) fi nishes its statement of the fugue This series of columns on The Art of interval has been heard (the exception subject, it immediately makes an octave the Fugue is meant to be an account of is the semitone), and the inversions of leap: one not in any way required by the my working process. Part of that work- intervals are assumed rather than stated. counterpoint or harmony (Example 2). ing process is to be aware of anything Example 3 My own experience as a listener has Then, later on, whereas each of the that might lead to an interesting thought been that throughout the piece I hear fi rst seven contrapuncti begins with the about the piece or the performance. If we The result was that each transition any interval as a reference to this theme. interval of either a fi fth or a fourth, Con- notice things and assume that they will be sounded fi ne (“worked”, nothing jarring) This starts right away, as soon as there is trapunctus VIII beings with a step, a very interesting and relevant, we cannot lose. but also sounded odd. The oddness came anything to hear other then the theme striking change. While the compass of the If they are relevant, the gain from having from the confounding of fi xed expecta- itself. The scale notes that make up the theme of each of the fi rst seven move- noticed them is clear and describable; if tions, fi xed by years (or for me, decades) counterpoint to the second entry of the ments has been never more than a sixth, they are not, the thought process sparked of listening. It is hard or impossible to sort theme at measure 5 fi ll in the opening the compass of the opening subject of by noticing them is still rewarding. out what each of those transitions would interval of the theme itself (Example 1). Contrapunctus VII is a tenth, but one that have sounded like to someone who had Does a listener hear it this way? Does could also be seen as outlining an octave. The teacher-student experience never heard the piece before. I strongly a listener spontaneously think, “that is (The fi rst and last notes of the subject are A week or so ago a harpsichord student suspect that they would each have been that same theme” or “that is a reference an octave apart, and the note that creates of mine brought up The Goldberg Varia- just fi ne, but I cannot be sure of that. This to that same theme?” I believe I do, and the tenth is off the beat and somewhat tions, partly as a step in thinking about was a reminder that structure comes in that I began to do so after repeated lis- ornamental.) Then Contrapunctus IX whether to work on the piece, partly to part from expectation. The kind of expec- tening years ago, before I thought that I begins with the brand-new gesture of a ask a few questions. What is the overall tation that comes simply from having might have any idea why. leap of an octave. The compass of this structure of the piece? Did the composer heard the work before can be very pow- The chromatic countersubject in subject is a ninth, and that of the next write the movements in the order in erful. But I assume (or perhaps I hope) Contrapunctus III seems to arise out of movement a tenth, so that we are in a which we see them? Does the order mat- that expectations created intrinsically by that original semitone that is the interval region of expanded compass of themes. ter in performance? If so, why? Is it about the music are even more powerful. from the fourth note to the fi fth note of All of this is enough to make me feel individual transitions or something else? the opening theme. The leaping thirds that it makes sense to say that the sub- We talked about all of this a bit, mention- Sources of overall structure in that are one of the characteristic gestures ject or fundamental building block of ing “offi cial” sources of structure and con- The Art of the Fugue of Contrapunctus IV seem to answer the The Art of the Fugue is not “the AOTF tinuity. These start with the basic fact that It is my working hypothesis that in thirds that make up measure 2 of the fugue subject” but the very concept of each variation shares some version of the The Art of the Fugue there are two main theme. Contrapunctus V plays around the melodic interval. This in itself does same underlying harmonic pattern and sources of overall structure. The fi rst is further with the idea of the third. First of not create structure in the sense of linear includes the phenomenon of every third the nature of the theme itself and the all, when the theme comes in the second shape. But it establishes the conditions variation’s being a canon. We talked about way that it sets up other themes and time, it is a third away from the note that for the creation of that structure. the formal layout of the canons, in which musical gestures to be meaningful. The accompanies it. (In Contrapuncti I–IV, The repetition, recurrence, and refer- each one is a canon at a one-greater inter- second is the recurrence of specifi c this has always been the interval of a encing of identifi able individual themes val—Variation 3 a canon at the unison, themes. I mentioned both of these in my fi fth.) Second, this movement contains a is the foundation of counterpoint, and Variation 6 at the second, Variation 9 at 1985 program notes that were reprinted pervasive gesture that is the interval of a probably the major defi ned source of the third, and so on, up to Variation 27, here in two recent columns. But I want third fi lled in by step, and there are also contrapuntal structure. At the level which is a canon at the interval of a ninth. to delve into both of them in more detail a lot of parallel thirds! of “this theme is the inversion of that We discussed, but did not resolve the in this column and in next month’s. Of The thirty-second-note fl ourish that theme” or “this theme is the same as that question of whether this formal layout these two ideas, the recurrence of spe- pervades Contrapunctus VI, and that is theme, but with altered rhythm,” this is is palpably meaningful to a listener, or is cifi c themes is, perhaps, the more clear- a principal justifi cation of the heading fundamental and defi nitional. And there just meaningful as a formality. cut. It is not remotely unusual to include of this movement as being “in French is an abundance of that sort of corre- Then we tried a live-action version as a source of continuity and of structure. Style,” sounds like a reference to the last spondence in The Art of the Fugue. What of something similar to an experiment I This includes all of the uses of the main four notes of the opening theme. The interests me beyond that is the more described in a recent column, about elec- theme and its variants: the top level of mordent-like fi gure that enters Contra- fl eeting or hidden thematic connections. tronic listening. I played a movement, or what we get by contrapuntal analysis. punctus VII in measure 3 is related to There are quite a few of these in the the last few lines of one, and my student But there is also more below the surface. the semitone-based gesture in the open- piece. The phenomenon that I have tried turned some pages at random. I then My thoughts about the nature of the ing theme going (in Contrapunctus I) to describe above (the tendency of this started the movement on the new page, Art of the Fugue theme are perhaps more from the end of measure 2 into measure piece to permit any interval, even in an randomly chosen, after the one that I had speculative. That theme starts on a note, 3. For me, the nature of the opening isolated occurrence, to seem meaning- just completed. We did not go through the goes up a perfect fi fth, goes down a major theme itself turns the whole piece into fully thematic) is a background against whole piece in this fashion—not enough third, then down a minor third, then a tapestry of familiar, known, referential which it becomes clear, I think, that time, and other things to do. But we got down a semitone. After that it goes up by themes and gestures. small, individual thematic connections a good sample of what it felt like to move that same semitone, and up and down by A complement to this is the gradual are meaningful to a listener and almost from one variation to another when that step until it ends. Every musical theme, introduction of the octave into the certainly intentional on the part of the transition is neither what the composer of course, has some pattern of intervals picture. The opening subject, while composer. Some of the ones that stand had in mind nor what we are used to. that I or anyone could describe in words. displaying all of the discrete intervals of out to me are as follows: BACH AT NOON

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12 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM By Gavin Black

step, as is almost all of it after. This is too non-specifi c to be meaningful. I do not then picked up in Contrapunctus X hear them that way. Again, I think that the (Example 4). The fi gure that enters in structure of The Art of the Fugue subject the tenor voice at the beginning of this itself predisposes any motivic entity to be example is passed back and forth among signifi cant, and the ways in which some of all of the voices and then culminates in these fl eeting motifs are deployed seems an exact statement (at a different pitch too systematic to be non-intentional. level) of the theme from Contrapunctus As I said above, I think that there is IV cited above. more to be gained by assuming that cor- The beginning of the main theme of respondences are real than by resisting Contrapunctus X (Example 5) is refer- hearing them that way. Next month I will enced in passing in the bass voice near bring forward several more examples— the end of Contrapunctus XI (Example perhaps even more important to the Example 7 6) and again in the middle of the fi nal actual overall structure of the work as a movement (Example 7). whole—and talk more expressly about This seems to be an isolated event in That latter one is an “answer” rather that structure. Q the bass line in measure 35 of Contra- than a literal quoting of the motif. Are Jersey, is preparing performances on punctus IV. The notes seem like a fi ller these parallels valid? It could certainly To be continued. Bach’s The Art of the Fugue on both in a kind of quasi-cadence (Example 3). be argued that the fragments of themes harpsichord and organ for the next two All of the eighth-note motion in the that I am pointing to here are just routine Gavin Black, director of the Princeton concert seasons. He can be reached by movement prior to this has been by cadential fi gures or other tropes that are Early Keyboard Center, Princeton, New email at [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 13 In the wind...

Breathtaking the Basilica of Saint Martin from the My father was, among many other west end, under the organ, so my fi rst things, an ardent and slightly kooky base- view of the place was down the three- ball fan. He grew up in Cincinnati watch- hundred-foot nave, across a fantasyland ing the Reds at Crosley Field and started of decoration. The arched ceiling, nearly a lifelong relationship with the Boston a hundred feet up, is adorned with Red Sox when he was in seminary in murals in which painted drapery crosses Cambridge, Massachusetts. I was eleven borders to become real drapery. years old in 1967, the year of the Impos- When I turned around to look at the sible Dream, when the Red Sox won the organ for the fi rst time, I had two quick American league pennant behind the bat impressions. In spite of the 32′ façade and fi elding of Carl Yastrzemski. I think pipes, it is up so high that it does not look it was that summer that Dad took me to very big, and its magnifi cent gaudiness Fenway Park for the fi rst time. cannot possibly be captured in a photo- I will never forget my glimpse of all graph. There is so much going on visually that beautiful green grass as we entered that I could not take my eyes off it. It is the stands from the scrum in the tunnels when you climb the many stairs (I forgot beneath. After watching dozens of games to count) to the organ loft that you fi nd on black-and-white television it was out how big it is. You can hardly see the breathtaking, and as I write that word, I top of the organ. The biggest façade pipe imagine that I can feel the gasp. It took is 32′ DDDD (the two largest are inside Gabler organ, Weingarten, Germany Gabler organ, Weingarten, Germany my breath away. A couple days ago, I was the cases). The loft must be fi fty feet (photo credit: John Bishop) (photo credit: John Bishop) listening to a story on NPR about Iranian across, and you could imagine that there women being allowed to watch a live are three or four independent organs up There is a voice in one of the Positiv soccer match for the fi rst time in forty there until you realize that the console cases with twenty pipes of solid ivory. years. (Google “Iranian women soccer,” is up six steps on a platform that allows Take a look at your lathe, remove the and you will fi nd a slew of stories.) One to run every which way, motor, and pump the thing with a foot woman interviewed brought a tear to my and the fl oor boards between the base of lever, and try to make an ivory eye when she mentioned “all that green the console platform and the two cases without chipping it. And while you are at grass.” I knew just what she was feeling, on the gallery rail have iron rings so they it, note that the massive drawknobs and except that I have always taken my access can be lifted to access the mechanics. their square shanks are also solid ivory. to major league sports for granted. I visited Weingarten with the three There is elaborate marquetry every- I had the same sort of feeling the colleagues from the workshop. Stephan where you look, on banisters, newels, and fi rst time I heard the Boston Symphony Debeur, organist at the abbey, had only console panels. There is hardly a square Fux organ, Fürsternfeldbruck, keydesk Orchestra live in Symphony Hall. I had limited time coinciding with my visit, inch that lacks added ornamentation. (Fux is German for fox.) (photo credit: John never heard anything like those double so he invited us to join him at the organ Every time I hear an instrument built Bishop) basses. My breath was taken away again while he played for Mass on Friday in another age, I am struck by the time- when I stepped into a gallery at the evening. The steps to and from the lessness of the sound of a pipe organ. The with the liveliest tones, both delicate and Museum of Modern Art in New York organ console were especially squeaky, organ at Weingarten predates American charming, and full ablaze. and saw Vincent van Gogh’s Starry Night making me nervous about distracting the Guild of Organists console standards by After Mass, I returned the hymnal in real time. It looks great on a coffee worship, but Stephan assured us that he more than 150 years, and it is an awk- to the rack and wandered about keep- mug or a t-shirt, but that is not the same. regularly had visitors while playing, and ward sit at fi rst whack. But Stephan ably ing my eyes on the rear of the room, A couple weeks ago I spent a week in because of the size of the place, it was not demonstrated that a modern organist assuming that Christoph would appear Germany visiting an organbuilder’s work- an issue. In the lapses between playing, can easily play a modern Mass, changing there. A few moments later, I noticed shop to discuss a future project. An Amer- he led us around, opening access doors stops like a conjurer, sending beautifully a dapper gent at the front of the room, ican colleague was also visiting to give fi rst so we could see interior pipes and action. balanced voices across the immense looking exactly like an organist (you bet lessons in voicing organ pipes to a bright He kept his ears on the action down- space. Perched on that six-step platform, I was profi ling). Turns out that the stairs young apprentice. And while I was there, stairs and darted back to the console he has a spectacular view to the altar, start in a sacristy next to the chancel. I visited three historic organs. Two were at appropriate moments. I was amused surrounded by mammoth organ cases. It And such stairs. Once again, I forgot iconic eighteenth-century masterpieces, as he played the role of cantor, braying is thought to be the fi rst pipe organ built to count, but this organ is in a second gleaming away in their natural habitat. without amplifi cation down the length of with a detached console. balcony, and there were plenty of them. The third was a beauty built in Boston in the immense church while accompany- When Gabler completed the organ in We passed the antique mechanism of 1930 for a church in Passaic, New Jersey. ing himself on that spectacular organ. 1750, the delighted monks presented him the tower clock, the size of a small car What are you doing in Germany? He made a point of demonstrating the with a bonus—enough wine to fi ll the larg- with counterweights as big as oil drums , an iconic stop in an iconic est pipe. Assuming that 32′ DDDD has a hanging from cables high above. The A glass of wine, Herr Gabler? organ, a stop of such beauty that a legend diameter of twenty inches and dusting off stairs changed from stone to wood, the The Basilica of Saint Martin is perched grew around it. Joseph Gabler experi- my π, that is about 22,600 cubic inches, stairwell grew narrower, and my tuner’s on a hill in eponymous Weingarten, the mented with countless combinations of which is almost ninety-eight gallons. A knees along with all they support was principal town in a region known for metal and wood, striving to build the standard pour for a glass of wine is fi ve barely a match for the thirty-something growing grapes and producing wine. I pipes that would perfectly imitate the ounces. Herr Gabler could entertain a lot spry organist I was chasing. We arrived had my fi rst glimpse of its towers as I human voice and failing frequently to of friends with 2,500 fi ve-ounce glasses.1 into a gallery that spanned the length of turned a corner passing Burger King. It his disappointment. The legend has him the room, passing through narrow arches is a town of about 24,000 people with a approaching Satan to exchange his soul Follow the Fox to Munich. at each bay, until we reached the organ. long and complicated history of changes for the perfect piece of metal, and that When I asked my friend Stephen The organ loft is about ten steps down of government and processions of Lord idyllic voice was born. Stephan played Tharp which organs stand out in the from the gallery allowing a grand view of Mayors and Abbots. The exterior of the “Ich ruf’ zu dir” from J. S. Bach’s Orgel- neighborhood I was visiting, he all but the side of the organ case, but it was not huge building is simple enough, and büchlein (#40), alternating the solo voice blurted out Fürstenfeld. The organ in the until I got down those stairs to stand on it is surrounded by the dormitory-like up and down by octaves in subsequent Fürstenfeld Kloster in Fürstenfeldbruck the same fl oor as the organ that I could buildings of what was one of the largest lines. Gorgeous. was completed by Johann Georg Fux in appreciate its size. The 32′ façade pipes monasteries in Germany. The organ has many singular features. 1736. The church, though smaller than are topped by ornate crowns laden with I fi rst saw photos of the organ built Every façade pipe is a speaking pipe, that in Weingarten, is still immense, and putti, carvings, and more sunbursts, and by Joseph Gabler when I was a kid, even the teeny ones lofted above the sports the same degree of fantastic opu- are mounted on an impost that is well most likely after that fi rst baseball game high center window. Gabler had planned lent decoration. There are side altars with out of reach. because my organ lessons started when I to have an entire division in that loca- spiraling columns in every bay, angels If Weingarten has the oldest detached was twelve. Visually, it is at the top of the tion but settled for running long tubes with sunbursts, carvings, and murals console, does Fürstenfeld have the tall- list of all-time greats, on a par with and to conduct wind to those pipes from everywhere. Once again, the organ is est two-manual organ? wildly different from the Müller organ at a windchest far below. There is a stop placed so high in the church that it looks Speaking of AGO standards, the Haarlem, you know, the red one with the called La Force (The Power), which small at fi rst. But though it has fewer than Fux organ has “short and broken” bass lions. Enormous organ cases decorated plays forty-nine pipes simultaneously on thirty stops, it has a 32′ façade. The tallest octaves. Both keyboards and the pedal- with faux-marble swirl around six huge low C of the pedalboard. I was sorry not pipes are mounted on the impost that is board are missing the lowest C#, D#, F#, round windows, everything festooned to hear it, as it is apparently not condu- well out of reach from the fl oor. I guess and G#. What looks like E is actually C. with putti, moldings, carvings, and virile cive for use in a simple evening Mass. I the organ is over forty-fi ve feet tall. What looks like passing from F# to G is statues to Rococo extremes. I entered guess I will have to go back. With Stephen’s help, I met the organ- actually D to G. Christoph agreed that it ist Christoph Hauser after Mass on Sun- took some adjustment, and now that he day morning, so I attended Mass to hear is used to it, he has to think twice when the organ well from the fl oor. It was daz- moving to more usual keyboards. After zling. Christoph’s playing was colorful, lots of digging, he determined that Bach’s thoughtful, rhythmic, and inspirational. Dorian Toccata is the only large piece by It was all improvised excepting the Bach with a big pedal part that he can hymns and congregational responses, play on the organ. I invite and encourage and that ancient organ fi lled the room you to type “Hauser Fux Dorian Toccata”

14 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM By John Bishop

organ, writing a paragraph about each individual voice or chorus, describing the feel of different keyboards, the intricacies of design, the quirks, the chirps, and the foibles. In the mid-eighteenth century when the Weingarten and Fürstenfeld- bruck organs were built, there was no other machine made by humans quite as complicated as a pipe organ. With more than seven-thousand pipes, the Weingar- ten organ is large by modern standards, and its console placement is visionary. Returning to AGO standards, or what we are used to in organs, the twenty- nine-stop Fürstenfeld organ has only one reed, 16′ Trompas2 in the Pedal (promi- (photo credit: Félix Müller) nently displayed in Christoph Hauser’s recording of the Dorian Toccata). How Gabler’s worst is far better than the best can you play an organ with no manual of most organbuilders, even after 2,500 reeds? Shut up and sing, that’s how. And glasses of wine. Q Gabler organ, Weingarten, the Vox Hu- Fux organ, Fürstenfeldbruck, Germany by the way, most of the mixtures include mana is visible behind open case doors (photo credit: John Bishop) tierces, and full organ sure sounds as Notes on the right. (photo credit: John Bishop) though there are manual reeds. 1. You can see the specifi cation of the especially, according to Carsten, when I shared my thrill and thrall on Gabler organ at Weingartern here: https:// en.wikipedia.org/wiki/Organ_of_the_Basili- into your YouTube search bar. Hang on to American organists come to play! Facebook after each of these visits and ca_of_St._Martin_(Weingarten). your hats: it is a thrilling ride. § received a comment about Weingarten 2. Yes, it really is 16′ Trompas. You can see that stood out. “I’ve always thought that the specifi cations of the Fux organ at Fürsten- Mr. Skinner goes to Ingelheim. It is impossible to fully describe the organ was a little soft in the church. I’m feldbruck here: https://de.wikipedia.org/wiki/ In 2008, the Organ Clearing House experience of visiting a single fi ne pipe sure Gabler did his best.” Oof. Herr Orgeln_der_Klosterkirche_Fürstenfeld. sold Skinner Organ Company’s Opus 823 (1930) to the Saalkirche in Ingelheim am Rhein, Germany. The church’s organ- ist Carsten Lenz had long intended to import a Skinner organ to Germany, and DISCOVEDISCOVER R this exciting transaction happened after four years of conversations, lots of touring around the eastern United States, and a 21st CENTURY frightening heap of paperwork. The organ 21st CENTURY was shipped to Klais Orgelbau in Bonn ORGAN BUILDING where it was releathered, renovated, and reconfi gured under the supervision and ORGANIN NORTH BUILDI AMERICA NG with the advice of Skinner experts Sean O’Donnell and Nelson Barden. The church in Passaic, New Jersey, where the organ was originally installed, IN NORTHORTH AAMERICAMER had been purchased by a new congrega- tion, and the decorated façade pipes were to stay in place, so Klais produced a new case of contemporary design including new pipes to replace the original speaking façade pipes from 16′ and 8′ Diapasons. The organ was originally placed in deep chambers in a large room with plaster walls, carpeting, and lovely pew cushions. BUILDER MEMBERS: SUPPLIER MEMBERS: The new setting has the organ placed in a new shallow case in a high balcony on Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. the center axis of a brick and stone room. Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources The thoughtful installation included plac- Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products ing the large wood pedal pipes in front of Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems the exposed Great division to control the Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation egress of tone. Even with that precaution, Casavant Frères Patrick J. Murphy & Associates it was still necessary to hang heavy sheets Dobson Pipe Organ Builders Parsons Pipe Organ Builders of felt in front of the Great to balance the Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. tone in the lively acoustics. C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. I was delighted to see the shellac, ink Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders lettering, distinctive racking styles, and A. Thompson-Allen beefy expression shutters we know so Garland Pipe Organs, Inc. well from long experience with Skinner organs. I was delighted to hear the dis- tinctive tones of Mr. Skinner’s specialty voices so far from home. And I was delighted to hear Carsten describe how APOBA provides a simple way for you to take German audiences have responded to advantage of the expertise of the top people in the unique sounds of the Skinner organ. We have heard criticism about export- WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of ing American organs, expressing the several generations who have preceded them. feeling that they should stay at home. I have two thoughts to share. Skinner #823, like many of the instruments we have Call today for APOBA’s Pipe Organ shipped overseas, was on the market for 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV fi ve years before the church in Ingelheim purchased it. Better to be sent overseas than never to be heard again. And for the last seventy years, American organists 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ and organbuilders have been infl uenced our short video at: US by European traditions. Reciprocity is a ZZZDSREDFRPYLGHR 800-473-5270 good thing. Germany has a fi ve-hundred- DSREDFRP year history of building pipe organs, but no one in Germany has ever built a Skin- ner organ. There is nothing else like it. Seems we can teach them a thing or two,

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 15 Organbuilder history

Ernest M. Skinner in THE DIAPASON

By Joyce Johnson Robinson

ore than a century and a half after market for Skinner’s instruments. By Mhis birth, Ernest Martin Skinner the time of Skinner’s death in 1960, his (born January 15, 1866; died November style of organbuilding had gone out of 27, 1960) is still acknowledged to be fashion, with orchestral color and tone one of the most innovative of American being de-emphasized in favor of clarity organbuilders. Skinner created instru- and brightness. ments that emphasized orchestral-imita- From 1911 to 1961, news of the tive stops (such as the French Horn and life and work of Ernest M. Skinner Ernest M. Skinner (February 1936 issue, page 3) English Horn), with consoles that were was reported in The Diapason. The models of practical design. He created announcements, advertisements, let- letter discussing that organ; Skinner’s exquisite and colorful soft stops, includ- ters, and features that appeared in letter also touches on the question, ing the Erzähler, the Orchestral Oboe, The Diapason illuminated the great “what makes an organ modern?” and the English Horn. His innovations scope of Skinner’s work and personality, To the Editor of The Diapason. Dear also include the pitman windchest, and along with the waxing and waning of his Sir:—One of the reasons why I usually de- he perfected the electro-pneumatic company and career, and the occasional cline to give information to newspaper re- motor for swell shutters.1 glimpse into his personal life. Over the porters is the fact that they are not satisfi ed Skinner began his career in 1886, course of fi fty years there were dozens to take the facts as submitted, but have to enlarge upon them and indulge in fl ights of working for George H. Ryder in Read- of announcements and articles that imagination, which makes a farce of most ing, Massachusetts, north of Boston. documented the instruments in the accounts of church organs. Skinner worked there for four years, Skinner opus list and traced the arrival I note an article in the January number and in 1890 after being fi red by a new of G. Donald Harrison in 1927, the relating to the organ being installed in the Cathedral of St. John the Divine, in which foreman, was subsequently hired by 1932 merger with the pipe organ divi- it is stated: “The thirty-two foot pipe at the George S. Hutchings, for whom he sion of the Aeolian Company, Skinner’s Cathedral of St. John the Divine gives the worked for eleven years. establishment of his own factory and same tone because it has a sixty-four foot Skinner founded Ernest M. Skinner company in 1936, and his joining the stop.” I do not know where the reporter got this information, nor am I able to com- & Co.—the fi rm changed names several staff of the Schantz Organ Company of prehend its meaning. There is certainly no times before becoming known as the Orrville, Ohio, in 1947. stop in this instrument of sixty-four foot Skinner Organ Company in 1919—and This article offers a brief summary pitch, nor have I heard of a stopped sixty- his career lasted a good four decades, of Skinner’s life and history as revealed four in any other. The reporter is pleased to call this tone a “gusty rumble.” He vaults Skinner playing the organ at the coun- with 1910 to the early 1920s being its in the pages of The Diapason. By no from this to the “shrill singing of a tea ket- heyday. The Great Depression greatly means will it present every reference try home of Arthur Marks (at right) (Oc- tle just beginning to whisper to itself about tober 1921 issue, page 1) reduced the market for Skinner’s instru- that can be found in the journal; it is boiling,” which makes a paragraph rich in ments. Furthermore, staff changes in intended to give a fl avor of the life, times, metaphor, and is about as rational as the average article of this description. the company resulted in Skinner losing and work of this important organbuilder. I note a letter from James E. Dale, in York City (April 1911); and the comple- control of his own fi rm, and through which he says the organ for the Cathedral tion of a large four-manual organ in the a merger, a new entity emerged, the Skinner instruments of St. John the Divine will not be the largest Grand Avenue Methodist Church, Kan- Aeolian-Skinner Organ Company, in We fi rst read of Skinner in January and most modern ever built. I was particu- sas City, Missouri (September 1911). lar to state in such information as I gave the 1932. The factory that Skinner opened 1911, when The Diapason reported reporter that the organ was not the largest The October 1912 issue noted the in 1936 (when he was 70!) with his son on the near-completion of the new, ever built. I wish Mr. Dale would inform contract and stoplist of a four-manual Richmond, when the company was “monster” Skinner organ at New York me upon what he bases his conclusion that organ for Williams College, William- known as Ernest M. Skinner & Son City’s Cathedral of St. John the Divine. the organ, built twenty-one years stown, Massachusetts, along with the ago, is more modern than the organ going Organ Company, was destroyed by fi re The next month, the journal published into the Cathedral of St. John the Divine. dedication of a three-manual instru- on June 17, 1943. Changes in musical a letter from Skinner in which he com- What makes an organ modern? Is it the ment in the First Methodist Church tastes also eventually led to a diminished plains about inaccurate reporting in a character of its resources or the number of of Muscatine, Iowa—played by Mrs. stops? Also, allow me to say that the Sydney Wilhelm Middelschulte.2 organ is not the largest in the world. The organ built by Murray M. Harris of Cali- In October 1917, it was noted that fornia for the St. Louis Exposition, and be- Gordon Balch Nevin (probably best ing installed in Wannamaker’s store in New known to us as the composer of Will 1909 110 2019 York city [sic], has that distinction to the o’ the Wisp) had joined the company best of my knowledge and belief. The organ in the Cathedral of St. John the (having left his position as organist of Divine has three thirty-two foot pedal stops, Second Presbyterian Church of Cleve- an open, violone and reed, all of which are land), to arrange musical scores for the the full thirty-two feet in length at low C and “Orchestrator”—a player organ using are open pipes. The organ is guiltless of a Celebr ate our anniver sar y sixty-four foot stop of any description. rolls (“which Mr. Skinner has invented Yours very truly, and perfected after twenty years’ work”). and share what you enjoy about THE DIAPASON ERNEST M. SKINNER The Diapason reported that: by providing a gift subscription to a friend! The new instrument contains many of The June 1911 issue reported on Clar- Mr. Skinner’s inventions whereby the tones ence Dickinson’s opening recital at the of the orchestral instruments are faithfully Receive one, two, or three free Raven CDs as well! cathedral. reproduced. In addition the instrument con- Other 1911 announcements men- tains a full size concert grand piano, and it is Visit www.thediapason.com/subscribe today, and possible to reproduce a concerto for piano tioned new Skinner instruments and with complete orchestral accompaniments. know your gift is remembered each month. contracts: Asylum Hill Congregational The Ernest M. Skinner company is Church, Hartford, Connecticut; Sts. erecting a special laboratory building for Peter and Paul’s Cathedral (the National this branch of the work, containing rooms for cutting work, a studio for the head of Cathedral), Washington, D.C.; and the department, and a fi ne concert hall— MangataMangata - stosttooockck.acck..adobadobe.come.com Church of the Holy Communion, New equipped with a large “Orchestrator.”

16 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Skinner ad in THE DIAPASON, February 1936, page 9

The April 1931 issue also mentions musical critics, one calling it a present- the dedication recital of the four- day ‘fashion’ in organ design.” (The manual, eighty-nine-stop Skinner organ stoplist was published in the February at Severance Hall in Cleveland, played 1930 issue.) by Palmer Christian, noting that, “In The front page of the January 1932 Some of the organists who played the Skinner office organ for radio broadcasts spite of the fact that the event was issue featured a large portrait of Arthur (December 1925 issue, page 1) held on Friday—a rehearsal night for Hudson Marks, “head of new organ church choirs—many organists and company,” which is to say the new The front page of the October 1921 other church musicians were present. Aeolian-Skinner Organ Company, Inc., issue of The Diapason was virtually dom- It is presumed that a number of choir the combining of Skinner with the pipe inated by Skinner. There was a notice of rehearsals in town were curtailed to organ division of the Aeolian Com- the dedication of St. Paul’s new municipal enable interested members to attend.” pany. Marks was president, with W. H. organ, with recitals by H. Chandler Gold- The organ’s console had three terminals Alfring, Aeolian president, and Ernest thwaite, the city organist, who declared for the cable—one so that it could be in Skinner as vice-presidents, along with the Skinner instrument to be “the best in the center of the stage, a second so that George Catlin of Skinner and Frank the country, bar none,” and that “visiting it could be at the side, and a third so Taft of Aeolian. It was noted that 85% organists are going to discover that com- that it could be in the sunken pit. “The of Skinner’s business had been for positions may be played here that will be tone is characterized by great beauty of churches, colleges, and institutions, and almost impossible” on other organs. The individual solo registers. The ensemble 15% for residences, while Aeolian’s was center of the page shows Skinner at the is of the English type, with great promi- almost the reverse—80% residential organ console, and Arthur Marks stand- nence of chorus reeds and brilliant mix- and 20% institutional. ing by the organ built for Marks’s country tures. These features were suffi ciently One early deal that resulted for place in Westchester County. And the outstanding to cause comment from the Aeolian-Skinner was the 1933 order for a right-hand column provided details on the two “wonder organs” for the Eastman School—one an Austin, and the other a 4-manual Skinner, every division of which was enclosed, including the entire pedal, which possessed a 32′ Bombarde. This Arthur Hudson Marks (January 1932 is- organ also featured a full Dulciana chorus sue, page 1) (16′, 8′, 4′, 2′, and a Dulciana ), and on the Great, a complete harmonic series, By the way, a player mechanism including a Septieme. using perforated rolls was also to The Skinner Organ Company’s New be part of the Skinner Organ Com- York offi ce, located at 677 Fifth Avenue pany’s organ for the auditorium in St. in New York City, also had an organ Paul, Minnesota, mentioned in the studio. The December 1925 issue of April 1920 issue (“City raises fund The Diapason lists the 36 “noted men” of $61,000”). This four-manual, 105- who would play a series of “great artists” stop instrument (stoplist given in the Friday evening recitals at the studio, to article) would also include a concert be broadcast on radio station WAHG. grand piano that could be played from The list is worthy of a Who’s Who: the organ keyboard, “as it is in the case Lynnwood Farnam, T. Tertius Noble, of the Skinner organ in Carnegie Hall, Albert William Snow, Hugh Porter, Pittsburgh,” along with a new feature, Edwin Arthur Kraft, Palmer Christian, a 16′ Heckelphone in the Solo division Charles Heinroth, Harold Gleason, (“which will resemble an English horn, W. A. Goldsworthy, Maurice Garabrant, but six or seven times as powerful”), Marshall Bidwell, Louis Potter, Gordon and a six-rank string division. Balch Nevin, Guy C. Filkins, Rollo Mait- The Diapason’s offi ce was located at land, John Priest, Chandler Goldthwaite, that time in Chicago, Illinois; naturally, Alexander McCurdy, George Rogers local instruments would certainly be Pratt, Alfred Greenfi eld, Arnold Dann, noted. It was reported in March 1921 Walter Hartley, Warren D. Allen, Allan that St. Luke’s Episcopal Church in Bacon, Walter P. Zimmerman, Herbert nearby Evanston would have a great E. Hyde, G. H. Federlein, William E. organ, designed by Herbert Hyde and Zeuch, Henry F. Seibert, Edward Rech- Joseph Bonnet: lin, and Clarence Dickinson. A photo of six of the recitalists gathered around The Chicago district is to have another a Skinner console graces the top of the notable organ—one which probably will be the largest in any church of the city or issue’s front page. suburbs. The Skinner Organ Company has The lead news article on page 1 of the been awarded the contract for a four-manual April 1931 issue of The Diapason was instrument for St. Luke’s Episcopal Church the signing of a contract by the First Con- of Evanston. It will have a total of 78 speak- ing stops. The instrument is to be completed gregational Church of Los Angeles for “a early in 1922 and will be the crowning fea- large four-manual Skinner organ.” Wil- ture of the new edifi ce under construction. liam H. Barnes, the consultant, and Stan- The present chapel organ is to be used as an ley W. Williams, Skinner’s Pacifi c coast echo division for the new organ. The speci- fi cation is the work of Herbert E. Hyde, representative, prepared the stoplist organist and choirmaster of St. Luke’s, in for the sixty-rank (plus Harp/ and consultation with Joseph Bonnet. Chimes) instrument.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 17 Organbuilder history

April 1936, page 7 July 1936, page 12 August 1938, page 11 April 1940, page 17 four-manual organ for the W. K. Kellogg 1936); First Baptist, Jackson, Mississippi It looks to me as though from now on Steere plant would operate as a unit of Auditorium in Battle Creek, Michigan. (four manuals, 1940); St. John’s Lutheran, the organ builder were to become a decid- the Skinner organ company: edly necessary citizen. The organ is becom- The instrument and the auditorium were Allentown, Pennsylvania (April 1940); the ing immensely popular. The church no lon- to be a gift to the Battle Creek public reconstructed/enlarged organs at Brick ger appears to have an exclusive ownership The two factories have been consolidat- of the instrument. The auditorium, resi- ed, but the plant of the Steere Company schools from Mr. Kellogg, “the break- Presbyterian (June 1940) and First Pres- at Westfi eld, Mass., will be operated and fast food manufacturer whose products byterian, Englewood, New Jersey (three dence, motion picture theater and even the great municipal art museums are fi nding it the entire staff of that concern will be re- are known throughout the world.” The manuals, October 1946). worth while to give the king of instruments tained. The addition of the Steere forces February 1933 issue’s front page gave a place of honor in their activities. Let us to the facilities of the Boston plant of the the announcement and listed the speci- Skinner’s writings make the most of our association for what- Skinner Company will make it possible to ever it may do to insure the future for us. take care of the large amount of new work, fi cation, of sixty-fi ve ranks plus Harp/ Skinner’s own writings appeared orders for which have been received by the Celesta and Chimes; an Echo organ throughout the years in The Diapason, Skinner Company. The deal therefore does was playable from the Solo manual. The from letters to the editor to feature At this meeting, the association drafted not actually remove any factor from the or- ′ gan business, but serves to make for better specifi cation included a 16 articles. In 1919 Skinner was elected a uniform contract for purchase of new results through a combination of interests. (Great), 8′ Flugel Horn (Swell), 8′ Corno president of the Organ Builder’s Asso- pipe organs, with a payment schedule set di Bassetto (Choir), and in the Solo divi- ciation of America. The September at 10% down, 55% at shipment, and the The announcement includes Skinner’s sion, 8′ Orchestral Oboe, French and 1919 issue noted: “Ernest M. Skinner balance upon completion. letter to the editor, detailing the consoli- English horns, and a heavy-pressure of Boston was elected president of the Also in 1920, in October, The Dia- dation, noting that George Kingsbury, Tuba Mirabilis. association, as the successor to John T. pason printed Skinner’s lecture, “The Steere’s president, and Harry Van Wart, In February 1936 we read Skinner’s Austin, the fi rst president. W. E. Pilcher Organ in the Home,” delivered before superintendent (who had previously announcement that he established, with of Louisville was made vice president; the National Association of Organists in worked for Skinner), supported “high his son Richmond, his own organbuilding Farny R. was re-elected trea- New York. It offers an entertaining look standards of excellence.” Skinner had plant at Methuen, Massachusetts, under surer and Adolph Wangerin was chosen at Skinner through his whimsical writing: written that: the name of Ernest M. Skinner & Son again to be secretary.” At the organiza- When the handle is turned on to let on There has been a tremendous demand Company. The announcement is brief; tion’s fi rst annual meeting, a motion for the water for the morning tub, what is more for Skinner products during the past year, Skinner “will engage in the designing the association to declare itself in favor fi tting than Handel’s water music played on which can be satisfi ed only by an organiza- and construction of instruments that are of the eight-hour day was voted down. the unda maris? A little later we are led tion expert in organ building and familiar to embody his principles of tone and that In 1920, along with his report, Skin- to the breakfast table and hear sweet dis- with the technique and rigid inspection re- course on a stop voiced smooth and round, quirements of the Skinner Company. The are to be like the large organs in America ner gave an address on the importance to picturize a grapefruit, or a bald head. Steere plant will operate at capacity as a on which his reputation is based.” of such an organization, noting how it unit of the Skinner Organ Company mak- From this point on the number of could build respect and collegiality, in “a But the essay focused on player organs: ing standard Skinner parts under our stan- new Aeolian-Skinner instruments far fi eld that offers no one an easy road to dard specifi cations and inspection. . . . The present popularity of the resi- exceeded those of Skinner’s company. success either artistically or fi nancially.” dence pipe organ was brought about by New organs were few and far between: The year 1920 looked rosy indeed. Note the application of the perforated roll Skinner commented on whiffl e-tree First Church of Northampton, Mas- Skinner’s optimism (and mourn the mechanism . . . . It satisfi es an inherent swell shade action in The Diapason sachusetts (three manuals, November passing of this era): craving for self-expression common to ev- Forum of the February 1922 issue. ery living music lover. He explains his preference for it: “The whiffl e-tree engine will move the shades Skinner was addressing organists, about twice as fast as in the old mechani- and he was discussing the organist who cal action without slamming.” Skinner would be employed to play an organ in was responding to a previous letter that

a wealthy home, noting that sometimes had criticized the whiffl e-tree, and did the performer would not be listened to: not spare feelings in doing so: “Except for the fact that M. E. Hardy has overlooked The client and one or two friends car- ried on an animated conversion and paid everything of importance relating to the no more attention to the organist than they whiffl e-tree swell shutter action, his arti- would have paid to a yellow pup—in fact, I cle on the subject is very well expressed.”3 think the pup might have had the best of it. In a letter in May 1945, Skinner An artist will in this case be hammered into a mere mercenary . . . . The client knows explained why organ pipes go sharp there is, apart from the sound heard, more when temperature rises, what a temper- class to an actual organist than to a ma- ament is, and what a “wolf” is. The fi rst: chine, and the organist undoubtedly wears As temperature rises, pipes contain less this halo, whatever it amounts to. The organ in the home necessarily has air than formerly, as some has left, due to Proud builders of the pipe organ kit a much smaller public than elsewhere, but expansion. Thus less air is excited by the it certainly presents, particularly with the same amount of force. The second: The perforated roll adjunct, wonderful oppor- wolf is the dissonance remaining in one tunities for an intimate acquaintance with whatever kind of music one is interested in interval of a perfectly tuned or untem- follow . . . . The future for the organist looks won- pered octave. Setting a temperament us on facebook! derful to me . . . . But you can do more than consists in tuning an octave so that the anybody else to better the conditions of wolf is distributed equally throughout its public music. A given plane is raised from a higher one, never from below. twelve intervals. Photo courtesy of Eric Harrison Later that year, Skinner defi ned a “classical” organ: “Generally I have The early 1920s were prosperous for regarded it as the type represented 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA the Skinner company. The April 1921 by the French organs in Notre Dame t 800 625-7473 [email protected] issue of The Diapason reports that the and San [sic] Sulpice, and perhaps by Visit our website at www.letourneauorgans.com Skinner Organ Company would com- the Roosevelt, Johnson and Hutchings bine with the Steere Organ Company, to organs in America . . . .” He felt that the handle a large amount of new work. The “so-called romantic organ is the type

18 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM character of these instruments. Their beautiful tone and uncompromising fi delity to quality are acknowledged by American and foreign artists alike.” This advertisement emphasizes what Skin- ner would be forever remembered for: orchestral and tonal inventions in the ensemble, with beautiful sound quality in a well-made instrument. An April 1936 advertisement with the title “A Personal Word from Ernest M. Skinner” emphasizes that “Tone pro- duction, of distinction, is as individual and personal as handwriting, and even more diffi cult to copy. It is the product of personal musical experience, taste, research, technical skill and sense of hearing” and that Skinner’s company is the only one from which one can pur- Skinner in his later years (January 1961, chase instruments having “tonal charac- page 1) teristics of breadth and splendor.” In another 1936 advertisement, Skinner began by explaining that the this from May, Skinner writes that electrically driven fan made subsidiary an organbuilder must have a musi- wind pressures possible. He suggests cal imagination, so that the tone fi ve-inch pressure “satisfactory for gen- he creates would have “an artistic eral purposes, except on large organs.” character, of poetic implication. . .” The article presented the characteristics and that “tonal charm is a fundamental of different stop pipes, where to locate requisite of every musical instrument.” their ranks in the organ, and tuning. In July, Skinner’s advertisement reaf- fi rms that his work in Methuen, with Skinner advertisements his son Richmond, produces “beautiful The Skinner company was a regular orchestral voices, original and eloquent advertiser in The Diapason. Skinner’s colors of the Erzahler type, the Trum- advertisements provide a view of the pets, Diapasons and Mutations . . . all . . . progress of Skinner’s business, and also in just proportion.” Skinner explained his philosophies. Those from the 1930s in October the workings of his electro- after his separation from the company pneumatic action. that he founded decades earlier are It consisted of a high resistance magnet, particularly telling. operating at a low voltage and controlling One of the earliest advertisements an armature of fi xed movement. This ar- appeared in August 1917, simply stating mature commanded a pneumatic key ac- that “It isn’t what you Pay; it what you tion having a double motor—a primary and secondary—which operated at great speed, Get for what you pay. Buy by the tone, making it the most responsive and reliable Skinner’s daughter rescues a friend from drowning (September 1914 issue, page 5) not by the ton.” The advertiser is the of all organ mechanisms, which it remains Ernest M. Skinner Company, Church to this day. developed here in the United States” men from Cavaille-Coll of Paris. I also gave Organs, Boston, Massachusetts. and that its characteristics were “strings many builders my pitman windchest and An advertisement in February 1936 In December Skinner touted his abil- whiffl etree swell engine; so now I suppose of warmth and prompt speech, the new the logical thing to do is to try to do me announces that “Ernest M. Skinner is ity to improve an existing instrument orchestral voices, and unfortunately the out of their invention. I invented a contre established at Methuen, Mass., where through “a few judicious touches:” Philomela, heavy claribel fl utes and fat bombarde and other stops. That doesn’t organ building, as exemplifi ed by the “Skinner experience will fi nd and diapason.” He concluded by saying that prevent others from designing other forms instruments at the Cathedral of St. John eliminate the weak spots and for some of the same name, does it? . . . Cancel “in- since Webster defi nes classical as “a ventions” to please Mr. Maclean, substitute the Divine, St. Thomas’ and St. Bar- of the present indifferent stops, the old work of the highest class, of acknowl- “developments.” Moral: To avoid criticism, tholomew’s churches, New York City, organ may be improved to an unbeliev- edged excellence,” then the organs of do nothing. and similar examples elsewhere, will be able degree.” Washington National Cathedral, Girard continued. The traditional ensemble, In his 1937 advertisements, Skin- College, or Bruton Parish Church should In 1951, when the organbuilder enhanced by Mr. Skinner’s orchestral ner took to including testimonials. be considered so. turned 85, the journal published “Ernest and tonal inventions . . . will ensure the An ad that appeared in April and July In July 1949, Skinner complained M. Skinner recalls the past” in the about William H. Barnes’s Contemporary March issue. Later that year, Skinner’s American Organ. Barnes claimed, based wife Mabel died, and the grieving Skin- on letters he had received, that Skinner ner stayed with his daughter Eugenia in was not the inventor of certain stops. Reading, Massachusetts. In this article, Skinner’s letter to the editor disputes this, Skinner summarized his life, beginning demanding some proof: “Will Mr. Barnes with a description of his limited educa- please give in these columns a single tion—“high school for a while”—and instance where any one of these stops his on-the-job training, beginning with was placed by another organ builder, of George H. Ryder, for whom Skinner a character authentic to an equal degree swept the shop and wound trackers. He with those designed by the undersigned, taught himself tuning (both piano and and where they were placed, previous to organ). He worked at George S. Hutch- the dates named?” The battle of letters ings in Boston, moving up to foreman, continued, with Mr. Maclean of Toronto and then struck out on his own. and Edwin D. Northrup joining in (Sep- Skinner cited his organs at City Col- tember 1949). Skinner clarifi ed that his lege in New York, the Cathedral of contribution was the stop’s tone, not St. John the Divine, the Washington merely a stop name. National Cathedral, Rockefeller Memo- rial Chapel, Girard College Chapel, Please tell Mr. Maclean of Toronto and Grace Cathedral in San Francisco. that I did not refer to engraving the name English horn or cor anglais on a stopknob. He described operatic and symphonic I have seen many such, but the authentic inspiration for his French Horn (Strauss, English horn tone was not heard when the Salome), Bassoon (Zarathustra), and stop was drawn. I have been in England, Orchestral Oboe and English Horn France, Belgium, Holland and Germany several times, but never once heard the (Wagner, Parsifal), noting that “every tone of an orchestral English horn, regard- improvement I ever made in the organ less of the name. Also in my sixty-fi ve years was opposed by somebody.” He con- as an organ builder I have seen organs of cluded noting that Hutchings turned “superb musicianship, masterly technique and savvy programming … Archer’s all makes in every state in the Union, but down a half-interest in Alexander Gra- sweeping assurance and stamina enable you to hear the music behind the virtuosity.” never once heard an authentic English horn, except my own. ham Bell’s telephone—for $50. — GRAMOPHONE (JAN 2018) — In July 1952, Skinner’s “Principles . . . I invited Willis to America and gave MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com him my French horn, personally, likewise of Tonal Design” was a feature article.

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 19 Organbuilder history quoted , from a letter to an The completion of the organ in have something in common. In all three, In March 1951, The Diapason unidentifi ed third party: Washington National Cathedral was beauty of tone is the fi rst objective.” published a piece in which Skinner a landmark in Skinner’s career, and While some of the letters quoted in reminisced, by the editor’s request; this When you shall see Mr. Skinner tell him that I should be delighted if my opinion of he continually trumpeted it, calling it The Diapason give one a sense that was on the occasion of his 85th birthday. his organs could be of any use to him. It is a “masterpiece” that “will stand as a they were actively solicited, a letter from Skinner tells the story of his life, how as already ten years since my American tour, supreme example of the art of organ Thomas H. Webber, Jr., writing from a twelve-year-old he attempted to build and . . . I still have, in my ears, the memory building for the next century.” He quotes Idlewild Presbyterian Church in Mem- an organ of wooden pipes—they did not of those magnifi cent timbres and in my fi n- gers that of the marvelous touch of the in- Robert Barrow, organist and choirmaster phis (January 1941), has a personal and speak—and how he began working for struments of this very great builder. I have of the cathedral, who calls the new organ friendly tone: George H. Ryder, sweeping the shop retained an unforgettable joy in them, and “the greatest instrument as yet produced and winding trackers. He designed a he can proclaim this publicly in reproduc- in this country, and one of the really I am very sorry the rush of the Christ- machine that could wind the trackers ing this passage of my letter. mas time has kept me from writing you be- great organs of the world . . . an organ fore this in regards to the beautiful organ better and faster than by hand. He next designed by a musician, for musicians.” you recently fi nished in the First Baptist taught himself tuning and moved on to Vierne also was quoted remarking after Another advertisement quotes the Church of Jackson Mississippi. It was a joy work with George S. Hutchings. Skin- and privilege to play the dedicatory recital hearing a Skinner organ, “If I had had Washington Herald’s article reporting on on this magnifi cent instrument . . . .” ner eventually went out on his own. He an organ like that when I was a young the dedication recital. Three thousand [The writer goes on to praise the respon- mentions his landmark instruments, man, it would have changed the whole attendees “heard one of the greatest sive action, diapason chorus, and especially and cites operatic and symphonic works character of my compositions.” instruments in the world today in so far the 32′ Fagotto.] as the inspiration for his French Horn, I am delighted that there is another fi ne In September of that year, The Dia- as its capacities, ordinary and unusual, Ernest Skinner organ here in this section Orchestral Oboe, and Contra Bassoon. pason published an advertisement that could be demonstrated in a program of of the South. The Idlewild organ is a con- The May 1951 issue reported on page contained a letter from to less than an hour’s duration . . . .” stant joy to me in every respect. . . . More 1 of the death of Mrs. Ernest M. Skinner Skinner. The letter was dated July 21, and In January 1939 Skinner’s advertising than ever, I am convinced that people want (nee Mabel Hastings) in her sleep on beauty in tone as well as beauty in other one wonders whether Skinner actively quoted T. Tertius Noble, the organist of things and you surely create that beauty in April 14. The Skinners had been married solicited the letter: St. Thomas in New York City, who praises these fi ne organs. for 58 years. “Mrs. Skinner had not been the “superb instrument” there and to It was very nice to see you and Rich- ill and she enjoyed a chess game with her Dear Ernest, How proud you must feel the new Washington instrument, with mond again. I think he did an excellent husband the evening before her death. about your organ we played Monday—the piece of work in the Jackson organ. one just completed at Northhampton! Your its full and rich Diapasons, which “may She is survived by her husband, two action will take any tempo, however fast, and be compared with the fi nest to be found daughters and a son.” any phrasing. And, you’ve built pipes that in the great English cathedral organs,” In March 1941 Skinner’s advertise- In January 1956, The Diapason sing! The ensemble is clarity personifi ed. Though only a three-manual organ, the the reeds—“rich in tone, brilliant where ment was headlined “The Original reported that Skinner, “who still enjoys real 32-ft tone in the pedal makes it a dis- needed, and full of character,” and above Skinner Quality Still in Demand!” as good health and takes a lively interest in tinguished one. all the voicing of the mixtures, “so full of though he felt the need to convince musical matters,” would turn 90 on Janu- Your new 4-ft Swell Flute deserves to sparkle and clarity, without the horrible the reader of such. The advertisement ary 15. It also reported his home address, stand with your other contributions to the pipe organ. Don’t ever doubt that the harshness which seems to be so much listed “recent installations and work in presumably so greetings could be sent. world is grateful to you for the beauty you the fashion today.” In the following year process”—16 instruments, of which one (How times have changed!) It noted that have given thru your invention of the Flute Skinner printed testimonials from Clar- was a rebuild, a second received a new Skinner was “a household word in the Celeste, French Horn and those other ence Dickinson regarding the organ in console and electrifi cation, and a third organ world,” that Skinner “built many well-known voices. Congratulations on Northampton! Con- the Brick Presbyterian Church. new pipes. All were on the Eastern sea- of the notable organs in this country,” gratulations because you are even more Other advertisements in 1930 and board, except for one in Mississippi and and that “he is credited with inventions interested in music than you are interested 1940 mentioned new instruments that one in Ohio. which have become standard equipment in organ. were being built, and what Skinner could The entry of the United States into on modern instruments.” This notice was Yours in all sincerity, Virgil Fox do for an old organ—that is, a slider chest World War II at the end of 1941 did followed by a reprint of Skinner’s autobi- tracker organ, a Johnson, Hutchings, or not immediately affect organbuilding, ography, fi rst presented fi ve years earlier. Hook & Hastings: electrifi cation, curing but it was inevitable that the industry Skinner fell in the spring of 1957, as Letters in 1938 include an announce- sticking slides, guaranteeing steady wind would see changes. The July 1942 issue reported in the June 1957 issue, tripping ment that the temporary organ in the choir and pitch integrity, a silent and instanta- of The Diapason reported on the order over a small podium in a church aisle, of Washington National Cathedral was for neous stop action, a silent high speed key from the War Production Board, which resulting in a broken right shoulder. sale at “about half its cost.” The instru- and pedal action. And “by substituting a required that the entire organbuilding He spent ten days in the hospital and ment was of nineteen ranks and included few stops we can give a substantial factor industry be converted to defense work then was moved to a nursing home, a 32′ Fagotto (optional). Other advertise- of modern tonal beauty. All the above after July 31. This order forbade the “where he will be staying for at least ments announced work booked, in prog- under control of a modern Skinner con- manufacture of musical instruments the next month.” On the front page of ress, and on hand; others reprinted more sole, at something less than half the cost containing more than ten percent by its January 1961 issue, The Diapason letters, from satisfi ed customers or those of a new organ.” (June 1939) weight of “critical materials”—metals, reported the death of Ernest M. Skinner, who had just approved a contract. One Some of Skinner’s advertisements were cork, plastic, and rubber. The report “America’s most widely known builder charming advertisement from the August pithy, such as May 1940: “Faith without explained that “the part assigned to the of pipe organs,” age 94, on November 1938 issue beckons travelers, in those pre- works is dead. A like condition attends organ manufacturers is to produce blow- 27, 1960, in Duxbury, Massachusetts. Disney World days, to consider Skinner’s theory without ears.” Or March 1940: ers for link trainers used in ground train- The headlines called him a “renowned workplace as a vacation destination. “Stradivarius, Steinway, Skinner obviously ing of pilots.” organ builder” and the “most infl uential In July 1943, The Diapason reported designer of American instruments in that the Skinner factory in Methuen, fi rst half of the century.” The journal Massachusetts, was destroyed by fi re on reprinted Skinner’s reminiscence article June 17. of ten years prior, noting that “Though most of his best known organs have been The origin of the spectacular blaze has not been established. The three-story rebuilt and greatly changed in the last wooden structure was razed, only the two decades, many of them retain some frame front remaining. Serlo Hall, adjacent of the stops which he originated and to the factory and nationally famous be- perfected and which were most charac- cause it houses the great organ that origi- nally stood in the Boston Music Hall, being teristic of the great Skinner organs of a later acquired by Ernest M. Skinner, was generation ago.” Q saved from the fl ames by a fi re wall . . . . The factory was operated by Mr. Skinner Joyce Johnson Robinson is a past editor and his son until organ manufacture was suspended and the property was under the of THE DIAPASON. control of a bank. Notes Following this event, Skinner was 1. For a fi ne summary of Skinner’s career, largely absent from mention in the pages see Craig R. Whitney, All the Stops (New of The Diapason. York: Public Affairs, 2003). For more on Skin- ner instruments, see Dorothy J. Holden, “The Tonal Evolution of the E. M. Skinner Organ,” About Skinner’s life The Diapason, July 1977, February 1978, Skinner was of suffi cient importance June 1978, March 1979, January 1980. that he and his family were worthy of 2. Wilhelm Middelschulte married Annette note. The September 1914 issue quotes Musser on June 29, 1896. Prior to their mar- an article that appeared in the Boston riage she was a prominent organist, pianist, Post in August, of how eighteen-year-old and teacher in Memphis, Tennessee. In Chi- Eugenia R. Skinner saved her “chum” cago, Illinois, where they resided, she served from drowning, “nearly a mile” (!) off as organist at St. Paul’s Universalist Church. See www.wilhelm-middelschulte.de/biogra- shore at the beach. The journal also phie.htm (accessed August 22, 2017). reported on Skinner’s own health. A 3. For a brief defi nition of the whiffl e-tree www.ruffatti.com February 1915 announcement mentions and a photograph, see John Bishop, “In the that Skinner broke a rib in a collision of wind . . .” in The Diapason, June 2008, his automobile with a tree in Cambridge. page 14.

20 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Historic organ preservation

Partners for Sacred Places announces initiative to preserve historic organs in Philadelphia

St. Mary’s Episcopal Church, Hamilton Village, Philadelphia, Pennsylvania, Aeolian- By Jonathan Eifert Skinner Organ Company Opus 963 (photo credit: Joseph Elliott)

mbracing new, creative approaches, other key factors. The data—along with Pilot performances at St. Mary’s All of these concerts occur at St. E a groundbreaking initiative, “Play- audio recordings of the pipe organs and Church, Hamilton Village Mary’s Episcopal Church, Hamilton ing and Preserving: Saving and Activat- photos of the site—will eventually be Partners for Sacred Places, with Astral Village, a historic congregation that ing Philadelphia’s Historic Pipe Organs available to the public through collabo- Artists, has organized a series of perfor- completed the present Gothic Revival to Advance Music and Community,” ration with the Organ Historical Society. mances and events that highlight historic structure in 1873. Following a fire in aims to generate public support for the With this information, artists, perform- organs in ways that juxtapose and com- 1936, several alterations were made preservation and active use of the organ ers, and curators can use the database bine genres and styles of music to engage to the edifice, including installation heritage of Philadelphia, Pennsylvania. to fi nd venues and instruments that are the local community in preservation and of the present organ, Aeolian-Skinner The initiative, already underway, builds resources for their practices. Already, involve musicians of all ages. All concerts Organ Company Opus 963, finished relationships among congregations, art- the program and its Curtis student part- welcome families and community mem- in the fall of 1937. The church, still ists, music lovers, organbuilders, and ners have visited over forty sites, which bers and encourage them to embrace an independent congregation, is now the broader public. Partners for Sacred have been documented in photographs their curiosity about the organ and classi- surrounded by the University of Penn- Places is spearheading the Playing and by a separate team of photographers. cal music. These events create a space that sylvania campus. Preserving venture, supported through a allows the organ to return to the center of “The initiative will allow Partners collaborative effort with a team of inter- Building capacity to Play and music making—but with a modern twist. for Sacred Places and its collaborators disciplinary partners, including Astral Preserve Musicians of all ages perform together to advance their work by bringing the Artists and the Curtis Institute of Music. Partners for Sacred Places is provid- with the organ, building community performing arts into preservation as a Philadelphia’s organs and the sacred ing a training and capacity-building through art and personal connection. new way to offer sensory experiences places that contain them are some of the program for congregations to help them Each performance integrates the that increase the appreciation of historic city’s greatest treasures—yet, with ever- gain knowledge and skills to better care story of the historic sacred place, the architecture and create a model for other changing religious landscapes, musical for their instruments, fundraise for community content, and the instrument, regions to follow,” said Bob Jaeger. tastes, and technology over the last twenty maintenance and capital investments, encouraging audiences to move beyond The Playing and Preserving project is to thirty years, these buildings and his- and develop relationships with artists passive participation toward personal led by a committee including Jonathan toric organs are at risk. One Philadelphia around mission and vision alignment. engagement and to refl ect on what they M. Bowen, organist, St. Luke & the organist estimated that nearly half of the Through this program, each congrega- hear, see, feel, and how music and sto- Epiphany Episcopal Church; Michelle instruments featured during the Organ tion is given a complete, professional rytelling affect their perception of the Cann, pianist and educator, Keys to Historical Society’s 1996 national conven- assessment of their historic organ and place. The concerts are all preceded by Connect; Frederick Haas; Roy Harker, tion in Philadelphia are potentially par- technical assistance to promote repairs, child-friendly “Experience Stations” that executive director, First Baptist Church tially destroyed, dormant, or unplayable. conservation, and fundraising help for cover topics like organ education, perfor- of Philadelphia; Dustin Hurt, direc- “Our project will turn this problem into ongoing maintenance. Technical assis- mance practices, rehearsal techniques, tor, Bowerbird; Dr. Martha Johnson, an advantage, by leveraging the organ and tance is provided to help congregations and cross-genre program planning. organist, choirmaster, educator; Alan will amplify one of the most important but make key, strategic repairs that have Further, Astral Artists have begun Morrison, professor, Curtis Institute of typically unappreciated characteristics of helped to make their instruments play- mentoring students at Play On Philly Music; Patrick J. Murphy, organbuilder, sacred places—their auditory and aural able and even more useful for future during four short residency visits, build- Patrick J. Murphy & Associates; James qualities—to provide a rich, multi-sensory performances and events. ing musical skills as well as vibrant rela- Straw, AIA, preservation architect; Dan context for individuals, families, and artists The training draws on Partners for tionships between young musicians and Visconti, artistic director, Astral Artists; to experience historic places in a powerful Sacred Places’ capacity-building pro- world-class musicians. The fi rst concert and Karen Whitney, organist and choir way,” said Bob Jaeger, president of Part- grams, including “Making Homes for featured Astral Artists and Play On Philly director, Salem Baptist Church. ners for Sacred Places. “This experience the Arts in Sacred Places,” which assists musicians, drawing a diverse crowd that Major support for Playing and Pre- will be supported by, among other strate- congregations in making the most of enjoyed the hands-on approach to learn- serving has been provided by The Pew gies, place-based storytelling and inter- their properties as assets for ministry. ing about historic organs. Artists involved Center for Arts & Heritage, with addi- active conversations around what place The content is customized to focus on included Project Fusion, a saxophone tional support from the Wyncote Foun- means to each of us and how it defi nes our sound stewardship of these instruments, quartet; Michael Lawrence, director of dation and The 25th Century Founda- sense of identity and community, as well as community-partnership building, and music/organist/choirmaster at St. Mary’s tion. Learn more about this initiative engaging history through art.” Playing and community-wide fundraising. In addition Episcopal Church, Hamilton Village; and upcoming events: sacredplaces.org/ Preserving is actively identifying historic to training, this program provides grants and the Play on Philly Wind Ensemble. playing-and-preserving. Q organs at risk, activating these instruments to congregations to support the preserva- Another program featured Thomas Mesa, through technical assistance and support tion and repair of their historic organs. cello; Greg Zelek, organ; and the Play On to the congregations who steward them, Each church that receives a grant will Philly Cello Ensemble. On December A. E. Schlueter Pipe Organ Co. and working with project partners and art- match the award with funds they raise 21, a concert is planned featuring Mesa ists in developing concerts that engage the using new tools and resources gathered and Zelek again, joined by Chrystal E. community’s interest in historic preserva- during training, which will help them Williams, mezzo-soprano, and the Play tion through the experience of music. reach out to a wide network for support. On Philly Symphony Orchestra.

Assessing the vulnerability Partners for Sacred Places is collabo- rating with organ performance students The Sound of Pipe from the Curtis Institute of Music and conducting surveys of approximately fi fty Organs historic organs, including many that are at risk in historic sacred places outside M. McNeil  New Instruments  Tonal Additions of Philadelphia’s urban core. A large part 191 pages hardbound  Rebuilding  Maintenance of this process comes with the extensive  New Consoles  Tuning data being collected on instrument con- now on sale at Amazon books struction, condition, and age. $29.95 How can we help you? Also, information is being collected about congregational health, collabora- 800-836-2726 tive readiness, openness to the arts, and www.pipe-organ.com

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 21 Cover feature

Quimby Pipe Organs, Warrensburg, Missouri Dunwoody United Methodist Church, Dunwoody, Georgia Quimby Pipe Organs Opus 76, recently installed at Dunwoody United Methodist Church, comprises 100 ranks distributed over fi ve manual divisions, playable from a four-manual and pedal console. The completion of this instru- ment represents the culmination of an idea and process that began in 2007. After many attempts to make an organ project “go,” either as a stand-alone project, or paired with other proposed major capital work on campus, it wasn’t until the need for a major renovation of the sanctuary occurred that a new organ, installed in a different location, became a necessity and, eventually, a reality. This was a particularly challenging and yet ultimately rewarding sanctuary and chancel renovation project, the genesis of which was to adapt the space so that the church’s contemporary worship ser- vice could relocate from a social hall to meet in the sanctuary, where a traditional service and music program were making good use of the traditionally styled space and generous acoustics. The emergent projects goals were many, among which: Rev. C. G. (Sonny) Walden, minister of music (left), and Mary Ruth Laverty-Solem (right) with the new console 1) to relocate the choir and organ from the rear gallery to the chancel; 2) to few opportunities for smoothly graded our experience in working with vintage organ was removed in 2011, the organ somehow create organ chambers in a dynamic levels in between the two. pipework for new organ projects that are was mothballed at Williams College space where they didn’t exist and where The renovation solution was costly, not restoration-focused, we enthusiasti- and never played again. A careful cata- there didn’t appear to be room for them; but effective. Space for organ chambers cally agreed, and began the search for an loguing of the surviving pipes following 3) to acoustically deaden and otherwise was created, encroaching on unused instrument that would fi t the bill—some- the organ’s removal from the college transform the room for the successful above-ceiling space outside the existing thing that would allow artistic latitude revealed a surprising picture: perhaps a accommodation of the contemporary chancel, the footprint of the original and freedom in the creation of a new, third of the organ’s ranks either missing worship service; 4) but to do this without chancel, and a mechanical mezzanine unifi ed identity, but which would also or damaged beyond any cost effective permanently changing the acoustics of behind the chancel. A choir loft with contribute a unique tonal provenance repair; another third showing some dam- the space for traditional worship. built-in risers was constructed in front of and material advantage to the project. age but imminently repairable under The spacious sanctuary, which had the new organ chambers. For contempo- What we eventually found, in fact, skilled hands; and a fi nal third, perhaps, been constructed new in the year 2000, rary worship, retractable acoustical ban- were two organs, which the church ulti- completely untouched and as good as the had excellent acoustics, and even though ners lower down from the attic, covering mately bought and placed into storage day the organ was installed. the former organ, which had been relo- the choir loft, Chancel organ, Antiphonal until the project could be realized. The Surviving examples of pipes from cated from a much smaller sanctuary, was organ, and all windows at the push of the fi rst, Ernest M. Skinner Co. Opus 195 the Great Diapason chorus, which was undersized for the room, the acoustics of button. The result is a space acoustically (four manuals, 66 ranks), dating from nearly entirely destroyed, exist from all the space enabled the organ to remain and visually suitable for amplifi ed music, 1913, was originally installed in Grace pitch levels of that ensemble—from a in use for nearly twenty years following electronic projection, and colored LED Chapin Hall at Williams College, Wil- 16′ Double Open Diapason through a its temporary location. It was well con- lighting effects; it has had a net-zero liamstown, Massachusetts, where it was three-rank chorus —and provide structed and a good example of its type; impact on the intrinsic acoustical quality used until it was vandalized in 1959. As an interesting insight into Skinner’s tonal it simply didn’t go far enough in its scope of the space. the story goes, which is now almost as work for a large organ in the early 1910s. to support the music program. As direc- From an early point in the dialogue, apocryphal as it is diffi cult to document, These are scaled and voiced to be heroic tor of music Sonny Walden and organist the church voiced an interest in explor- an organ student, following his end of while also harmonically developed and Mary Ruth Solem will immediately tell ing the possible use of high-quality semester juries, entered the organ cham- bright—not at all dull. The ensemble you, it not only wasn’t loud enough, it also vintage American pipework for incor- ber, and destroyed nearly everything he has much more in common with highly wasn’t soft enough, and there were too poration into a new instrument. Given could access. From that time until the developed diapason chorus work at the

Quimby Pipe Organs, Inc., Opus 76

GREAT (Manual II, enclosed, 8′ Spitz Flute (ext 16′) 4′ Geigen Octave (b) 61 pipes Tremolo 17 ranks, fl ues 6″ w. p., reeds 8′ Gamba (b) 61 pipes 4′ Traverse Flute (b) 61 pipes 16′ Ophicleide (ext 8′, 1–12 Ped Tbone) 2 10″ w. p.) 8′ Voix Celeste (b) 61 pipes 2⁄3′ Nazard (b) 61 pipes 8′ Tuba (a) 73 pipes 16′ Violone (a & b) 73 pipes 8′ Flauto Dolce (b) 61 pipes 2′ Harmonic Piccolo (a) 61 pipes 8′ Harmonic Trumpet (Ant) 3 16′ (Ped) 8′ Flute Celeste (TC) (b) 49 pipes 1⁄5′ Tierce (a) 61 pipes 8′ Tromba (Ped) 1 8′ Open Diapason (b) 61 pipes 4′ Octave (b) 61 pipes 1⁄7′ Septieme (a) 61 pipes 4′ Tuba Clarion (ext 8′) 1 8′ Harmonic Flute (a) 49 pipes 4′ Night Horn 61 pipes 1⁄3′ Larigot 61 pipes Solo to Solo 16 1–12 fr 8′ Stopped Diapason 4′ Salicet 61 pipes 1′ Siffl ute 61 pipes Solo Unison Off 2 1 8′ Stopped Diapason 61 pipes 2⁄3′ Nazard 61 pipes 1⁄3′ Mixture III–IV 190 pipes Solo to Solo 4 8′ Violoncello (ext 16′) 2′ Fifteenth 61 pipes 8′ Clarinet (b) 61 pipes 1 5⁄3′ Quint (MC) (b) 37 pipes 2′ Flautina 61 pipes Tremolo PEDAL (unenclosed, 10 ranks, 3 4′ Octave (b) 61 pipes 1⁄5′ Tierce 61 pipes 8′ Tuba (Solo) fl ues 6″ w. p., reeds 10″ w. p.) 2 4′ Wald Flute (a) 61 pipes 2⁄3′ Mixture IV–V 281 pipes 8′ Harmonic Trumpet (Ant) 32′ Contra Bourdon (a) 73 pipes 2 2⁄3′ Twelfth (b) 61 pipes 16′ Contra Trumpet 61 pipes 8′ French Horn (Solo) 16′ Open Metal Diapason 56 pipes 2′ Fifteenth (b) 61 pipes 16′ Contra Oboe (a & b) 73 pipes 8′ English Horn (Solo) 16′ Bourdon (ext 32′) 3 1⁄5′ Seventeenth (b) 61 pipes 8′ Trumpet (a) 61 pipes Chimes (Great) 16′ Violone (Great) 1 1⁄3′ Mixture IV (b) 244 pipes 8′ Oboe (ext 16′) Choir to Choir 16 16′ Spitz Flute (Swell) 16′ Double Trumpet (b) 61 pipes 8′ Vox Humana (a) 61 pipes Choir Unison Off 16′ Contra Dulciana (Ch-Pos) 2 8′ Trumpet (b) 61 pipes 4′ Clarion (a) 61 pipes Choir to Choir 4 10 ⁄3′ Gross Quint (ext 16′ Open Diap) 4′ Clarion (b) 61 pipes Tremolo 8′ Octave (ext 16′) 8′ Tuba (Solo) Swell to Swell 16 SOLO (Manual IV, enclosed, 12 8′ Bourdon (ext 32′) 8′ Harmonic Trumpet (Ant) Swell Unison Off ranks, 6″ w. p., Tuba 20″ w. p.) 8′ Violoncello (Great) Chimes (d) 25 tubes Swell to Swell 4 8′ Stentorphone 49 pipes 8′ Spitz Flute (Swell) 2 Tremolo 1–12 fr Pedal 16′ Diapason 6⁄5′ Gross Tierce (a) 44 pipes 1 Great to Great 16 CHOIR-POSITIVE (Manual I, 8′ Doppel Flute 49 pipes 5⁄3′ Quint (ext 16′ Open Diap) 4 Great Unison Off enclosed, 20 ranks, 6″ w. p.) 1–12 fr Pedal 32′ Bourdon 4⁄7′ Septieme (b) 32 pipes Great to Great 4 16′ Contra Dulciana (a & c) 73 pipes 8′ Gross Gamba (a) 61 pipes 4′ Super Octave (ext 16′) 8′ Geigen Diapason 61 pipes 8′ Gross Gamba Celeste (a) 61 pipes 4′ Solo Flute (a) 32 pipes 1 2 SWELL (Manual III, enclosed, 8′ Claribel Flute (b) 61 pipes 8′ Dulcet II (a) 122 pipes 3⁄5′ Tierce (ext 6 ⁄5′ Gross Tierce) 2 24 ranks, fl ues 6″ w. p., reeds 8′ Gedeckt (c) 61 pipes 4′ Orchestral Flute 61 pipes 2⁄3′ Mixture IV 124 pipes 10″ w. p.) 8′ Erzähler (b) 61 pipes 4′ Violin 61 pipes 32′ Contra Trombone (b) 85 pipes 16′ Spitz Flute (b) 73 pipes 8′ Erzähler Celeste (GG) (b) 54 pipes 8′ French Horn (b) 61 pipes (enclosed with Great) 8′ Open Diapason (b) 61 pipes 8′ Dulciana (ext 16′) 8′ English Horn (c) 61 pipes 16′ Trombone (ext 32′) 8′ Chimney Flute 61 pipes 8′ Unda Maris (TC) (c) 49 pipes 8′ Orchestral Oboe (c) 61 pipes 16′ Double Trumpet (Great)

22 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Detail showing Antiphonal façade pipes. 16′ Bourdon basses, at either side, are custom veneered and fi nished to match the console exterior.

New console with Antiphonal division and façade in the background culmination of the nineteenth-century and the Solo 8′ Tuba, which is the loud- serious roof leaks over the organ cases. American building tradition—before est stop in the organ. Nevertheless, in terms of substantial, Detail showing console interior con- organ ensembles devolved into a tonal The second organ procured for use beautifully constructed pipework, suit- struction and fi nish center around the unison pitch, with in the new instrument was constructed able for revoicing, Casavant Opus 1600 little-to-no upperwork—than it does the in 1939 by Casavant Frères, Ltd. (three presented a wealth of material. Most of to retain their original voices, balance, Skinner sound we have come to know manuals, 42 ranks) for the now defunct the water damage was sustained by the and relationship to one another. That and appreciate from the 1920s. It stands Chapel of the Immaculate Conception 32′ Contra Posaune, which because of approach is on its own extremely valid, in complete contrast to his work from Seminary in Darlington, New Jersey. its miters, held the water in the miter and certainly equally satisfying, and later periods, and it is a shame that this Like most Casavant organs dating from knuckles, where, completely undetect- should certainly have been undertaken if, chorus work was destroyed. the 1930s, this organ was constructed able from the outside, the zinc corroded say, this were a project where the Skinner In addition to the usual very fi ne dia- and voiced according to English Roman- from the inside out. These pipes have pipework (were it all intact) and mechan- pasons, fl utes, strings, and reeds, Opus tic ideals, brought to Casavant by tonal been substantially reconstructed and ics were to be restored as an entity 195 is the fi rst Skinner organ to have director Stephen Stoot, and included revoiced and form the bass of the Pedal and installed in an environment that one of the now-famous Skinner French diapason chorus work of remarkably 32′ Contra Trombone at Dunwoody. demanded a 1913 organ sound. However, Horns, and also is where the Skinner heavy construction, superbly constructed It may seem strange to conceptualize because of the vandalism the 1913 Skin- Corno di Bassetto fi rst made its appear- wood fl utes, and English-style reeds. the combination of pipework from two ner all but disappeared in the 1950s, and ance. A review of the tonal specifi cation Our own assessment is that the fl ues very different instruments, constructed the 1939 Casavant, with beautifully and for the new organ demonstrates that this were never voiced up to scale, and, as we nearly thirty years apart, and with widely substantially constructed pipes, was, as defunct organ, constructed by one of the found them, were rather lackluster and divergent tonal ideals in mind, in an we found it, unevenly and under voiced, foremost early twentieth-century Ameri- dull as individual voices. The reeds seem attempt to create any kind of instrument possessing a disappointing ensemble. can organbuilders, has made a signifi cant to have suffered an unfortunate fate that has a cohesive tonal identity. And Neither organ, as we encountered them, contribution to the new organ at Dun- following a haphazard revoicing prior it’s true that this is probably not a good was playable or usable, and neither organ woody, including the very fi ne Pedal 32′ to the closing of the seminary. After the idea, at least if it is approached with a stood much prospect of restoration and Contra Bourdon, which produces some seminary was closed in the early 1980s, restoration-conservation mindset, where reuse elsewhere. More importantly, we of the deepest tones in the instrument, the organ was repeatedly fl ooded due to the ranks from each respective organ are were not tasked with a restoration project

Dunwoody United Methodist Church, Dunwoody, Georgia

16′ Contra Trumpet (Swell) ANTIPHONAL PEDAL (unen- Antiphonal on Pedal 8′, 4′ Swell to Great piston 16′ Contra Oboe (Swell) closed in gallery, 2 ranks, 6″ Swell to Great16′, 8′, 4′ Choir-Positive to Great piston 8′ Tromba (ext 32′) w. p.) Choir-Positive to Great 16′, 8′, 4′ Swell to Choir piston 8′ Trumpet (Swell) 16′ Bourdon 44 pipes Solo on Great Antiphonal on Great piston 8′ Oboe (Swell) 8′ Octave (c) 44 pipes Antiphonal on Great Antiphonal on Swell piston 4′ Tromba Clarion (ext 32′) 8′ Bourdon (ext 16′) Swell to Choir-Positive 16′, 8′, 4′ Antiphonal on Choir piston 4′ Oboe (Swell) 4′ Super Octave (ext 8′) Solo on Choir-Positive Antiphonal on Solo piston 8′ Tuba (Solo) 16′ Posaune (ext Ant 8′ Trumpet) Great to Choir-Positive 8′ Antiphonal on Pedal toe paddle 8′ Trumpet (Ant) Pedal to Choir-Positive 8′ Pedal on Divisionals piston ANTIPHONAL (Manual IV, unen- 8′ Harmonic Trumpet (Ant) Manual Transfer 32′ Contra Bourdon piston & toe paddle closed in rear gallery, 15 ranks, 32′ Contra Trombone piston & toe paddle 6″ w. p., Harmonic Trumpet 10″ ORIGIN KEY COMBINATION ACTION Sforzando I and II pistons & toe studs w. p.) (a) ranks from 1913 Ernest M. Skinner Com- General pistons 1–20 (thumb) and 1–10 (toe) Manual Transfer—piston & indicator light 8′ Open Diapason (a) 49 pipes pany Opus 195, formerly in Grace Chapin Great divisional pistons 1–8 Crescendo on Solo Expression piston & indi- 1–12 fr Ant. Pedal 8′ Octave Hall, Williams College, Williamstown, Swell divisional pistons 1–8 cator light 8′ Concert Flute (a) 49 pipes Massachusetts. Choir-Positive divisional pistons 1–8 1–12 fr 8′ Bourdon (b) ranks from 1939 Casavant Frères Opus Solo divisional pistons 1–8 EXPRESSION & CRESCENDO 8′ Bourdon (c) 61 pipes 1600, formerly in Immaculate Conception Antiphonal divisional pistons 1–5 Great Expression Pedal 8′ Gamba 61 pipes Seminary Chapel, Darlington, New Jersey. Pedal divisional pistons 1–5 (thumb), 1–8 Swell Expression Pedal 8′ Voix Celeste (TC) 49 pipes (c) vintage Skinner ranks from QPO inven- (toe) Choir-Positive & Solo Expression Pedal 4′ Octave (a) 61 pipes tory. General Cancel Piston Solo Expression & 4′ Harmonic Flute (c) 61 pipes (d) ranks and tuned percussions from 1972 Set Piston 2′ Fifteenth (a) 61 pipes Schantz Opus 1125, formerly in Dunwoody Memory Level Up and Down pistons SUMMARY 2′ Mixture III–V 244 pipes United Methodist Church, Dunwoody, Previous and Next pistons (5 each, thumb) Great 17 8′ Trumpet 73 pipes Georgia. and toe studs (1 each) Swell 24 8′ Harmonic Trumpet (d) 61 pipes All other ranks are either new by Quimby Transposer Up and Down pistons Choir-Positive 20 (d) Pipe Organs, Inc., or from QPO inventory. General Crescendo pedal 60 positions, three Solo 12 Antiphonal to Antiphonal 16 adjustable and one standard Antiphonal 15 Antiphonal Unison Off CONSOLE ACCESSORIES Antiphonal Pedal 2 Antiphonal to Antiphonal 4 INTER-MANUAL COUPLERS REVERSIBLES Pedal 10 Great to Pedal 8′, 4′ Great to Pedal piston & toe paddle Total 100 ranks Swell to Pedal 8′, 4′ Swell to Pedal piston & toe paddle Choir-Positive to Pedal 8′, 4′ Choir-Positive to Pedal piston & toe paddle Photo credits, including cover (except where Solo to Pedal 8′, 4′ Solo to Pedal piston & toe paddle noted): Sandra Jausch, Vitamamans-Pictures

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 23 Cover feature

New four-manual console with dog-leg bench by the church, but rather, to create some- organ—whatever the period, style, or thing new using to advantage the accu- timbre—is that the individual voices pass mulated material at hand. this litmus test: to be highly characteristic, Looking beyond this, however, it’s colorful, and intrinsically beautiful, and helpful to place the 1913 Skinner and yet nevertheless combine with others to 1939 Casavant organs, while different, form a wide array of fl exible and dynamic both as a part of an organbuilding con- ensembles of all types. tinuum that continued uninterrupted in In Opus 76, there are, in fact, individual development and refi nement from its voices that may be recognizable as early fi fteenth-century origins right up until “Skinner,” pre-WWII “Casavant,” or even the middle twentieth century. Organs modern “Quimby,” but in each and every from later in this continuum are mark- case, the emphasis in terms of voicing has edly different from earlier instruments, not been to maintain the original voice, but but each builder in this centuries-long to expand upon it, changing it as required procession built upon what had been so that a new identity is revealed: an organ given by the previous generation, at least that speaks with one voice, a cohesive until this succession was interrupted by ensemble, and a truly musical instrument. the Organ Reform Movement. For the A review of the accompanying tonal fi rst time in organbuilding history, the specifi cation will reveal where Skinner work of the immediate past was swept or Casavant ranks were used in the new Interior of Swell division showing slider chest with fl utes, mutations, and strings away, intentionally and deliberately, in disposition, but the basic concept is (left) and 8′ zinc bases in the background (photo credit: Chirt Touch, QPO staff) an effort to recapture ideals—sometimes as follows. The choruswork for Great, real, and sometimes supposed—that Swell, and Choir-Positive is all Casavant, have to be de-piped and disassembled to Opus 76, Mary Ruth said, “I am starting marked organbuilding in an earlier age. which has been revoiced and in some replace the slider seals in a few decades, a long friendship with this instrument! While it’s certainly true that the Organ cases rescaled to achieve the bold, col- when they are bound to fail. It’s beautiful, and I am immensely grate- Reform Movement has left a mostly- orful, heroic-yet-transparent, and clear Our standard electro-pneumatic ful . . . . This is a rare gem.” positive legacy (and some noteworthy organ ensemble we strive for. Skinner unit-action windchests have been used We hope that the assessment will over landmarks of twentieth-century organ- diapasons from the Swell of 195 were for most pedal ranks and manual unit time continue to be as equally enthusias- building) on the contemporary American repurposed in the Antiphonal organ ranks; the exception here exists in a tic and kind, as Opus 76 fi nds its place in organbuilding landscape—even though chorus. Throughout the organ, color- few instances, where 1913 Skinner unit the heart of traditional worship at Dun- most contemporary organbuilders have ful fl utes and strings were used from action windchests were restored for woody United Methodist Church, and moved beyond the strictures of its dic- both organs. The Casavant Swell reed reuse with original ranks, such as the also in the greater organ world beyond. tums—at QPO, we like to regard our chorus has been revoiced and resides Solo 8′ Tuba and the Pedal 32′ Contra For our own part, at QPO we have found own work as very much a return to the in the Great. The Skinner reed chorus, Bourdon and 4′ Solo Flute. that working with the vintage fabric, continuum and succession that existed at least in part, after substantial recon- The winding system includes a 10-H.P. as represented by the many ranks of prior to World War II. What would it be struction and revoicing, is in the Swell. vintage Spencer blower, which provides pipes, originally constructed and voiced like, we ask ourselves, if organbuilding The Casavant 32′ Contra Posaune, 16′ 6-inch wind pressure for most manual by some of the most reputable of our had continued uninterrupted, and the Trombone, and 8′ Tromba have been and pedal fl ues, and 10-inch wind pres- organbuilding forebears, has taught us work of each new generation an expan- combined to provide a reed that plays at sure for all reeds and Solo fl ues. The many lessons, and will continue to yield sion of what had gone before, rather than 32′, 16′, 8′, and 4′ in the Pedal and at 8′ Solo 8′ Tuba is on 20-inch wind pressure, an impact on the development of our a violent reaction against it? We like to in the Solo. One rank of the pipes from with its own step-up blower. New cone- organs into the future. think that Opus 76 at Dunwoody United the church’s former instrument, along valve reservoirs, according to our custom Because the organ is substantially new Methodist, along with a number of other with the Zimbelstern and Chimes, was design, which is an adaptation of the mechanically, and because the sound recent projects, has given us a chance to reused in the new organ: a very fi ne 8′ Skinner reservoir, have been constructed of the new organ is completely unlike explore this in detail. Trompette-en-Chamade, now installed for regulation of wind in the Chancel a 1910s Skinner or a 1930s Casavant, As to the ensemble, Opus 76 has the vertically, in the Antiphonal organ, and organ. The Antiphonal organ makes use we have given this instrument an opus hallmark of any QPO ensemble from the called “8′ Harmonic Trumpet.” of a blower and static wind system that number in our body of work. To be past twenty-fi ve years or so: highly char- Because of its favorable placement was retained from the previous organ. sure, the completed instrument does, acteristic, individually beautiful colors or and lack of enclosure, the Antiphonal All manual divisions, except the in certain instances, reveal its parent- voices that are simultaneously extremely diapason chorus functions more like a Antiphonal, are individually enclosed by age, but the overall ensemble has as effective and fl exible ensemble players. Grand Choeur, rather than a secondary, 2-inch-thick expression shutters and solid much in common with all-new organs These individualist voices are each strong, lesser Great. It is a spectacular effect, wood walls, which enable the heroically constructed by Quimby Pipe Organs as characteristic examples of their class and at once foundational, colorful, and voiced ensembles to be brought down it does either Casavant or Skinner. This type, and are the sort of voice you want to heroic that must be experienced to be to a surprising diminuendo, and the soft is no mere restoration of an artifact or hear played alone—full of intrinsic beauty fully appreciated. voices to fade to nearly a whisper. A new the assemblage of collected parts; rather, and interest. However, beautiful, charac- Most all of the mechanics and inter- four-manual and pedal console was con- this organ has been conceptualized to be teristic voices alone are not enough, for nal structure of the organ, including structed to a custom design and fi nished musically communicative, inspiring, and we’ve all heard and played organs where the windchests, façade pipes, console, to match the renovated interior of the above all, to support the music ministry the colors individually are beautiful, but and winding system, are completely church, with solid oak exterior cabinetry and worship cycles of Dunwoody United combine intractably into loose ensembles, new. Manual windchests for all straight and solid walnut interior. Methodist Church in the broadest, most mixing like oil and water, where the ear manual ranks are electro-pneumatic During the fi rst choral rehearsal with fl exible way possible; an instrument that can pick apart all the constituent parts. slider windchests, constructed according the new organ, director of music Sonny offers options, rather than limitations. On the other hand, we’ve all heard and to the Quimby-Blackinton design, with Walden told Mary Ruth Solem, “I know In this regard, Opus 76 is an original played organs where decent or even very square drop pallets that allow for copi- I’ve never said this before in this room, creation—a testimony of our own time; good ensembles are given, but a review, ous winding of heroically voiced pipes but the organ is too soft. Isn’t it wonder- one that we hope will remain timelessly one by one, of the individual voices on a common channel. Also importantly, ful to be able to say that?!” And he burst relevant for generations to come. reveals bland, uninteresting color and the chests are constructed without slider out into joyful laughter. Later, as she has —T. Daniel Hancock, A.I.A., President voicing. One of the measures of any great seals, which means that the organ won’t continued to rehearse and perform with Quimby Pipe Organs, Inc.

24 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Handel and Haydn Society Chorus, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Handel, Messiah; Lincoln Center, New Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline York, NY 2 pm Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ The Salvatones; St. Malachy’s Catholic Bloomingdale, IL recitals unless otherwise indicated and are grouped Church, New York, NY 7 pm within each date north-south and east-west. •=AGO Jackson Borges; National City Chris- chapter event, • •=RCCO centre event, +=new organ tian Church, Washington DC 12:15 pm dedication, ++= OHS event. Georgia Boy Choir; Peachtree Road Christopher Babcock Michael J. Batcho Information cannot be accepted unless it United Methodist, , GA 7 pm specifi es artist name, date, location, and hour in John Sherer; Fourth Presbyterian, Chi- Director of Music writing. Multiple listings should be in chronological cago, IL 12:10 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume 21 DECEMBER MILWAUKEE responsibility for the accuracy of calendar entries. Blue Heron; First Church Congregation- al, Cambridge, MA 2:30 & 7:30 pm Handel and Haydn Society Chorus, UNITED STATES Handel, Messiah; Lincoln Center, New East of the Mississippi Dean W. Billmeyer York, NY 7:30 pm Edward Nassor, carillon; Washington Na- University of Minnesota 15 DECEMBER tional Cathedral, Washington, DC 12:30 pm Lessons & Carols; St. John’s Episcopal, Christmas concert; Washington National Minneapolis 55455 • [email protected] West Hartford, CT 3 pm Cathedral, Washington, DC 2 pm & 7 pm Christmas concert; St. Ignatius Loyola Georgia Boy Choir; Peachtree Road Catholic Church, New York, NY 3 pm United Methodist, Atlanta, GA 7 pm The Salvatones; St. Malachy’s Catholic Lessons & Carols; Cathedral Church of Church, New York, NY 3 pm St. Paul, Detroit, MI 5 pm GAVIN BLACK Byron L. Blackmore Christmas concert; Madison Avenue Tower Brass Christmas concert; Fourth Presbyterian, New York, NY 4 pm Presbyterian, Chicago, IL 5 pm Princeton Early Keyboard Center Crown of Life Lutheran Church Benjamin Sheen; St. Thomas Church 732/599-0392 Sun City West, Arizona Fifth Avenue, New York, NY 5:15 pm 22 DECEMBER www.pekc.org Pittsburgh Camerata; Shadyside Presby- Christmas concert; St. Ignatius Loyola 623/214-4903 terian, Pittsburgh, PA 3 pm Catholic Church, New York, NY 3 pm Britten, A Ceremony of Carols; Washing- Advent Lessons & Carols; St. John’s ton National Cathedral, Washington, DC Episcopal, Hagerstown, MD 10:15 am 3:30 pm & 6:30 pm Christmas concert; Washington National THOMAS BROWN Carson Cooman Lessons & Carols; St. Paul’s Episcopal, Cathedral, Washington, DC 5 pm UNIVERSITY Greenville, NC 5 pm Lessons & Carols; Cathedral of St. Philip, PRESBYTERIAN CHURCH Composer and Concert Organist Lessons & Carols; Furman University, Atlanta, GA 4 pm CHAPEL HILL, NORTH CAROLINA Harvard University Greenville, SC 3 pm & 5 pm Lessons & Carols; Calvary Episcopal, ThomasBrownMusic.com www.carsoncooman.com Alan Morrison, with Spivey Hall Chil- Louisville, KY 4 pm dren’s Choir; Spivey Hall, Morrow, GA 3 pm Justin Bruggemann; Cathedral of St. 23 DECEMBER Philip, Atlanta, GA 3:15 pm; Choral Even- James Kennerley; Merrill Auditorium, song 4 pm Your professional card Portland, ME 7:30 pm DELBERT DISSELHORST Carols by Candlelight; Peachtree Road Musica Sacra, Handel, Messiah; Carn- could appear here! United Methodist, Atlanta, GA 5:30 pm egie Hall, New York, NY 7:30 pm Professor Emeritus Lessons & Carols; First Baptist Church, Christmas Lessons & Carols; Washington Contact: [email protected] Cleveland Heights, OH 4 pm National Cathedral, Washington, DC 6 pm University of Iowa–Iowa City or 608/634-6253 Christmas Lessons & Carols; First Con- gregational, Columbus, OH 4 pm 24 DECEMBER Agnieszka Kosmecka; Loyola Univer- Christmas Lessons & Carols; Washington sity, Chicago, IL 3 pm National Cathedral, Washington, DC 6 pm STEVEN EGLER JOHN FENSTERMAKER Central Michigan University 17 DECEMBER 25 DECEMBER Paul Richard Olsen; Grace Church Tom Sheehan & George Fergus; Wash- School of Music TRINITY-BY-THE-COVE Brooklyn Heights, Brooklyn, NY 12:15 pm ington National Cathedral, Washington, DC Mt. Pleasant, MI 48859 Handel and Haydn Society Chorus, 1:30 pm [email protected] NAPLES, FLORIDA Handel, Messiah; Lincoln Center, New York, NY 7:30 pm 26 DECEMBER Choral Evensong; Washington National Victoria Shields; St. Paul’s Chapel, Trin- Norberto Cathedral, Washington, DC 5:30 pm ity Church Wall Street, New York, NY 1 pm Paul Barte; St. Louis King of France Catholic Church, St. Paul, MN 12:35 pm 28 DECEMBER Susan Goodson Guinaldo Edward Nassor, carillon; Washington Na- Emanuel United Church of Christ His Music 18 DECEMBER tional Cathedral, Washington, DC 12:30 pm See—Listen—Buy Handel and Haydn Society Chorus, Manchester, Michigan www.GuinaldoPublications.com Handel, Messiah; Lincoln Center, New 29 DECEMBER York, NY 7:30 pm Leonard Sanderman; St. Patrick’s Ca- TENET, Bach, Christmas Oratorio; St. thedral, New York, NY 3:15 pm Vincent Ferrer Catholic Church, New York, Choral Evensong; Washington National A Professional Card in NY 8 pm Cathedral, Washington, DC 4 pm STEPHEN HAMILTON Choral Evensong; Washington National The Diapason Cathedral, Washington, DC 5:30 pm 31 DECEMBER For rates and digital specifi cations, recitalist–clinician–educator Candlelight Vespers; Shadyside Presby- Concert for Peace; Cathedral of St. John contact Jerome Butera www.stephenjonhamilton.com terian, Pittsburgh, PA 7 pm the Divine, New York, NY 7 pm 847/391-1045; [email protected] Barbara Larson; Advent Lutheran, Mel- bourne, FL 12 noon 1 JANUARY Karen Beaumont; Salem Lutheran, Mil- 19 DECEMBER waukee, WI 2 pm Karen Christianson; St. Paul’s Chapel, David Herman Trinity Church Wall Street, New York, NY 2 JANUARY 1 pm TENET, Monteverdi, Vespers of 1610; St. Trustees Distinguished Professor Emeritus of Music and University Organist Britten, A Ceremony of Carols; St. Thomas Jean Baptiste Catholic Church, New York, Church Fifth Avenue, New York, NY 7:30 pm NY 8 pm The University of Delaware Q [email protected] Handel and Haydn Society Chorus, Handel, Messiah; Lincoln Center, New 3 JANUARY York, NY 7:30 pm TENET, Monteverdi, Vespers of 1610; St. Oratorio Society of New York, Handel, Jean Baptiste Catholic Church, New York, Messiah; Carnegie Hall, New York, NY 8 pm NY 8 pm Gail Archer TENET, Bach, Christmas Oratorio; St. organist Vincent Ferrer Catholic Church, New York, 4 JANUARY NY 8 pm Edward Nassor, carillon; Washington Na- www.gailarcher.com Lorraine Brugh, Ph.D. Christmas Lessons & Carols; Cathedral tional Cathedral, Washington, DC 12:30 pm Professor of Music Frederick Hohman Vassar College Church of the Advent, Birmingham, AL ; North Shore Sev- University Organist 5:30 pm enth-day Adventist, Chicago, IL 4 pm Barnard College, Columbia University Lessons & Carols; St. James Episcopal [email protected] Valparaiso, Ind. Cathedral, Chicago, IL 6:30 pm 5 JANUARY (212) 854-5096 Scott Lamlein; St. John’s Episcopal, valpo.edu Promotion 20 DECEMBER West Hartford, CT 12:30 pm 219.464.5084 SOZO Media Blue Heron; First Church Congregation- Andrew Henderson; St. Thomas Church [email protected] [email protected] al, Cambridge, MA 7:30 pm Fifth Avenue, New York, NY 5:15 pm

WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church Epiphany Evensong; Emmanuel Episco- Edward Nassor, carillon; Washington Na- New York, NY Syracuse, NY 13203-2816 pal Church, Chester Parish, Chestertown, tional Cathedral, Washington, DC 12:30 pm www.andrewhenderson.net MD 6 pm Monica Czausz; Spivey Hall, Morrow, (315) 471-8451 Choral Evensong; Washington National GA 3 pm Cathedral, Washington, DC 4 pm David Simon; Cathedral of St. Philip, At- 19 JANUARY lanta, GA 3:15 pm; Choral Evensong 4 pm Richard J. Clark; St. Patrick’s Cathedral, Richard Barrick Hoskins Brian Jones Christmas Lessons & Carols; St. Paul’s New York, NY 3:15 pm Director of Music & Organist Episcopal, Delray Beach, FL 10 am Jeremy Filsell; St. Thomas Church Fifth Director of Music Emeritus Avenue, New York, NY 5:15 pm St. Chrysostom's Church 6 JANUARY Robert McCormick, with brass; St. TRINITY CHURCH Chicago Choral Evensong; Washington National Mark’s Episcopal, Philadelphia, PA 4 pm [email protected] BOSTON Cathedral, Washington, DC 5:30 pm Junior Mendelssohn Choir of Pittsburgh and Pittsburgh Youth Symphony; Shady- 7 JANUARY side Presbyterian, Pittsburgh, PA 3 pm David Jenkins; St. Louis King of France Choral Evensong; Washington National KIM R. KASLING JAMES KIBBIE Catholic Church, St. Paul, MN 12:35 pm Cathedral, Washington, DC 5:30 pm D.M.A. Anthony Williams; Cathedral of St. Phil- The University of Michigan 8 JANUARY ip, Atlanta, GA 3:15 pm; Choral Evensong Ann Arbor, MI 48109-2085 Choral Evensong; Washington National St. John’s University 4 pm 734-764-1591 FAX: 734-763-5097 Cathedral, Washington, DC 5:30 pm Collegeville, MN 56321 Johann Vexo; Vanderbilt Presbyterian, email: [email protected] 9 JANUARY Naples, FL 4 pm , with Boston Sympho- Dexter Kennedy; Christ Episcopal, Bra- ny, Saint-Saëns, Symphonie III, Poulenc, denton, FL 4 pm David K. Lamb, D.Mus. Organ Concerto; Symphony Hall, Boston, Choral Evensong; First Congregational, Karen Schneider Kirner Columbus, OH 4 pm Director of Music MA 8 pm Director, Notre Dame Handbell Choir Donald Meineke; St. Paul’s Chapel, Trin- Sarah Simko; St. John Lutheran, Fraser, Trinity United Methodist Church MI 4 pm Assistant Director, Notre Dame Folk Choir ity Church Wall Street, New York, NY 1 pm New Albany, Indiana Choral Evensong; Washington National Kipp Cortez; Loyola University, Chicago, University of Notre Dame 812/944-2229 Cathedral, Washington, DC 5:30 pm IL 3 pm Edward Parmentier, harpsichord; Ca- thedral Church of the Advent, Birmingham, 21 JANUARY AL 7:30 pm Choral Evensong; Washington National Cathedral, Washington, DC 5:30 pm 10 JANUARY Michael Ging; St. Louis King of France A.S.C.A.P. Catholic Church, St. Paul, MN 12:35 pm FELLOW, AMERICAN GUILD OF ORGANISTS Thierry Escaich, with Boston Sympho- ny, Saint-Saëns, Symphonie III, Poulenc, 345 SADDLE LAKE DRIVE Organ Concerto; Symphony Hall, Boston, 22 JANUARY ROSWELL-ATLANTA, GEORGIA 30076 (770) 594-0949 MA 8 pm Chase Loomer; Dwight Chapel, Yale Jeremy David Tarrant; Cathedral Church University, New Haven, CT 12:30 pm of St. Paul, Detroit, Michigan 12:10 pm 23 JANUARY 11 JANUARY Renée Anne Louprette; St. Paul’s Cha- Thierry Escaich, with Boston Sympho- pel, Trinity Church Wall Street, New York, Marilyn Mason NY 1 pm ny, Saint-Saëns, Symphonie III, Poulenc, June 29, 1925–April 4, 2019 Organ Concerto; Symphony Hall, Boston, Choral Evensong; Washington National MA 8 pm Cathedral, Washington, DC 5:30 pm Requiescat in pace Edward Nassor, carillon; Washington Na- tional Cathedral, Washington, DC 12:30 pm 24 JANUARY Jeremy Filsell; St. James’s Episcopal, 12 JANUARY West Hartford, CT 7:30 pm A two-inch Professional Card in The Diapason Jordan Prescott; St. Thomas Church Chenault Duo; St. Bridget Catholic Fifth Avenue, New York, NY 5:15 pm Church, Richmond, VA 7 pm For information on rates and specifi cations, contact Jerome Butera: Jennifer Pascual; Cathedral of St. Mat- Andrew Scanlon; First United Method- thew the Apostle, Washington DC 3:30 pm ist, Wilson, NC 7 pm [email protected] 608/634-6253 John Nothaft; Franciscan Monastery of Duo MusArt Barcelona (Raúl Prieto the Holy Land, Washington, DC 4 pm Ramírez, organ; Maria Teresa Sierra, pi- Choral Evensong; Washington National ano); Moorings Presbyterian, Naples, FL Cathedral, Washington, DC 4 pm 7:30 pm Julie Vidrick, with Apollo Orchestra; Three Choirs Festival; Cathedral of the Chevy Chase Presbyterian, Washington, Assumption, Louisville, KY 7:30 pm PHILIP CROZIER LARRY PALMER DC 4 pm Isabelle Demers; St. James Episcopal, Weston Jennings; Cathedral of St. Phil- Fairhope, AL 7:30 pm CONCERT ORGANIST Harpsichord – Organ ip, Atlanta, GA 3:15 pm; Choral Evensong ACCOMPANIST 4 pm 25 JANUARY Professor of Music, Emeritus Choral Evensong; Cathedral Church of Yale Schola Cantorum; St. Ignatius Loyola 3355 Queen Mary Road, Apt 424 St. Paul, Detroit, Michigan 4 pm Catholic Church, New York, NY 2 pm Montreal, H3V 1A5, P. Quebec Edward Nassor, carillon; Washington Na- SMU, Dallas, Texas 13 JANUARY tional Cathedral, Washington, DC 12:30 pm Canada Choral Evensong; Washington National Eric Plutz; Duke University Chapel, Dur- (514) 739-8696 Recitals — Lectures — Consultancies Cathedral, Washington, DC 4 pm ham, NC 8 pm

[email protected] 14 JANUARY 26 JANUARY [email protected] + 214.350-3628 Thierry Escaich, with Boston Sympho- Yale Schola Cantorum; Christ Episcopal, ny, Saint-Saëns, Symphonie III, Poulenc, New Haven, CT 4 pm Organ Concerto; Symphony Hall, Boston, Renée Anne Louprette; Taft School, MA 8 pm Watertown, CT 4 pm Dean Billmeyer; St. Louis King of France Choral Evensong; St. John’s Episcopal, Catholic Church, St. Paul, MN 12:35 pm West Hartford, CT 5 pm Ryan Kennedy; Woolsey Hall, Yale Uni- Through December 31, 15 JANUARY versity, New Haven, CT 7:30 pm Rachel Raphael; St. Luke Catholic Richard Spotts; St. Patrick’s Cathedral, new subscribers and gift Church, McLean VA 12 noon New York, NY 3:15 pm Avi Stein; St. Thomas Church Fifth Av- 16 JANUARY subscriptions can receive enue, New York, NY 5:15 pm David Briggs; St. Paul’s Chapel, Trinity Karl Moyer; St. Anthony Catholic Church, one free Raven CD for Church Wall Street, New York, NY 1 pm Lancaster, PA 2:30 pm a one-year subscription, Choral Evensong; Cathedral Church of the Advent, Birmingham, AL 5:30 pm Choral Evensong; Washington National two free CDs for a Cathedral, Washington, DC 4 pm 17 JANUARY Eric Plutz; Duke University Chapel, Dur- two-year subscription, Mark Dwyer; St. Paul’s Episcopal, ham, NC 5:15 pm and three free CDs for Greenville, NC 7:30 pm Sue Mitchell-Wallace; Cathedral of St. Hymn festival; Peachtree Road United Philip, Atlanta, GA 3:15 pm; Choral Even- a three-year subscription. Methodist, Atlanta, GA 7 pm song 4 pm David Jonies; Fourth Presbyterian, Chi- Bradley Hunter Welch; Decatur Presby- cago, IL 12:10 pm terian, Decatur, GA 5 pm For details and to begin your new or gift subscription, Gail Archer; St. Paul’s Episcopal, Flint, visit www.thediapason.com/subscribe. 18 JANUARY MI 4 pm Isabelle Demers; Episcopal Church of Kirk Michael Rich; St. John the Evange-

elenamedvedeva - stock.adobe.com the Redeemer, Bethesda, MD 7 pm list Episcopal, St. Paul, MN 4 pm

26 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 27 JANUARY 21 DECEMBER Southminster Presbyterian Church Choral Evensong; Washington National Northwest Boychoir, Lessons & Carols; SHORT HILLS Arlington Heights, IL 60005 Cathedral, Washington, DC 5:30 pm St. Mark Episcopal Cathedral, Seattle, WA 7:30 pm 28 JANUARY Christmas concert; Grace Cathedral, Kent Tritle; Cathedral of St. John the Di- San Francisco, CA 3 pm vine, New York, NY 7:30 pm Tiffany K. Ng, PhD DEREK E. NICKELS, DMA Choral Evensong; Washington National 22 DECEMBER University Carillonist | New Music Performer Church of the Holy Comforter Cathedral, Washington, DC 5:30 pm Mark Fideldy; Gethsemane Lutheran, The University of Michigan, Ann Arbor Cristiano Rizzotto; St. Louis King of Hopkins, MN 4 pm Kenilworth, IL 60043 [email protected] France Catholic Church, St. Paul, MN Lessons & Carols; St. Mark Episcopal soundcloud.com/carillonista (847) 251-6120 • [email protected] 12:35 pm Cathedral, Minneapolis, MN 5 pm Joseph Adam, Messiaen, La Nativité; 29 JANUARY St. Mark Episcopal Cathedral, Seattle, WA Choral Evensong; Washington National 4:30 pm NDREW CHAEFFER Cathedral, Washington, DC 5:30 pm A S Jeffrey Schleff, Ed.D. Choral Evensong; Epiphany Episcopal, Luther Memorial Church (ELCA) 30 JANUARY Seattle, WA 5 pm Organist/Director of Music Madison, Wisconsin Janet Yieh; St. Paul’s Chapel, Trinity Northwest Boychoir, Lessons & Carols; First Presbyterian Church Holy Rosary Catholic Church, Seattle, WA Church Wall Street, New York, NY 1 pm [email protected] 7 pm Gainesville, Texas Choral Evensong; Washington National Recitals — Hymn Festivals [email protected] Cathedral, Washington, DC 5:30 pm Christmas concert; Grace Cathedral, San Francisco, CA 3 pm 31 JANUARY Angela Kraft Cross; Cathedral of St. Alcee Chriss; Lutheran Church of the Mary of the Assumption, San Francisco, JOHN SCHWANDT Redeemer, Atlanta, GA 7:30 pm CA 4 pm STEPHEN SCHNURR John Sherer; Fourth Presbyterian, Chi- American Organ Institute cago, IL 12:10 pm 23 DECEMBER Saint Paul Catholic Church University of Oklahoma Northwest Boychoir, Lessons & Carols; Valparaiso, Indiana UNITED STATES Benaroya Hall, Seattle, WA 7:30 pm aoi.ou.edu West of the Mississippi 24 DECEMBER Christmas Lessons & Carols; Grace Ca- 15 DECEMBER thedral, San Francisco, CA 4 pm Raymond Johnston, Messiaen, La Na- ROBERT L. tivité; St. Mark Episcopal Cathedral, Minne- 29 DECEMBER apolis, MN 2:30 pm SIMPSON Mark Steinbach Raymond Hawkins; Cathedral of St. Brown University Musica Sacra San Antonio, Advent Les- Mary of the Assumption, San Francisco, Christ Church Cathedral sons & Carols; Our Lady of the Lake Uni- CA 4 pm 1117 Texas Avenue versity, San Antonio, TX 3:30 pm Houston, Texas 77002 Northwest Boychoir, Lessons & Carols; 31 DECEMBER Holy Rosary Catholic Church, Seattle, WA Nathan Laube, with brass; First Plym- 7 pm outh Congregational, Lincoln, NE 7 pm ] Christmas concert; Grace Cathedral, Charpetier, Te Deum & Messe de Minuit Joe Utterback San Francisco, CA 3 pm pour Noël; St. James Catholic Cathedral, David Wagner Vytenis Vasyliunas; Cathedral of St. ]] ] Seattle, WA 11 pm www.jazzmuze.com DMA Mary of the Assumption, San Francisco, CA 4 pm www.davidwagnerorganist.com 5 JANUARY 203 386 9992 17 DECEMBER Jens Korndörfer; Davies Symphony Todd Wilson; Segerstrom Concert Hall, Hall, San Francisco, CA 3 pm Costa Mesa, CA 7:30 pm Epiphany Lessons & Carols; Cathedral of St. Mary of the Assumption, San Francisco, 19 DECEMBER CA 4 pm Kevin Walters KARL WATSON Northwest Boychoir, Lessons & Carols; St. Alphonsus Catholic Church, Seatte, WA 11 JANUARY M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH Noah Horn, with choir; St. Olaf Catholic 7:30 pm OODBRIDGE Church, Minneapolis, MN 7 pm Rye, New York W , NJ 20 DECEMBER Lessons & Carols; St. Mark Episcopal 12 JANUARY Cathedral, Minneapolis, MN 7:30 pm Catherine Rodland, Vierne, Symphonie Northwest Boychoir, Lessons & Carols; V; St. Olaf College, Northfi eld, MN 4:30 pm Alan G Woolley PhD St. Mark Episcopal Cathedral, Seattle, WA Zach Hemenway & Wyatt Smith; Epiph- RONALD WYATT 7:30 pm any Episcopal, Seattle, WA 6:15 pm Musical Instrument Research

Christmas concert; Grace Cathedral, Thomas Fielding; Cathedral of St. Mary Edinburgh Trinity Church

San Francisco, CA 7 pm of the Assumption, San Francisco, CA 4 pm [email protected] Galveston

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 27 Calendar

Margaret Kvamme; St. Mark’s Episco- Bach, Christmas Oratorio, Cantatas 1–3; Lessons & Carols; Westminster Abbey, 5 JANUARY pal, Berkeley, CA 4 pm Erlöserkirche, München, Germany 5 pm London, UK 6 pm Peter Holder; Westminster Abbey, Lon- Joshua Stafford; St. James-in-the-City Advent choral concert; Willibrordi-Dom, don, UK 5:45 pm Episcopal Church, Los Angeles, CA 6 pm Wesel, Germany 6 pm 24 DECEMBER Andrea-Ulrike Schneller & Hans- Lessons & Carols; Westminster Abbey, 7 JANUARY 17 JANUARY Rudolf Krüger; Ev. Auferstehungskirche, London, UK 4 pm Michael Szostak; St. George’s, Hanover Thierry Escaich; St. Andrew United Ludwigsburg, Germany 6 pm Square, London, UK 1:10 pm Methodist, Plano, TX 7:30 pm Andreas Liebig; Munster, Basel, Swit- 25 DECEMBER Paul Carr; St. Lawrence, Alton, UK 8 pm Aaron Tan; St. Mark Lutheran, Salem, zerland 6 pm Andreas Meisner; Dom, Altenberg, Ger- OR 7:30 pm Neil Wright; Abbey, Farnborough, UK many 3:30 pm 11 JANUARY 3 pm Jean-Christophe Geiser; Cathedral, Marion Bettsworth; St. Michael’s, High- 19 JANUARY Simon Johnson, Messiaen, La Nativité; Lausanne, Switzerland 5 pm gate Village, UK 6 pm Aaron Tan; Southern Oregon University, St. Paul’s Cathedral, London, UK 6 pm Ashland, OR 3 pm 26 DECEMBER 12 JANUARY Raúl Prieto Ramírez; Village Presbyte- 16 DECEMBER Rolf Müller, with violin; Dom, Altenberg, Matthew Jorysz; Westminster Abbey, rian, Rancho Santa Fe, CA 4:15 pm Advent concert; Dom, Altenberg, Ger- Germany 3:30 pm London, UK 5:45 pm many 8 pm Irene Wolstenholme; Christ’s Chapel, 21 JANUARY Dulwich, UK 7:45 pm Monica Czausz; St. Margaret’s Episco- 17 DECEMBER 27 DECEMBER Ulrike Heubeck & Ulrich Theißen, with pal, Palm Desert, CA 7 pm Richard Hobson; Grosvenor Chapel, 18 JANUARY oboe and clarinet; Stadtpfarrkirche St. Mar- London, UK 1:10 pm John Scott Whitely; Cathedral, St. Al- tin, Bamberg, Germany 5:30 pm 24 JANUARY David Bednall & Paul Walton, Messi- bans, UK 5:30 pm Todd Wilson; Texas Christian University, aen, La Nativité; Cathedral, Bristol, UK 7 pm Fauré, Requiem; Royal Festival Hall, Fort Worth, TX 7 pm 29 DECEMBER London, UK 7:30 pm Clive Driskill-Smith; Redeemer Presby- 18 DECEMBER Rolf Müller, with trumpet & Capella Gail Archer; Elma Arts Center, Tel Aviv, terian, Austin, TX 7:30 pm Advent concert; Dom, Altenberg, Ger- Nova Altenberg; Dom, Altenberg, Germany Israel 11:30 am Alcee Chriss; University of Nevada Las many 8 pm 3:30 pm Vegas, Las Vegas, NV 7:30 pm 19 JANUARY 20 DECEMBER 31 DECEMBER Gerald Brooks; Methodist Central Hall, 25 JANUARY Matthias Muck, with Magdeburger Kna- Dominik Axtmann, with recorder; Kath. London, UK 3 pm Johann Vexo; St. James Catholic Cathe- benchor; Kathedrale St. Sebastian, Mag- Kirche St. Peter, Bruchsal, Germany 9 pm dral, Seattle, WA 7:30 pm deburg, Germany 4:30 pm David Bednall; Westminster Abbey, Lon- Michael Grill, with trumpet; Er- don, UK 5:45 pm Michael Grill; Erlöserkirche, München, löserkirche, München, Germany 9 pm 26 JANUARY Germany 6 pm Manual Blessing, with brass; Maria- Choral Evensong; Epiphany Episcopal, 20 JANUARY kirche, Schramberg, Germany 9:30 pm Seattle, WA 5 pm 21 DECEMBER David Pether; Reading Town Hall, Read- Robert McCormick; Grace Cathedral, Bach, Christmas Oratorio, Cantatas 1–3; Michael Utz, with trumpet; Abteikirche, ing, UK 1 pm San Francisco, CA 4 pm Dom, Altenberg, Germany 2 pm Brauweiler, Germany 10 pm Stefan Schmidt; Kiliansdom, Würzburg, Rudolf Peter, with trombone; Au- 21 JANUARY 29 JANUARY Germany 4 pm gustinerkirche, Landau, Germany 10 pm Katherine Meloan; St. George’s Ha- Wyatt Smith; St. Mark’s Episcopal, Cas- Ansgar Schlei, works of Bach; Willibror- Matthias Muck; Kathedrale St. Sebas- nover Square, London, UK 1:10 pm par, WY 12:15 pm di-Dom, Wesel, Germany 6:30 pm tian, Magdeburg, Germany 10 pm Johann Vexo; Maison Symphonique, Simon Jacobs; Aspen Community Unit- Frank Zimpel, with brass; Münster, Montréal, Québec, Canada 8 pm ed Methodist, Aspen, CO 6:30 pm 22 DECEMBER Überlingen, Germany 10 pm Roman Hauser; Jesuitenkirche, Vienna, Markus Kramer & Matthias Pech; Ab- 22 JANUARY 31 JANUARY Austria 6:20 pm teikirche, Brauweller, Germany 10 pm Katherine Meloan; Temple Church, Lon- Bach, Christmas Oratorio, Cantatas 4–6; Wyatt Smith; First United Methodist, Gerhard Löffler; Hauptkirche St. Jacobi, don, UK 1:15 pm Dom, Altenberg, Germany 2 pm Caspar, WY 7 pm Hamburg, Germany 10:30 pm Janette Fishell; St. John in the Wilder- Christmas concert; Jesuitenkirche St. Mi- 23 JANUARY Jean-Christophe Geiser; Cathedral, ness Episcopal Cathedral, Denver, CO chael, München, Germany 4 pm Christian Gautschi; St. Margaret Roth- Lausanne, Switzerland 10:30 pm 7:30 pm Michael Papadopoulos; Westminster bury, London, UK 1:10 pm Abbey, London, UK 5:45 pm Johannes Krutmann, with choirs; Lieb- frauenkirche, Hamm, Germany 11:15 pm INTERNATIONAL Lessons & Carols; St. Margaret’s Church, 25 JANUARY London, UK 6 pm Emma Gibbons; St. Paul’s, Deptford, 1 JANUARY UK 1 pm 15 DECEMBER 23 DECEMBER Andreas Meisner & Rolf Müller; Dom, Roman Hauser, with orchestra; Jesuit- Christoph Schoener; St. Michaelis, Altenberg, Germany 3:30 pm 26 JANUARY enkirche, Vienna, Austria 6:20 pm Hamburg, Germany 7:30 pm Markus Willinger, with brass; Ab- John Kitchen; All Saints, Margaret teikirche, Amorbach, Germany 4 pm Street, London, UK 3:30 pm Jean-Christophe Geiser; Cathedral, Hans-Peter Retzmann; Westminster Ab- Lausanne, Switzerland 5 pm bey, London, UK 5:45 pm

3 JANUARY 28 JANUARY Ben Giddens; St. Michael & All Angels, Jeremy Lloyd; Grosvenor Chapel, Lon- Bedford Park, UK 12:30 pm don, UK 1:10 pm

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

28 Q THE DIAPASON Q DECEMBER 2019 WWW.THEDIAPASON.COM Recital Programs

PATRICK ALLEN, Grote Kerk, Edam, Stanford; Prélude, Adagio, et Choral varié sur über den Namen BACH, S. 260, Liszt; Fan- nooga, TN, June 27: A Joyous March, Sower- Netherlands, July 14: Voluntary in C, Pur- le thème du Veni Creator, op. 4, Durufl é. tasie No. 1 in E-fl at, Saint-Saëns; Herzlich tut by; Andante (Sonata in E-fl at, op. 65), Parker; cell; Veni Creator (Livre d’orgue), de Gri- mich verlangen, op. 122, Brahms; Cloches, Procession of Nobles (Mlada), Rimsky-Korsa- gny; Gloria, Tierce en taille (Messe a l’usage THOMAS DRESCHER, Evangelische Fournier; Choral III in a, FWV 40, Franck. kov, transcr. McCormick/Murray; The Rhyth- ordinaire des paroisses), Couperin; Pas- Kirche, Schwalheim, Germany, July 20: mic Trumpet (Baroques), Bingham; Rondo sacaglia in d, BuxWV 161, Komm, heiliger Entrata (12 Meditationen, op. 167), Rhein- JILLIAN GARDNER, Gloria Dei Lu- Capriccio, Home Sweet Home, When Johnny Geist, Herre Gott, BuxWV 199, Buxtehude; berger; Partita über Wer nur den lieben Gott theran Church, Huntington Station, NY, June Comes Marching Home, Lemare; Variations Grand Dialogue en Ut majeur (Troisième läßt walten, BWV 434, 690, 691, 642, Bach; 2: Prelude and Fugue in D, BWV 532, Bach; on the Star-Spangled Banner, Buck; silent Livre d’orgue), Marchand; Élévation, Tierce Ruhevoll, In ruhiger Viertelbewegung, Sehr Cathédrales (Pièces de fantaisie, Quatrième fi lm, Cops. en taille (Messe propre pour les Couvents langsam, mit schmerzlicher Empfi ndung (17 Suite, op. 55, no. 3), Vierne; Sonata in G, BWV de Religieux et Religieuses), Couperin; Pièce kleine Charakterstücke), Karg-Elert; Idylle 530, Bach; Variations de Concert, op. 1, Bon- ANNE SCHNEIDER, Evangelische d’Orgue, BWV 572, Bach. (Three Pieces for Organ, op. 92), Bossi; Alla net; Prélude (Suite, op. 5), Durufl é; Variations Kirche, Ober-Seemen, Germany, June 1: L’Eglise Saint-Vincent, Carcassonne, Marcia (12 Meditationen, op. 167), Rhein- on a Theme of Paganini, Thalben-Ball; Amaz- Prelude in C, BWV 566, Bach; Allegro maes- France, July 20: Voluntary in D, op. 5, no. berger; Melodia (12 Orgelstücke, op. 59), ing Grace! How Sweet the Sound!, There Is toso (Concerto in F), Rinck; Concerto del Si- 5, Stanley; Ciacona in e, BuxWV 160, Bux- Reger; Schwer, schreitend, Alla Musette, a Happy Land, Jerusalem, My Happy Home, gnor Vivaldi, Walther; Partita über Ach wie tehude; Largo (Xerxes), Handel; Fugue Gravitätisch, breit ausladend, Innig, schlicht, Shearing; Final (Cinquième Sonata), Daveluy. fl üchtig, ach wie nichtig, Böhm; Sonata IV in in g, BWV 578, Bach; Méditation, Pré- Ziemlich ruhig, Etwas bewegt, festlich (17 Sts. Peter & Paul Catholic Church, Mil- a, op. 98, Rheinberger. lude sur l’Introït de l’Épiphanie, op. 13, kleine Charakterstücke), Karg-Elert; Schmü- waukee, WI, June 19: Prelude and Fugue in E, Durufl é; Andante sostenuto (Symphonie cke dich, o liebe Seele, BWV 654, Bach; Finale BWV 566, Bach; Inventions 1, 8, 10 (School of STEPHEN SCHNURR, Christ Church, Gothique, op. 70), Widor; Final (Première (12 Meditationen, op. 167), Rheinberger. Trio Playing), Bach, transcr. Reger; Fugue in Michigan City, IN, June 12: Praeludium in C, Symphonie in d, op. 14), Vierne. g, Barnes; Fountain Reverie, Fletcher; Pas de BuxWV 136, Buxtehude; Sonata II in c, op. 65, STEFAN ENGELS, Caruth Auditorium, quatre, La Fée-Argent, Cendrillon et Fortuné, no. 2, Mendelssohn; Prelude and Fugue in c, MARIE RUBIS BAUER, Episcopal Church Southern Methodist University, Dallas, TX, L’oiseau Bleu et La princess Florine, Chaperon BWV 546, Bach. of the Ascension, Dallas, TX, July 16: Praeam- July 17: Hymn to the Stars (Seven Pastels from rouge et le loup, Apotheose (Sleeping Beauty, bulum in d, Scheidemann; Partita diverse so- the Lake of Constance, op. 96), Karg-Elert; op. 66), Tchaikovsky, transcr. Gardner; Passa- JOHN SHERER, Fourth Presbyterian pra O Gott, du frommer Gott, BWV 767, Bach; Out of the Depths, Essays on a Chorale, Mar- caglia (Sonata VIII in e, op. 132), Rheinberger. Church, Chicago, IL, June 28: Choral (Quatre Hexachord Fantasie, Sweelinck. tinson; Prière grégorienne, Baker; Passacaglia Pièces, op. 37, no. 4), Jongen; Festive Flutes, on BACH, Decker. CHRISTA RAKICH, St. John’s Episcopal Titcomb; Praeludium in E, LübWV 7, Lübeck; CHRISTOPHER BERRY, Cathedral Church, West Hartford, CT, June 2: Komm, Choral in a, FWV 40, Franck; Prelude on Veni Shrine of the Virgin of Guadalupe, Dallas, TX, YOANN TARDIVEL ERCHOFF, Stifts- Gott Schöpfer, heiliger Geist, BWV 667, Bach; Creator Spiritus, Larsen; Vocalise, op. 34, no. July 16: Le jardin suspendu, JA 71, Alain; Pas- kirche, Stuttgart, Germany, July 5: Sonata V Trio on Veni Creator, Rakich; Toccata on Veni 14, Rachmaninoff, transcr. Bird; Toccata in G torale, op. 19, Offertoire en sol mineur, Franck. in d, op. 65, no. 5, Mendelssohn; St. Francis Creator, Demessieux; Trois Pièces, Boulanger; (12 Pièces pour orgue), Dubois. Preaching to the Birds, Liszt, transcr. Saint- Prelude and Passacaglia in f in festo Pente- DARIA BURLAK, Stiftskirche, Stuttgart, Saëns; Fantasie No. 1 in E-fl at, Allegretto (7 costes, Woodman. MARIJIM THOENE, St. Francis of As- Germany, July 26: Sonata in d, K. 64, Sonata Improvisations, op. 150, no. 4), Fantasie No. 2 St. Philip’s Cathedral, Atlanta, GA, June 19: sisi Catholic Church, Ann Arbor, MI, June in d, K. 9, Sonata in d, K. 417, Sonata in d, in D-fl at, op. 101, Allegro giocoso (7 Improvi- Passacaglia and Fugue in c, BWV 582, Bach; 28: Ave, Maris Stella (Faenza Codex), anony- K. 141, Scarlatti; Russische Ostern, op. 36, sations, op. 150, no. 7), Saint-Saëns. Variations on Christe Sanctorum, Dahl; Trois mous; Prelude in e, BWV 548i, Bach; Andante Rimsky-Korsakov, transcr. Burlak, Prélude sur Pièces, Boulanger; Three Autumn Sketches af- con moto, Maestoso, Allegro con moto, Alle- L’Enfant noir, op. 17, no. 1, Florentz; Minia- SUSAN FERRÉ, St. Stephen United Meth- ter a Watercolor by Maria Willscher, Cooman; gretto ma non troppo, Misterioso e Adagiossi- tures Persanes, op. 52, Falcinelli. odist Church, Mesquite, TX, July 16: Fantasie Prélude, Choral varié, et Fugue sur Veni Re- mo, Finale (Vêpres du commun des fêtes de la in c, BWV 562, Bach; Wir glauben all an einen demptor Gentium, de Jong. Sainte Vierge, op.18), Dupré; Fantaisie Para- DOUGLAS CLEVELAND, with Myles Gott, Vater, BWV 740, Bach/Krebs; Prelude in phrase, In Festo Corporis Christi (L’Orgue Boothroyd, saxophone, Episcopal Church B-fl at on the Chorale by Bach “In dich hab’ ich MARINA SAGORSKI, Evangelische Mystique), Tournemire; Woman of the Apoca- of the Transfi guration, Dallas, TX, July 18: gehoffet, Herr,” Respighi; Three Verses on Es Markuskirche, Butzbach, Germany, June lypse Crowned with Stars, Teml. Batalla Imperial, Cabanilles; Tierce en taille kommt ein Schiff, Toccata on O Heiland, reiß 9: Praeambulum in E, LübWV 7, Lübeck; (Homage to François Couperin), Dahl; Prae- die Himmel auf, Ahrens; Scherzo-Cats (Ameri- Komm, heiliger Geist, Herre Gott, Tunder; CARSTEN WIEBUSCH, Evangelische ludium in G, Bruhns; Partita on Sei gegrüsset can Suite), Langlais; How Firm a Foundation Tiento de 1er tono de mano de recha, Bruna; Kirche, Binfi eld, Germany, June 15: Prelude Jesu gütig, BWV 768, Bach; Triptych Fantasy (Hymn Interpretations), Dahl. Tiento de medio registro de dos tiples de se- and Fugue in b, BWV 544, Allein Gott in der for Alto Saxophone and Organ, Martinson; gundo tono, de Arauxo; Batalha de 6o tom, de Höh sei Ehr, BWV 662, BWV 675, Fughetta Quartes Augmentées, Tierces (Six Concert CAROLYN SHUSTER FOURNIER, Ca- Araújo; Suite, Balbastre; Komm, Gott Schöp- super Allein Gott in der Höh sei Ehr, BWV Etudes), Briggs. thedral, Orléans, France, July 21: Prelude fer, Heiliger Geist, BWV 667, Concerto in G, 677, Prelude and Fugue in D, BWV 850, Bach; and Fugue in a, BWV 543, Schmücke dich, o BWV 592, Bach. Andante with Variations in D, Mendelssohn; SCOTT DETTRA, Church of the Incarna- liebe Seele, BWV 654, Kommst du nun, Jesu, Mondnacht, Fröhlingsnacht (Liederkreis, op. tion, Episcopal, Dallas, TX, July 14: St. Patrick’s vom Himmel herunter, BWV 650, Bach; Pièce ANDREW SCHAEFFER, Soldiers and 39), Schumann; Lied ohne Worte, op. 19, no. Breastplate (Sonata Celtica No. 4, op. 153), d’orgue in g, Chauvet; Präludium und Fuge Sailors Memorial War Auditorium, Chatta- 1, Sonata VI in d, op. 65, no. 6, Mendelssohn.

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 29 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE

Foley-Baker, Inc., a nation-wide pipe organ ChicAGO Centenary Anthology, by Alan J. Andante Cantabile by Tchaikovsky was Historic George Stevens 13-rank tracker service fi rm, has a full-time position avail- Hommerding, Paul M. French, Richard Proulx, et arranged by Charles Morse, an AGO Founder. organ. Minor fi re damage, organ still playable able in our Long Island, NY Branch for a Pipe al. This joint effort of the Chicago Chapter of the From 1879 comes the best arrangement of this when it was removed. In our warehouse since Organ Technician. Experience is preferred American Guild of Organists and World Library gorgeous movement from Tchaikovsky’s String 2005. All components except lowest Open Dia- but we are willing to train a qualifi ed candidate. Publications presents specially commissioned Quartet, Opus 11. michaelsmusicservice.com pason pipe. The organ will be gifted to anyone The position requires a strong mechanical apti- organ works by Chicago composers, as well 704/567-1066. committing to the restoration of it. All sketches, tude and involves heavy lifting, woodworking, as rare or unpublished pieces by earlier organ- measurements, and stoplist available. Informa- soldering, electrical, leather working, and travel. ists from the city including Leo Sowerby. Also The Organ Historical Society has released its tion: www.LevsenOrg.com. All inquiries: Levse- includes a jubilant Bailado Brasileiro by Richard Responsibilities include tuning and servicing 2020 calendar, celebrating the OHS 65th annual [email protected]. Proulx, the AGO’s 2006 Composer of the Year! pipe organs, building and repairing organ com- Convention in Columbus, Ohio, July 26–31, ponents, and installing pipe organs. Foley-Baker 003074, $25.00, 800/566-6150, Wlpmusic.com. 2020. The calendar features organs by Kimball, 26-rank Casavant - Létourneau pipe organ for offers competitive benefi ts including medical and Schuelke, Koehnken, Skinner, Klais, Brown, dental insurance, a 401K plan, and paid vacation sale. Orgues Létourneau is offering a 22-stop Certified appraisals—Collections of organ Beckerath, Schantz, Fisk, and Paul Fritts, with time. To apply or for more information please photography by Len Levasseur. Non-members Casavant Frères pipe organ (Opus 1274 from contact Douglas McKeever at 516/316-2256 or books, recordings, and music, for divorce, 1928) for sale. This electro-pneumatic instru- estate, gift, and tax purposes. Stephen L. $21; members $18. For information: organhis- email [email protected]. To learn more toricalsociety.org. ment was rebuilt by Létourneau in 1987 and is Pinel, Appraiser. 629 Edison Drive, East Wind- about Foley-Baker please see our website at currently in storage at the Létourneau shops. It is sor, NJ 08520-5205; phone: 609/448-8427; www.foleybaker.com. available for purchase in “as is” condition for US email: [email protected]. Raven has released the fi rst CD recorded by $35,000 with its original two-manual console. a woman, also the fi rst CD recorded by a non- Likewise, Létourneau would be pleased to pro- British subject, on the 1892 Henry Willis organ at PUBLICATIONS / RECORDINGS Hear the Couperin Masses for the Parishes vide a proposal to rebuild this instrument, taking Hereford Cathedral in England: Damin Spritzer into account any desired changes to the stoplist and for the Convents (21 works in each Mass) plays “Rhapsodies & Elegies” by early 20th-cen- The Christmas music of Norberto Guinaldo. as well as installation costs, voicing, casework played on the very organ pipes François Cou- tury English composers including Willan, Rowley, Ten Fantasy Pieces on Spanish Carols, Vol. I as required, and rebuilding the two-manual perin played when he composed the pieces in Ireland, Darke, Bullock, Grace, Elgar, and Nor- and II. Four Fantasy Pieces (American, Span- 1690 as organist of St-Gervais in Paris. Titular man Gilbert. Raven OAR-156, $15.98; RavenCD. console with a new solid-state switching system. ish, French). The New Paltz Organ Book (“O organist of St-Gervais Aude Heurtematte exqui- com 804/355-6386. The organ requires approximately 360 sq. ft. Come, O Come, Emmanuel,” “People Look sitely performs the works in a 2-CD set (for the with 20′ ceiling for 16′ ranks. For more details, East”). Bring a Torch, Jeanette, Isabella. In price of one CD) on Raven OAR-153, $15.98 visit www.letourneauorgans.com, email info@ Praise of St. Joseph. Celebrate the year: postpaid. Raven, Box 25111, Richmond, VA PIPE ORGANS FOR SALE letourneauorgans.com or call Andrew Forrest at “December” (“I heard the bells”). See, listen, 23260. RavenCD.com. 804/355-6386. 450/774-2698. buy. www.guinaldopublications.com Recent studio organ (2008), 2/6 + Mixture. Beautiful custom pipework, OSI chests, Peterson The Tracker—The Organ Historical Society Aeolian-Skinner Opus 1480. Moving and must relay, additions available $4,500 obo. André, CT: Celebrate with carillon music for the Christmas quarterly journal includes news and articles 860/664-0046; [email protected]. sell my 2-manual, 20-rank with 2 enclosed divi- season: Fanfare on Gloria and Air and Fugato on about the organ and its history, organ builders, sions organ. [email protected] Personent Hodie in rondo, two traditional carols exemplary organs, and regional surveys of to ring in the Yuletide holidays. Visit Fruhauf instruments. Both American and European organ Zoller home pipe organ (1985) for sale. One Music Publications (www.frumuspub.net) for a topics are discussed, and most issues run 48 manual and fl at pedalboard, cherry case with 1954 Walcker, 2 manuals and pedal, 8 stops, link to the Complimentary Downloads page and pages with many illustrations and photographs. doors, bench. Six stops divided at middle C: tracker action. Great condition, excellent voicing, access to a PDF booklet fi le. Please note that Membership in the OHS includes a subscrip- 8′ Stopped Diapason, 8′ Krummhorn, 4′ Flute; well maintained. Free standing oak case. Suit- other previously issued gratis scores for organ tion to The Tracker. Visit the OHS Web site for 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Tierce (no able for home or chapel. $20,000 or best offer. solo, choir and organ, and for carillon continue subscription and membership information: www. pipes). $15,000 or best offer, buyer to remove, Contact: Julio Blanco-Eccleston: jublec18@ to be available. organsociety.org. located Newcastle, Maine. 207/563-5679. earthlink.net, 703/582-8308.

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES SON for all your friends who love the organ, harpsichord, carillon, and church music. Your Pfeffer and Debierre organs. Circa 1860 Pfeffer Aeolian-Skinner, 1962. III/50. $45,000. For more Aeolian/Robert Morton-style maroon gift will be remembered throughout the year. eight-rank organ, available rebuilt and custom information, visit https://www.organclearing- leather is now available from Columbia Organ (And don’t forget our special bargain for stu- fi nished. Also 1884 choir organ by Louis Debi- house.com/organs-for-sale#/2997-aeolianskin- Leathers! Highest quality. 800/423-7003, dents at $20!) Visit www.thediapason.com erre. Both are pictured on the Redman website: ner-new-york-city www.columbiaorgan.com. and click on “subscribe.” www.redmanpipeorgans.com.

E. & G.G. Hook & Hastings, 1879. $45,000. Releathering all types of pipe organ actions THE DIAPASON’S new website has an increased Patrick J. Murphy & Associates Opus #47 II/25. For more information, visit https://www. and mechanisms. Highest quality materi- capacity for new videos. Go to www.thediapa- ′ (2006). Three manuals, 61 stops, includes 32 organclearinghouse.com/organs-for-sale#/2181- als and workmanship. Reasonable rates. son.com and click on videos to see what you’ve Bombarde. Reading, Pennsylvania. $200,000, e-gg-hook-hastings-manchester-nh Columbia Organ Leathers 800/423-7003. missed! Visit www.thediapason.com often and exclusive of OCH fees and relocation costs. www.columbiaorgan.com/col. keep up to date with all the news items. Video recordings and layout plans are available by request. Contact John Bishop, the Organ MISCELLANEOUS FOR SALE Clearing House, [email protected]. Complete Pipe Organ Services from the Organ THE DIAPASON E-Newsletters are e-mailed Beautiful walnut façade attributed to Sim- Clearing House: 450 vintage pipe organs avail- monthly to subscribers who sign up to mons. Details, [email protected]. able, renovation, tuning, consultation. Call John 1916 Hook & Hastings, 2 manuals, 14 stops. receive them. Don’t miss the latest news, Bishop at 617/688-9290. Includes Cornopean, 16′ Open Wood. E-P action. featured artists, and classifi ed ads—all with Beautiful period console. $20,000. Contact John 16′ reed sale. Three by Skinner: Ophicleide photos—some before they appear in print! Bishop, the Organ Clearing House, john@organ- (low 6 wood), Bombard, Bassoon, triple miters; Visit www.TheDiapason.com and click on clearinghouse.com. OSI ½-length Fagotto; also three 8′ Trumpets Subscribe to our newsletter. For assistance, (Moller–Zajic), OSI, Berkshire; also Clarinet, contact Stephen Schnurr, 847/954-7989, Kimball Organ (3/29, 1930), all enclosed, terrifi c English Horn, Rohr Schalmei. Best offers. André, [email protected]. Swell reeds, four 8-foot Diapasons, two sets of CT; 860/664-0046; [email protected]. celestes (and you known those Kimball strings!). $70,000. The Organ Clearing House, 617/688- ′ THE DIAPASON’s website (www.thediapason. 9290, [email protected]. String sale: 16 Austin Gamba, triple mitered; three ranks Austin 8′ strings; two ranks Skinner com) features an ever-increasing number of strings. Flue Pipework: 8′ Spitz Principal, new PDFs of vintage issues. Search the website New subscribers and gift subscriptions now for selected issues, as most are avail- Expressive and compact—3/27 Kilgen (1940). Gemshorn with Estey Haskel basses, 12 Haskel can receive one free Raven CD for a Diapason Basses, 12 Principal bases with rack- able from 1944–1945, 1966–1993, and 2005 Two expressive divisions. 17 manual 8-foot fl ues. one-year subscription, two free CDs for Reeds include Tuba, Cornopean, Oboe, Clarinet, ing & chest, 4′ wood Flute d’Amour, Moller Dop- to the present! Vox Humana. Harp. 16′ Open Wood. H: 237″, W: pelfl ute, Berkshire III Mixture. Several (1970s) a two-year subscription, and three free 170″, D: 189″. Stopkey console. Original restor- OSI chests available. 400 feet of PVC cable, 4 CDs for a three-year subscription. able condition. $30,000. Organ Clearing House, sets of 8 pair. Best offers. Must clear warehouse. Postal regulations require that mail to THE 617/688-9290, [email protected]. André CT 860/664-0046 [email protected]. For details and to begin your DIAPASON include a suite number to assure new or gift subscription, delivery. Please send all correspondence to: visit www.thediapason.com/subscribe. THE DIAPASON, 3030 W. Salt Creek Lane, Suite Contact Jerome Butera to see how Classifi eds Celebrate the 110th anniversary of THE DIAPA- 201, Arlington Heights, IL 60005. can work for you: [email protected]. SON by giving a gift subscription to a friend!

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

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WWW.THEDIAPASON.COM THE DIAPASON Q DECEMBER 2019 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Trinity College Cambridge United Kingdom (September 2019)

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

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

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