THE DIAPASON JUNE 2019

Christ Episcopal Church Tuscaloosa, Alabama Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK

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

CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 6, Never make assumptions . . . . Whole No. 1315 Most of the world watched the news and other media in JUNE 2019 horror as Notre Dame Cathedral of Paris burned on Monday, Established in 1909 April 15. The event caught the attention of the organ world Stephen Schnurr ISSN 0012-2378 immediately, and the response and concern has been hearten- 847/954-7989; [email protected] ing. The news of the following weeks indicates that the edifi ce www.TheDiapason.com An International Monthly Devoted to the Organ, and its organs can be rebuilt, though undoubtedly this will take the Harpsichord, Carillon, and Church Music years, if not decades to complete. planned installments on this musician. In “Harpsichord Notes,” I happened to have been in Paris in January 2014, and the Larry Palmer reviews the recently published Cambridge CONTENTS itinerary of that journey did not include a visit to the cathedral. Companion to the Harpsichord and relates of a harpsichord FEATURES We walked by the building, but did not enter. At that time, I for Mount Vernon of Virginia. Gavin Black, in “On Teaching,” An interview with Olivier Latry thought, “This will always be here, I can always return to see begins a discussion of J. S. Bach’s The Art of the Fugue. In “In the by Lorraine S. Brugh 16 it.” The experience has awakened me to realize that I should Wind . . .,” John Bishop recalls several catastrophic fi res where never make assumptions like that and should take every oppor- historic and infl uential pipe organs were a total loss. Johann Heinrich Buttstett Part 1: His life and work tunity to experience history and art. Our calendar section includes numerous summer recitals by Scott Elsholz 19 Prior to April 15, we had planned the central feature of this across the globe. If you are traveling in the coming months, June issue, an interview by Lorraine Brugh with Olivier Latry you will want to see what performances may be in your area! NEWS & DEPARTMENTS of Notre Dame Cathedral. The event of Holy Week made it Here & There contains information about several summer Editor’s Notebook 3 even more poignant that we include this interview now, and Mr. organ recital series in the Midwest. Carillon News includes Here & There 3 Latry has added some comments at the end of the exchange, information for various carillon series around the country, as Appointments 6 including information on how to assist those who have been well as a profi le of the Bok Tower Gardens in Florida. Nunc Dimittis 8 affected by this catastrophic blaze. Our cover feature spotlights Orgues Létourneau’s Opus Harpsichord Notes by Larry Palmer 11 132, recently fi nished for Christ Episcopal Church, Tusca- On Teaching by Gavin Black 13 Also in this issue loosa, Alabama. The instrument is located just a few blocks’ In the wind . . . by John Bishop 14 Scott Elsholz introduces us to the life and work of Johann distance from the builder’s Opus 129, for First Presbyterian Carillon News by Brian Swager 24 Heinrich Buttstett (1666–1727). This is the fi rst of several Church, featured in our May 2017 issue. Q Carillon Profi le by Kimberly Shafer 24

REVIEWS Here & There New Recordings 12 New Organ Music 12 Events Rachel Mallete; August 1, Kevin Vaughn; 8/8, Jeff Verkuilen; 8/15, Simone Gheller; CALENDAR 25 8/22, Chris Stroh; 8/29, Mitchell Miller. RECITAL PROGRAMS 29 For information: CLASSIFIED ADVERTISING 30 www.madisondiocese.org/organ.

THE DIAPASON JUNE 2019

Christ Church, Michigan City, Indiana, Roosevelt organ

The Roosevelt Organ Summer Recital Series announces recitals for St. Paul Catholic Cathedral, Pittsburgh, summer 2019, hosted by Christ Church, Shrine of Our Lady of Guadalupe, La

Christ Episcopal Church Pennsylvania, Beckerath organ Crosse, Wisconsin, Noack organ Tuscaloosa, Alabama Cover feature on pages 22–23 Michigan City, Indiana, Wednesdays at 12:15 p.m.: June 5, Derek Nickels; 6/12, St. Paul Catholic Cathedral, Pitts- Stephen Schnurr; 6/19, Michael Soto; The Shrine of Our Lady of Guada- COVER burgh, Pennsylvania, announces its sum- July 3, Matt Gerhard; 7/10, Kent Jager; lupe, La Crosse, Wisconsin, announces Orgues Létourneau, Saint-Hyacinthe, mer organ recital series on the cathe- 7/24, Lee Meyer; 7/31, Carol Garrett; its 2019 summer recital series, Sundays Québec; Christ Episcopal Church, Tuscaloosa, Alabama 22 dral’s Beckerath organ, Sundays at 3:30 August 7, George Karst; 8/14, Oliver at 3:00 p.m.: June 9, Christopher Berry; p.m.: June 2, Kenneth Danchik; July Rzycki. Roosevelt Opus 506 is an instru- July 14, David Jaronowski; August 4, 7, Edward Alan Moore; 7/14, Michael ment of three manuals, 28 ranks. For Christopher Holman. The shrine houses Editorial Director STEPHEN SCHNURR Andrew Hammer; 7/28, Bruce Ludwick; information: [email protected]. an organ completed in 2008 by the Noack and Publisher [email protected] August 4, James Burns; 8/11, Daniel Organ Company with three manuals, 54 847/954-7989 Kovacic; September 8, Don Fellows. For ranks. For information: President RICK SCHWER information: http://stpaulpgh.org. www.guadalupeshrine.org. [email protected] 847/391-1048 The Cathedral of St. Mary of the Editor-at-Large ANDREW SCHAEFFER Assumption, San Francisco, California, [email protected] announces recitals, Sundays at 4:00 p.m.: June 2, Yuhan Niu; 6/9, David Hatt and Sales Director JEROME BUTERA [email protected] Christoph Tietze, works by Eugène Gig- 608/634-6253 out for his 175th birthday; 6/16, Justan Circulation/ Foster; 6/23, Widor festival, marking his Holy Name Chapel, Madison, Wiscon- Subscriptions ROSE GERITANO sin, Aeolian-Skinner organ [email protected] 175th birthday, David Hatt, Symphonie 847/391-1030 I; 6/30, Jin Kyung Lim; July 7, Widor festival, David Hatt, Holy Name Chapel, Madison, Wis- Designer KIMBERLY PELLIKAN Symphonie VII; 7/14, Pierre Zevort with consin, announces its 2019 summer organ [email protected] 847/391-1024 Augustin Zevort, trumpet, music for recital series, Thursdays at 7:00 p.m., fea- St. Matthew’s by-the-Bridge Episcopal Bastille Day; 7/21, Widor festival, Angela turing 1953 Aeolian-Skinner Opus 1204, Church, Iowa Falls, Iowa Contributing Editors LARRY PALMER Kraft Cross, Symphonie VIII; 7/28, two manuals, 19 ranks: June 6, Andrew Harpsichord Mateusz Rzewuski. St. Mary’s Cathedral Kreigh; 6/13, Kevin Edens; 6/20, Michael St. Matthew’s by-the-Bridge BRIAN SWAGER houses a 1971 Fratelli Ruffatti organ of Mills; 6/27, Don VerKuilen; Episcopal Church, Iowa Falls, Iowa, Carillon four manuals, 89 ranks. For information: July 11, Matthew Buller; 7/18, David announces its 2019 summer series of www.stmarycathedralsf.org. Jonies; 7/25, James Grzadzinski and ³ page 4 JOHN BISHOP In the wind . . .

GAVIN BLACK 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 On Teaching 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. Reviewers John L. Speller Canada 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 Jay Zoller 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, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. 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 JUNE 2019 Q 3 Here & There

³ page 3 July 19–20, Columbia, South Carolina; organ recitals, Sundays at 4:00 p.m.: June 7/22–23, Twin Cities, Minnesota; 7/26– 9, Gregory Hand; July 7, Catherine Rod- 27, Seattle, Washington; 7/29–30, Chi- land; August 25, Thomas Fielding. For cago, Illinois; information: [email protected]. August 1–2, Philadelphia, Pennsylva- nia; 8/5–6, Columbus, Ohio. For infor- mation: www.augsburgfortress.org.

Philip Crozier Dennis Janzer and violinist Barrie Philip Crozier plays recitals: June Cooper 21, Kapel Romaanse Poort, Leuven, Bel- gium; 6/23, St. Thomä, Soest, Germany; Tennessee, where he is director of 6/29, St. Nikolai Kirche, Flensburg, music. During recent seasons, he com- Madonna della Strada Chapel, Chicago, Germany; 6/30, Friedenskirche, Siek, posed new works for solo organ, organ Illinois, Goulding & Wood organ Germany; July 1, St. Martin Kirche, duet, and organ with instruments for the Rheinbach, Germany; 7/5, Cathedral, series. Compositions performed include Madonna della Strada Chapel, Riga, Latvia. Go out with joy! for organ and soprano Loyola University, Chicago, Illinois, saxophone; Two Impressions for Flute announces its 2019 Summer Celebrity and Organ: I. A Tranquil moment, II. A Series. All concerts are presented on First Presbyterian Church, Kilgore, Tex- pleasant occurrence; In random light for the third Sunday of the month at 3:00 as, Aeolian-Skinner organ violin and organ. The choir at St. Mary’s p.m., are free to the public, and feature Cathedral has also performed his choral the chapel’s three-manual Goulding & Registration for the 2019 East Texas works, many written specifi cally for Wood organ, Opus 47: June 16, Stephen Pipe Organ Festival, November 10–14 them. He received an ASCAPlus award Buzard; July 21, Ahreum Han; August and headquartered in Kilgore, Texas, is in recognition of the performances of his 18, Jonathan Rudy. For information: now open. The annual event features published catalog. www.luc.edu/organ. Aeolian-Skinner organs designed and Janzer composed a festival setting of tonally fi nished by Roy Perry (1906– the fraction anthem sung at the May 4 1978). Guest organists and speakers consecration of Bishop Phoebe Roaf as include John Schwandt, Jan Kraybill, Stephen Hamilton at St. Matthäus Lu- Fourth Bishop of the Episcopal Diocese John Walthausen, and Jared Cook (a theran Church, Munich, Germany of West Tennessee. member of The Diapason’s 20 Under 30 Class of 2019). For information: Stephen Hamilton recently com- www.easttexaspipeorganfestival.com. pleted his tenth European tour, March 24 to April 17, with concerts at St. Matthäus Lutheran Church, Munich, People Germany; Saint Paul within the Walls, Karen Beaumont announces her Rome, Italy; St. Giles Cathedral, Edin- Spreckels Organ Pavillion, Balboa Park, 2019–2020 season of solo organ recit- burgh, Scotland; St. Andrew’s University, San Diego, California, Austin organ (pho- als (in Milwaukee, Wisconsin, unless Scotland; Crail Parish Church, Crail- to credit: Robert Lang) otherwise indicated): June 16, Milwau- Fife, Scotland; the Cathedral and the Bach and Sons kee Catholic Home; 6/23, St. Hedwig University of Glasgow, Scotland. The The Spreckels Organ Society, Catholic Church; July 13, St. Andrew’s three concerts in Munich, Crail-Fife, Jeannine Jordan, organist and nar- Balboa Park, San Diego, California, Church, Quebec City, Canada; 7/21 and and the University of Scotland were rator, and David Jordan, media artist, announces summer organ recitals: August 18, St. Hedwig Catholic Church; general repertoire programs, and the performed their organ and multimedia June 24, Raúl Prieto Ramírez, with the September 8, St. John Cantius Catholic other events featured Marcel Dupré’s concert, Bach and Sons, at Gold Canyon Spreckels Organ Rock Band; July 1, Raúl Church, Chicago, Illinois; 9/15, St. Hed- Le Chemin de la Croix. For information: United Methodist Church, Gold Canyon, Prieto Ramírez; 7/8, David Wickerham; wig Catholic Church; 9/22, Milwaukee www.stephenjonhamilton.com. Arizona, on March 29. Co-sponsored 7/15, Aaron Tan and Luke Staisiunas; Catholic Home; October 6, St. Hedwig by the church and the Gold Canyon 7/22, Peter Richard Conte and Andrew Catholic Church; 10/15, King’s Chapel, Arts Council “Canyon Sounds” Concert Ennis, organ four hands and organ and Boston, Massachusetts; November 28, Series, the concert was a celebration of fl ugelhorn duo; 7/29, Hector Olivera; Milwaukee Catholic Home; December J. S. Bach’s 334th birthday. Doug Ben- August 5, Thomas Ospital; 8/12, Isa- 7, First Unitarian Society; ton, director of music ministries of the belle Demers; 8/19, Gunnar Idenstam; January 1, 2020, Salem Lutheran church, hosted the concert. For informa- 8/26, Raúl Prieto Ramírez and Art of Church; February 9 and March 15, St. tion: www.promotionmusic.org. Elan string quartet; 8/31, silent movie Hedwig Catholic Church; April 14, night with Clark Wilson. For informa- Church of the Transfi guration, New York, Nicholas Schmelter performed the tion: https://spreckelsorgan.org. New York; May 20, Domkirke, Tonsberg, premieres of Introduction and Toccata, Norway; July 5, Cathedral of St. Mary of op. 1323, by Carson Cooman, and Augsburg Fortress announces six the Assumption, San Francisco, Califor- Mon Cher Ami (Danse-Intermezzo), by free summer music clinics, featuring nia. For further information: Edward Moroney, on March 31 at St. workshops led by Jeremy Bankson and http://karenbeaumontorganist.mysite. Paul’s Episcopal Church, Flint, Michi- Robert Hobby, as well as a hymn festival: com. Jean Herman Henssler gan, where Schmelter serves as artist in residence. He has commissioned and Jean Herman Henssler performed premiered new music by Moonyeen a recital March 24 at Trinity Memorial Albrecht, Cooman, Moroney, Robert Episcopal Church, Binghamton, New Powell, Philip Rice, Bernard Wayne York. The program was part of the Sanders, and others. For information: church’s Lenten Service Series. Hens- www. schmeltermusic.com. sler played music of Bach, Tournemire, Dupré, Reger, and Craig Phillips. The John Walker performed a recital recital was played on the church’s three- at Shadyside Presbyterian Church, manual, 49-rank Casavant organ, rebuilt Pittsburgh, Pennsylvania, on April 26, by Timothy E. Smith. an event co-sponsored by the Organ Artists Series of Pittsburgh and the Dennis Janzer has established a American Guild of Organists. The “World Premiere Concert Series” at St. Guild selected Walker as the honoree Mary’s Episcopal Cathedral, Memphis, ³ page 6

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³ page 4 Competitions Ball State University, Muncie, Indi- Appointments ana, announces its third Sursa Ameri- Jean-Baptiste Robin is appointed visiting can Organ Competition. For this artist-in-residence for the 2019–2020 aca- year’s competition, a high school division demic year for Oberlin Conservatory of Music, has been added to the pre-professional Oberlin, Ohio. Robin is organist of the Royal division. The high school division awards Chapel at the Palace of Versailles, France, and are: fi rst prize, $500 with a performance is professor of organ at the Conservatoire à with a Ball State ensemble; second prize, Rayonnement Régional in Versailles. He will $250; third prize, $100; audience prize, collaborate with Jonathan Moyer and Christa $100. The pre-professional division Rakich in several projects related to French awards are: fi rst prize, $2,000 with a per- Baroque music and improvisation. For infor- formance with the Muncie Symphony mation: www.jbrobin.com. Jean-Baptiste Robin John Walker (photo credit: Nick Conti, Image- Orchestra; second prize, $1,000; third is represented by Phillip Truckenbrod Concert box Productions) prize, $500; audience prize, $200. The Jean-Baptiste Robin Artists: www.concertartists.com. jury for the fi nal rounds, September 6–8, for its 2019 AGO Endowment Fund will be Wilma Jensen, James Kibbie, and David von Behren is appointed assistant Distinguished Artist Award Recital and Mark Herris. Deadline for application is university organist and choirmaster for Memo- Gala Benefi t. Walker’s program included July 15. For information: www.bsu.edu. rial Church, Harvard University, Cambridge, selections for Palm Sunday through Holy Massachusetts, effective in August. Von Behren Week and Eastertide, featuring works earned his Master of Music degree at the School by Guilmant, Bach, and Paine on the of Music/Institute of Sacred Music, Yale Univer- church’s four-manual, 106-rank Reuter sity, New Haven, Connecticut, studying organ organ. For information: with Martin Jean and improvisation with Jeffrey www.shadysidepres.org. Brillhart. He is also a graduate of the Cleveland Institute of Music, Cleveland, Ohio, where he earned his Bachelor of Music degree in organ David von Behren (photo performance and music theory (double degree), credit: Nicole Marane) pursuing organ studies with Todd Wilson. Von Behren served as organ scholar at Trinity Episcopal Church on the Green, New Haven, under the direction of Walden Moore, working with the Trinity Choir of Men and Boys and Choir of Men and Girls. Prior to his appointment at Trinity, he served four years as organ scholar at Plymouth Church UCC, Shaker Heights, Ohio. Von Behren is the fi rst organist to receive the Cleveland Institute of Music’s Darius Milhaud Award, given each year to a student “who displays qualities of unusual talent and creativity, sensitivity, expressiveness, strong love for and dedication to the musical arts, outstanding musical accomplishment, and evi- dence of academic excellence.” He also was named one of The Diapason’s 20 Under 30 Class of 2016. The winner of the Jack Kent Cooke Young Artist Award on National Public Radio’s From the Top, von Behren’s live radio perfor- Diane Meredith Belcher, Michael Unger, mance has reached over half a million listeners. Bruce Neswick, Mária Budácová, Rich- Current associate organist Thomas Sheehan Magnus Windelen ard Gress, Alden Wright (photo credit: Ryan is leaving the Memorial Church to become Boyle) organist at the National Cathedral in Washing- Magnus Windelen, managing ton, D.C., effective in July. He is also a member director of Aug. Laukhuff GmbH & The 2019 Arthur Poister Scholar- of The Diapason’s 20 Under 30 Class of 2016. Co. KG, Weikersheimm, Germany, is ship Competition in Organ Playing Sheehan previously served at Saint Mark’s leaving the fi rm to take on new profes- was held April 26 at St. Paul’s Episcopal Church, Philadelphia, Pennsylvania, and Trinity sional challenges. Windelen joined the Church, Syracuse, New York, sponsored Church, Princeton, New Jersey. He is currently family-owned enterprise in 2011 and by the Syracuse Chapter of the Ameri- fi nishing his Ph.D. at Boston University. He was appointed general manager in 2012. can Guild of Organists in cooperation is a graduate of the Curtis Institute of Music, An organbuilder and musicologist, he with Setnor School of Music, Syracuse Philadelphia, and Westminster Choir College, transformed and restructured Laukhuff, University. Alden Wright was awarded Princeton, and has performed across the United a supplier and technological partner of fi rst prize ($3,500) and audience prize States, Canada, and Europe. At Westminster, he the organbuilding industry worldwide. ($500). Mária Budácová and Richard studied organ with Ken Cowan. He also studied On his path of modernization he opened Gress shared the second prize ($1,000). improvisation with Matthew Glandorf, Ford up new sales and distribution channels, Judges were Diane Meredith Belcher, Thomas Sheehan (photo Lallerstedt, and Bruce Neswick. Q extended the corporate portfolio with Bruce Neswick, and Michael Unger. For credit: Pete Checchia) pioneering innovations, and strength- information: www.syracuseago.org. ened existing marketplaces. During this period, Laukhuff took over the keyboard The re-launch with new staff in place Pond: Organ Settings on English manufacturer Otto Heuss early in 2017. Organizations coincides with new products specifi c to Tunes (9781506457253, $19), by Windelen initiated the Laukhuff Acad- The Organ Historical Society has the OHS. Gift items include Christmas Kevin Uppercue, features eight works emy in summer 2017, the corporate reopened its online catalog and store. The ornaments, coffee mugs, a brand new for preludes, postludes, or recitals; training institution for employees and store offers CDs of organ performances, OHS lapel pin, note cards, and a designer Christ Reigns: Organ Improvisations friends of the fi rm. For information: organ music, books about the pipe organ, golf shirt (available soon), alongside the (9781506457222, $20), by Aaron www.en.laukhuff.de/index.html. and other related materials and products. traditional inventory of products dedi- Shows, includes eight pieces based on cated to the organ. hymns for Christ the King, Transfi gura- Until the end of June, one dollar from tion, and other triumphant occasions; every purchase will go to the E. Power Sound Every Voice: Organ Interpre- MANDER ORGANS Biggs Scholars program. This scholar- tations (9781506457185, $20), by ship program provides fi nancial sup- Emma Lou Diemer, comprises eleven port to young people to attend an OHS hymn settings; Joyful We Adore Thee New Mechanical Action Organs convention. Since its inception over 200 (9781506457154, $22), by Franklin scholars have benefi ted from the pro- Ashdown, is eleven hymn pieces for gram. For information: the Thanksgiving and harvest seasons; https://ohscatalog.org/. Four by Four: Hymns for Piano and Four Ringers (9781506457215, $16), by Anne Krentz Organ, is a collection Publishers of hymn settings designed for occasions Augsburg Fortress announces calling for pieces that do not require new instrumental music: Across the ³ page 8

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6 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM HIBBEN UNITED METHODIST CHURCH, MT. PLEASANT, SOUTH CAROLINA

“Ten years aft er installing a digital organ from another manufacturer, Hibben United Methodist was faced with the sad realization that the instrument had fallen far short of expectations and was actually in an advancing state of disrepair. Aft er a thorough inspection was completed, the church decided a new organ was required to fulfi ll the vision laid out by our new Director of Music.

A committee of church leaders with various backgrounds was formed and a visit to the Allen factory was initiated. Aft er this visit, the committee was unanimous in their decision that Allen Organ represented the best stewardship of church funds and should be contracted to build a custom 4-manual organ. In anticipation of the new organ, a major renovation of the sanctuary was completed just in time for the installation in July 2018.

Th e console is stunning, yet timeless; constructed of solid hardwoods with a beautiful Walnut exterior and a satin black fi nish interior, complemented with white drawknobs, premium manuals with Ivora naturals and black sharps. Th e 99-Stop organ features a robust 44 channels of custom-designed audio with a Swell Antiphonal, fl oating String division, Solo division with several custom stops; plus a Trompette en Chamade, and 72 speaker cabinets!

Th is powerful instrument was formally dedicated before a capacity audience in December 2018.

Hibben UMC looks forward to many decades of music from this incredible instrument!”

Amy McCurley, Director of Music Rodney Pendell, Organist

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Nunc Dimittis Trophy Builders and their Instruments: A Chapter in the Economics of Pipe Robert Edward Coleberd, 86, died Organ Building, August 1996 on December 5, 2018. Born July 6, 1932, Is the Pipe Organ A Stepchild in Academe?, March 1997 in Kansas City, Missouri, he graduated The Economics of Pipe Organ Building: It’s Time to Tell the Story, January 1999 from William Jewell College, Liberty, Mis- August Gern and the Origins of the Pitman Action, June 2000 souri, with a degree in economics. He then Three Kimball Pipe Organs in Missouri, September 2000 served in the United States Army during Stevens of Marietta: A Forgotten Builder in a Bygone Era, June 2002 the Korean War. After his discharge he “A Perfect Day,” February 2004 earned an MBA degree at Cornell Univer- The Mortuary Pipe Organ, July 2004 sity, Ithaca, New York. A few years later he Organist and Organbuilder, Jerome Meachen and Charles McManis: A Meeting enrolled at University of Illinois, Cham- of the Minds, June 2005 paign/Urbana, where he received MA and Stanley Wyatt Williams, 1881–1971, June 2006 PhD degrees in economics. Steuart Goodwin: Organbuilder, April 2007 Coleberd began his years of college The Masonic Lodge Pipe Organ: Another neglected chapter in the history of pipe teaching at Bridgewater College, Bridgewa- organ building in America, August 2008 ter, Virginia, and then at Western Maryland Robert Edward Coleberd College (now McDaniel College), West- Brett Austin Terry, 31, died February minster, Maryland. He also worked a few 27 in Harrisburg, Pennsylvania. Born June 6, years for the American Enterprise Institute in Washington, D.C. While there he 1987, in Bartlesville, Oklahoma, he received attended Fourth Presbyterian Church in Bethesda, Maryland, where he met his his early education in piano, organ, and voice future wife, Barbara. at the First Methodist Church, Bartlesville, He returned to college teaching at Longwood College, Farmville, Virginia. then at Grace Episcopal Church, Kansas City, After six years during which he was promoted to department head and earned Missouri, and Southminster Presbyterian tenure, he decided to leave academia and moved to Houston, Texas, to work in Church, Prairieville, Kansas. the petroleum industry. Brett Austin Terry Terry earned Bachelor of Music degrees In 1979 he moved to California to work for Tosco (The Oil Shale Corporation). in organ and in voice at the University of Four years later, he and a colleague formed a partnership to start their own busi- Missouri-Kansas City Conservatory, where he graduated summa cum laude, study- ness, Pacifi c West Oil Data. This company prepared and published a monthly data ing organ with John Ditto. His 2013 Master of Music degree in organ was from Yale book of tables and graphs of statistics and other information on the West Coast School of Music, where he was a student of Thomas Murray. He also earned the petroleum industry. He sold the business and retired in 2000. Certifi cate in Church Music at the Yale Institute of Sacred Music, where he became Throughout his life Coleberd was interested in pipe organs, sparked by his interim director of chapel music at Yale Divinity School. Terry subsequently became brother’s becoming a church organist at the age of 12. He visited many factories of director of music and organist at Scarsdale Congregational Church in Scarsdale, organbuilders both in the United States and on trips to Europe. For several years New York. In 2015, he was appointed minister of music and worship at Pine Street he was an economic consultant to the Associated Pipe Organ Builders of America Presbyterian Church in Harrisburg. In 2016, he also became artistic director and (APOBA). He also served on the board of directors of the Reuter Organ Company, conductor of the Central Pennsylvania Oratorio Singers and Orchestra. Lawrence, Kansas. He wrote articles about the history of various organbuilders, Terry had worked in the greater New York City area as a vocal coach, choral mainly in the Midwest, and published many of them in The Diapason and The conductor, arranger, harpsichordist, cellist, and singer. He directed a 24-voice Tracker. He built two organs himself, one of which he kept in his home in Granada professional choir and several concert series and worked collaboratively in opera, Hills for many years. Recently, with the help of Manuel Rosales, he donated his ballet, and musical theater. Terry was active in the American Guild of Organists organ to St. Paul’s First Lutheran Church in North Hollywood, California. and was dean of the Harrisburg Chapter at the time of his death. He was also Coleberd enjoyed woodworking and had a workshop at home, where he had active in the American Choral Directors Association. In addition to his organ projects including bottle stoppers, bowls, and trays. He was a member of the Glen- studies, his voice teachers included Marilyn Horne and Renée Fleming. He sang dale Woodturners Guild. Recently he became interested in making kaleidoscopes. the title role of Massenet’s Werther in a Parisian production several years ago. He joined the Brewster Kaleidoscope Society and made kaleidoscopes with Brett Austin Terry is survived by his mother and her husband, his father and wooden barrels. He wrote articles for the quarterly newsletter of the Brewster his wife, a paternal grandmother, a maternal grandmother, two sisters, and nieces Society and attended their conventions. and nephews. His funeral service was held at the Adams Boulevard Church of Robert E. Coleberd is survived by his wife of 47 years, Barbara; his sister-in- Christ, Bartlesville, on March 8. A memorial service took place on March 23 at law Linda Coleberd of Hannibal, Missouri; his brother-in-law Stuart Kennedy of the Pine Street Church in Harrisburg. Memorial contributions may be made to Edgerton, Wisconsin; and many nieces and nephews. the Music at Pine Street concert series at Pine Street Presbyterian Church, 310 Some of Robert Coleberd’s bibliography in The Diapason: North 3rd St., Harrisburg, PA 17101. Q

³ page 6 and piano; and God Rest You Merry, much rehearsal time yet are enjoyable Gentlemen (60-1108, $1.95), by Stuart to play. For information: Forster, for SATB, organ, and brass www.augsburgfortress.org. ensemble. For further information: www.morningstarmusic.com. Editions Walhall announces a new publication, Compositori della Scuola Oxford University Press announces Romana e Napoletana (18. Jh.): 17 Com- new choral works: Da Vinci Requiem posizioni rare per clavicembalo (EW462, (978-0-19-351902-2, $14.95), by Cecilia €23.50), edited by Jolando Scarpa. The McDowall, is a moderately diffi cult volume contains numerous fi rst editions 35-minute work for SATB, soprano and of Neapolitan compositions for harpsi- baritone soloists, and orchestra; The chord or organ—fugues, toccatas, and Lark Ascending (978-0-19-352820-8, preludes by composers such as de Majo, $5.50), by Ralph Vaughan Williams, Fago, Greco, Leo, Lorenzini, Sellitto, arranged by Paul Drayton, is an easy to Organ Music of the 21st Century and Speranza. For information: moderately diffi cult 15-minute work for www.edition-walhall.de. SATB and violin; Images of Peace (978- 0-19-352465-1, $5.50), by Alan Bullard, MorningStar Music Publishers is an easy to moderately diffi cult work announces new choral publications for for SATB a cappella; Ave verum corpus Advent and Christmas: On Christmas (978-0-19-352815-4, $2.50), by Ben Night (50-1145, $1.95), by Paul Manz, Parry, is an easy work for SATB a cap- arranged by David M. Cherwien, a pella. For information: Maurice Durufl é: The Man and His Music setting of Sussex Carol for unison www.oup.com/sheetmusic. voices and organ; Long-Expected Dawn edition for $39.95. The book continues (50-0096, $2.25), by Karen Marrolli, The University of Rochester Press, to be available in the hardback edition uses the tunes Veni Emmanuel and in partnership with Boydell & Brewer, for $80 and in an electronic edition for Ermuntre Dich, set for SATB, fl ute, Inc., announces that Maurice Durufl é: $29.99. For information: and piano; I Will Make a Way! (50-6198, The Man and His Music, by James E. www.boydellandbrewer.com. $2.50), by Tom Trenney, is set for SATB Frazier, is available in a new paperback

Recordings Momentum BACH AT NOON Alba announces new recordings. Organ Music of the 21st Century (ABCD Momentum (ABCD 439) features Grace Church in New York JL Weiler , Inc. 440) features Susanne Kujala, organist. Niels Burgmann, organ, and Erica Compositions of Veli Kujala, Maija Hyn- Nygård, fl ute, in works by Poulenc, Museum-Quality Restoration ninen, Minna Leinonen, Olli Virtaperko, Burgmann, Alain, Widor, and Lars Karls- www.gracechurchnyc.org of Historic Pipe Organs jlweiler.com and Antti Auvinen are included. son. For information: www.alba.fi .

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

Nunc Dimittis Seminary in New York City, as a student of Clarence Dickinson. After several summers at Union and guest teaching at Columbia University, Mason earned her doctorate in 1954. Earlier, she traveled to France in the summer of 1948 to study with Nadia Boulanger at Fontainebleau School of Music. During this study leave she also studied organ with Maurice Durufl é. Mason’s concert career began concurrent with her appointment at the University of Michigan, with a major recital in 1947 at the Church of the Advent in Boston, Massachusetts, followed by her landmark performance of Variations on a Recitative by Arnold Schoenberg at the 1950 American Guild of Organists national convention in Boston. Her reputation as a formidable performer grew rapidly, and she was added to the roster of the concert management fi rms of Lillian Murtagh and Karen McFarlane. Her career as performer, lecturer, adjudicator, and teacher took her throughout the western world, at one point performing more than thirty recitals per year. In 1988, she was described as “among the important infl uences on the American organ scene in the second half of the 20th century” by the American Guild of Organists New York Chapter when she was named International Performer of the Year. Mason was the fi rst American woman organist to perform in London’s Westmin- ster Abbey, the fi rst American woman organist to perform in Latin America, and the fi rst American organist to perform in the newly completed Sayyid Darwish Concert Hall in Cairo, Egypt. During one sabbatical leave from her duties at the University of Michigan, Mason’s performing career took her to venues on fi ve continents. She was an adjudicator in nearly every major organ competition in the world. Mason also led a life of service as a church musician, serving various denominations including 27 years as organist at First Congregational Church in Ann Arbor. Over her career, she also commissioned over 75 original works for the organ. In Marilyn Mason at her studio organ at the University of Michigan 1985, a C. B. Fisk organ modeled on the eighteenth-century organs of Gottfried Silbermann was commissioned by the University of Michigan School of Music and named the Marilyn Mason Organ in her honor. While at University of Michigan, Mason was responsible for starting two signa- ture events. Since 1960 the University of Michigan has been home to the annual Organ Conference. The second signature event was her series of Music Tours of Historic Organs. Using her knowledge of European instruments and her network of colleagues throughout the world, Mason was able to plan, promote, and lead over fi fty historic organ tours. Mason’s mother, Myrtle Mason, served as pianist and organist at the First Pres- byterian Church in Alva, Oklahoma. Marilyn began studying piano when she was six years old and continued studying piano through high school. She began her organ studies when she was ten, and she soon became her mother’s assistant and substitute at First Presbyterian. Marilyn Mason married Richard K. Brown in 1948. With a background as a research scientist working in acoustical physics, Professor Brown spent over forty years teaching in the Department of Electrical Engineering at the University of Michigan. The couple enjoyed a close and mutually supportive relationship over the course of their 43-year marriage until Richard’s death in July 1991. In 1993 Dr. Mason married William Steinhoff, who had served for many years as a University of Michigan Professor of English, and who later taught classes at the Turner Geri- Marilyn Mason at Hill Auditorium, c. A young Marilyn Mason, Hill Auditorium, atric Center. He died in September 2009. 2007 University of Michigan Marilyn Mason is survived by her two children, M. Christian Brown (married to Margaret C. Brown) of Lincoln, Massachusetts; Edward A. Brown (married to Marilyn Mason, internationally acclaimed concert organist, longtime Profes- Quincy L. Brown) of Chatsworth, California; and by four grandchildren. Contribu- sor of Music, University Organist, and Chair of the Organ Department at the tions made be made to the “Marilyn Mason – William Steinhoff Scholarship” at the University of Michigan, died April 4 in Fort Lauderdale, Florida, at the age of University of Michigan School of Music, Theatre & Dance (2005 Baits Dr., Ann 93. Mason joined the staff of the University of Michigan in Ann Arbor in 1947, Arbor, MI 48109-2075; contact: Jillian Neill: [email protected]). became chair of the organ department in 1962, was named professor of music in Marilyn Mason’s career is described in the book, Refl ections: The Organ Depart- 1965, and university organist in 1976. She retired in May of 2014 after serving on ment, School of Music, The University of Michigan, edited by Marilyn Mason and the faculty for 67 years. Margarete Thomsen, The University of Michigan School of Music, Ann Arbor, MI. Born in Alva, Oklahoma, Mason earned both bachelor’s (1946) and master’s Mason describes her life and work in these interviews: (1947) degrees in organ at the University of Michigan, studying with Palmer https://www.youtube.com/watch?v=FT4Z3UF0dRc Christian. Beginning in 1950 Mason began doctoral studies at Union Theological https://www.youtube.com/watch?v=_aGzcD0R76I

Johann Pachelbel Salome’s Dance Spanish Music Voices of Earth and Air, Vol. II: Works for Chorus Antichi Organi del Canavese Gothic Catalog announces a new Karen Beaumont has released a announces a new CD, Johann Pachelbel recording, Salome’s Dance: Robert Parkins compact disc, Spanish Music, recorded Vox Futura, Prague Mixed Chamber (AOC 45), featuring Rodolfo Bellatti plays the Aeolian Organ, Duke University live in performance on the 2010 Holt- Choir, and Kühn Mixed Choir. Works performing on the organs of the Orato- Chapel (LRCD-1147, $18.98, individual kamp organ at St. Hedwig’s Catholic by Scott Solak, Jonathan David Little, rio della Visitazione di Maria of Antil- track downloads available). Composers Church, Milwaukee, Wisconsin. For Helen MacKinnon, Juli Nunlist, and lone (Biderbost c. 1690/Carlen 1727) include Max Reger, Florence Price, Kent further information: others are featured. and Chiesa di S. Gaudenzio of Baceno Kennan, Robert Ward, Adolphus Hail- [email protected]. In Heaven features the Jitro Czech (Carlen-Walpen 1822–1824). Rodolfo stork, Dan Locklair, and arrangements Girls Choir, conducted by Jirí Skopal. Bellatti is organist at the Basilica of Our of Richard Strauss by university organist Navona Records announces new The recording, the fourth of this group, Lady of the Rose in Santa Margherita Robert Parkins, performed on the 1932 recordings. Voices of Earth and Air, Vol. continues to explore traditional Czech Ligure. For further information: Aeolian organ of four manuals. For infor- II: Works for Chorus, features various music, including Liturgical Chants, fi ve http://www.antichiorganidelcanavese.it. mation: www.gothic-catalog.com. choral groups performing, including ³ page 10

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 9 Here & There

³ page 9 the Austrian composer Johann Heinrich instead of mechanical or opto-electric pieces by Petr Eben. For information: Schmelzer (1623–1680). For further contacts typically used in electronic www.parmarecordings.com. information: www.tenet.nyc. pipe organ control systems. Its patented design ensures easy installation and stable operation. The all-digital archi- Organbuilders tecture reduces wiring and enables new features such as remote adjustment of key travel and spread on/off-positions that mimic the agility of mechanical tracker actions. The Espressivo system was devel- oped by the German company Tech- scape and its creative technology in cooperation with the August Laukhuff Corporation, the world’s largest sup- plier of pipe organ components. Since its introduction in 2014, Espressivo systems have been installed in more than 200 organs worldwide. In its core market, Germany, Espressivo has all The Orchestral Organ but completely displaced classical contacts in Laukhuff customers’ instal- Reference Recordings announces lations. Under the exclusive distribution THE DIAPASON, February 1992 a new CD, The Orchestral Organ (RR- agreement, Solid State Organ Systems 145SACD, $11.98–$24.98), featuring will sell Espressivo components inde- all issues of The Diapason available at Jan Kraybill performing on the Julia pendent of capture technology. As the website. Irene Kauffman Casavant Organ (Opus John and Mark Muller at St. Paul’s Epis- the contact system has both a classical Thus far, our staff has completed scan- 3875) at the Kauffman Center Helzberg copal Church, Maumee, Ohio MIDI-connector and a high-speed ning and uploading issues from 1944 Hall, Kansas City, Missouri. Kraybill midi-over-IP interface using an eth- to 1945, 1966 to 1993, and 2005 to the performs works by Pyotr Ilyich Tchai- Muller Pipe Organ Company, ernet port, the system is compatible present. The PDFs include a search kovsky, Felix Mendelssohn, Camille Hartford, Ohio, recently completed with all control systems on the market procedure, to assist subscribers with Saint-Saëns, Charles Gounod, Gustav renovations to the pipe organ at St. Paul’s offering MIDI connectivity. Over time, scanning and researching. Holst, Jean Sibelius, Giuseppe Verdi, Episcopal Church, Maumee, Ohio. The SSOS will add additional levels of inte- If you look at the masthead of this and others. For further information: project included several new ranks of gration with their MultiSystem II. magazine, you will see that The Diapa- www.referencerecordings.com. pipes, extensive revoicing of existing Solid State Organ Systems is ready to son was founded in 1909, with the fi rst pipework, rebuilding and upgrading accept and deliver orders. Espressivo issue having been distributed in Decem- the console to solid-state technology, components will carry their two-year ber of that year. Since that time, there construction of several new windchests, manufacturer’s warranty along with tech- have been 1,315 issues. With nearly 110 and other miscellaneous work. The two- nical support of SSOS. For information: years of magazines, twelve times each manual, 19-rank organ was rededicated [email protected] or uksales@ year, that is a lot of scanning to do! in a recital by organists Jane Weber and ssosystems.com. For two decades before I joined the Dennis Blubaugh on March 24. staff of The Diapason, I conducted Current work in the Muller shop considerable research on pipe organs, includes a new 22-rank organ for St. Pat- A note from the editor regarding particularly in the Great Lakes states, rick Catholic Church, Columbus, Ohio. THE DIAPASON digitization much of which has been published in An open house for the instrument will books and articles in various journals. be held June 21, 7:00 p.m., and June 22, I have spent hours looking in libraries 10:00 a.m. until 3:00 p.m., in the fi rm’s at bound copies, unbound copies, and shop. For information: issues on microfi lm of The Diapason. https://www.mullerpipeorgan.com. The content of our journal is simply astounding, and it has been that way for Le Memorie Dolorose Organbuilders in the United States, more than a century. It is safe to say that Canada, and the UK can order Espres- The Diapason has been an invaluable TENET Vocal Artists and ACRO- sivo components through established resource to countless researchers. NYM of New York City announce Solid State Organ Systems (SSOS) The scanning project is working its the release of a new CD, Le Memorie sales channels. The Espressivo system way through my personal collection of Dolorose ($15), featuring the fi rst com- uses magnetic sensors that can be vintage issues, which start in 1943. In mercial recording of the title work by mounted in almost any organ keyboard due time, you will fi nd them available at the website. What can you do? We still need miss- ing issues to make this project complete. Below you will fi nd a list of issues we need. We would prefer copies that are not bound, but if you have bound cop- ies, please let us know. Your part of this would help make The Diapason’s web- site simply the fi nest research website about the organ, harpsichord, carillon, Reprint of the fi rst issue of THE DIAPASON and church music. We hope that this exciting new perk For a number of years, our website of your subscription will be of service to (www.thediapason.com) has presented you, whether you are a casual reader or a monthly issues in PDF and digimag serious researcher. formats. However, subscribers could only browse through issues from the past Following is a list of issues of The decade. It is our plan to eventually make Diapason needed to complete the digi- tization project: • January 1910 through July 1943 Muller • September through November Pipe Organ Company 1943 invites you to an Open House • January and February 1944

st • April and June 1945 21 of June at 7:00 in the evening • July and November 1946 22nd of June from 10:00-3:00 • November 1947 • January 1948 122 North High Street Croton, Ohio • February and October 1949 “superb musicianship, masterly technique and savvy programming … Archer’s (740) 893-1700 • May 1968 sweeping assurance and stamina enable you to hear the music behind the virtuosity.” Featuring the new pipe organ for • January 1969 — GRAMOPHONE (JAN 2018) — St. Patrick Church of Columbus, Ohio • June and September 1978 • January and July 1984 Celebrating 100 Years of Business MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com • June through August 1989

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

The Cambridge Companion and Clavichord 1440–1840, as it appears to the Harpsichord in the third edition, edited by Charles One of the exciting events of 2019 has Mould (Oxford University Press, 1995): been receiving my copies of both hardback Two-manual harpsichord; owned by The and paperback editions of this 388-page Mount Vernon Ladies’ Association of the compendium, a decade in the making. Union, Mount Vernon, Virginia, USA . . . . The softbound edition is priced at $29.99 Serial Number 735 stamped on the wrest- (ISBN 978-1-316-60970-5); hardbound is plank. Specifi cation: I: 2x8′, 1x4′; II: 1x8′, Lute. Additional Features: 6 hand stops listed at $105 (ISBN 978-1-107-15607-4). (one a dummy), machine, Venetian swell, Effi ciently and carefully guided by music desk, dogleg, 2 pedals. Compass: editor Mark Kroll, this hefty tome is the FF–f3 Keyboard: white naturals, black tenth addition to the Cambridge Univer- sharps. Scale: 325 mm. Length: 2343 mm. Width: 955 mm. Depth: 345 mm . . . . It sity Press solo instrumental series, joining was the fi nal piece of original furniture to earlier books about cello, clarinet, guitar, be restored to Mount Vernon. organ, piano, recorder, saxophone, sing- ing, and violin. Also in the “Cambridge This large instrument was originally Companions to Music Series” are 25 delivered to the presidential dwelling in “Topics” individual volumes (from ballet Philadelphia and later moved (with the to twentieth-century opera) and 34 indi- ex-president’s family) to Virginia. The vidual single-volume studies devoted to specifi cation shows a number of additions composers (from Bach to Verdi). to an instrument that was struggling to Seventeen essays “written by fourteen match some of the dynamic possibilities John Watson, Joyce Lindorff, and the replica harpsichord for Mount Vernon leading experts in the fi eld . . . cover almost of the new and very popular fortepiano. every aspect of the harpsichord,” states The original harpsichord, unplayable Editor Kroll in his introductory comments. for many years, was found to be deterio- Here is the list of chapters contributed by rating even more quickly than had been an international group of authors: noticed previously, and it was moved to a • History and Construction of the climate-controlled facility (which Mt. Ver- Harpsichord (John Koster) non is not). Because of this and the result- • The Virginalists (Pieter Dirksen) ing empty spot among the small parlor’s • England (Andrew Wooley) furnishings at the iconic mansion, John • The Netherlands and Northern R. Watson, curator emeritus of musical Germany (Ton Koopman) instruments for Colonial Williamsburg, • Southern Germany and the Austro- was commissioned to create as exact a rep- Hungarian Empire to 1750 (P. Dirksen) lica as possible of the original instrument, • France (Mark Kroll) one to be heard as well as seen. • Italy (Rebecca Cypess) Among the fi rst artists to perform period • Portugal (João Pedro d’Alvarenga) music on the meticulously crafted new • Spain (Agueda Pedrero-Encabo) harpsichord was Temple University harp- • Domenico Scarlatti in Portugal sichord professor Joyce Lindorff. Among and Spain (João Pedro d’Alvarenga and the items that appeared during my Google Agueda Pedrero-Encabo) search were sound tracks of her playing, as • Russia (Marina Ritzarev) well as a video documenting various stages • The Northern and Baltic Countries of the replication during Watson’s lengthy (Anna Maria McElwain) work to achieve his result. • The Harpsichord in Colonial In this year of celebrating music at Spanish and Portuguese America Mount Vernon one of the scheduled (Pedro Persone) events is a harpsichord symposium August • Bach, Handel, and the Harpsichord 2–3. The cost is $250 for the program of (Robert L. Marshall) lectures, concerts, and meals. The venue • The Harpsichord in Ensemble is the Robert H. and Clarice Smith Audi- (Mark Kroll) torium at George Washington’s Mount • Contemporary Harpsichord Music Vernon, 3200 Mount Vernon Memorial (Larry Palmer) Highway, Mount Vernon, Virginia. • Tuning and Temperament (Paul Perhaps an assessment of the impor- Poletti) tance of the replica instrument should be left to John Watson: “What we have with Replica of George Washington’s the Mount Vernon harpsichord is a harp- harpsichord returns its sichord that is different from any other sound to Mount Vernon surviving period harpsichord” (referring A much appreciated news item that to its distinctive leather plectra, Venetian I had not otherwise seen arrived in my swell, and machine stop). . . . “And we’re mailbox at the end of January, courtesy able to hear that sound again without any of James Bakner, a longtime friend fi rst impact at all on the original harpsichord. met as a church member at St. Luke’s They did the best possible thing, which Lutheran Church in Richardson, Texas, is to leave the original instrument as the my last part-time church music appoint- historical document to guide the making ment. I am fi nally sharing this informa- of an accurate reproduction. We ended tion with our readers, many of whom, I up with an instrument that’s more like suspect, may be as surprised as I was! the original harpsichord would have A Google search (“harpsichord at been when it was new, than the original Mount Vernon”) brought up multiple one can ever be again.” Q items of interest, not the least of which was that the fi rst president of the United Comments and questions are welcome. States was an avid music lover who has Address them to [email protected] or 10125 been quoted as saying, “Nothing is more Cromwell Drive, Dallas, Texas 75229. agreeable, and ornamental, than good music!” I knew that Thomas Jefferson was an avid supporter of music, but I had never read the acclimation from his The Sound of Pipe venerable colleague. The harpsichord that Washington Organs purchased was acquired in 1793 for his step-granddaughter Eleanor (Nelly) M. McNeil Parke Custis, then 14 years of age, who 191 pages hardbound frequently played it for guests. The instrument, built by the London fi rm of now on sale at Amazon books Longman and Broderip, was a particu- $29.95 larly interesting one of grand proportions. Here is its specifi cation as found in Don- ald H. Boalch’s Makers of the Harpsichord

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 11 Reviews

New Recordings since the only 2′ pitches now available theme is not actually by Clément Jan- It ought not come as a surprise that I Evocations. Katelyn Emerson on the Great are in the Mixtures. Even nequin, as Alain mistakenly thought, thoroughly enjoyed and heartily recom- plays the Aeolian-Skinner organ as it is, however, the organ is a very but is from a song called “The hope mend this compact disc. at the Church of the Advent, Bos- fi ne instrument, and the Church of the I have of obtaining your favor,” by an —John L. Speller ton, Massachusetts. Pro Organo, Advent supplies an excellent acoustical anonymous sixteenth-century com- Port Huron, Michigan CD7277 $14.98. Available from environment for it. poser. The performer very successfully www.proorgano.com. The works featured on this compact captures the almost medieval fl avor of Praeludium in E Moll (the larger), disc are mostly drawn from core reper- the piece, both in her playing and in New Organ Music Bruhns; Allein Gott in der Höh’ sei Ehr’, toire, and one might think there was not her registration. Next Emerson dem- Three Autumn Sketches after a BWV 676, J. S. Bach; Sonata No. 4 in much new to say about them. At least I onstrates her manual dexterity in Louis Watercolor by Maria Willscher, B-fl at, op. 65, no. 4, Mendelssohn; from might have thought that if I had not read Vierne’s well-known piece, “Naïades,” by Carson Cooman. Zimbel Messe pour les couvents—Benédictus, Katelyn Emerson’s program notes in the from the 24 Pièces de fantaisie. Every Press, Subito Music Corporation, Élévation (Tierce en taille), Offertoire leafl et, which are refreshingly original note can be heard distinctly, which is #80101407, $11.95. Available from sur les grands jeux, François Couperin; and interesting. The compact disc begins a tribute both to the performer and to www.subitomusic.com. Variations sur un thème de Clément with Nicolas Bruhns’s Praeludium in E the action of the organ. Another twen- Many composers have been so moved Jannequin, Jehan Alain; from Pièces Moll, in which Katelyn Emerson’s tempi tieth-century work, Maurice Durufl é’s by a painting that they have attempted de fantaisie—Naïades, op. 55, no. 4, and phrasing are impeccable, particu- reconstruction of Charles Tournemire’s to put into musical form the feelings that Louis Vierne; Choral improvisation sur larly in the transitions between the dif- improvisation on Victimae paschali they had when looking at the artwork. le “Victimae paschali laudes,” Charles ferent sections of the work. In the fugal laudes, is full of excitement, and once For example, see my review of Pamela Tournemire; Évocation III, Thierry second section she makes particularly again the changes of tempi and dynam- Decker’s music based on the Freeze Col- Escaich; Rhapsody, op. 17, no. 3, Her- effective use of the organ’s beautiful ics are most interesting. lection in the March 2018 issue of The bert Howells. Choir Clarinet, and some very pretty For the next track, although remain- Diapason, p. 14. Carson Cooman found Since she won the fi rst prize in the fl utes come into play in her ebullient ing in France, we move to the twenty- himself touched by a watercolor paint- 2016 American Guild of Organists performance of Bach’s Allein Gott in der fi rst century and to the composer ing by Maria Willscher (1922–1998), National Young Artists Competition in Höh’ sei Ehr’, BWV 676, from the third Thierry Escaich (b. 1965), who with Vin- the mother of Cooman’s good friend, Organ Performance, Katelyn Emerson part of the Clavierübung. cent Warnier succeeded Maurice Duru- Andreas Willscher. A copy of the paint- has taken the organ world by storm. I No compact disc of core repertoire is fl é as co-titulaire of Église de Saint- ing is included in the edition, and it do not know anyone, myself included, complete without one of Mendelssohn’s Etienne-du-Mont in Paris, France. He shows two trees almost devoid of leaves who has heard her play and has not been six organ sonatas, and I was not disap- has written much orchestral as well as overlooking water that appears to have impressed. In addition to her status as an pointed by Emerson’s performance organ music. Among his compositions mist rising over it. It is a very poignant international recitalist who is increasingly of Sonata No. 4 in B-fl at. Once again are a number of Évocations for various rendition of the autumn and leaves you in demand, she was associate organist of her phrasing and tempi are faultless, ensembles including at least four for with a little shiver as you think of the the Church of the Advent, Episcopal, in and once again she makes effective organ, of which the Advent work, Évo- coming winter. Boston, and was active in choir training use of the Clarinet contrasted with the cation II, is probably the best known. The title of the painting is Herbst- as well as playing the organ. fl utes in the second (Andante religioso) The work performed here, Évocation stimmung. Cooman has chosen to The organ in the Church of the movement. The fugal (Vivace) section III, is also an Advent work, based on the explore different moods and colors Advent was originally a three-manual, of the last movement quite took my chorale, Nun komm den Heiden Hei- of autumn in three movements. The 77-rank Aeolian-Skinner, Op. 940 of breath away. land. Escaich writes in a refreshingly music is transcendent. The fi rst sketch 1936, fi nished by G. Donald Harrison. We then return to the eighteenth original way, and Emerson has clearly is called Herbststimmung (Autumn It was altered by Aeolian-Skinner as Op. century for a couple of sections of taken a great deal of trouble to study his Mood), and under an undulating right 940A in 1964, and again, rather unfor- François Couperin’s Messe pour les intentions in the way she performs the hand, a musical line descends depicting tunately, by another builder between couvents. The fi rst of these is the Tierce work. She includes her own translation perhaps the slow falling of leaves. A 1972 and 1978. When I heard it at the en taille written for the Élévation. This of Escaich’s explanations of the piece in short middle section that Cooman calls Organ Historical Society convention in is unfortunately not entirely suited to the leafl et. a chorale gives us a quiet moment of 2000, though very pleasant in its way, the Advent organ, since the mutations The fi nal work on the disc is Herbert suspended animation. it did not sound to me very much like are hardly classical French in character Howells’s Rhapsody, op. 17, no. 3. There The second sketch, Herbstfarben 1 Harrison likely left it. Though Nel- and there is no 1 ⁄3′ Larigot, so that the is a certain darkness to the work, which (Autumn Colors), picks up the tempo son Barden has reversed many of the solo line in the tenor lacks a certain it owes to having been composed during slightly and in its shifting harmonies unfortunate changes of the past, I am piquancy. By contrast the Offertoire sur a Zeppelin raid in World War I. I had shows the subtle variety and gradations still doubtful whether the instrument les grands jeux comes off surprisingly always assumed that the Zeppelin raid of the autumn colors. still deserves to be called a Harrison- well, especially since G. Donald Har- was in London, but I discovered from Sonnenuntergang (Sunset), the third designed Aeolian-Skinner organ. For rison was not compelled to provide any Emerson’s very comprehensive notes sketch, is especially effective. Slow mov- example, the removal of original Great Great reeds. that Howells was in fact convalescing in ing, sitting perhaps, watching the sun 1 5 ⁄3′ Quint has altered the sound of We then travel forward a couple of York from an illness and was staying at sink behind the mountains; the vision is full Great, although it must be admit- centuries to Jehan Alain’s Variations the house of his friend Sir Edward Bair- sharp and clear. Or are we talking about ted that this stop was probably never a sur un thème de Clément Jannequin. stow, the organist of York Minster. The death here? It could easily be the slow- good idea. The removal of the original Emerson’s notes inform us—which I piece comes off well on the organ of the ing down as death approaches, remem- Great 2′ Super Octave is inexplicable for one did not know before—that the Church of the Advent. bering, reminiscing. Or perhaps that is not what the composer intended because he says “imagining the sun’s departing rays illuminating the autumn landscape.” Whichever way you might think about it, it is most effectively composed and thought-provoking music. This collec- Thousands of Songs tion may be used for many occasions, and I know you would get much use out ONE LICENSE of it as well. —Jay Zoller ONE LICENSE is a premier licensing source that covers all of your congregational reprint needs. Newcastle, Maine

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12 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM On Teaching By Gavin Black

The Art of the Fugue, Part 1 Before delving into the principal topic of this column, I must fi rst briefl y revisit the subject of the last two columns, Example 1 which dealt with aspects of the practice of listening to music. Shortly after I fi nished the May column, I was in New York City for the day, and I happened to notice, walking along one of the avenues, Example 2 some bins of used LPs outside an antique store. I had a few minutes to spare, so I The theme mentioned above is found it. Perhaps, he had it composed in his started leafi ng through the boxes. Mid- in Example 1. The theme in this form head. It seems likely that Bach or any way through I saw a record of Brahms’s opens the fi rst movement, which is a composer would have had to have a fairly First Symphony. This is a favorite piece four-voice fugue on this subject. The fi rst strong idea as to where a big contrapun- of mine, and part of my program for that movement is the only one to open with a tal structure such as this movement was day was to hear a concert performance simple statement of the theme in exactly going before venturing on starting it. of it at Lincoln Center. I pulled it out this form and the only one that is based It is a complicated fugue with multiple We tend to believe that this movement, to take a look, as I wanted to know who primarily on this form of the theme. The themes. But that does not mean that he an ostensible triple fugue that was very recorded it. But there was nothing: no variants of the theme that form the basis had worked out the ending in detail. likely intended to end up as a quadruple orchestra name, no conductor, no date, of the other movements include inver- In any case, we do not have the last fugue, was clearly meant to be the last no recording venue, no clues. sions, diminutions and augmentations, measures of this movement, and there- section of the overall work. It certainly I had just written of my experience rhythmic variations, and versions with fore we do not have all of The Art of the looks the part. However, we do not know noticing that students and other listeners added passing tones. Fugue. This creates a set of dilemmas for for certain that if he had had several more have a habit of seeking out recordings One question that intrigues me, and performers. Should one simply break off, years, Bach would not have added much online and listening to them without that I will broach here and come back playing all and only those notes that we more. Perhaps this triple (quadruple?) noticing anything about who the per- to in the course of these articles about have, allowing the “ending” to be jarring? fugue would have ended up as a cen- formers are. I presented this as being a The Art of the Fugue, is, why this theme? Or should the performer or performers terpiece rather than a culmination. Or characteristic of the structure of modern One answer could be, why not? After all, play one of the many endings that com- perhaps it was really intended to be a cen- listening technology and a strong and Bach wrote fugues on a large number of posers, scholars, and performers have terpiece even without more movements. well-accepted modern ethos. But it is different subjects and must have impro- composed over the last hundred years or We do not have absolute certainly about interesting to be reminded that it also vised fugues on many, many more. How- so? Or should one look for a nice closing the intended order of the movements, is not a new concept. This Brahms LP, ever, I think that it is worth interrogating cadence as close as possible to where the only very well-informed guesses. monaural as far as I could tell, is an arti- the ways in which this theme in particu- piece currently ends and stop there? The Speaking of performance: we also do fact refl ecting the view that it is perfectly lar might have lent itself to the extended fundamental fact is that none of these not know for certain what Bach’s inten- acceptable to listen to a performance not and varied treatment that constitutes this portrays Bach’s true intentions. tions were for the performing forces that only without noticing who is playing, but long work. The Art of the Fugue theme I have always favored the practice of are brought to bear on this work. The also without having any way to fi nd out. was not, as far as we know, or as far as I ending abruptly. This preserves a certain surviving manuscript sources and the Some of the implications of this would have ever heard, taken from somewhere “purity” of playing only Bach. It also fi rst edition say nothing about what the be fascinating to explore at greater else. (As, for example, the theme of A forces us to confront in the most direct music is “for.” It is all in open score— length, and I will write more about Musical Offering was, or as the themes of way the fact that things do not always four staves for a four-voice piece, three it at some point. When we listen to a all chorale-based pieces are.) Bach wrote go the way we want. That breaking off for a three-voice piece, and so on. There performance, especially when we listen a number of other fugues on themes that is beyond jarring: it can be deeply dis- are no instrument names or any words to the same one repeatedly, what do we are largely based on a minor triad, like tressing and fi lled with anguish. It is an on the pages of music talking about feel about letting that particular way this one. That is true of the subject of ending determined, as endings often are, instrumentation or performance. There of performing the piece shape our way the fugue from the Fantasia and Fugue not by any person but by death itself. is a signifi cant amount of evidence that of defi ning it? Do we think about this in G Minor, BWV 542, and, in an even There is no way to maintain that this this was probably intended to be a work consciously and give the performance more thoroughgoing way, of the stand- troubling breaking off is what Bach for keyboard instruments, though that permission consciously and deliberately alone Fugue in G Minor, BWV 578. The intended. I have had colleagues point is not absolutely certain. And accepting to affect us in certain ways? The history Canzona in D Minor, BWV 588, is based out to me that by playing only and all that, it is less clear whether it was for of this has been more complicated than I on a subject that could in fact qualify as of what we have on the page, we guar- harpsichord or for organ. There is a tan- was remembering when I touched on it a variant of The Art of the Fugue theme antee that we are doing something that talizingly similar amount of suggestive before. That in turn ties in with questions (Example 2). Bach could not possibly have wanted. evidence for each. Another real possibil- of authenticity, which we tend to think of (If that piece were dropped into the And every completion that has been ity is that the piece was intended equally as being about composers, and authority, middle of The Art of the Fugue it would be attempted has been predicated on some for each of those two instruments. which can come from any number of quite possible to justify it, at least as far as analysis of what Bach might have been There was a long tradition of writing places—writings, performances, teach- themes and motifs are concerned, as part planning. Therefore any one of them music that fi ts that profi le, mostly from ers—and which can infl uence us with or of the work. It would seem an interesting has a chance at least of being similar the generations before J. S. Bach. And without our being aware of it. variant that the semitone by which the in concept to what Bach would have there is a great deal about this piece that subject departs from the confi nes of the envisioned. If nothing else, the length suggests that the composer wanted it to Questions concerning Bach’s perfect fi fth is the one going up, whereas of the piece gets closer with each resonate in part as a throwback to those The Art of the Fugue in the original subject it is the one going added measure to wherever it would older generations. For this month’s discussion, I turn to down, and that the two of those outline have ended up if Bach had been able The question of what instrument or Johann Sebastian Bach’s The Art of the the notes that give the minor mode its to fi nish it. And the abrupt breaking instruments to use in playing a piece Fugue, BWV 1080. There are a myriad harmonic fl exibility or instability.) off is replaced by a normal ending. In is crucially relevant to performance, to of issues surrounding this monumental I have heard or read suggestions that between, the further working-out of the put it mildly. And since this series of opus that open windows into our think- this theme or subject is so simple, basic, counterpoint might well be something columns is really about my own efforts ing about authenticity and authority plain, that it is astonishing that Bach like what Bach would have done. That to grapple with The Art of the Fugue in particular, as well as many different could construct a massive edifi ce upon is presumably the goal for those who as a performer, I will return to this in aspects and dimensions of what we do it: that his ability to do so is a particular have written such continuations, and considerable detail. Q as performers, listeners, students, and proof of the power of his genius. I do each person has brought knowledge, teachers. With its length, complexity, not disagree with that conclusion, in that care, and analysis to that project. But it Gavin Black is Director of the Princ- and importance in the arc of the work it took a genius to create this work. is not Bach’s ending, and the piece is no eton Early Keyboard Center in Princ- and career of Bach, crucial questions However, I am not inclined to agree longer just a Bach piece. eton, New Jersey. He can be reached by about the work are unanswered and with the premise. It seems to me that The fi rst published edition, supervised email at [email protected]. perhaps unanswerable. constructing this theme was indeed part by some of Bach’s surviving family and For information on the Princeton Early So, what is The Art of the Fugue? of the genius: that it is specifi cally and colleagues, chose a version of the third Keyboard Center: www.pekc.org. It is a work written by Bach over the purposely designed to carry the weight plan. The printed edition ends with the last decade or so of his life, consisting of all that was developed out of it, and last solid chord, so to speak, before the of many movements—about twenty, but potentially more. I will come back to this spot where the manuscript source breaks that is one of the areas that can be looked later on. off. This is an A-major chord in a piece at a number of different ways—each con- That brings us to one of the most in D-minor and indeed sounds like a structed contrapuntally, some as fugues famous and important things about The dominant. It is a chord, and the rhythmic and some as canons. The movements Art of the Fugue: that it is incomplete. structure of what has preceded it gives are all based to some extent and in some The movement we regard as the fi nal it some solidity. But it does not sound way on a particular theme. The piece was one, while already the longest in the stable, which raises an interesting ques- published shortly after Bach’s death in an piece, breaks off in the middle of a mea- tion about authority. This is the approach engraved edition, and while Bach cer- sure. It is not a neat ending; it is not the apparently sanctioned by those closest to tainly composed the bulk of the music, end of a section—just an abrupt crashing Bach. What authority do we give to that? the work was completed by others. There from music into silence. What do we know or believe about how are also surviving earlier manuscripts of The reason that fugue is incomplete likely it was that they got that idea from some but not all of the work. is that Bach died before he could fi nish J. S. Bach himself?

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

Fire in the steeple by enormous windows. The combina- Writing for a monthly journal is no tion of the soaring fl uted columns and place to be commenting on today’s news. the windows letting sunlight in through A momentous story will develop during acres of stained glass gives an impres- the six weeks between submission and sion of weightlessness to a structure that publication leaving the telling of the weighs thousands of tons. Anyone who event, which seems so fresh and urgent has wandered into a great cathedral and at the moment of writing, little more had their gaze drawn upward deserves a than a heap of yesterday’s news. read through this vivid description of how Today is April 17, 2019. Two days ago, in the world such a thing could be accom- the world watched in horror as Notre- plished when the only available industrial Dame de Paris burned. Dramatic photos power was supplied by mammals. in the hundreds were provided by still David Macaulay’s Cathedral is avail- photographers, television cameras, able through your favorite independent helicopters, and fi re department drones. bookstore, or if you must, amazon.com. We all speculated as to the extent of the damage. One aerial photo convinced me Medieval cathedrals, that the great Cavaillé-Coll organ at the old and new west end of the cathedral was ablaze. Three years ago, Wendy and I had Yesterday we learned with relief that a wonderful trip to Great Britain. She most of the stone fabric of the great attended the London Book Fair for a few church remained intact and that many days while I explored London’s ecclesiasti- priceless artifacts had been whisked out cal buildings and their organs. I also found of the building by heroic fi refi ghters a gobsmacking whole hog roast at Borough forming a bucket brigade. And to the joy Market adjacent to Southwark Cathedral and relief of the world’s community of and had a life-altering sandwich. “Do organists, both organs remained intact. you want crispies on that, mate?” We As of today, it seems that the Choir Organ took the train to Durham, where I had suffered signifi cant water damage but can invited myself for a visit at the workshops be restored. But miraculously, the Great of Harrison and Harrison and where we Organ stood above the fray. It is nestled stayed in a rickety bed and breakfast above between the two towers like a brute in a an ancient pub called the Victoria Inn. I too-tight sport jacket, and it is under a picked up a rental car the next morning pitched roof that is lower than the main (shifting gears with my left hand) and roof that was destroyed. The heat of mentioned where we had stayed to the the fi re, which we might have expected clerk. “Oh, the Old Vic. You take your life would reduce the brilliant instrument to in your hands when you go in there.” a puddle of molten lead, dissipated into A friend from the Harrison & Har- the night air far above the organ. rison workshop gave us a splendid visit Fritts organ for First Lutheran Church, Lorain, Ohio (photo credit: John Bishop) By the time you read this, we may to the organ at Durham Cathedral (why know the cause of the fi re and the have one 16′ Double Open Wood when an electrical fault. Conservative Anglicans complete and playable in the workshop. It actual condition of the building and its you can have two, one on each side of supposed that the fi re was God’s response was poignant to note how far the concept contents. I hope the blame does not get the choir, one of which goes all the way to the recent consecration of David Jen- of the modern American tracker-action pinned on one person. Perhaps the organ down to 32′ low CCCC?), and we drove kins as Bishop of Durham, with whose organ has come in the past fi fty years. and rose windows will have already been to York. This time we stayed at a very policies and philosophies they vehemently Organs built by Paul Fritts are removed to safe storage, and committees swank inn with views of York Minster disagreed. ’Twas ever thus . . . . elegant, expressive, and impressive, and of engineers, historians, and artisans with from our room, and after a ponderous The good news is that the damage was the craftsmanship is impeccable. Com- impressive credentials will have been “Full English Breakfast,” we toured the fully repaired. That triumph of recov- plex joints and multifaceted moldings formed to plan how to spend the billions Minster. Durham Cathedral is really old ery has been cited as a potent example are brilliantly accomplished. Embossed of euros that have accrued. While I am as medieval cathedrals go, built between proving the possibility and feasibility of polished façade pipes gleamed in the late tempted to write lots of detail of what 1093 and 1133, and its stone fabric is returning Notre-Dame de Paris to its afternoon sun. I know or think I know from the safety dense and heavy. I have not done a lot of original condition. The Fritts workshop sports a tantaliz- of New York City, I think I will sit back research, but I assume that it was built ing juxtaposition of modern and ancient and wait with the rest of you to know the before fl ying buttresses were invented, A modern historic organ techniques. A sophisticated CNC situation as of the fi rst of June. because instead of that lacy weight-defy- John Brombaugh installed his Opus 4 (Computer Numeric Control) router the Many of the stories I have read and ing tracery, Durham Cathedral is built in the First Evangelical Lutheran Church size of a small bus lurked in a separate heard have spoken of the integrity of with some of the thickest stonewalls in in Lorain, Ohio, in 1970. Professor of building, exiled along with its specialist the 850-year-old building. The medieval Christendom. Even the windows seem organ at Oberlin David Boe, then in his operator from the peace and tranquility architects and craftsmen who built it load bearing. It holds itself up by sheer twenties, was organist at the church and of the rest of the workshop. It is capable had such foresight and skill. Could they bulk. By contrast York Minster, started had much to do with the creation of that of converting digital drawings into fi n- have imagined that their work would be in 1220 and completed in the full glory remarkable instrument. As one of the fi rst ished wood projects from windlines with robust enough to sustain such an event of the high Gothic, sports huge windows, modern instruments built in the United complex miters to reed boots with com- so far in the future? a magnifi cent vaulted ceiling, and the States using ancient European principles pound tapers. Another room houses the In 1973, David Macaulay published elaborate system of buttresses that help and given its proximity to the teeming centuries-old technology of a melting pot Cathedral (Houghton Miffl in), a delight- such massive buildings seem weightless. community of budding organists at Ober- and casting table, where metal becomes ful romp through the construction of a What a terrifi c place. York is one of lin, that organ caused quite a sensation liquid and is cast into sheets from which fi ctional medieval cathedral told in prose the really big ones, a hundred feet lon- and was revered by countless musicians the parts of organ pipes are cut. Paul and dozens of intricate pen-and-ink draw- ger inside than Durham Cathedral and as a milestone of the art. The Organ His- shared that casting sheets on sand rather ings. It is technically a children’s book—it twenty-fi ve feet higher. Although the sky torical Society awarded the instrument a than cloth or marble produces metal with won the Caldecott Medal that celebrates was overcast during our visit, the build- historic citation, one of the few occasions a crystalline structure that springs to life illustrated books for children—but any ing seemed light and airy inside. The when the OHS has honored a modern under the hands of the voicer like none adult will enjoy and learn from this spir- organ sits high on the screen that sepa- instrument for its historical importance. other. Once the sheets are cast, they ited book. The author introduces you to rates the choir from the nave, command- On August 28, 2014, the church build- are hammered to increase their density the workers who built the cathedral, the ing both the east and west views, and its ing and its contents were destroyed by an and planed smooth. While the casting tools they used, how they gathered the 32′ Diapason, metal this time, stands in arsonist. A new building was completed table is the same technology shown in vast bulk of materials, and the methods of full-length splendor in the ambulatory. It in 2017, and a new organ by Paul Fritts & eighteenth-century prints like those by construction. He describes and draws the is disguised with circular ridges of some Company will be installed later this year. the good monk Dom Bédos, the metal huge wheel, similar to what you would kind of putty and painted to resemble A couple weeks ago, my colleague hammer and drum plane are monster fi nd in a gerbil’s cage but large enough the lofty stone columns. Incredible. Amory Atkins and I were in Seattle install- industrial products of the modern age. for two men to walk inside in an endless There was no sign, no informational ing an organ at the School of Music of the First Lutheran in Lorain has built a loop, coiling the rope that lifts fabulously kiosk, and no trace of the fi re that ravaged University of Washington, and we took new building on a new plot of land. Visit heavy stones hundreds of feet. York Minster in July of 1984. The wood the opportunity of proximity to take a fi eld their website, www.fi rstlutheranlorain. Central to the structure of any Gothic structure of the roof burned in similar trip to Tacoma to visit Paul Fritts’s work- org, to see photos of the new building, cathedral, whether ancient and modern, is fashion to this week’s fi re in Paris. Fire- shop. It was Amory’s birthday, and it was photos, specs, and history of the Brom- the system of fl ying buttresses (repeatedly fi ghters contained the blaze to the tran- fun to have a reunion with friends there baugh organ, and photos of the new called “trusses” by a CNN commentator) sept by intentionally collapsing the roof as we had all worked together on a large Fritts organ. It is a great example of the and vaulted stone ceilings that counteract with tens of thousands of gallons of water. project, a couple years earlier, and Bruce phoenix, rising from the ashes. each other to hold the whole thing up in The investigation that followed suggested Shull (who works there) and his wife Shari an exquisite demonstration of engineered that the fi re was likely caused by a light- were my pals at Oberlin in the 1970s. The death of an old friend balance. That balance is essential to ning strike, but there was at least some We saw the beautiful new instrument for In 1984, I went to work for Anger- allowing the high walls to be perforated chance it was caused either by arson or First Lutheran in Lorain, pretty much stein & Associates in Stoughton,

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

Busch-Reisinger Museum. The chapel was decorated with ornate oak carvings including pews, chancel furnishings, and an elaborate screen, all relocated from a downstairs worship space at Boston University’s Marsh Chapel. For more than thirty years I made maintenance visits to the organ, knowing First Baptist Church, Wakefi eld, Massa- all along that it was the home church of chusetts, 1872 E & G. G. Hook Opus 635 my colleague and friend John Boody, (photo credit: John Bishop) principal at Taylor & Boody Organbuild- ers. John’s grandfather had been pastor of the church. Often during one of those visits, I would send John a photo of the organ just to say hello, and we talked fondly about it whenever we met. The church’s pastor (it was the same guy for front wall facing the street was all that more than thirty years) had a big candy remained. The church’s safe, jam-packed habit, and we knew we could expect him with 150 years of historic documents, fell First Baptist Church, Wakefi eld, to provide little baskets or bags fi t for the through four stories of burning fl oors Massachusetts season. Once I went there to tune during into six feet of water. Both organs were Holy Week and found the pastor sport- incinerated. The E. & G. G. Hook & Massachusetts, where one of my respon- ing a Crucifi xion necktie, complete with Hastings organ, built by some of history’s sibilities was to participate in the fi rm’s First Baptist Church, Wakefi eld, Mas- images of three crosses with an “Elvis on fi nest organbuilders, inspiration for one active organ maintenance business. One sachusetts, after the fi re of October 23, black velvet style” sunset. Hope I never of the fi nest of twentieth-century Ameri- of the organs I visited regularly from the 2018 (photo credit: John Boody) see another like it. can organbuilders, present for more than beginning was the twenty-rank instru- In the evening of Tuesday, October 23, 7,500 Sunday mornings and countless ment built in 1872 by E. & G. G. Hook & “his” Flentrop organ in Harvard Univer- 2018, the spire was struck by lightning, weddings and funerals, 146-years-old and Hastings (Opus 635) for the First Baptist sity’s Busch Hall, formerly known as the and the building burned. A portion of the still going strong . . . gone. Q Church of Wakefi eld, Massachusetts. Three years after I joined Angerstein & Associates, the owner Dan Angerstein closed the business to accept the position of tonal director at M. P. Möller. That DISCOVEDISCOVER R turned out to be a short-term appoint- ment as Möller closed its doors a few years later, but it was a great opportunity 21st CENTURY for me to take on Dan’s maintenance 21st CENTURY contracts and start my own company. ORGAN BUILDING About three years after that, I moved the Bishop Organ Company into a sunny ORGANIN NORTH BUILDI AMERICA NG building in an industrial neighborhood in Wakefi eld, just blocks from the Baptist Church. There is a two-mile-long lake right in the center of town, and one of my IN NORTHORTH AAMERICAMER employees had grown up in the little sail- ing club on its western shore. It did not take long for me to get involved there, to buy a boat from him, and start my sailing career in earnest. I helped start a junior sailing program, teaching children how to sail; my son Michael became an earnest competitor in the club’s weekly races, and I was elected commodore. Michael and I BUILDER MEMBERS: SUPPLIER MEMBERS: share the passion for sailing today thanks to our years in Wakefi eld. Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. I enjoyed the proximity of the work- Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources shop to the Baptist Church and occa- Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products sionally went there to practice, just for Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems the pleasure of playing on that beautiful Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation historic organ. Along the way, the leather Casavant Frères Patrick J. Murphy & Associates gussets and canvas hinges on the huge Dobson Pipe Organ Builders Parsons Pipe Organ Builders double-rise reservoir failed, and my crew Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. and I removed the wildly heavy assembly C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. to the workshop, including two feeder Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders bellows, stripped off all the old material, A. Thompson-Allen and restored it to original reliable work- Garland Pipe Organs, Inc. ing condition. The First Baptist Church fi t the stereotype of the quintessential New England Protestant church. Its soaring spire dominated the landscape of the APOBA provides a simple way for you to take town, and its grand 800-seat sanctuary advantage of the expertise of the top people in was as large a room as one might imag- ine being built with a wood frame and no WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of supporting columns inside. The way the several generations who have preceded them. structure of the building worked was that the ceiling and walls were suspended by the steeply pitched superstructure that Call today for APOBA’s Pipe Organ supported the roof, another ingenious 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV approach to building large structures that defy their own weight. There was a second pipe organ in the chapel downstairs, a one-manual tracker 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ built in the 1970s by the Andover Organ our short video at: US Company, just like the instrument that ZZZDSREDFRPYLGHR 800-473-5270 had been owned by Daniel Pinkham and DSREDFRP used in his famous recording of Antonio Soler’s concertos for two organs. The other organist on that recording was the brilliant E. Power Biggs playing

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 15 Interview

An interview with Olivier Latry At the Three Choirs Festival, Hereford Olivier Latry at the console of the organ of Notre-Dame Cathedral, Paris, France Cathedral, England (photo credit: Deyan Parouchev) Let me say fi rst why I went to Litaize own, which was very good. In some ways By Lorraine S. Brugh because it is important. I grew up in Bou- he taught me many things. logne-sur-Mer, in the north of France. I I remember some very nice teaching The Three Choirs Festival celebrated its I am curious about your recital. Is began to study the organ in 1974. on the Franck Second Choral. It was just 300th anniversary in 2015. With a brief this the fi rst time you played at the The year after, a new organ had just wonderful. The French Classical litera- hiatus during each world war, this is the Three Choirs Festival? been built for the cathedral there, a very ture was also very nice. Then we became longest-running non-competitive classical No, I was here fi fteen years ago for the nice instrument by Schwenkedel in the closer. The second year I went to Paris. music festival in the world. The festival is festival, so this is my second time. I have German style. There were a lot of con- I lived with a friend of Litaize who had so named for the three cathedral choirs of played recitals on all three of the cathedral certs there at that time. an organ in his home. Litaize didn’t want Gloucester, Worcester, and Hereford. For organs, but only once before at the festival. We heard all the great organists. to go back home during his two days of more information, see Lorraine Brugh’s Pierre Cochereau came to play, Philippe teaching in Paris, so he also stayed in that article on the 2018 festival at Hereford Your program tomorrow includes Lefebvre, Litaize. Among them it was home. He spent all evening speaking Cathedral in the February issue of The the Franck Choral in B Minor, a Litaize who impressed me the most. He about music, listening to music, which Diapason, pages 20–21. The festival favorite of mine. had a way of playing the organ that was for me was very nice. I heard a lot of sto- included a recital by Olivier Latry on the Yes, it works very well on this organ. viril. (He looks up the word in a French ries from the 1930s; it was great, great, cathedral organ. dictionary.) In English it is virile, manly. great. He was also very nice to all of his This interview took place in the I’m curious about the Debussy tran- (Latry makes a growl like a lion.) students. He arranged concerts for his Hereford Cathedral gardens after scription. How did that become an I was so impressed because the organ students, and he set up invitations for us Latry’s early morning practice time. His organ piece? It is your transcription? sounded like I hadn’t heard it before. We to play recitals. The fi rst concert I gave program for July 31, 2018, included: The piece was originally transcribed for knew that the organ wasn’t the master, in Holland was because of him. He just Prelude and Fugue in E-fl at, BWV 552, the organ by Alexandre Cellier, a contem- he was the master. He played his own gave my name, and that was it. The same Johann Sebastian Bach; Choral No. 2 in porary of Debussy’s. In fact it was normal music, Franck on this German instru- thing happened in Germany, and that B Minor, César Franck; Clair de lune, at that time, when a piece was composed, ment, the Prelude and Fugue in D Major was very funny. Claude Debussy, transcribed Alexandre to make transcriptions of these new works by Bach, and Clérambault. It was really He said he had accepted an invitation Cellier; Prelude and Fugue in G Minor, to other instruments. It helped the pub- great. Then I decided I wanted to study to play in the cathedral in Regensburg, opus 7, number 3, Marcel Dupré; Post- lisher to sell more copies of the music. with that man at the Academy of Saint- but he didn’t want to go there. He said to lude pour l’offi ce des Complies, Jehan Many publishers did that. There are other Maur. He was very nervous, much like me, “Here is my program. You practice Alain; Evocation, Thierry Escaich; Debussy pieces that were published that his playing in fact. Never relaxing, always my program, and three weeks before the improvisation on a submitted theme. way. Vierne did the same thing with Rach- speaking with a very big voice as well. He concert I will tell the people that I am ill maninov. With transcriptions we often was impressive. and I can’t go there. Then I will give your Lorraine Brugh: I came in this have to adjust the music. I don’t think it’s For my fi rst lesson at the Academy of name, and you will play it.” morning to hear you practice a bit. a problem to transcribe a transcription, Saint-Maur, I was 16 and went on the It sounded wonderful. Is the organ since it was already on the way toward that. train with my parents. He was not there Can we talk about Notre-Dame? You tuned above 440? that day. He had me play for his assistant. became one of the titulars early in Olivier Latry: Yes, a bit. It is always I’d like to hear about Gaston Litaize Then the next day he called me and said your life. Can you speak about how the case in summer when the tempera- as a teacher, and the way you have gruffl y, “I heard that you are very good. the position is for you? ture is high. followed him in his footsteps. We will meet next week, and you can It’s just the center of my life (laughs) play for me.” although I am not there very often. The So I went there, and he asked me to three of us titular organists rotate, play- prepare the fi rst movement of the [Bach] ing once every three weeks. fi rst trio sonata. I said OK, but I thought it wasn’t enough. He didn’t know any- I see that you are on to play this thing about me so I prepared the whole weekend. — 38 ranks trio, and then I also played the Bach Yes. We make the schedule at least B-minor Prelude and Fugue. three or four years in advance; we are cur- He fi rst gave me a musicianship test, rently scheduled until 2022, so we know tuscaloosa, alabama tuscaloosa,

to see what I could hear, what kinds of when we are free. If we need to be away, it opus 132 chords he played. It wasn’t a problem to is no problem to switch with a colleague. do that, it was almost like a game! Then, Notre-Dame is the center of my life during the Bach, he made me play an for several reasons. First, as you said, I articulation I didn’t like. I didn’t know began there early in my life, and it was what to say. I wondered if I should say quite unexpected.

Chri Episcopal Church Chri Episcopal I don’t like that, or just say yes. I said, “I don’t really like that. Would it be possible Wasn’t it a competition for that to do something else?” He said gruffl y, position? “Ah, very good! Yes, of course, you can No, there was not a competition do that.” He was so happy because I had for that position. When Cochereau my own way. died, Jean-Jacques Grunenwald at St. follow Sulpice died almost a half year before us on facebook! That was taking a risk. Cochereau, so that meant that both big Of course, especially since it was the instruments had a vacancy for the titular fi rst time I played for him. From that day, organist at about the same time. really, it was very nice, because Litaize Cardinal Lustiger, the Archbishop of could teach his students at different lev- Paris, made a rule for hiring the organists els. For those who didn’t know anything for the entire Archdiocese of Paris. We 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA or have their own musical personality, he young organists all competed for that, to t 800 625-7473 [email protected] would say, “No, do it like this . . . that,” create a list for the Archdiocese of Paris. Visit our website at www.letourneauorgans.com making everything very precise. When This is what the competition was for. I just someone had enough of their own ideas, applied, and was thinking, because I was then he said they could do it on their the second assistant to François-Henri

16 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM It is my training. I don’t have a pho- Bouvard and I are never in agreement Not bad at all! tographic memory; that is actually my about interpretation. Often we have Each student will play once on their weakest kind of memory. Even so, visual a student for one year, and then we weekly concert there in the French memory would be the last kind I would switch, but it can be less, sometimes Classic tradition. For that they have fi ve use. When I see someone just use their months or even one lesson. In fact, hours of rehearsal on the castle organ. visual memory it makes me nervous. I when they have the same piece with The castle is closed, and they have the would use more tactile memory. both teachers it is very funny because I keys to the castle in their pocket. Can might say, “Why do you do it like this?” you imagine having that as a student? We call that muscle memory. and “It’s not right, you should do it like The best is always intellectual mem- this.” And the same goes for Bouvard. It’s like heaven! Olivier Latry (photo credit: Deyan Parouchev) ory. I’ll come back to that. The student wonders what they should Yes, I think that too. This is one of When I began at Notre-Dame it was do. It can be disturbing for the student the things that we do. We also have an Houbart at La Madeleine, that perhaps diffi cult because I was not ready for that in the beginning because they have to exchange with the concert hall in Sap- there might be another opening there. I kind of exposure to the public. When I fi nd their way, their own way. The only poro, Japan. We send a student there played some of the Masses there, and I played a concert before, perhaps forty time we ask them to do something really every year. They do teaching, playing thought François might move to Notre- a year or so, I had between eighty and as we want is when we both agree. Then concerts in the concert hall. Dame. He was one of the best organists two hundred people at a concert. Then, they better do that. We have an exchange with the Catho- in Paris. He fi rst applied and then pulled from one day to the next, it was never It is very effective because we are lic Cathedral in New Orleans, Louisiana. out. He felt it was better for him to stay less than two hundred, and usually more. friends, and don’t always agree, but we We send a student there the fi rst Sunday at La Madeleine than to be one of four And why? I don’t play better or worse never fi ght, even over these twenty-three in Advent, and they are in residence until organists at Notre-Dame. than yesterday, so why is it like this now? years. It is also a good thing for the stu- the Sunday after Easter. They are play- In fact, I didn’t know that, but I sus- That is the fi rst point. dents to see that we can disagree about ing for the choir there, also for Masses. pected that many of the fi nest organists The second point is that I discovered some things. It is also good for the gen- would apply for Notre-Dame, and that that people can be very tough. Many eral idea of the organ world. It is not that So they’re there for Mardi Gras. would create vacancies in other parishes. critics I had for a recording I made early we are only critical of one another. In That’s rather dangerous. But a few weeks before the competition, attacked me for no reason. Just because I fact since we have made these changes (Laughter) I just got a letter saying I was chosen for was there at Notre-Dame, I was the tar- at the Conservatoire, other areas, the The Conservatoire makes the arrange- the competition for Notre-Dame. I was get. That was really diffi cult for the fi rst oboes, for example, have started sharing ments for this, but it is our decision to surprised and wondered why. I think it two years, and then afterwards I was OK, students. The best would be when the have this kind of exchange. We could just was because I had already been a fi nalist I just said, ‘let’s go.’ Before that I was pianists will share students, but, for that, give our lessons, and that would be it. twice for the Chartres competition, so I on my way to resigning. Some friends we will probably have to wait another That is all that is required. We feel that was already known by some of the organ had said to me if I didn’t feel comfort- hundred years. it is so important for the students that we world. In addition there was a scandal able there, if I needed to protect myself It is nice because Bouvard and I have want them to have these experiences. related to the second competition. In more, perhaps I shouldn’t stay there. the same goal with the music but we We also have now at Versailles a fact I was more known for not winning These were not organists who wanted to always take it in different ways. We have student in residence for a year there, the prize than had I won the prize. Many be there, they were just friends. Then I a lot of discussion; we write and call each and also at Notre-Dame. They play for people as well as the newspapers were on realized that I am an organist at Notre- other fi ve or six times a week and discuss the choir and other things. It would be my side. They all reported that I didn’t win Dame. I can’t leave it now. So I just and argue about musical points. We have like an organ scholar in the UK. They the prize, so everyone was talking about it. changed my mind, and that was that. It long discussions. might accompany the choir, work with was very hard. singers, do improvisations in the Mass, That’s a good way to get famous if it That’s nice for the students, too, that maybe play for Mass on the choir organ, works. Can we talk about your teach- they can see you dealing with each anything that the professional organist In fact, it was normal, well, not normal, ing and how much you do at the other in mutual respect. would do. but at least it happened many times in Conservatoire? Yes, I agree. Especially in Paris, where At the Conservatoire we are trying to those years that competitions were con- In fact, I started at Rheims, and then there are so many instruments and that expand the students’ repertoire for the tested. The Rostropovich competition, Saint Maur where I succeeded Litaize, long tradition of fi ne organists, it is master’s students. They have to play fi fty the Besançon conductors’ competition, and remained there for fi ve years. Then I important for the students to see and minutes of ‘virtuoso’ music the fi rst year. which happened at exactly the same time, was approached by the Conservatoire in hear as many of the Parisian organists as This is music of their choice and proof also the Chopin Competition, where 1995. It was very funny because before possible, to meet them, hear their impro- that they can handle that. Then they play Martha Argerich left the jury, because that, I was assistant to Michel Chapuis. visations, like Thierry Escaich, as I did twenty minutes of music on the German Ivo Pogorelich was kicked out. When he was retiring, the director of the when I was a student. I went to Notre- Baroque organ, twenty minutes on the Conservatoire asked if I would like to be Dame, to Madeleine, to Trinité. We historical Italian organ from 1702 at the Was it politics? one of the teachers. He wanted to divide encourage them to do that, too. Beyond Conservatoire, then twenty minutes of We never know. I was also known the organ class in three different ways. that, though, we set up some exchange French Classic music on the Versailles by the clergy because I was teaching at One teacher would teach ancient music, for the students to perform concerts, or organ, to see how they react to different the Catholic Institute of Paris, so that’s i.e., the music up to Bach; another would to be an organist-in-residence. We have repertoire. Then for the master’s degree probably why I went on the list for teach Bach and after, including contem- an exchange at the castle in Versailles. program they can choose the organ they Notre-Dame. porary music; the third position would Not bad, eh? want to play in Paris. They could say I was so sure that I would not be be for improvisation. He wanted me to chosen that I was totally relaxed. I just be the teacher for Bach and contempo- played. I almost never improvised at that rary music. time. The fi rst time I improvised three I said I wasn’t sure I wanted some- hours in a row in my life was at Notre- thing like this because I like to teach Dame for the rehearsal for the competi- every style of music. I don’t think it’s tion. It was very funny. And it worked! good to have some sort of specialization like that. One really needs to have a Evidently! That’s a good way to enter general approach to literature. He said something, though, when you don’t that it was my choice, but think about think you have a chance. it, and that if I didn’t want to do that, it It was not diffi cult afterwards, because was my decision. I was quite depressed I was ready technically, but I was only about this and called my good friend twenty-three. I had a lot of repertoire, Michel Bouvard. I said I had to tell him but I wasn’t fully mature. With Litaize I something, I was just asked to teach at played at least thirty to forty minutes of the Conservatoire de Paris, and he let new music every week. I just wanted to me speak. spend my time learning repertoire. Bouvard told me that he agreed with my approach not to specialize, and he Did he require that? said what he liked in music is what is No, I just wanted to spend my time common in all music. He let me speak learning repertoire. I could learn pretty for ten minutes, and then he said that fast. It is how I was trained. If you are the director had called him also. I didn’t trained to learn fast, you can learn even know that! He wanted him to teach the faster. I remember, once on a Monday I early music part, and he would refuse started the Diptyque by Messiaen, and I because he didn’t want to do that. So we spent nine hours that day, and I played both refused. Then, fi nally, we decided it the next day for a lesson. I couldn’t do to have an organ class with two teachers MINNESOTA MUSFORUM AT ST. OLAF COLLEGE that now. teaching all the literature. A Musforum Conference | June 13 and 14, 2019 The students can go to either teacher. 3SVXLǻIPH23 Do you think you have some unusual It’s very nice, because it’s a differ- St. Olaf College | kind of memory or is that just how ent approach for the students. It is ȋȨȀȇȬȄȃȋȇȀȒȄȃȄȋ: www.musforum.org you were trained? sometimes diffi cult for them, because

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 17 Interview they’d like to play Vierne, Alain, or Flo- a piece by Gerald Levinson at the 2006 communion between the priest, the rentz at Notre-Dame, or Messiaen at La dedication of a new organ in Philadelphia. choir, and the musicians. We rarely play Trinité, or Franck Three Chorals at St. In Montreal, we fi rst premiered a piece written literature during the ritual action Clothilde, or a Mass by Couperin at St. by Kaija Saariaho, a Finnish composer. in the service. We cannot make the priest Gervais, and we arrange that. This piece was also performed in London wait for two minutes because our chorale and in Los Angeles under the direction of isn’t fi nished. I studied a few lessons with Chapuis Esa-Pekka Salonen. It is important to me one summer in Paris. to have that kind of relation with orches- You time the organ music to the One really needs the instruments to tras and other musicians. I will play the liturgical action? do that. Third Concerto by Thierry Escaich in Yes, so, for that, we usually improvise, Dresden, and then in 2020, I will play the and it is much better. We can improvise And the teacher. He was wonderful. Pascal Dusapin Concerto. in the style of what we heard, in imitation Olivier Latry and Lorraine Brugh (photo Yes, he was. I also had lessons with of a motet by the choir, or the sermon. credit: Gary Brugh) him, together with the musicologist, What is your relationship to the Sometimes the clergy react to what we Jean Saint-Arroman. Jean is still alive, Dresden Philharmonie? do. After a prelude or a sermon, the priest where they are, and ask them to pick up in his eighties. He wrote a dictionary I have a position in residence there might say he heard something from the the music two bars later. for French Classical music from 1651 to for two years, ending in June 2019. This organ and responds in the moment. Then, fi nally I’d like to fi nish by talk- 1789. It is really incredible because so allows us to do things we would never ing about memorization with Litaize. We much information is there. Each time we do otherwise. We will play a concert So the priests assume there is a dia- attended each other’s lessons with him have a question we just call him. Even with the brass ensemble, Phil Blech logue going on with the music? because we were all friends. He didn’t when I would have a fi ght with Mr. Bou- of the Vienna Philharmonic, and they Yes, of course. It works both ways. It require it but we wanted to. We were vard, we could call him up, and he would play wonderfully. We will also perform is not possible to do something against there at the same time. I listened to the settle it! We will have a great project on the same concert at the Musikverein one another. We can do everything. lessons, and it was very nice. When he the music by Raison next term at the in Vienna. Concert halls are important The music isn’t something to just make wanted to make an example to people, Conservatoire, with all the approaches because some people don’t want to go people quiet; it can make them cry or he could play, at the right tempo, the (old fi ngerings, story, religious and politi- into a church. Hearing an organ concert be angry. Usually after the sermon we place in the music he wanted to dem- cal context, fi gured bass, etc.) ending in a concert hall shouldn’t be a problem. do something soft, on the Voix céleste onstrate. It was like he had a fi lm of with two concerts. In Paris we fi ght a lot to have organs in or something similar. However it is not the music going on in his mind, and he the concert halls. I just did a recording a problem to improvise for two minutes could play anywhere he wished. I do that I know one of the things you are of transcriptions on the new organ at the on the full organ, even clusters, if it is with the students, and it is so effective. interested in is new music. Paris Philharmonie. It is an incredible a response to what the priest said. We It is even better with a trio sonata. I ask Well, yes and no. What I love is music organ. The CD Voyages is now available. have never heard a priest comment that the student to play, and then I turn one that is expressive, that brings some- it is too loud. This can only happen with manual off and have them continue. This thing in an emotional way. So it could What would you like to say to Ameri- a kind of relationship that allows every- teaches them that they can go anywhere. be something different for each piece can organists? Most of the readers thing to be open for discussion. of music. For instance, music can be are practicing organists or organ We have an organ that has a lot of They have learned the music deeply. angry. I don’t play music for that only. enthusiasts. possibilities. We have to exploit all Yes. Once you have the music in your (laughs) I think sharing those emotions It is diffi cult to know, but what I would those possibilities rather than follow a head, then it is easy to practice all the is important. It is also sharing in a spiri- say is just hope and try to do our best. We prescribed response just because it’s the time. You don’t need an organ to prac- tual way. Being an artist and an organist, need to convince people that the organ middle of the Mass. The context is not tice. Of course, you have to learn the I think we have that privilege to connect can really add to our life in many ways. I always the same. It is our job to create notes on a piano or organ. Once it’s in the emotional and the spiritual more don’t know how it is in the United States the atmosphere for the service. your head you can practice while you’re than other instruments, even more than with the relation to the clergy, but it can be One of my favorite times is the introit walking, in the shower, sleeping. One a pianist. complicated. I would say, at Notre-Dame, for the 10 a.m. Gregorian Mass. 11:30 is can practice twenty-four hours a day. I like contemporary music that touches I only play the organ. I don’t have any- the polyphonic Mass, which is especially me. I play a lot of this music. Sometimes thing to do with the administration, with for tourists, and the evening Mass is the It’s time we bring this to a close, and I just play it once, some I hope to play anything about running the cathedral. cardinal Mass, most like a parish Mass. I think our readers will be interested many times. The French composers like The organ is high, far away from every- Notre Dame is not a parish, but that is in hearing what you have said today. Thierry Escaich and Jean-Louis Florentz thing. We are there, and if we don’t want when the local people come. From the I appreciate the time you have taken are so emotional. I also play a lot of to see the clergy, we can do that. It is bet- introit of the fi rst Mass we have Gre- today to meet me the day before your music for organ and orchestra. It is a way ter, though, to have a closer relationship. gorian texts and their interpretations. recital. I look forward to hearing to connect the organ to the real world of The musicians go for an aperitif with I read the texts before the improvisa- your recital tomorrow. Best wishes. music. Otherwise the organ is always a the clergy after the Sunday Masses and tion. The texts will be the source for a Thank you very much. Q satellite, only found in a church. we are all together. It is rather funny, ten-minute improvisation. It is like a Those concerti help more people to be because we talk about little details, and symphonic poem. We can bring people Lorraine Brugh is currently resident connected to the organ. I played a new we can banter back and forth. We have to the subject of the day. director of Valparaiso University’s Study piece by Michael Gandolfi for the Bos- mutual respect for each other, which Let’s talk about memorization, Centre in Cambridge, England. She is ton Symphony Orchestra. I performed allows us an easy rapport. It is a sort of because it is so important how to learn professor of music and the Frederick J. to learn. We try to do this with memo- Kruse Organ Fellow at Valparaiso Uni- rization, especially at the Conservatoire, versity, Valparaiso, Indiana. because people are scared. We say that a memory slip is like playing a wrong note. Editor’s note: On Monday, April 15, Don’t be scared if you get lost. If you the world watched as Notre-Dame know how to come back to the music and Cathedral of Paris suffered a cata- learn the technique to do so, you won’t strophic fi re that has damaged much of have a problem. It is also a question of the historic building. Some of the edi- confi dence. If you are confi dent, there is fi ce and its pipe organs have survived in no problem. a state that continues to be assessed for It is like riding a bike. One must know eventual restoration. fi rst how to memorize the technical Mr. Latry recorded a compact disc on way. For me the best way to memorize the cathedral organ in January, the last is to have all the connections together. CD recorded before the fi re. Released Memorization is like a wall. When you by La Dolce Vita, Bach to the Future see a wall, one sees that the stones are features the works of Johann Sebastian never the same size. In fact, the actual Bach. For information, readers may musical notes are one level of the stones. visit: www.ladolcevita.com. The disc is Another level is the harmony, another is also available from www.amazon.com, the fi ngerings, and then the movements, and other resources. the music. All combined makes the big Various news media sources of the wall. Then, if there is one step missing world have reported that numerous you are still OK. If you have too many donations have been made already to holes, then the wall falls down. So it is rebuild the cathedral. However, Mr. important to be sure that everything is Latry has pointed out that a very differ- in place. ent and very real problem exists as the One must know what is the fi ngering 67 employees of the cathedral are now there, without moving the fi ngers. Be without an income. Those who wish to able to copy the music down like it is in make a contribution to the rebuilding the score, to make sure it is the same as of the cathedral and to assist those who www.ruffatti.com the score. What I do for the students, work at the cathedral may visit: https:// because they are so scared, is I say “stop” www.notredamedeparis.fr/participate- while they are playing. I ask if they know in-the-reconstruction-of-the-cathedral/.

18 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM German church musicians Johann Heinrich Buttstett Part 1: His life and work

By Scott Elsholz

he city of Erfurt was, by the middle the composer’s biographer Ernst Ziller. Tof the seventeenth century, the most “Buttstett” is the most common variation important city in the central German found in academic literature, begin- heartland of Thuringia (Figure 1). With ning with Johann Gottfried Walther’s nearly 18,000 residents, Erfurt was the Musikalisches Lexicon (1732), and it is largest city in Thuringia and was the the spelling that was used on the title commercial and cultural capital of the pages of Johann Heinrich’s publications.3 region.1 Following the Thirty Years War Little is known of the early years of and under the electoral archbishopric of Johann Heinrich Buttstett, but we do Mainz, Erfurt became a uniquely ecu- know that he studied for many years menical (i.e., bi-confessional) city, with under Johann Pachelbel, most likely nearly twenty percent of its residents beginning around 1684 (though pos- worshipping as Roman Catholics. With sibly as early as 1678), after successive such cultural and economic prominence outbreaks of the plague in Erfurt had and diversity, Erfurt drew some of the subsided. Pachelbel was organist at best musicians of the day to its churches the Erfurt Predigerkirche (Figure 2), and streets: members of the Bach family considered to be the most prominent (including Johann Ambrosius, father of Protestant church in the entire city Johann Sebastian) were well-regarded (i.e., the Ratskirche), and he gathered as town musicians; Johann Pachelbel around him a large circle of students. In worked, taught, and composed the addition to Buttstett, Pachelbel taught majority of his organ music here for over Johann Christoph Bach (Johann Sebas- twelve years; and, of course, in the previ- tian’s brother), Nikolaus Vetter, and ous century, Martin Luther studied for Johann Valentin Eckelt, among many Figure 1, Erfurt in 1650 six years at the University of Erfurt and others. Pachelbel was considered one became a monk in the Augustinian mon- of the greatest composers and teachers astery. It was in this context that Johann of his generation, and a letter written Heinrich Buttstett spent nearly his entire by the Erfurt authorities in response to life studying and practicing his art. Pachelbel’s request to take his leave in Members of the Buttstett family had 1690 attests to the level of great respect lived for some time in the Erfurt region, and appreciation the city had for this as the name was quite common in city famous musician.4 records at least a century prior to the Upon Pachelbel’s appointment as birth of Johann Heinrich. Primarily tool- court organist in Stuttgart, he was suc- makers and furriers, the Buttstett clan ceeded for one year by Nikolaus Vetter. belonged to the respectable craftsmen Following Vetter’s departure in 1691, class, though the musician Buttstett’s Johann Heinrich Buttstett became the father (also named Johann Heinrich) organist of the Predigerkirche on July deviated from such trades to become a 19 of that same year (Figure 3). Prior to Protestant clergyman. his appointment at the Predigerkirche, Beginning in 1664, the pastor Butt- Buttstett had served as organist at the stett became a prominent clergyman in smaller Reglerkirche from 1684 until Bindersleben, a small village just outside 1687, and then as organist and teacher Erfurt. He apparently also had a fair of Latin at the Kaufmannskirche and amount of knowledge of and love for Kaufmannsschule. The former position pipe organs, as the Bindersleben com- was most likely part of an apprenticeship, munity thanked him for his assistance in while the larger Kaufmannskirche posi- procuring an instrument for the parish.2 tion can be considered his fi rst full-time The musician Buttstett was born on April employment. Interestingly, beginning Figure 2, Erfurt Predigerkirche 25, 1666, and was the eldest of at least May 19, 1690, during his tenure at the three sons and one daughter. The second Kaufmannskirche, Buttstett was already on St. John the Baptist’s Day, 24 June, he other details of this ecumenical service son Georg Christophorus also joined the appointed to the Predigerkirche as a sort was . . . obliged not only to submit to a re- are forthcoming. 5 examination, but also to demonstrate his clergy (succeeding his father upon the of Werkmeister. Similar to Dieterich Bux- vocational progress during the past year Of Buttstett’s personal life, we know latter’s death), while little is known of tehude’s dual roles as organist and Werk- in a half-hour recital at the end of the af- relatively little, but the few facts that are the third son Johann Jakob and daughter meister at the Marienkirche in Lübeck, ternoon service, using the entire resources known are indeed interesting. As he held of the organ ‘in delightful and euphonious Anna Sabina. It is interesting to note that Buttstett was charged with collecting 6 arguably the most prestigious position for all of the sons would have attended the duties and maintaining the church’s harmony.’ a church musician in Erfurt, Buttstett was Ratsgymnasium in Bindersleben under fi nancial books. Upon his appointment as Further, like most of his contem- quickly and easily granted offi cial citizen- the tutelage of David Adlung, whose son organist of the Predigerkirche, Buttstett poraries, Buttstett was required to ship to the city in 1693 and was named Jakob Adlung would eventually succeed remained administrator and continued in maintain all organs and regals. He was Ratsorganist. With citizenship came the the musician Buttstett after the latter’s both roles until his death. responsible for playing two Sunday right of beer ownership and admission to death and who would become an infl u- The prestigious position at the services at 9 a.m. and 2 p.m., in addition a prestigious shooting club, both of which ential music scholar and theorist. Predigerkirche was multifaceted. The to Saturday vespers and high feast days. surely must have brought the composer It should be noted that there exist three details of the position were remark- However, it is clear that Buttstett did not some measure of personal satisfaction. possible spellings of Johann Heinrich’s ably prescribed in Pachelbel’s extant serve as Kantor for the Predigerkirche. Still, in his published works, Buttstett family name. “Buttstedt” is quite com- contract, dated June 19, 1678, and were This role was fi lled by at least four dif- often referred to the large Hauskreutz7 mon, as it is found in contemporaneous restated in the Fundbuch of 1693, begin- ferent musicians during Buttstett’s long he had to bear and endure, perhaps documents, most notably the composer’s ning with the title “Instruction for Mr. tenure in Erfurt. Thus, it is unlikely that referring to a home life frequented by contract at the Erfurt Predigerkirche, Joh. Heinr. Buttstedt as organist of the Buttstett was actively involved in the death. He married Martha Lämmerhirt and was the spelling used by Ernst Lud- Predigerkirche.” musical education of choristers at the (second cousin to Elisabeth Lämmerhirt, wig Gerber in his Lexicon der Tonkün- Predigerkirche, which is perhaps the the mother of Johann Sebastian Bach) on He [Pachelbel] was to precede the sing- stler of 1790. “Buttstädt” was used by the ing of a chorale by the congregation with a reason so few choral works by Buttstett July 12, 1687, at the Erfurt Reglerkirche. musician’s father and also apparently by thematic prelude based on its melody, and are extant. Finally, in his preface to “Ut, Their oldest son Johann Laurentius the composer himself in business corre- he was to accompany the singing through- mi, sol . . .” Buttstett makes reference to was born in 1688, and they had at least spondence bearing his signature (though out the stanzas. The wording makes it clear his work for both Protestant and Catho- six more boys and three girls, though it that he was not to improvise the prelude no handwritten musical manuscripts are but should diligently prepare it before- lic churches in Erfurt, but unfortunately, is assumed that many died quite young extant). This is the spelling preferred by hand. It was also specifi ed that every year other than four extant Latin Masses, no as there is no mention of four of the

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 19 German church musicians

Figure 3, Predigerkirche Schuke organ with 1648 Compenius case Figure 4, Johann Mattheson children beyond their birth records.8 Of would only allow Walther to copy small the remarkable “Tremolo”12 Fugue in his children, his eldest son applied for the portions of the treatise at a time. Not E Minor, are included in the Andreas Predigerkirche position upon his father’s unlike the tale of J. S. Bach’s moonlight Bach Buch and were likely copied by death, though he was clearly outranked manuscript copying, Walther eventually Johann Christoph Bach.13 Of the free by Jakob Adlung. Johann Heinrich’s son bribed one of Buttstett’s sons to steal the works, there also exist fi ve additional Johann Samuel would eventually be the treatise for one night, during which time fugues attributed to Buttstett (two of father of Franz Vollrath Buttstett, who Walther was able to copy it in its entirety.10 which are spurious) and one Prelude would become a fairly successful organist Walther and Kauffmann only studied with and Fugue. Also, as would be expected and composer in the pre-Classical style Buttstett for a short time, and this episode given the contractual requirements of of the mid-eighteenth century.9 Martha perhaps elucidates the reason for such an his position at the Predigerkirche, a far Lämmerhirt Buttstett died in 1711, and abbreviated period of study. greater number of chorale-based works there is no record of Johann Heinrich In his preface to the Musicalische have been preserved. Styles represented Buttstett marrying again. Clavier=Kunst und Vorraths=Kammer,11 included cantus fi rmus chorales, chorale Like his teacher Johann Pachelbel, Buttstett stated that he had over one partitas (including verses reminiscent of Buttstett gathered around himself a large thousand compositions in manuscript J. S. Bach’s famous written-out accom- group of students, the most famous of that would someday be ready for publica- paniment to In dulci jubilo, BWV 729), whom were Johann Gottfried Walther tion. But, perhaps due to circumstances chorale fughettas, ornamented chorales, and Georg Friedrich Kauffmann. Wal- discussed below, after the Clavier=Kunst and fi gured chorales. Buttstett’s chorale- Figure 5, Ut, Mi, Sol . . . . ther includes a fascinating anecdote of of 1713, he would not publish a single based works feature some of his fi nest even in the ecclesiastic or Gregorian tones. Buttstett’s teaching methods in one of his keyboard work, and most of his manu- and most concise writing, and he was The stupidity of the ancients is hardly to be letters to Heinrich Bokemeyer. Appar- script copies are certainly lost. Nev- undeniably infl uenced in his compo- believed, much less excused.14 ently, Buttstett was known for hoarding ertheless, likely due to the number of sitional forms and techniques by his knowledge of musical invention and students who may have copied his works teacher Pachelbel. Throughout his discussion of the keys contrapuntal techniques and required and disseminated them throughout Buttstett’s fame, however, largely rests versus the modes, Mattheson continued his students to pay him twelve Thalers central Germany, many other composi- on a very public and protracted dispute to use such vitriol. Although Mattheson to have access to a treatise on double tions still exist and deserve some men- with the great theorist and writer Johann saw a place for the retention of the church counterpoint in Buttstett’s library. Upon tion. Two free works, the Praeludium in Mattheson (Figure 4). In 1713, Mat- modes, namely in sacred music, he a down payment of six Thalers, Buttstett G Major from the Clavier=Kunst and theson published the fi rst of a series of considered them to be completely inap- writings on music theory, aesthetics, propriate for contemporary composition. Confident pedal work rhetoric, history, and other varied topics, Mattheson’s work inspired much namely Das neu-eröffnete Orchestre. derision among conservative musicians, comes with practice and This three-part treatise, respectively with the greatest critic being Johann dealing with musical nomenclature, Heinrich Buttstett. In ca. 1715, Buttstett the right shoes compositional rules, and musical criti- published his complete repudiation of cism, was one of the fi rst to present the Mattheson’s theories in Ut, mi, sol, re, on the twenty-four major and minor keys as the fa, la, tota musica et harmonia aeterna basis for all contemporary musical com- (Figure 5). On his ornately decorated pedals position. He derided previous authors, frontispiece (ironically with symbolic in particular Athanasius Kircher and his representations of major and minor tri- 15 x Men’s & Women’s Organ Shoes Musurgia universalis (1650), for their ads ), Buttstett states, adherence to the ancient church modes with suede soles and heels Ut, mi, sol, re, fa, la, the totality of music in their writings, arguing that they often and eternal harmony, or newly published, x Whole & Half ignored actual compositional practice old, true, sole, and eternal Foundation in their analyses. For instance, about of Music, opposed to the Neu-eröffnete Sizes in 3 Widths Kircher’s apparent omission of C minor, Orchestre, and divided into two parts, in Quick & Easy which, and to be sure in the fi rst part, the x he states: erroneous opinions of the author of the Returns Orchestre with respect to tones or modes It would be no idle curiosity to investi- in music are refuted. In the second part, gate whether it was by crass error or by a OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET however, the true foundation of music is most profound ignorance that this most at- shown; Guidonian solmization is not only 44 Montague City Rd Email: [email protected] tractive key merited a place neither in the defended, but also shown to be of special Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes authentic, plagal, or transposed modes, nor use in the introduction of a fugal answer;

20 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM lastly, it will also be maintained that some- religious personality, a human being who hann Heinrich Buttstädt (Berlin: Buchand- ace of the Clavierkunst) for compound words day everyone will make music in heaven lived for his music until the end of his lung des Waisenhauses G.m.b.H, 1935). Re- in titles, common from the sixteenth to early with the same [solmization] syllables that print, Beiträge zur Musikforschung, ed. Max twentieth centuries. 16 days. Music was his life’s purpose and his Schneider, no. 3. (Hildesheim: Georg Olms are used here on earth. 23 12. Dietrich Bartel, Musica Poetica: Mu- calling from God.” Q Verlag, 1971), 5. sical-Rhetorical Figures in German Baroque 3. Further, his grandson, the composer Music (Lincoln: University of Nebraska Press, Essentially, Buttstett called for the To be continued. Franz Vollrath, used this spelling. 1997), 427. return of compositional practices of 4. Suzy Schwenkedel, La tablature de Wei- 13. Christoph Bach and Buttstett both mar: Johann Pachelbel et son école (Arras: As- likely studied with Pachelbel concurrently. the fi fteenth century. He accepted Scott Elsholz is director of music for sociation Nationale de formation des organ- 14. Johann Mattheson, Das neu-eröffnete the modes as the true basis of music Saint Brigid Catholic Church, Memphis, ists liturgiques, 1993), 13. Orchestre (Hamburg: Schiller, 1713), 245, composition and defended the use of Tennessee. He received his Doctor of 5. A Werkmeister was responsible for man- quoted in Joel Lester, Between Modes and aging the church’s fi nancial accounts and is Keys: German Theory, 1592–1802, Harmono- hexachordal mutation using Guido Music degree in organ performance/lit- roughly equivalent to a modern-day book- d’Arezzo’s system of solmization. Fur- erature from the Jacobs School of Music, logia, 3 (Stuyvesant: Pendragon, 1989), 116–7. keeper. 15. Walter Blackenburg, “Zum Titelbild ther, he argued that Mattheson’s so- Indiana University, Bloomington, where 6. Ewald V. Nolte and John Butt, “Pachel- von Johann Heinrich Buttstedts Schrift UT- called keys were merely transpositions he was an associate instructor in church bel, Johann,” The New Grove Dictionary of MI-SOL-RE-FA-LA, tota Musica et Harmo- of only two modes, and that the sole music, and he received his Bachelor Music Online, ed. Laura Macy, http://www. nia Aeterna (1716).” In Heinrich Sievers zum oxfordmusiconline.com (accessed February 70. Geburtstag, ed. Günter Katzenberger differentiation of modes was based on of Music and Master of Arts degrees in 18, 2012). 17 (Tutzing: Hans Schneider, 1978), 23. the placement of the semitone mi-fa. organ performance from Eastern Michi- 7. Literally translated “House cross.” Exact 16. Lester, 119. Buttstett also argues against Mattheson’s gan University, Ypsilanti, where he later meaning unclear but the speculation by Ziller 17. Lester, 120. tri-partite classifi cation of musical style served as an adjunct instructor of organ. is plausible. 8. Ziller, 12. 18. Paul Collins, The Stylus Phantasticus (e.g., Stylo Ecclesiastico, Stylo Theatrali, He previously served as music director and Free Keyboard Music of the North Ger- 9. George J. Buelow, “Buttstett, Franz man Baroque (London: Ashgate, 2005), 24. and Stylo Camerae), favoring Kircher’s at the Church of the Nativity, Bartlett, Vollrath,” The New Grove Dictionary of 19. Yearsley, 215. rather cumbersome nine-part classifi ca- Tennessee; Saint Mary’s Episcopal Music Online, ed. Laura Macy, http://www. 18 oxfordmusiconline.com (accessed February 20. George J. Buelow, “Buttstett, Johann tion, and he derides composers who Cathedral, Memphis; and Saint John’s 24, 2012). Heinrich,” The New Grove Dictionary of favor profi table “popular and acces- Episcopal Church, Plymouth, Michigan. 10. David Yearsley, “Alchemy and Coun- Music Online, ed. Laura Macy, http://www. sible music” over the more intellectually terpoint in an Age of Reason,” Journal of the oxfordmusiconline.com (accessed February 24, 2012). demanding counterpoint.19 As George Notes American Musicological Society, 51:2 (Sum- 21. Lester, 121. Buelow succinctly states, “In sum, he 1. Christoph Wolff, Johann Sebastian mer 1998), 214. Bach: The Learned Musician (New York: 11. The “=” in the title was a convention 22. Buelow, “Buttstett, Johann Heinrich.” [Buttstett] believed that Mattheson was W. W. Norton & Co., Inc., 2000), 15. of the German Fraktur typeface (the typo- 23. Ziller, trans. Elke Kramer, adapt. Scott leading musicians to chaos by abandon- 2. Ernst Ziller, Der Erfurter Organist Jo- graphic style used for the title page and pref- Elsholz, 22. ing the rules of music which had been valid for more than 100 years.”20 Mattheson responded to Buttstett in 1717 with Das beschützte Orchestre, a “merciless satire of Buttstett’s opus.”21 The frontispiece depicts a tombstone for Guido d’Arezzo and the subtitle is a play on Buttstett’s own title: “Ut, Mi, Sol, Re, Fa, La—Todte [i.e., dead] (nicht Tota) Musica.” Citing Buttstett’s insistence on only one true semitone, Mattheson points out that Buttstett also mentions that there are simultaneously two and twelve semitones per octave, thus lead- ing Mattheson to ask how there can all at once be one, two, and twelve of some- thing. He goes on to accuse Buttstett of taking previous authors out of context and fi nally solicits the opinions of other leading musicians and scholars on the matter, most of whom take Mattheson’s side of the debate (the most notable exception being Johann Joseph Fux). While Buttstett responded yet again in 1718, he was no match for the witty and intellectually superior Mattheson. Buttstett’s arguments were the last gasp of conservative German music theory, prominent especially among organists, in a battle that had been clearly won by a new theoretical and more cosmopolitan approach toward music composition.22 Following this debate, it is plausible that, in defeat, Buttstett had given up on his dream of publishing a multi-volume series of keyboard compositions. The only publication that remained to come from his pen was his Opera prima sacra of 1720, the aforementioned four Latin Masses. Thus, the ambitious project that had begun with the Musicalische Clavier=Kunst und Vorraths=Kammer was abandoned, and the vast majority of Buttstett’s keyboard music is likely forever lost. One can only imagine what life was like for the aging Buttstett in his twilight years. Perhaps he was contented to continue his work as the Erfurt Ratsorganist. After all, Erfurt remained an important Thuringian city, and there is no indication that Butt- stett was unable to perform his duties until his death on December 1, 1727. At least two of his sons outlived him, and it is likely he continued to teach and serve as a mentor to the next generation of organ- ists. Still, after his death, Buttstett was largely forgotten. But even so, it is clear that, as his biographer Ernst Ziller states, “Buttstädt was a true Thuringian musi- cian, very closely connected to his home town and its musical traditions, a deeply

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

Orgues Létourneau, Saint-Hyacinthe, Québec Christ Episcopal Church, Tuscaloosa, Alabama

From the Builder It is unusual for an organbuilder to fi nish two instruments for churches a few blocks apart within two calendar years. Nonetheless, this is what hap- pened in Tuscaloosa, Alabama, and we consider ourselves fortunate to say so. The fi rst of these was our Opus 129 for First Presbyterian Church, which we completed in January 2016 (see the May 2017 issue of The Diapason for more details). This 75-rank instrument’s warmth and array of color piqued the interest of the organ committee at the nearby Christ Episcopal Church. Led by Mr. Wilson Green, this committee was already studying what to do with the church’s ailing pipe organ. Having been serially rebuilt without success, its indifferent placement in Christ Church’s organ chamber was its biggest challenge. The instrument’s mono- chromatic tonal scheme and obsolete windchests were contributing factors in the decision to start from scratch and commission an all-new pipe organ. A view of the chancel and the new Létourneau pipe organ from Christ Church’s nave (photo credit: Barbara Steimle) An organ chamber like that at Christ Church does require a change in mind- set from, say, a freestanding instrument like Opus 129. Here, there is a wide fl oor-to-ceiling opening across the chan- cel’s south sidewall into the chamber. A smaller arch-shaped opening on the chamber’s west wall leads to the nave. The chamber’s wooden roof slopes downward moving west (away from the chancel), which dictated some aspects of the organ’s layout, but the side and back walls in brick do refl ect sound out of the chamber nicely. The chancel façade as seen from the Christ Church’s organ committee was console opposite unambiguous; they wanted an instru- ment that would excel in accompanying The Swell forms the core of the the Episcopal liturgy. This fi t, in many instrument with foundations includ- ways, with the organ’s placement in a ing a pungent 8′ Viole de gambe, a chamber. The emphasis here would be matching 8′ Voix Celeste, a gentle 16′ a profusion of smooth foundation color, Lieblich, and a velvety 8′ Dolce Flute elegant solo voices, and choruses in all and Celeste combination. Building on families of organ tone, all backed by this is a solitary 4′ stop, the Gemshorn; exceptional dynamic control. The organ’s its scale transitions from a principal-like repertoire was kept in mind of course, bass for defi nition towards a fl uty treble The three-manual console but this instrument’s raison d’être was to blend with the mutations. A refi ned 8′ always going to be the choral anthems of Hautboy with capped resonators can add grand reed chorus that begins, crucially, to the Great with additional foundation Howells, Parry, and Stanford. a reedy tang to this ensemble or sing as with a full-length 16′ Double Trumpet stops and distinctive solo voices. The 8′ Carefully studying the chamber, we a mezzo solo voice. One dynamic higher through an 8′ Cornopean to a 4′ Clarion. Flûte harmonique isn’t a thoroughgoing determined there was enough space for is the Swell’s 8′ cornet décomposé, whose On fi ve inches of wind pressure, these solo stop so much as it is a building block a three-manual instrument; two of the wide-scaled tapered ranks fuse together stops feature thick spotted metal resona- in a traditional fonds ensemble when cou- three manual divisions would be under richly. With choral accompaniment in tors, harmonic trebles, and Willis-style pled to the Great. Building on this 8′, the expression at the back of the chamber, mind, the Swell’s III–V Full Mixture is shallots. This powerful, golden-toned vibrant 4′ and 2′ harmonic fl utes provide with space to spare in front for lean harmonic in composition, meaning its chorus can also be transferred as a group a lighter chorus to their equivalent Great Great and Pedal divisions. Working with uppermost pitch is constant through from the Swell to the other divisions via combination. The 8′ Geigen brings a keen the church’s then-organist and assistant most of the compass while the fourth stopknobs to facilitate dynamic effects. edge to the fonds, while its 16′ extension director of music, Tyler Canonico, Opus and fi fth ranks add lower pitches to fi ll The second expressive division, the provides depth and richness without get- 132’s stoplist soon took shape. in the chorus. The Swell is crowned by a Choir-Solo, is something of a partner ting muddy. The 16′ Geigen’s clean pitch

Orgues Létourneau Opus 132

GREAT – Manual II SWELL (expressive) CHOIR-SOLO (expressive) PEDAL – 110 mm w.p. 80 mm wind pressure Manual III – 85 mm w.p. Manual I – 125 mm w.p. 32′ Resultant (derived) 16′ Contra Geigen (Ch) 16′ Lieblich Gedackt 73 pipes 16′ Contra Geigen 73 pipes 16′ Contrabass 32 pipes 8′ Open Diapason (façade) 61 pipes 8′ Viole de Gambe 61 pipes 8′ Flûte harmonique 61 pipes 16′ Bourdon 32 pipes 8′ Geigen (Ch) 8′ Voix Celeste (G8) 54 pipes 8′ Geigen (ext) 16′ Geigen (Ch) 8′ Chimney Flute 61 pipes 8′ Lieblich Gedackt (ext) 8′ Unda maris (G8) 54 pipes 16′ Lieblich Gedackt (Sw) 4′ Principal 61 pipes 8′ Dolce Flute 61 pipes 4′ Flûte octaviante 61 pipes 8′ Principal (façade) 32 pipes 2′ Fifteenth 61 pipes 8′ Flute Celeste (C13) 49 pipes 2′ Octavin 61 pipes 8′ Lieblich Gedackt (Sw) 1 1⁄3′ Mixture IV 244 pipes 4′ Gemshorn 61 pipes 8′ Clarinet 61 pipes 4′ Choral Bass (85mm) 32 pipes 2 Tremulant 2⁄3′ Nazard 61 pipes Tremulant 16′ Contra Tuba (ext, Ch) 12 pipes 8′ French Horn (Ch) 2′ Flageolet 61 pipes 8′ French Horn (c13–f42)§ 30 pipes 8′ Tuba (Ch) 3 ′ 8′ Tuba (Ch) 1⁄5′ Tierce 61 pipes 8 Tuba§ 66 pipes Swell Reeds on Pedal Swell Reeds on Great 2′ Full Mixture III–V 259 pipes Swell Reeds on Choir Great 16–Unison Off–Great 4 8′ Hautboy 61 pipes Choir 16–Unison Off–Choir 4 All usual sub, unison, and octave inter-man- Chimes (Ch) Tremulant Chimes (37 notes)† ual couplers plus Great to Choir, Choir to Cymbelstern (8 tuned bells) 16′ Double Trumpet* 61 pipes Harp (61 notes)† Swell, and a GR-CH Manual Transfer. 8′ Cornopean* 66 pipes Glockenspiel (37 notes)† 6 divisional pistons for each division and 12 4′ Clarion* 78 pipes § 325 mm wind pressure General pistons with a General piston se- Swell 16–Unison Off–Swell 4 † Walker Technical Company quencer. * 125 mm wind pressure Console prepared for the future installation of a 5-stop Antiphonal division.

22 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM poplar, is dynamically a notch lower with curious to see what Létourneau is doing a correspondingly unobtrusive tone. these days, Tuscaloosa is a destination Larger in scale than the Great 8′ Open, well worth visiting. the 8′ Principal was also voiced with slots To conclude, we are grateful to Christ and on higher wind pressure; it has a Church for having given us the opportu- bold, driven sound that fi ts with the Con- nity to build Opus 132; we expect their trabass to give the pedal line a great deal new Létourneau will serve their church of weight. Comparatively, the 4′ Choral and the Tuscaloosa community faithfully Bass is less powerful with a sweeter, more for several future generations. Our work transparent sound in cantus fi rmus roles. has given us the opportunity to come to When the contract was signed for the know several fi ne people as well. We have new instrument, the organ project at a deep appreciation for the tireless lead- Christ Church had a fi xed budget that ership of Wilson Green throughout the precluded any façades. Likewise, some entire project. It has also been a pleasure of the stops in the specifi cation were ini- to work closely with the church’s two tially console preparations, meaning they organists through the instrument’s gesta- were part of the instrument’s technical tion, Tyler Canonico and Scott Roberts, designs but would not be provided with as well as the church’s director of music, the instrument. The contract between Doff Procter. We are appreciative of the church and Létourneau was written the consistently generous support for such that if we were given the green the pipe organ project from Rev. David light by a certain date, the façades and/ Meginniss. Christ Church’s communica- or the prepared-for stops could be built tions director, Barbara Steimle, was also a and installed at the same time as the tremendous supporter in countless ways. organ itself. The organ committee went Finally, a sincere thank you to Hubert to work raising the organ project’s profi le Guthrie, both the church’s contractor and explaining the opportunity at hand to and a parishioner. His tenacious efforts the parish. They were tremendously suc- to improve the organ chamber were cru- cessful; the gifts they raised came from cial to the project’s success, resulting in many sources and enabled the complete the best possible acoustic conditions for instrument to be installed. Once our the new instrument. visual designs had been enthusiastically —Andrew Forrest, Artistic Director approved, our cabinetmakers began con- Fernand Létourneau, President struction on the instrument’s two façades Dudley Oakes, Project Consultant made from solid mahogany. The display pipes are made from a 70% polished tin From the Chair of the Organ Com- alloy from the Great 8′ Open Diapason mittee and the Pedal 8′ Principal ranks. We asked Létourneau to deliver an The three-manual console shell was instrument that emphasized the organ’s built from solid red oak while the interior central liturgical role in Episcopal wor- puts swathes of dark walnut to good use. ship, and they delivered beautifully. The From the outset, the layout of the various organ is exceptional in enhancing and The Swell 16′-8′-4′ reed chorus with the Swell 8′ Hautboy in the foreground console controls was a particular point of supplementing liturgical action, as well interest for Tyler Canonico and Wilson as in service and congregational accom- or the organ repertoire—as well as the Green; many enjoyable discussions were paniment. Having two celeste effects in limited tessitura called for—we built it had about the best practices from around the Swell, for example, was motivated as a short-compass stop from c13 to f42. the globe, and several different layouts by a desire to communicate the tran- On high-pressure wind at the back of were evaluated. The result is compact, scendent, and they accomplish this the Choir-Solo enclosure, the French logical, and comfortable. In a nod to the exceptionally. Putting most of the organ Horn projects its fi st-in-the-bell sound British tradition, the stop knobs for each under expression, with a relatively small easily, evoking its orchestral ancestor. Its division are arrayed in two columns and Great, was a decision largely driven by thick, smooth tone can be used to bulk up set within individual walnut jambs. The the church’s acoustics, which we altered ensemble registrations, but it pairs espe- console’s expression shoes also mark the before the organ’s installation began with cially well with the 8′ Flûte harmonique debut of a new style for Létourneau, changes to the nave fl oor and the cham- with the treble-ascendant fl ute picking featuring a pedal made from maple for ber itself. The result is an instrument The pipes of the Choir-Solo 8′ French up smoothly where the French Horn’s durability and deeply stained to match refi ned in tonal breadth and uniquely Horn during pre-voicing in the Létour- compass runs out. the surrounding walnut. A chromed appropriate to the room. neau workshops The Choir-Solo’s 16′-8′ Tuba rank’s stainless-steel surface discreetly display- The organ’s solo stops are not to be harmonic-length resonators begin at ing the Létourneau logo is then overlaid missed. The Choir-Solo 8′ Flûte harmo- and responsiveness in the bass octaves is 4′ g, and the pipes are equipped with on this base with rubber cleats for grip nique has a body and smoothness that fi ll especially welcome when deployed as a tapered Willis shallots for proper tuba above and below. Opus 132’s switching the room. The 8′ French Horn is one of pedal stop. Meanwhile, the 8′ Unda maris tone. The overall dynamic, however, is system and combination action were my favorites, with a robust nobility and pairs with the 8′ Geigen to provide the kept in check. On 12¾ inches wind like provided by Solid State Organ Systems, depth of tone with the box open, but organ’s third and boldest celeste effect. the French Horn, the Tuba rank serves with the console having 300 levels of which is quite mellow when enclosed. The Choir-Solo has two high-pressure as solo stop or the ultimate chorus reed: memory, an adjustable crescendo pedal, And the 8′ Tuba is powerful as a solo reed stops. The 8′ French Horn was a it will peal out a melody against Full and a generous number of divisional and reed but it’s also capable of singing with request from Christ Church’s rector, the Swell—especially when played in octaves general pistons (with a sequencer) to the rest of the instrument—a rare com- Rev. David Meginniss, and given its rare as asked for in much of the literature—but facilitate colorful accompanying. bination, and one that was needed given appearances in choral accompaniments can be thrown in to otherwise Full Organ The instrument was installed in the instrument’s size. without a colossal dynamic jump. The 16′ January of 2018, and the voicing pro- Létourneau was a wonderful partner Contra Tuba extension in the Pedal has cess carried through to the end of the for our church. Andrew Forrest and Christ Episcopal Church, a big, round bass tone that ensures the following month. The instrument was Dudley Oakes were particularly effective Tuscaloosa, Alabama instrument never sounds untethered. dedicated at a choral evensong service in listening to our concerns and making In contrast to these two colorful on April 15, 2018, featuring the choir tonal recommendations tailored to those Three manuals, 43 stops, 38 ranks, 2,162 pipes expressive divisions, the Great has been of Christ Church under music director concerns. They explained their design stripped down to the essentials. There Doff Procter, skillfully accompanied choices and how they were intended Great Mixture IV is a warm principal chorus built around by Scott Roberts, organist and assistant both to enhance the listening experience c1 to b12 19 22 26 29 ′ c13 to b24 15 19 22 26 a 42-scale 8 Open Diapason, with the music director. Before and after the in the room and to mitigate the lack of c25 to b36 12 15 19 22 Great windchest situated to face the service, several voluntaries were played direct linearity with the listener. Com- c37 to b48 8 12 15 19 nave’s tone opening. The 8′ Chimney by Tyler Canonico, who had returned to munication was always clear and timely, c49 to c61 5 8 12 15 Flute is a cheery, chameleon-like voice Tuscaloosa for the event; his selections and their sense of proportion and design Swell Full Mixture III–V that does light solo duty or plumps up included music by Bédard, Locklair, afforded us an instrument that is musi- c1 to e17 15 19 22 the ensemble. For fl exibility, a number of Howells, Bednall, Dupré, and Langlais. cally and visually in tune with our historic f18 to e29 12 15 19 22 stops from the Choir-Solo have also been Our Opus 132 is a sophisticated space. The best compliment I receive is, f30 to e41 8 12 15 19 22 made available on the Great manual. response to the host of physical, acous- “It looks like it was always there!” But f42 to e53 1 8 12 15 19 f54 to c61 1 5 8 12 15 The Pedal division is like the Great: tic, and musical parameters this project honestly, it sounds even better. And per- minimalist but effective. The 16′ Con- presented. Importantly, the instrument haps most of all, the Létourneau instal- trabass pipes are made from spotted contrasts signifi cantly with the nearby lation and tonal fi nishing teams were Photo credits: Andrew Forrest, metal and, voiced with slots and beards, Opus 129 at First Presbyterian Church, magnifi cent. The church staff was sad to unless indicated otherwise give the pedal line a well-defi ned point. from placement to windchest design to see them leave us when they fi nished! Cover photo: Andrew Forrest The 16′ Subbass, with its pipes in yellow tonal effect. For those who might be —Wilson Green

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 23 Carillon News By Brian Swager Carillon Profi le Bok Tower Gardens, Lake Wales, Florida John Taylor & Co., Loughborough, England

St. Chrysostom’s Episcopal Church (photo credit: Alex Bailee)

St. Chrysostom’s Episcopal Church, Chicago, Illinois, announces its second summer carillon concert series, Sundays at 4:00 p.m.: June 9, Jim Brown; 6/16, Sally Harwood; 6/23, John Gouw- ens. For information: www.saintc.org. The Thomas Rees Memorial Carillon, Springfi eld, Illinois The eighth edition of the “Queen Fabiola” International Carillon The 58th International Carillon Competition will take place in Mech- Bok Tower Gardens, Lake Wales, The Singing Tower of Bok Tower Gar- Festival in Springfi eld, Illinois, will elen, Belgium, July 10–14. The com- Florida (photo credit: Bok Tower Marketing) dens (photo credit: Bok Tower Marketing) take place June 2–7. First held in 1962, petition was established in 1987 under the festival annually presents numerous the patronage of Her Majesty Queen recitals featuring carillonneurs from the Fabiola and is now held every fi ve years. United States and abroad. The festival is All candidates will perform on the presented by the Springfi eld Park Dis- carillon in the tower of St. Rombout’s trict with the support of the Rees Caril- Cathedral for the qualifying round. An lon Society and the Carillon Belles. Two international jury will select fi ve fi nalists recitals are held each evening, except who will continue with three rounds: Wednesday, in addition to other enter- another performance on the carillon of tainment. Individuals and families are St. Rombout’s, a solo performance on encouraged to bring a picnic dinner as a chamber carillon, and a performance well as lawn chairs and blankets. There on the chamber carillon with a brass is a large video screen at the base of the ensemble. An additional innovation this carillon tower that allows the audience year is that all candidates may partici- The clavier of the Singing Tower (pho- The bells in the Singing Tower (photo to view the carillonneur in action. pate in an improvisation competition if to credit: Geert D’hollander) credit: Geert D’hollander) The 2019 festival schedule: June 2: they wish. 6:00 p.m., Trinity Summer Band, 6:30, There are two required pieces for the The Singing Tower of Bok Tower Gardens in Lake Wales, Florida, constitutes Lisa Lonie, 7:15, Trinity Summer Band, competition: Invicta for mobile carillon the most unifi ed, verdant setting for the carillon in North America. Edward Bok’s 7:40, Carlo van Ulft; 6/3, 6:00 p.m., Eddy and brass ensemble by Stefano Colletti, entire sanctuary was created on a spare sand hill to showcase the carillon for serene Flute Choir, 6:30, John Gouwens, 7:15, and A Fast, Wild Ride for solo carillon enjoyment. Frederick Law Olmsted, Jr., landscaped the garden, while architect Eddy Flute Choir, 7:40, Arie Abbenes; by Geert D’hollander. The latter was Milton B. Medary designed the neo-Gothic tower. Sculptor Lee O. Lawrie, met- 6/4, 6:00 p.m., Cast of Peter Pan at the commissioned by the Belgian Royal alworker Samuel Yellin, and tilemaker J. H. Dulles Allen decorated the tower with Muni, 6:30, Wesley Arai, 7:15, Cast of Carillon School “Jef Denyn” specifi cally animals, plants, Biblical stories, and the zodiac, symbolically representing the life, Peter Pan, 7:40, Lisa Lonie; for the competition. The fi rst prizewin- history, and legends of Florida. 6/6, 6:00 p.m., Springfi eld Saxes, ner will receive €3,000, and there are The carillon bells of 1928 were cast by Taylor of England and comprised 6:30, Wesley Arai, 7:15, Springfi eld also monetary awards for the other four four octaves. Subsequent expansions and replacements in 1929, 1966, and 1987 Saxes, 7:40, John Gouwens; 6/7, 6:00 laureates, the improvisation competi- were completed by Taylor, resulting in the grand fi ve-octave carillon of today. p.m., Springfi eld Municipal Band, 6:30, tion winner, plus the SABAM award This carillon is the third heaviest in North America, with a D-sharp bourdon of Arie Abbenes, 7:15, Springfi eld Munici- for the best performance of a Belgian nearly 12 tons. The carillon tower is notable for its library and archives, includ- pal Band, 7:40, Carlo van Ulft, with contemporary piece. For information: ing that of the Guild of Carillonneurs in North America. fi reworks and carillon music at dusk. https://beiaardschool.mechelen.be/ The current carillonneur is Geert D’hollander, who has been active as a per- For information: www.carillon-rees.org. queen-fabiola-competition. former, teacher, and composer for over 35 years. He won over 30 international competitions for carillon performance or composition and has held positions at The Mayo Clinic Dolores Jean the Royal Carillon School in Mechlen, Belgium; the University of California, Lavins Center for Humanities in Berkeley; and other institutions. Medicine has announced its “Music The carillon is performed on twice daily at 1:00 p.m. and 3:00 p.m. The for Mayo” carillon music series. The gardens also host an international carillon festival every March, currently in annual initiative will commission one its 90th year. June 10–14, 2019, the Bok Tower Gardens will host the annual new composition for solo carillon. Each congress of the Guild of Carillonneurs in North America. For information: new work will be premiered on the car- https://boktowergardens.org. Q illon of the Mayo Clinic in Rochester, —Kimberly Schafer, PhD Minnesota, before being made available Founder and Partner, to carillonneurs around the world. The Community Bell Advocates, LLC program seeks not only to expand the www.communitybelladvocates.com repertoire of quality modern composi- [email protected] tions for the carillon, but also to ensure that they remain accessible to all mem- bers of the carillon community. Com- The Guild of Carillonneurs in for Peacemakers. The performance Chapel, Culver Academies, Culver, posers from varied backgrounds across North America has announced the awards and $100 went to Peter Paul Indiana the world will be selected, making winners of its 2019 Johan Franco Olejar for Imaginary Dances and to each piece unique and highlighting the Carillon Composition Competition. Julie Zhu for As swiftly and fading as Culver Academies, Culver, Indiana, diversity of patients, staff, and guests at There were eleven submissions and soon. For further information: announce carillon recitals by John Gou- the Mayo Clinic. eight jury members who evaluated the www.gcna.org. wens, academy organist and carillon- The inaugural composition, City of pieces based on their usefulness to the neur, Saturdays at 4:00 p.m.: June 1 (7:30 Lights, was composed by Dr. Scott Allan carillon community, effectiveness on Two carillon congresses will be held p.m.), 6/22, 6/29 (Bernard Winsemius, Orr, a carillonneur and also lecturer the carillon, playability, originality, and at simultaneously at Longwood Gar- guest recitalist), July 6, 7/13, 7/20, 7/27, at the University of Oxford. It will be general musical interest. dens, Kennett Square, Pennsylvania, August 31, September 28. For informa- premiered by Mayo Clinic Carillonneur Prizes were awarded for fi rst and June 24–July 1, 2020: the Guild of tion: www.culver.org. Austin Ferguson on June 22. Dr. Orr second place as well as two perfor- Carillonneurs in North America states that the work “is a play on Ameri- mance awards. The four scores will be and the World Carillon Federation. 0LOQDU2UJDQ can themes, drawing on inspiration and premiered and published at the Guild’s Details will follow for what promises to &RPSDQ\ themes from the 20th century through congress in June 10–14 at Bok Tower be a memorable event bringing together the works of Aaron Copeland, jazz, and Gardens, Lake Wales, Florida. The carillonneurs from around the world. /DUJHVWVHOHFWLRQRIH[FHOOHQWXVHGSLSHV /LNHQHZ$XVWLQDFWLRQV the rush of the urban metropolis.” For fi rst prize and $1,500 were awarded In 2022, the GCNA congress will take 6ROLG-VWDWHV\VWHPV ([FHOOHQWXVHGVZHOOVKDGHV information: http://history.mayoclinic. to Mathieu Polak for A Butterfl y’s place on the campus of the University

--GHQQLV#PLOQDURUJDQFRP org/tours-events/carillon-music-and- Dance. The second prize and $750 were of Chicago featuring the Rockefeller ZZZPLOQDURUJDQFRP concerts.php. presented to Pamela Ruiter-Feenstra Chapel carillon. Q

24 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN • Nathan Laube; Mayfl ower Congregational, Park Ridge Presbyterian Church This calendar runs from the 15th of the month Grand Rapids, MI 8:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Matt Gerhard; Christ Church, Michigan City, Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for IN 12:15 pm NEW YORK Feb. issue). All events are assumed to be organ David Bohn; St. Thomas Episcopal, Mena- Bloomingdale, IL recitals unless otherwise indicated and are grouped sha, WI 12:15 pm Jillian Gardner; Sinsinawa Mound, Sinsin- within each date north-south and east-west. •=AGO awa, WI 7 pm chapter event, • •=RCCO centre event, +=new organ dedication, ++= OHS event. 4 JULY Christopher Babcock Michael J. Batcho Information cannot be accepted unless it • Chelsea Chen, masterclass; Holy Trinity specifi es artist name, date, location, and hour in Lutheran, Buffalo, NY 9 am Director of Music writing. Multiple listings should be in chronological • Bruce Neswick, hymn festival; St. Joseph St. Andrew’s by the Sea, Catholic Cathedral, Buffalo, NY 3 pm order; please do not send duplicate listings. CATHEDRAL OF ST. JOHN • David Higgs; Westminster Presbyterian, Hyannis Port THE DIAPASON regrets that it cannot assume Buffalo, NY 7 pm MILWAUKEE responsibility for the accuracy of calendar entries. Independence Day concert; Washington Na- tional Cathedral, Washington, DC 5:15 pm • Nathan Laube, workshop; Park Church, UNITED STATES Grand Rapids, MI 10 am East of the Mississippi Daniel Schwandt, Independence Day sing- Dean W. Billmeyer along; Trinity Episcopal, Appleton, WI 12:15 pm 15 JUNE University of Minnesota Monica Czausz; Kimmel Center, Philadel- phia, PA 11 am & 5 pm 7 JULY Edward Alan Moore; St. Paul Catholic Ca- Minneapolis 55455 • [email protected] thedral, Pittsburgh, PA 3:30 pm 16 JUNE Jeremy Filsell; Christ Church Capitol Hill, Washington, DC 5 pm 10 JULY Paul Griffiths; Washington National Cathe- William Ness; Methuen Memorial Music dral, Washington, DC 5:15 pm Hall, Methuen, MA 8 pm AVIN LACK Byron L. Blackmore Karen Beaumont; Milwaukee Catholic Kent Jager; Christ Church, Michigan City, G B Home, Milwaukee, WI 2 pm IN 12:15 pm Princeton Early Keyboard Center Crown of Life Lutheran Church Stephen Buzard; Loyola University, Chi- Naomi Rowley; Faith Lutheran, Appleton, cago, IL 3 pm WI 12:15 pm 732/599-0392 Sun City West, Arizona www.pekc.org 17 JUNE 11 JULY 623/214-4903 • Michael Hey; Cathedral of St. John the Matthew Buller; Holy Name Chapel, Madi- Evangelist, Milwaukee, WI 7:30 pm son, WI 7 pm

19 JUNE 14 JULY Jonathan Vaughn; Methuen Memorial Mu- Michael Andrew Hammer; St. Paul Catholic THOMAS BROWN Carson Cooman sic Hall, Methuen, MA 8 pm Cathedral, Pittsburgh, PA 3:30 pm David Jaronowski; Shrine of Our Lady of UNIVERSITY Michael Soto; Christ Church, Michigan City, PRESBYTERIAN CHURCH Composer and Concert Organist IN 12:15 pm Guadalupe, La Crosse, WI 3 pm Stephen Schnurr; Trinity Lutheran CHAPEL HILL, NORTH CAROLINA Harvard University 16 JULY Kaukauna, WI 12:15 pm ThomasBrownMusic.com www.carsoncooman.com Jillian Gardner; Ss. Peter & Paul Catholic Christian Lane; Dennis Union Church, Church, Milwaukee, WI 1:15 pm Dennis, MA 7 pm • Lynne Davis; Church of the Gesu, Milwau- Alcee Chriss; The Riverside Church, New kee, WI 7:30 pm York, NY 7 pm Your professional card 20 JUNE 17 JULY DELBERT DISSELHORST Michael Mills; Holy Name Chapel, Madi- John Walthausen; Methuen Memorial Mu- could appear here! son, WI 7 pm sic Hall, Methuen, MA 8 pm Andrew Schaeffer; St. Bernard Catholic Professor Emeritus Contact: [email protected] 23 JUNE Church, Appleton, WI 12:15 pm University of Iowa–Iowa City Jackson Borges; Washington National Ca- or 608/634-6253 thedral, Washington, DC 5:15 pm 18 JULY Karen Beaumont; St. Hedwig Catholic David Jonies; Holy Name Chapel, Madi- Church, Milwaukee, WI 2 pm son, WI 7 pm 24 JUNE 19 JULY STEVEN EGLER JOHN FENSTERMAKER Robert McConnell; Presbyterian Homes, Nicholas Schmelter; Basilica of the Na- Central Michigan University Evanston, IL 1:30 pm tional Shrine of the Immaculate Conception, Washington, DC 6 pm School of Music TRINITY-BY-THE-COVE 26 JUNE Mt. Pleasant, MI 48859 Christa Rakich; Methuen Memorial Music 21 JULY APLES LORIDA Hall, Methuen, MA 8 pm Karen Beaumont; St. Hedwig Catholic [email protected] N , F The Chenaults; Peachtree Road United Church, Milwaukee, WI 2 pm Methodist, Atlanta, GA 7:30 pm Ahreum Han; Loyola University, Chicago, David Atteln; Holy Cross Catholic Church, IL 3 pm Norberto Kaukauna, WI 12:15 pm 24 JULY 27 JUNE Kevin Neel; Methuen Memorial Music Hall, Susan Goodson Guinaldo Don VerKuilen; Holy Name Chapel, Madi- Methuen, MA 8 pm son, WI 7 pm Lee Meyer; Christ Church, Michigan City, IN Emanuel United Church of Christ His Music 12:15 pm See—Listen—Buy Jeffrey Verkuilen; First Congregational Manchester, Michigan 28 JUNE www.GuinaldoPublications.com Marijim Thoene; St. Francis of Assisi Catho- UCC, Appleton, WI 12:15 pm lic Church, Ann Arbor, MI 7 pm 25 JULY James Grzadzinski & Rachel Mallette; 30 JUNE A Professional Card in • Joshua Stafford; Chautauqua Institute, Holy Name Chapel, Madison, WI 7 pm Chautauqua, NY 6:30 pm STEPHEN HAMILTON • Scott Dettra, with brass; Central Re- 28 JULY The Diapason formed, Grand Rapids, MI 8 pm Bruce Ludwick; St. Paul Catholic Cathe- dral, Pittsburgh, PA 3:30 pm For rates and digital specifi cations, recitalist–clinician–educator 1 JULY contact Jerome Butera www.stephenjonhamilton.com • Nathan Laube; St. Joseph Catholic Cathe- 29 JULY 847/391-1045; [email protected] dral, Buffalo, NY 8 pm Joshua Stafford; St. Philip the Apostle Cath- • Alan Morrison, workshop; Crowne Plaza olic Church, Saddle Brook, NJ 7:30 pm Hotel, Cherry Hill, NJ 8 am • Alan Morrison; St. Rose of Lima Catholic 31 JULY Church, Haddon Heights, NJ 8 pm Julian Wachner; Methuen Memorial Music • Katelyn Emerson; Grace Episcopal, Hall, Methuen, MA 8 pm David Herman Grand Rapids, MI 12:30 pm Carol Garrett; Christ Church, Michigan City, • Todd Wilson; La Grave Avenue Christian IN 12:15 pm Reformed, Grand Rapids, MI 3:30 pm Paul Weber; First English Lutheran, Apple- Trustees Distinguished Professor Emeritus of Music and University Organist • Ken Cowan; Fountain Street Church, ton, WI 12:15 pm The University of Delaware Q [email protected] Grand Rapids, MI 8 pm UNITED STATES 2 JULY West of the Mississippi • Michael Hey; Westminster Presbyterian, Buffalo, NY 1 pm • Monica Czausz; St. Mary’s Episcopal, 16 JUNE Gail Archer Haddon Heights, NJ 10 am Justan Foster; Cathedral of St. Mary of the • Daniel Roth; Haddonfi eld United Method- Assumption, San Francisco, CA 4 pm organist ist, Haddonfi eld, NJ 8 pm • Huw Lewis; Miller Center for Musical Arts, 18 JUNE www.gailarcher.com Lorraine Brugh, Ph.D. Gail Archer; Episcopal Church of the Good Hope College, Holland, MI 3:15pm Professor of Music • Lynne Davis; St. Andrew’s Catholic Cathe- Shepherd, Lake Charles, LA 7:30 pm Vassar College dral, Grand Rapids, MI 8:30pm Barnard College, Columbia University University Organist 21 JUNE 3 JULY Dana Robinson; Christ Episcopal, Tacoma, [email protected] Valparaiso, Ind. Sarah Simko; Methuen Memorial Music WA 12:10 pm (212) 854-5096 Hall, Methuen, MA 8 pm valpo.edu • Katelyn Emerson; SUNY Buffalo, Am- 23 JUNE Promotion 219.464.5084 herst, NY 11:15 am David Hatt, Widor, Symphonie I; Cathedral SOZO Media • Chelsea Chen; Holy Trinity Lutheran, Buf- of St. Mary of the Assumption, San Francisco, [email protected] [email protected] falo, NY 6:30 pm CA 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church 24 JUNE Markéta Schley Reindlová, with fl ute and New York, NY Raúl Prieto Ramírez, with Spreckels Organ soprano; Stadtpfarrkirche St. Martin, Bam- Syracuse, NY 13203-2816 Rock Band; Balboa Park, San Diego, CA 7 pm berg, Germany 5:30 pm (315) 471-8451 www.andrewhenderson.net Hans-Dieter Meyer-Moortgat; St. Basii und 28 JUNE Marien, Fredelsloh, Germany 6 pm Blessed Sacrament Schola Cantorum; Luc Ponet; Basilika, Tongeren, Belgium Blessed Sacramant Catholic Church, Seattle, 4 pm WA 7:30 pm Andreas Liebig; Munster, Basel, Switzer- Richard Barrick Hoskins land 12 noon Brian Jones 30 JUNE Director of Music & Organist Jin Kyung Lim; Cathedral of St. Mary of the 16 JUNE Director of Music Emeritus Assumption, San Francisco, CA 4 pm Andrea Trovato; Jesuitenkirche, Vienna, St. Chrysostom's Church Austria 6:20 pm TRINITY CHURCH Chicago 1 JULY Jörg Nitschke; Dom, Altenberg, Germany [email protected] BOSTON Raúl Prieto Ramírez; Balboa Park, San Di- 11:45 am ego, CA 7 pm Johannes Skudlik; Klosterkirche, Fürsten- feldbruck, Germany 12:15 pm 2 JULY Michael Utz; Dom, Altenberg, Germany Olivier Latry; Central Lutheran, Winona, 2:30 pm KIM R. KASLING JAMES KIBBIE MN 7:30 pm Helfried Waleczek, with block fl ute; Willi- brordi-Dom, Wesel, Germany 6 pm D.M.A. The University of Michigan 3 JULY Peter Stevens; Methodist Central Hall, St. John’s University Ann Arbor, MI 48109-2085 Olivier Latry; Central Lutheran, Winona, Westminster, London, UK 3 pm 734-764-1591 FAX: 734-763-5097 MN 7:30 pm Greg Abrahams; St. Paul’s Cathedral, Lon- Collegeville, MN 56321 • Carole Terry; Los Altos United Methodist, don, UK 4:45 pm email: [email protected] Long Beach, CA 12:30 pm Bridget West; St. John the Evangelist, East Dulwich, UK 5 pm 7 JULY Natalia Sander; Westminster Abbey, Lon- Catherine Rodland; St. Matthew’s By-the- don, UK 5:45 pm David K. Lamb, D.Mus. Bridge Episcopal, Iowa Falls, IA 4 pm Karen Schneider Kirner David Hatt, Widor, Symphonie VII; Cathe- 17 JUNE Director of Music dral of St. Mary of the Assumption, San Fran- Benjamin Saunders; Cathedral, Leeds, UK Director, Notre Dame Handbell Choir Trinity United Methodist Church cisco, CA 4 pm 1 pm Assistant Director, Notre Dame Folk Choir Colin Andrews; Royal Hospital School, Hol- New Albany, Indiana brook, Ipswich, UK 1:30 pm University of Notre Dame 8 JULY 812/944-2229 Janette Fishell; Webster Groves Christian, John Wellington; Christ Church, Spital- Webster Groves, MO 7:30 pm fi elds, London, UK 7:30 pm David Wickerham; Balboa Park, San Diego, CA 7 pm 18 JUNE Maurizio Salerno; Munster, Berner, Swit- 10 JULY zerland 5 pm Margaret Phillips; Grosvenor Chapel, Lon- A.S.C.A.P. Joanne Rodland; St. John’s Lutheran, Northfi eld, MN 12:15 pm don, UK 1:10 pm FELLOW, AMERICAN GUILD OF ORGANISTS Greg Morris; Temple Church, London, UK 7:30 pm 345 SADDLE LAKE DRIVE 12 JULY ROSWELL-ATLANTA, GEORGIA 30076 Janette Fishell, worship service; Web- (770) 594-0949 ster Groves Christian, Webster Groves, MO 19 JUNE 11:15 am Gerhard Löffler; Kreuzkirche, Dresden, Germany 8 pm 13 JULY Ben Bloor; London Oratory, London, UK David Gray; Calvary Christian Assembly, 7:30 pm Seattle, WA 2 pm Nicholas Schmelter, with piano; York- Marilyn Mason minster Park Baptist, Toronto, ON, Canada 12:30 pm 14 JULY June 29, 1925–April 4, 2019 ++ Scott Dettra; Church of the Incarnation, Dallas, TX 4:30 pm 20 JUNE Daniel Gottfried Requiescat in pace Stephen Hamilton; Aspen Community Unit- ; Jesuitenkirche, Vienna, ed Methodist Church, Aspen, CO 7 pm Austria 6:20 pm Thorsten Hülsemann; Klosterkirche, Maul- Pierre Zevort, with trumpet; Cathedral of bronn, Germany 6 pm St. Mary of the Assumption, San Francisco, Rolf Müller, with brass; Dom, Altenberg, CA 4 pm A two-inch Professional Card in The Diapason Germany 8 pm David Löfgren; St. Margaret Lothbury, Lon- 15 JULY don, UK 1:10 pm For information on rates and specifi cations, contact Jerome Butera: ++ Joshua Stafford; Park Cities Presbyte- rian, Dallas, TX 1 pm 21 JUNE ++ Renée Anne Louprette; Christ the King Jean-Pierre Leguay; Evangelische [email protected] 608/634-6253 Catholic Church, Dallas, TX 2:15 pm Bischofskirche St. Matthäus, München, Ger- ++ Alcee Chriss ; St. Thomas Aquinas Cath- many 7 pm olic Church, Dallas, TX 7:30 pm Johannes Mayr, silent fi lm; Klosterkirche, Aaron Tan & Luke Staisiunas ; Balboa Bronnbach, Germany 8:30 pm Park, San Diego, CA 7 pm Philip Crozier; Kapel Romaanse Poort, Leuven, Belgium 12:30 pm LARRY PALMER 16 JULY PHILIP CROZIER ++ Bradley Hunter Welch; Meyerson Sym- 22 JUNE phony Center, Dallas, TX 3:30pm CONCERT ORGANIST Harpsichord – Organ Heinz Peter Kortmann; St. Michaelis, Ham- burg, Germany 12 noon ACCOMPANIST 17 JULY Magne Draagen; Kathedrale St. Sebastian, Professor of Music, Emeritus Brian Carson; St. Olaf College, Northfi eld, Magdeburg, Germany 7:30 pm 3355 Queen Mary Road, Apt 424 MN 12:15 pm Luc Ponet; Basilika, Tongeren, Belgium ++ Stefan Engels; Southern Methodist Uni- 4 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas versity, Dallas, TX 3:15 pm Taras Baginets; Munster, Basel, Switzer- Canada land 12 noon 18 JULY David Briggs; Cathedral, Portsmouth, UK (514) 739-8696 Recitals — Lectures — Consultancies ++ Douglas Cleveland; Episcopal Church 2 pm of the Transfi guration, Dallas, TX 7:30 pm Malcolm Rudland; St. John the Baptist, [email protected] Harescombe, UK 5 pm [email protected] + 214.350-3628 21 JULY Angela Kraft Cross, Widor, Symphonie VIII; 23 JUNE Cathedral of St. Mary of the Assumption, San Michael Gailit; Jesuitenkirche, Vienna, Aus- Francisco, CA 4 pm tria 6:20 pm Gregor Mooser; Dom, Altenberg, Germany 22 JULY 11:45 am Peter Richard Conte & Andrew Ennis; Klaus Geitner; Klosterkirche, Fürstenfeld- Balboa Park, San Diego, CA 7 pm bruck, Germany 12:15 pm A gift subscription to Kornelia Kupski; Dom, Altenberg, Germa- 24 JULY ny 2:30 pm Noah Klein; United Methodist Church, Philip Crozier; St. Thomas Kirche, Soest, Northfi eld, MN 12:15 pm Germany 5 pm The Diapason Martin Hofmann, with Kantorei an St. An- 28 JULY dreas; St. Andreas, Seesen, Germany 6 pm The perfect gift for James Welch; Aspen Community United Lidia Ksiazkiewicz; Kirche St. Nikolaus, Methodist Church, Aspen, CO 7 pm Frankfurt a.M.-Bergen-Enkheim, Germany + organist colleagues + choir directors Mateusz Rzewuski; Cathedral of St. Mary 7:30 pm of the Assumption, San Francisco, CA 4 pm Philip Crozier; St. Thomä, Soest, Germany + students + organ builders 8 pm + teachers + clergy 29 JULY Juan de la Rubia; Munster, Basel, Switzer- Hector Olivera; Balboa Park, San Diego, land 6 pm CA 7 pm Tom Winpenny; St. Paul’s Cathedral, Lon- Each month your gift will keep on giving by providing the don, UK 4:45 pm important news of the organ and church music fi eld. Know that 31 JULY Loreto Aramendi; Westminster Abbey, Lon- Bill Peterson; All Saints Episcopal, North- don, UK 5:45 pm your gift will be just right. fi eld, MN 12:15 pm For information, contact Rose Geritano, 847/391-1030; 24 JUNE [email protected]. Or visit www.thediapason.com and click INTERNATIONAL Ourania Gassiou; Cathedral, Leeds, UK 1 pm “subscribe.” 15 JUNE 25 JUNE $43 one year USA; $35 one year digital; $20 one year student Klaus Rothaupt; St. Michaelis, Hamburg, Daniel Glaus, with Berner Kantorei; Mun- Germany 12 noon ster, Berner, Switzerland 5 pm

26 Q THE DIAPASON Q JUNE 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH 26 JUNE 3 JULY Southminster Presbyterian Church Christoph Schoener, Thomas Dahl, Ger- Donato Cuzzati; St. Michaelis, Hamburg, hard Löffler, Andreas Fischer, Eberhard Germany 7 pm SHORT HILLS Arlington Heights, IL 60005 Lauer & Manuel Gera; St. Michaelis, Hamburg, Andrzej Chorosinski; Frauenkirche, Dres- Germany 7 pm den, Germany 8 pm Hendrik Burkhard; Kathedrale, Dresden, Graham Thorpe; London Oratory, London, Germany 8 pm UK 7:30 pm ANDREW SCHAEFFER Olivier Latry; Temple Church, London, UK DEREK E. NICKELS, DMA 7:30 pm 4 JULY Luther Memorial Church (ELCA) David Timm; Dom St. Petri, Bremen, Ger- Church of the Holy Comforter 27 JUNE many 7 pm Madison, Wisconsin Stefan Schmidt; Dom, Altenberg, Germany Christian Iwan; Abteikirche, Brauweiler, Kenilworth, IL 60043 8 pm Germany 8 pm [email protected] David Enlow; Jesuitenkirche St. Michael, (847) 251-6120 • [email protected] Recitals — Hymn Festivals 28 JUNE München, Germany 8 pm Mainzer Domchor; St. Pankratius-Kirche, Ken Cowan; St. Paul’s Cathedral, London, Gütersloh, Germany 7:30 pm UK 6:30 pm Simon Peguiron; Collegiate Church, Jeffrey Schleff, Ed.D. A one-inch Professional Card Neuchâtel, Switzerland 6:30 pm 5 JULY in The Diapason Stanislav Surin; Cathedral, Lausanne, Swit- Philip Crozier; Cathedral, Riga, Latvia Organist – Teacher – Consultant zerland 8 pm 7 pm For information on rates and specifi cations, Marco Aurelio Lischt; Evangelische Sulphur Public Schools, Sulphur, OK 29 JUNE Bischofskirche St. Matthäus, München, Ger- Philip Crozier; St. Nikolai Kirche, Flensburg, many 7 pm United Disciples Christian Church, Richardson, TX contact Jerome Butera: Germany 11 am Verdi, Requiem; Dom, Altenberg, Germany [email protected] [email protected] 608/634-6253 Christoph Schoener; St. Michaelis, Ham- 8:30 pm burg, Germany 12 noon Heinz Specker; Katholische Kirche St. An- Bernhardt Brand-Hofmeister; Evangelische ton, Zürich, Switzerland 5:30 pm Johanneskirche, Darmstadt, Germany 7 pm Anna-Victoria Baltrusch; Reforierte Kirche Mädchenkantorei am Freiburger Münster; Neumünster, Zürich, Switzerland 6:30 pm JOHN SCHWANDT Münster, Überlingen, Germany 7 pm Aurelia Weinmann & Monika Keller; STEPHEN SCHNURR Regina Schnell; Klosterkirche, Fürstenfeld- Katholische Erlöserkirche, Zürich, Switzerland American Organ Institute bruck, Germany 8, 9 & 10 pm Saint Paul Catholic Church 7:30 pm University of Oklahoma Georg Toch; Basilika, Tongeren, Belgium Douglas Bruce; Cathedral, Lausanne, Swit- Valparaiso, Indiana 4 pm zerland 8 pm aoi.ou.edu Andreas Jost; Munster, Basel, Switzerland Anthony Gritten; Ss. Peter & Paul Church, 12 noon Godalming, UK 1 pm Gordon Stewart; Bloomsbury Central Bap- tist, London, UK 4 pm 6 JULY Sebastian Gillot ; St. John the Evangelist Peter Tiefengraber; Wallfahrtskirche, Maria Catholic Church, Islington, UK 7:30 pm ROBERT L. Fieberbründl, Austria 6 pm Bernhard Sanders; Münster, Überlingen, Mark Steinbach 30 JUNE Germany 11:30 am SIMPSON Jeremy Joseph; Jesuitenkirche, Vienna, Daniela Grüning; Willibrordi-Dom, Wesel, Christ Church Cathedral Brown University Austria 6:20 pm Germany 12 noon Robert Mäuser; Dom, Altenberg, Germany 1117 Texas Avenue Johannes Trümpler; St. Michaelis, Ham- 11:45 am Houston, Texas 77002 Tobias Frank; Klosterkirche, Fürstenfeld- burg, Germany 12 noon bruck, Germany 12:15 pm Joost Termont; Basilika, Tongeren, Belgium 4 pm

Andreas Meisner, with oboe; Dom, Alten- ] berg, Germany 2:30 pm Aart Bergwerff; Munster, Basel, Switzer- Markus Eichenlaub; Liebfrauenkirche, land 12 noon Joe Utterback Hamm, Germany 5 pm Marek Stefanski; St. Alphage, Edgware, UK 7:30 pm David Wagner Philip Crozier; Friedenskirche, Siek, Ger- ]] ] many 5 pm www.jazzmuze.com DMA Rossini, Petite Messe solennelle; Dom, Al- 7 JULY www.davidwagnerorganist.com tenberg, Germany 8 pm Jonathan Ryan; Jesuitenkirche, Vienna, 203 386 9992 Benjamin Righetti; Abbey Church, Romain- Austria 6:20 pm môtier, Switzerland 5 pm Hayde, Marienzeller Messe; Dom, Alten- Anastasia Kovbyk; Westminster Abbey, berg, Germany 10:30 am London, UK 5:45 pm Marcel van Westen; Dom, Altenberg, Ger- many 2:30 pm Domkantorei Wesel; Willibrordi-Dom, Wesel, 1 JULY Germany 7 pm Kevin Walters KARL WATSON Loreto Aramendi; Abbey, Farnborough, UK Philip Crozier; St. Martin Kirche, Rheinbach, IRST RESBYTERIAN HURCH Germany 8 pm 3 pm M.A., F.A.G.O. F P C Charles Francis; St. Marylebone, London, Thomas Heywood; Cathedral, Leeds, UK OODBRIDGE 1 pm UK 4 pm Rye, New York W , NJ Matthew Jorysz; Westminster Abbey, Lon- 2 JULY don, UK 5:45 pm Ludger Lohmann; Hauptkirche St. Jacobi, Hamburg, Germany 8 pm 8 JULY David Pipe; Cathedral, Leeds, UK 1 pm Marc Fitze; Munster, Berner, Switzerland Alan G Woolley PhD 5 pm RONALD WYATT Roger Tebbet; Abbey, Selby, UK 12:30 pm 9 JULY Musical Instrument Research Jan Willem Jansen; Hauptkirche St. Jacobi, Gordon Stewart; Grosvenor Chapel, Lon- Edinburgh Trinity Church don, UK 1:10 pm Hamburg, Germany 8 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253

1922 - Soler Power . . . the delightful and sun-shiney music of J A two-inch Professional Card in The Diapason U the gifted Spanish virtuoso and priest, Padre Antonio Soler. N 1923 - The OHS in Minnesota . . . highlights from a national For information on rates and specifi cations, contact Jerome Butera: gathering of the Organ Historical Society in and around the E Twin Cities. [email protected] 608/634-6253 1924 - All That Jazz (II) 2 . . . despite its formidable reputation, the King of Instruments knows how to let its hair down ArtistArtist Spotlights Spotlightspotlight s 0 now and then. 1 1925 - Canadian Capers . . . in conjunction with upcoming Artist Spotlights 9 Canada Day (July 1), we celebrate artistic and instrumental are available on Your professional card representatives of our northern neighbor. The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

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

Ensemble Corund; Munster, Berner, Swit- Kantatenchor Durmersheim; Augustiner- Adrian Gunning; St. John the Evangelist Bernhard Marx; Cathedral, Lausanne, Swit- zerland 5 pm kirche, Landau, Germany 6 pm Catholic Church, Islington, UK 7:30 pm zerland 8 pm Jean-Christophe Geiser; Cathedral, Laus- Tamá Bódiss; Evangelishe Stadtkirche, anne, Switzerland 7 pm Karlsruhe, Germany 8:30 pm 21 JULY 27 JULY Richard Elliott; Abbey, Selby, UK 12:30 pm Richard Elliott; St. Paul’s Cathedral, Lon- Gereon Krahforst; Jesuitenkirche, Vienna, Manuel Gera; St. Michaelis, Hamburg, Ger- Malcolm Rudland; Founders’ Hall, Radnor don, UK 4:45 pm Austria 6:20 pm many 12 noon Walk, Chelsea, UK 6 pm Jonathan Allsopp; Westminster Abbey, Josef Hofer; St. Stefan, Oststeiermark, Rudolf Peter, with trombone; Au- London, UK 5:45 pm Austria 6 pm gustinerkirche, Landau, Germany 7:30 pm 10 JULY Julie Ainscough; Christ’s Chapel, Dulwich, Torgen Zepke; Dom, Altenberg, Germany Andreas Dorfner; St. Wolfgang, Reutlingen, Johannes Skudlik; St. Michaelis, Hamburg, UK 7:45 pm 11:45 am Germany 8 pm Germany 7 pm Kseniya Pogorelaya; Klosterkirche, Pieter Diriksen; Basilika, Tongeren, Bel- Johannes Ebenbauer; Kreuzkirche, Dres- 16 JULY Fürstenfeldbruck, Germany 12:15 pm gium 4 pm den, Germany 8 pm Bernard Foccroulle; Hauptkirche St. Ja- Christiaan Ingelse; Dom, Altenberg, Ger- James O’Donnell; Munster, Basel, Switzer- Johann Vexo; Church of St. Jerome, Méta- cobi, Hamburg, Germany 8 pm many 2:30 pm land 12 noon betchouan, QC, Canada 7:30 pm Samuel Cosandey, with alto; Munster, Ber- Matthias Giesen; St. Paulus Kirche, Her- Frédéric Mayeur, with cornet; Basilica, ner, Switzerland 5 pm ford, Germany 6 pm Valère, Switzerland 4 pm 11 JULY Juan Paradell Solé; Cathedral, Bruges, Roman Perucki; Evangelishe Stadtkirche, Stefan Donner; Bloomsbury Central Bap- Marco Amherd; Dom St. Petri, Bremen, Belgium 8:30 pm Karlsruhe, Germany 8:30 pm tist, London, UK 4 pm Germany 7 pm Geoffrey Coffin; Abbey, Selby, UK 12:30 pm Andrés Cea Galián; Abbey Church, Ro- Martin Setchell; Dom, Altenberg, Germany Stefan Donner; St. Lawrence Jewry, Lon- mainmôtier, Switzerland 5 pm 28 JULY 8 pm don, UK 1 pm Margaret Phillips; Methodist Central Hall, Johannes Ebenbauer, with saxophone; St. Axel de Marnhac; Notre Dame des Neiges, Zsombor Tóth-Vajna; Grosvenor Chapel, Westminster, London, UK 3 pm Ruprecht an der Raab, Oststeiermark, Austria Alpe d’Huez, France 8:45 pm London, UK 1:10 pm Peter King; St. Paul’s Cathedral, London, 6 pm Alessandro Bianchi; St. Margaret Loth- Isabelle Demers; Westminster Abbey, Lon- UK 4:45 pm Hannes Marek; Jesuitenkirche, Vienna, bury, London, UK 1:10 pm don, UK 7 pm William Fox; Westminster Abbey, London, Austria 6:20 pm UK 5:45 pm Markus Utz; Münster, Konstanz, Germany 12 JULY 17 JULY 11:30 am Ingelore Schubert; Aureliuskirche, Calw- Matthias Maierhofer; St. Michaelis, Ham- 23 JULY Paolo Oreni & Rolf Müller; Dom, Altenberg, Hirsau, Germany 8 pm burg, Germany 7 pm Ivan Duchnytsch; Erlöserkirche, München, Germany 11:45 am Richard Brasier Umberto Kostanic Students of Stuttgarter Orgelakademie; ; Kathedrale, Dresden, Germany 7 pm ; Klosterkirche, Fürsten- Germany 8 pm Lorenzo Ghielmi; Hauptkirche St. Jacobi, feldbruck, Germany 12:15 pm Münster, Obermarchtal, Germany 8 pm Malcolm Rudland; Christ Church Cathe- Hamburg, Germany 8 pm Andrea-Ulrike Schneller & Hans-Rudolf dral, Grafton, Australia 12:30 pm Luca Benedicti; Cathedral, Bruges, Bel- Krüger; Ev. Martinskirche, Stuttgart-Plienin- 13 JULY gium 8:30 pm gen, Germany 5 pm Roberto Marini ; St. Michaelis, Hamburg, 18 JULY Bernard Haas; Munster, Berner, Switzer- Donato Cuzzato; Jakobikirche, Herford, Germany 12 noon Gerhard Löffler; Dom St. Petri, Bremen, land 5 pm Germany 6 pm Ulrich Theißen, with trumpet; Stadt- Germany 7 pm Murray Forbes Sommerville; Abbey, Selby, Ansgar Schlei, with instruments; Willibror- pfarrkirche St. Martin, Bamberg, Germany Alexander Fiseisky; Dom, Altenberg, Ger- UK 12:30 pm di-Dom, Wesel, Germany 6 pm 5:30 pm many 8 pm Samuel Bristow; St. George’s Hanover Gerhard Löffler; Hauptkirche St. Jacobi, Léon Berben; Basilika, Tongeren, Belgium Roman Perucki, with cello; Notre Dame des Square, London, UK 1:10 pm Hamburg, Germany 8 pm 4 pm Neiges, Alpe d’Huez, France 8:45 pm James O’Donnell; Westminster Abbey, Vincent Warnier; Stiftskirche, Tübingen, Andreas Liebig; Munster, Basel, Switzer- Joe Matthews; St. John the Evangelist, Up- London, UK 7 pm Germany 8 pm land 12 noon per Norwood, UK 7:30 pm David Enlow; Evangelishe Stadtkirche, Philip Smith; Victoria Hall, Hanley, UK 24 JULY Karlsruhe, Germany 8:30 pm 12 noon 19 JULY Winfried Bönig; St. Michaelis, Hamburg, Winfried Bönig; Munster, Basel, Switzer- Karen Beaumont; St. Andrew’s Church, Ignace Michiels; Cathedral, Bruges, Bel- Germany 7 pm land 6 pm Quebec City, Canada 2 pm gium 8:30 pm Simon Johnson; Frauenkirche, Dresden, Stefan Donner; Westminster Abbey, Lon- Jugendkonzertchor der Chorakademie Dort- Germany 8 pm don, UK 5:45 pm 14 JULY mund; Münster, Überlingen, Germany 7 pm Michael Emerson; Parish Church, Ching- Lukas Hasler, with soprano; St. Johann bei Elmar Lehnen, silent fi lm, The Hunchback ford, UK 1:10 pm 29 JULY Herberstein, Oststeiermark, Austria 6 pm of Notre Dame; Münster, Herford, Germany Peter Eilander; Ev.-Lutherse Kerik, Den Peter Kofl er; Jesuitenkirche, Vienna, Aus- 9 pm 25 JULY Haag, Netherlands 8 pm tria 6:20 pm Roman Perucki, with violin; Cathedral, Lau- Wolfgang Zerer; Dom St. Petri, Bremen, Armin Becker; Evangelische Bischofs- sanne, Switzerland 8 pm Germany 7 pm 30 JULY kirche St. Matthäus, München, Germany 11:30 Thomas Ospital; Dom, Altenberg, Germany Diego Cannizzaro; Erlöserkirche, am 20 JULY 8 pm München, Germany 7 pm Kornelia Kupski, with tenor; Dom, Alten- Konrad Paul; St. Michaelis, Hamburg, Ger- Jean-Paul Imbert; Notre Dame des Neiges, Hans Fagius; Hauptkirche St. Jacobi, Ham- berg, Germany 11:45 am many 12 noon Alpe d’Huez, France 8:45 pm burg, Germany 8 pm Ferruccio Bartoletti; Dom, Altenberg, Ger- Luc Ponet; Basilika, Tongeren, Belgium Lionel Rogg; St. Margaret Lothbury, Lon- Anna-Victoria Baltrusch, with oboe, oboe many 2:30 pm 4 pm don, UK 1:10 pm d’amore & English horn; Munster, Berner, Arisa Ishibashi; St. Pankratius-Kirche, Güt- Alexandra Wiedlich; Munster, Basel, Swit- Richard Moore; Cathedral, Guildford, UK Switzerland 5 pm ersloh, Germany 5 pm zerland 12 noon 7:30 pm Nathan Laube; Abbey, Selby, UK 12:30 pm Students of Stuttgarter Orgelakademie; Andrea Macinanti; Basilica, Valère, Swit- Matthew Jorysz; Westminster Abbey, Lon- Münster, Obermarchtal, Germany 5 pm zerland 4 pm 26 JULY don, UK 7 pm Olivier Latry; Münster, Herford, Germany Nicholas Mannoukas; St. John the Evan- Joachim Neugart; Cathedral, Bruges, Bel- 6 pm gelist, East Dulwich, UK 11 am gium 8:30 pm 31 JULY Ansgar Schlei; Münster, Überlingen, Ger- Christoph Schoener; St. Michaelis, Ham- many 8:15 pm burg, Germany 7 pm Stefan Kagl; Münster, Herford, Germany Kirsten Sturm; Stiftskirche, Tübingen, Ger- 9 pm many 6 pm Markus Utz, with soprano; Münster, Kon- Jan Lehtola; Kreuzkirche, Dresden, Ger- stanz, Germany 8 pm many 8 pm Elie Jolliet; Collegiate Church, Neuchätel, William Layzell-Smith; Parish Church, Ch- Switzerland 6:30 pm ingford, UK 1:10 pm

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

ISABELLE DEMERS, South Main Bap- in a, BWV 593, Passacaglia and Fugue in c, ludes), Bolcom; Danse Macabre, Saint-Saëns, strels (Préludes, Book I), Des Pas sur la tist Church, Houston, TX, November 3: Har- BWV 582, Bach; Infl ame and Fire Our Hearts transcr. Lemare; Maria Zart (Tabulaturen etli- Neige (Préludes, Book I), The Snow Is Danc- ry Potter Symphonic Suite, Williams, transcr. (Dryden Liturgical Suite), Persichetti; Prière, cher Lobgesang und Lidlein), Schlick; Sonata ing (Children’s Corner), Sarabande (Pour le Demers; Requiescat in Pace, Sowerby; Inter- op. 20, Franck; Toccata (24 Pièces de fantaisie, II, Hindemith; Adagio, Toccata (Symphonie piano), Golliwogg’s Cake Walk (Children’s mezzo, Finale (Symphonie, op. 5), Barié; Ma op. 53, no. 6), Vierne. V, op. 42, no. 5), Widor. Corner), La Cathéderal engloutie (Préludes, Vlast, Smetana, transcr. Demers; Praeludium Book I), Debussy, transcr. Shackelford; Valses in g, Bruhns; March to the Scaffold, Dream of CHRISTIAN LANE, St. Thomas Church RAYMOND NAGEM, St. Thomas Church Nobles et Sentimentales, Ravel, transcr. Shack- a Witch’s Sabbath (Symphonie Fantastique), Fifth Avenue, New York, NY, December 9: Fifth Avenue, New York, NY, November 18: elford; La Plus que Lent, Valse, Debussy; Pas- Berlioz, transcr. Demers. Allegro maestoso (Sonata in G, op. 28), Elgar; Toccata, Chorale, and Fugue, Jackson; Trois torale, Roger-Ducasse; Tu es petra et portæ Elegy, Brewer; Nun komm, der Heiden Hei- Préludes et Fugues, op. 7, Dupré. inferi non prævalebunt adversus te (Esquisses JOHN FENSTERMAKER, organ, with land, A. Mendelssohn; Prelude and Fugue in Byzantines), Mulet. Alexandra Carlson, piano, Trinity-by-the-Cove C, BWV 545, Nun komm, der Heiden Heiland, EUNJAE PARK, Finney Chapel, Oberlin Episcopal Church, Naples, FL, December 18: BWV 659, Bach; Theme and Variations in D, Conservatory of Music, Oberlin, OH, Novem- BENJAMIN SHEEN, St. Thomas Church Variations on Votre bonté grand Dieu, Bal- Mendelssohn; Hamburger Totentanz, Bovet; ber 20: Toccata in d, op. 59, no. 6, Fugue in Fifth Avenue, New York, NY, December 2: bastre; Noël Nouvelet, Quelle est cette odeur Gloucester Estampie, op. 862, Cooman. D, op. 59, no. 6, Reger; Étoile du soir (Pièces Overture (St. Paul, op. 36), Mendelssohn, agréable?, Touro-lour-louro, Dors, ma Co- de fantaisie, Troisième Suite, op. 54), Toccata transcr. Best; Fantasia on Veni Emmanuel, lombe, Pat-a-Pan (French Carol Miniatures), ANNA LAPWOOD, St. Thomas Church (Pièces de fantaisie, Deuxième Suite, op. 53), Leighton; Choral No. 2 in b, Franck; Wachet Hopson; Greensleeves, Purvis; The Christmas Fifth Avenue, New York, NY, December 16: Vierne; Scherzo, op. 2, Durufl é; Arietta in E- auf, ruft uns die Stimme, BWV 645, Bach; Song, Tormé and Wells; Miniature Overture, An Occasional Trumpet Voluntary, Gowers; fl at, Kerr; Whimsical Variations, Sowerby; Oc- Nun komm, der Heiden Heiland, op. 67, no. March, Dance of the Sugar-plum Fairy, Rus- Canonic Variations on Vom Himmel hoch, da taves (Six Etudes, op. 5, no. 6), Demessieux; 29, Reger; Le Monde dans l’attente du Sau- sian Dance, Arabian Dance, Dance of the komm ich’ her, BWV 769, Bach; Prelude, An- Dessiens Éternels, Dieu parmi nous (La Na- veur (Symphonie-Passion, op. 23), Dupré. Reed-fl utes, Waltz of the Flowers (Nutcracker gel’s Farewell (The Dream of Gerontius), op. tivité du Seigneur), Messiaen. Suite), Tchaikovsky, transcr. Fenstermaker. 38, Elgar, transcr. Brewer; Toccata–Gigue on JOHN SHERER, Fourth Presbyterian the Sussex Carol, Baker. STEPHEN PRICE, Culver Academies, Church, December 21: Wachet auf, ruft uns JEAN-CHRISTOPHE GEISER, Cathedral, Culver, IN, November 4: Prelude and Fugue die Stimme, Karg-Elert; O Come, O Come Lausanne, Switzerland, December 25: Suite RENÉE ANNE LOUPRETTE, Wichita in C, BWV 547, Bach; Choral Fantasia on Ein Emmanuel, Lau; Savior of the Nations, Come, Gothique, op. 25, Boëllmann; Pastorale, BWV State University, Wichita, KS, November feste Burg ist unser Gott, Walther; Suite for Good Christian Friends, Rejoice, Bach; Noël, 590, Bach; Symphonie Gothique, op. 70, Widor. 13: Prelude and Fugue in G, BWV 541, Organ, Alain; Fast and Sinister (Symphony in Estrada; Lullaby (Suite), Hampton; Tomorrow Bach; Pange lingua: Récit du Chant de G), Sowerby; Miroir, Wammes; Psalm Prelude Shall Be My Dancing Day, Away In a Manger, MATTHEW HAIDER, Loyola University, l’Hymne précédent, de Grigny; Variations (Set 1, no. 3), Howells; Toccata in C, Schmidt. Go Tell It on the Mountain, Wagner and Behn- Chicago, IL, December 16: Nun komm, der sur un thème de Clément Jannequin, Alain; ke; What Child Is This?, Vaughan Williams; Heiden Heiland, BWV 659, 660, 661, Bach; Alcyone (Suite des Airs à joüer), Marais, tran- NICHOLAS SCHMELTER, First Con- Carillon on a Ukrainian Bell Carol, Near. Ave, Maris Stella, Dupré; Christmas, Dethier. scr. Louprette; 24 Pièces de fantaisie, Deux- gregational Church, Oshkosh, WI, October ième Suite, op. 53, Vierne. 11: Toccata, Mushel; Carillon, Sowerby; FREDERICK TEARDO, St. Thomas CHRISTOPHER HOULIHAN, West- Capriccio, Lemaigre; Sinfonia (Ich steh mit Church Fifth Avenue, New York, NY, Novem- minster Presbyterian Church, Dayton, OH, KIMBERLY MARSHALL, St. Paul Cath- einem Fuss im Grabe), Pièce d’orgue, BWV ber 25: Fanfare, Cook; Clair de lune (24 Pièces October 7: Toccata, Sowerby; Master Tallis’s olic Cathedral, Pittsburgh, PA, November 16: 572, Bach; Largo (New World Symphony), de fantaisie, op. 53, no. 5), Vierne; Giga (Si- Testament (Six Pieces), Howells; Passaca- Prelude in E-fl at, BWV 552i, Bach; Mit ganc- Dvorak, transcr. Clough-Leighter; Requiescat ciliana and Giga for Flute and Piano, op. 73), glia and Fugue in c, BWV 582, Bach; Four zem Willen wünsch ich dir, Domit ein gut in Pace, Sowerby; Meditation (Trois Improvi- M. Bossi, transcr. R. Bossi; Nimrod (Enigma Sketches for Pedal Piano, op. 58, Schumann; Jahr, Wilhemus Legrant (Lochamer Lieder- sations), Carillon de Westminster (24 Pièces Variations, op. 36), Elgar, transcr. Gower; Alleluias sereins d’une âme qui désire le ciel buch), anonymous; Fugue sur la Trompette, de fantaisie, op. 54, no. 6), Vierne. Fantasia and Fugue in d, op. 135b, Reger. (L’Ascension), Messiaen; Scherzo (Symphonie Récit de Chromhorne, Duo sur les Tierces, Sacred Heart Music Center, Duluth, MN, II, op. 20), Toccata (24 Pièces de Fantaisie, op. Tierce en taille (Messe des Paroisses), Cou- October 13: Toccata, Mushel; Partita on Lobe JOHANN VEXO, Cathedral of St. Joseph, 53, no. 6), Vierne. perin; Tiento XXIII de 6° Tono sobre la Batal- den Herren, Hebble; Capriccio, Lemaigre; Hartford, CT, November 3: Dialogue, March- la de Morales, de Arauxo; Fugue in E-fl at, Sinfonia (Ich steh mit einem Fuss im Grabe), and; Choral No. 1 in E, Franck; Joie et clarté DAVID HURD, St. Paul’s Chapel, Trinity BWV 552ii, Bach; Mass L’homme armé, San- Pièce d’orgue, BWV 572, Bach; Variations on des Corps glorieux (Les Corps glorieux), Mes- Parish, New York, NY, December 14: Nun dresky; Litanies (Trois pièces), Alain; Prélude Old Folks at Home, Buck; Meditation (Trois siaen; Choral varié sur Veni Creator, Durufl é; komm der Heiden Heiland, BWV 659, 660, et Fugue sur le nom d’Alain, op. 7, Durufl é. Improvisations), Carillon de Westminster (24 Messe pour 2 choeurs et 2 orgues, Widor. 661, Bach; Three Preludes on Nun komm der pièces de fantaisie, op. 54, no. 6), Vierne; In- St. Thomas Episcopal Church, Me- Heiden Heiland, Hurd; Toccata, Hurd; Toc- KATHERINE MELOAN, Grace Episco- troduction, Passacaglia, and Fugue, Wright. dina, WA, November 11: Praeludium in G, cata on Veni Emmanuel, Hailstork; Magnifi cat pal Church, Massapequa, NY, November 13: Bruhns; Onder een linde groen, Sweelinck; Primi Toni, BuxWV 203, Buxtehude. Toccata and Fugue in d, BWV 538, Wachet RUDY SHACKELFORD, organ and Sonata in G, BWV 530, Concerto in d, BWV auf, ruft uns die Stimme, BWV 645, Kommst piano, Bethany United Methodist Church, 596, Bach; Psalm 24, Van Noordt; In dich SUSAN KLOTZBACH, Loyola Univer- du nun, Jesu vom Himmel herunter, BWV Gloucester Point, VA, November 18: Pièce hab ich gehoffet, Herr, Tunder; Fantasie in sity, Chicago, IL, November 18: Concerto 650, Bach; Sweet Hour of Prayer (Gospel Pre- héroïque, Franck; Berceuse héroïque, Min- f, KV 608, Mozart.

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sound INSPIRATION Experience the new website DIAPASON Student Rate for THE DIAPASON! Acoustical Design & Testing • Organ Consultation & $20 one year Inspection • Organ Maintenance & Tuning • Sound & Video 847/954-7989 System Design, Evaluation & Training WOW! www.riedelassociates.com • (414) 771-8966 [email protected] email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202

Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE

A Whispered Prayer, for unison voices with organ Certified appraisals—Collections of organ Raven has released the fi rst in a series of new Aeolian-Skinner Opus 1244, built in 1953. Two accompaniment, is the third of a trio of compli- books, recordings, and music, for divorce, recordings by Timothy Olsen, Organs of North manuals both under expression, 14 ranks, 13 mentary hymn anthems to be offered by Fruhauf estate, gift, and tax purposes. Stephen L. Carolina. Vol. 1, The German Muse (OAR-977), stops. Tilting tablet console, keyboards in excel- Music Publications in the course of 2018–19. Pinel, Appraiser. 629 Edison Drive, East Wind- features the 1965 Flentrop at Salem College in lent condition. Organ professionally removed and Released in May, the hymn text is omni-seasonal. sor, NJ 08520-5205; phone: 609/448-8427; works by Buxtehude, Distler, Böhm, J. S. Bach, packed, pipework is original and unaltered and The setting provides three unison verses and a email: [email protected]. Pachelbel, Zipoli, Hindemith, and Walcha. Vol. in very good shape. This is a beautiful sounding brief transition, followed by a unison fourth verse 2, The American and French Muses (OAR-145), instrument that was fully playable at removal. You that features a free accompaniment and des- features the 1977 Fisk op. 75 at the University can hear the sister to this organ in Madison, Wis- Raven has released a new recording by Harry cant. A visit to FMP’s home page bulletin board of NC School of the Arts; works by Margaret consin, which we just restored. Have full removal van Wijk featuring a transcription of Bedrich Sandresky, Aaron Travers, Ted Oliver, Claude at www.frumuspub.net will provide a link to the pictures, chamber pictures, and digital recording Smetana’s The Moldau and several other previ- Gervaise, de Grigny, and Franck. $15.98 each, letter-sized PDF booklet fi le’s download page, made when we pulled the organ. $25,000. Con- ously unrecorded works on the 1933 E. M. Skin- postpaid worldwide from RavenCD.com. along with access to the other two anthems being tact Bruce Case at the Case Organ Co. 608/215- ner organ at Girard College Chapel (OAR-979). featured this year. The program includes Edwin H. Lemare’s edition 3776; [email protected] of Josef Rheinberger’s Organ Sonata No. 4, The new Nordic Journey series of CD record- ings reveals premiere recordings of symphonic Organa Europae calendars featuring famous Tango and Fandango by Margreeth de Jong, and Casavant organ for sale, Opus 3606, 1986; 58 pieces by Guilmant, Mozart, Bossi, and Franck. organ music—much of it still unpublished—from pipe organs of Europe; years 1969 to 1977. Nordic composers, played by American organist registers, 82 ranks, 2 digital voices, 5 divisions $15.98 postpaid worldwide from RavenCD.com. $10.00 each. 219/662-0677, [email protected]. James Hicks on a variety of recently restored (Grande, Positif, Recit, Antiphonal, Pedale, and Swedish organs. It’s a little bit like Widor, Reger En-Chamade Trompette); 3-manual movable and Karg-Elert, but with a Nordic twist. Check it drawknob console; electro-pneumatic action. 1812 Overture, by Tchaikovsky, transcribed by The Tracker—The Organ Historical Society quarterly journal includes news and articles out at www.proorgano.com and search for the Make offer, buyer to remove summer 2019. Edwin Evans. Prepare to spend a couple of eve- term “Nordic Journey.” Contact Music Director Mr. Woosug Kang for nings learning this one. :) This is the full “Ouver- about the organ and its history, organ builders, exemplary organs, and regional surveys of full information and photos. St. George’s Epis- ture Solennelle,” as Tchaikovsky called it in the instruments. Both American and European organ copal Church, 4715 Harding Road, Nashville, French transliteration. Edwin Evans transcribed The Organ Historical Society announced the topics are discussed, and most issues run 48 TN 37205; 615/385-2150, woosug.kang@ the entire piece from the orchestral score in 1909. publication of its 2019 Pipe Organ Calendar. pages with many illustrations and photographs. stgeorgesnashville.org. The only thing not included are the cannons! If The calendar features organs by Wolff, Schudi, Membership in the OHS includes a subscrip- you play this, you are absolutely guaranteed a Noack, Bedient, Sipe-Yarbrough, Fisk, Hook & tion to The Tracker. Visit the OHS Web site for standing ovation! michaelsmusicservice.com Hastings, Redman, Kern, and others. Available Wicks Organ, Op. 1210—$12K. Restored, subscription and membership information: www. 704/567-1066. from the OHS e-Shoppe: $18 members ($21 61-key Great and Swell manuals plus 32-key organsociety.org. non-members), https://organhistoricalsociety.org/ pedal; 16′ Bourdon, 16′ Lieb-Ged, 8′ Diapason, product/ohs-2019-calendar/?v=7516fd43adaa 8′ Salicional, 8′ Melodia, 8′ Flute, 4′ Vox Celeste, ChicAGO Centenary Anthology, by Alan J. Pipe Organs of the Keweenaw by Anita Deagan Chimes (20), Swell shades. Located in Hommerding, Paul M. French, Richard Proulx, et Campbell and Jan Dalquist, contains his- Ed Nowak, Chicago-area composer, arranger, Albuquerque, NM. [email protected], www.thedia- al. This joint effort of the Chicago Chapter of the tories, stoplists, and photos of some of and church musician, announces his new web- pason.com/classifi ed/wicks-op-1210-pipe-organ. American Guild of Organists and World Library the historic organs of the Keweenaw Pen- site, featuring Nowak’s original choral works, Publications presents specially commissioned insula, the northernmost tip of Michigan’s hymn concertatos, chamber and orchestral organ works by Chicago composers, as well Upper Peninsula. Organs include an 1899 works, organ hymn accompaniments, organ Lawrence Phelps Casavant Frères, Op. 3075 as rare or unpublished pieces by earlier organ- Barckhoff and an 1882 Felgemaker. The booklet and piano pieces, electronic music, and psalm for sale. 2 manuals, 3 divisions, 46 ranks, 29 ists from the city including Leo Sowerby. Also ($8.00 per copy, which includes postage) is settings. The website offers scores and recorded stops. Terraced drawknob console. Mechani- includes a jubilant Bailado Brasileiro by Richard available from the Isle Royale and Keweenaw examples that are easy to sample and can be cal action. 1969 electronic combination action. Proulx, the AGO’s 2006 Composer of the Year! Parks Association, 49445 US Hwy 41, Hancock, purchased in downloaded (PDF and MP3) or Email [email protected] or call 003074, $25.00, 800/566-6150, Wlpmusic.com. Michigan 49930. For information: 800/678-6925. printed form. Visit ednowakmusic.com. 914/738-5515, ext. 102.

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Each month your gift will keep on giving by providing the important news TOTAL PIPE ORGAN RESOURCES of the organ and church music fi eld. Know that your gift will be just right. For information, contact Rose Geritano, 847/391-1030; rgeritano@ 2320 West 50th Street * Erie, PA 16505-0325 sgcmail.com. Or visit www.thediapason.com and click “subscribe.” (814) 835-2244 * www.organsupply.com $43 one year USA; $35 one year digital; $20 one year student

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

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

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26-rank Casavant - Létourneau pipe organ for 1968 Schantz, opus 890, III Manual, 5 divisions. Forty-fi ve beautiful, hand-made “Noye’s sale. Orgues Létourneau is offering a 22-stop Organ is in good condition, console converted to Fludde” animal head hoods. Lots of extra mate- Consider a gift subscription to THE DIAPA- Casavant Frères pipe organ (Opus 1274 from solid-state, several additions to original stoplist, rial and patterns. [email protected]. SON for all your friends who love the organ, harpsichord, carillon, and church music. Your 1928) for sale. This electro-pneumatic instru- organ to be removed professionally by new ment was rebuilt by Létourneau in 1987 and is gift will be remembered throughout the year. owner prior to new organ installation. Best offer. (And don’t forget our special bargain for stu- Consoles, pipes currently in storage at the Létourneau shops. It is 1980 Milnar organ, 11 ranks on II Manuals and and numerous miscellaneous dents at $20!) Visit www.thediapason.com available for purchase in “as is” condition for US Pedal. Currently in climate-controlled storage. parts. Let us know what you are looking for. and click on “subscribe.” $35,000 with its original two-manual console. $16,500 or best offer. Small Wicks practice E-mail [email protected] (not comcast), Likewise, Létourneau would be pleased to pro- phone 215/353-0286 or 215/788-3423. vide a proposal to rebuild this instrument, taking organ, $5,000. Contact Milnar Organ Company for more information on either of these organs. THE DIAPASON’S new website has an increased into account any desired changes to the stoplist capacity for new videos. Go to www.thediapa- as well as installation costs, voicing, casework www.milnarorgan.com or 615/274-6400. Gothic White Oak Organ Case. 25′ x 25′ x 12′ son.com and click on videos to see what you’ve as required, and rebuilding the two-manual deep. Excellent condition. Spiky towers, lots of missed! Visit www.thediapason.com often and console with a new solid-state switching system. keep up to date with all the news items. 33-rank Wicks, Opus 3585 (1956) for sale. fi ligree. The Organ Clearing House, 617/688- The organ requires approximately 360 sq. ft. 9290, [email protected]. with 20′ ceiling for 16′ ranks. For more details, Three-manual and pedal drawknob console, visit www.letourneauorgans.com, email info@ duplexed to 60 playing stops. Exposed Great, THE DIAPASON E-Newsletters are e-mailed ′ letourneauorgans.com or call Andrew Forrest at expressive Swell and Choir, chamber 22 wide, SERVICES / SUPPLIES monthly to subscribers who sign up to 450/774-2698. 10′-6″ deep. Make offer. Christ King Catholic receive them. Don’t miss the latest news, Church, 2604 N. Swan Blvd., Wauwatosa, WI featured artists, and classifi ed ads—all with 53226; 414/258-2604. Organist Bill Lieven, Releathering all types of pipe organ actions photos—some before they appear in print! Visit www.TheDiapason.com and click on Aeolian Duo-Art Pipe Organ, Opus 1560. [email protected]. and mechanisms. Highest quality materi- Three manuals: Great, Swell, Choir, w/expres- Subscribe to our newsletter. For assistance, als and workmanship. Reasonable rates. contact Stephen Schnurr, 847/954-7989, sion, and Pedal; 48 ranks, Harp and Chimes, Columbia Organ Leathers 800/423-7003. [email protected]. all stops 73-pipes, 61-note manuals, 32-note Pfeffer and Debierre organs. Circa 1860 Pfeffer www.columbiaorgan.com/col. pedals. Electro-pneumatic chests; 176-note roll- eight-rank organ, available rebuilt and custom fi n- player in console. $52,000. Restored by Dave ished. Also 1884 choir organ by Louis Debierre. THE DIAPASON’s website (www.thediapason. Junchen; professionally removed from California Both are pictured on the Redman website: www. Do you have a pipe organ that you would com) features an ever-increasing number of Institute of Technology, Pasadena, by Organ redmanpipeorgans.com. like to interface with an electronic or digital PDFs of vintage issues. Search the website Clearing House and American Organ Institute. organ? We can interface any digital organ or now for selected issues, as most are avail- Organ in safe/secure climate controlled stor- any organ console with any pipe organ. For more able from 1944–1945, 1966–1993, and 2005 age, San Antonio, Texas. Contact Mr. Crockett; to the present! Walter Holtkamp, Sr., Opus 1695 (1957), Christ information e-mail [email protected] (not 214/991-1009; [email protected] Church Cathedral, Cincinnati. One of the last, Comcast) or call 215/353-0286. and largest, to be built by Walter Holtkamp, Sr. Postal regulations require that mail to THE 54 stops in fi ve divisions over three manuals and 1929 Holtkamp, two manuals and pedal, 6 DIAPASON include a suite number to assure Aeolian/Robert Morton-style maroon ranks, 12 stops. Birchwood casework, unusual a pedal, plus a horizontal trumpet in the Spanish delivery. Please send all correspondence to: style, totaling roughly 4,000 pipes. Contact John leather is now available from Columbia Organ Ludwigtone on Swell division. Organ was res- THE DIAPASON, 3030 W. Salt Creek Lane, Suite cued and is currently in storage, Detroit area. Bishop, the Organ Clearing House, john@organ- Leathers! Highest quality. 800/423-7003, 201, Arlington Heights, IL 60005. $2,000, 313/829-6602. clearinghouse.com. www.columbiaorgan.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q JUNE 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

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