THE DIAPASON JUNE 2020

Holy Cross Catholic Church New York, New York Cover feature on pages 18–19 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 BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS

RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ

JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄt®Äě٠THE DIAPASON Editor’s Notebook Scranton Gillette Communications

One Hundred Eleventh Year: No. 6, Digital edition promotion Whole No. 1327 Throughout June, those purchasing a new or renewal one- JUNE 2020 year subscription will receive a free one-year digital subscrip- Established in 1909 tion for a friend. This offer is valid when purchasing a print Stephen Schnurr ISSN 0012-2378 or digital subscription; the free subscription is digital. For 847/954-7989; [email protected] information and to subscribe: toll free, 877/501-7540; local, www.TheDiapason.com An International Monthly Devoted to the Organ, 847/763-4933; for new subscriptions: https://sgc.dragonforms. the Harpsichord, Carillon, and Church Music com/DPP_newfriend; for renewals: https://sgc.dragonforms. completed their goals of study this semester, no matter what com/DPP_renewfriend. level of study. CONTENTS A part of the “new normal” In this issue FEATURES Lviv Organ Art: History, churches, music, and As we all adjust to a new life within the time of a pandemic, The feature article for this month is an overview of the personalities there are creative ways to present recitals, as some of these history of organs and organists in Lviv, Ukraine, by Olena by Olena Matselyukh 12 events are now presented via livestream. As an example, you Matselyukh. John Bishop, in “In the Wind . . . ,” observes how NEWS & DEPARTMENTS will read below that the Methuen Memorial Music Hall is now online tools have suddenly changed worship in our churches Editor’s Notebook 3 offering its summer recitals via livestream. We welcome your and synagogues, particularly as pertains to music. In “Harpsi- Letters to the Editor 3 news of these events, as we will list them in our Calendar sec- chord Notes,” Larry Palmer pays tribute to the groundbreaking Here & There 3 tion with the designation “livestream,” hoping that these events career of harpsichordist Elaine Funaro. Gavin Black is taking a Appointments 4 will reach a wider audience than ever before. break from “On Teaching” this month and plans to contribute Nunc Dimittis 6 next month. Carillon Profi le by Kimberly Schafer 9 Congratulations Our cover feature is Aeolian-Skinner Organ Co. Opus 908, In the wind . . . by John Bishop 10 Andrew Schaeffer, our editor-at-large, successfully defended fi nished in 1933 and recently restored by Foley-Baker, Inc., of Harpsichord Notes by Larry Palmer 20 his dissertation for completion of his degree of Doctor of Musi- Tolland, Connecticut, for Holy Cross Catholic Church of New REVIEWS cal Arts at the University of Oklahoma in late April. The staff York City. The organ is ready to inspire future generations of New Organ Music 20 of The Diapason congratulates Andrew and all who have parishioners and guests. ■ New Recordings 21

CALENDAR 23 Letters to the Editor RECITAL PROGRAMS 25 CLASSIFIED ADVERTISING 26 Ralph Vaughan Williams Harris may have assisted him at the revised from 1921 to 1930. The fi rst per- Since the publication of my article on church, the composer John Ireland was formance was given at the Three Choirs Ralph Vaughan Williams (“Ralph Vaughan to become organist at St. Barnabas in Festival in 1930. Sources disagree on Williams and the Organ,” January 2020, succession to RVW. which version came fi rst: that for solo pages 14–18), I have come upon some • Page 16, column 3: RVW was pro- organ or for orchestra. THE additional information, which suggests a moted to lieutenant in the Royal Gar- • Page 18, column 2: The sentence DIAPASON few points in the article, along with some rison Artillery in 1917, after the Battle of stating RVW’s funeral was the fi rst in JUNE 2020 typographical errors, require correction. the Somme. Westminster Abbey for a commoner • Page 14, column 3: The speaker • Page 16, column 4: The English since Purcell is inaccurate and should was not RVW’s niece; he had none. He Hymnal should be considered as a com- be disregarded. did have many young women admir- petitor to Hymns Ancient and Modern, • Finally, in the fi nal footnote ers, some of whom referred to him as not a successor. (which should be numbered 45, not “Uncle Ralph.” • Page 17, column 1: The correct 33) the composer’s name should be • Page 15, column 2: The correct spelling is George Thalben-Ball. spelled Darke. spelling is T. Tertius Noble. • Page 17, column 2: The Prelude David Herman • Page 16, column 1: Although W. H. and Fugue in C Minor was written and Newark, Delaware ■

Holy Cross Catholic Church New York, New York Cover feature on pages 18–19 Here & There

COVER Events Cancellations Foley-Baker, Inc., Tolland, Connecticut; The American Guild of Organ- Holy Cross Catholic Church, ists’ national convention, scheduled for New York, New York 18 July 6–10, 2020, in Atlanta, Georgia, is cancelled. In addition, all Pipe Organ Editorial Director STEPHEN SCHNURR Encounter programs for 2020 are can- and Publisher [email protected] celed; many of these will be rescheduled 847/954-7989 for 2021. For information: President RICK SCHWER www.agohq.org. [email protected] 847/391-1048 The Association of Anglican Musi- Editor-at-Large ANDREW SCHAEFFER cians has postponed its 2020 conference [email protected] in Richmond, Virginia, to June 19–23, 2022. (There will also be a conference in Sales Director JEROME BUTERA 2021.) For information: [email protected] 608/634-6253 First Presbyterian Church, Kilgore, Tex- anglicanmusicians.org. Circulation/ as, Aeolian-Skinner organ Subscriptions THE DIAPASON The Guild of Carillonneurs in P.O. Box 300 Lincolnshire, IL. 60069-0300 The tenth annual East Texas Pipe North America and the World Caril- [email protected] Methuen Memorial Music Hall, Methuen, Organ Festival will be held Novem- lon Federation have cancelled their Toll-Free: 877/501-7540 Massachusetts ber 8–12 with headquarters in Kilgore, 2020 conferences at Longwood Gardens, Local: 847/763-4933 Texas. The event features Aeolian-Skin- Kennett Square, Pennsylvania. For Designer KIMBERLY PELLIKAN Methuen Memorial Music Hall, ner organs designed and tonally fi nished information: gcna.org. [email protected] Methuen, Massachusetts, offers organ by Roy Perry (1906–1978), including 847/391-1024 recitals via livestream, Wednesdays First Presbyterian Church, Kilgore, and The Oregon Bach Festival is post- Contributing Editors LARRY PALMER at 7:30 p.m., at its YouTube channel St. Mark’s Episcopal Cathedral, Shreve- poning this year’s festival to summer Harpsichord (http://www.youtube.com/c/methuen- port, Louisiana. Recitalists include 2021. For information: memorialmusichall): June 17, Heinrich Ken Cowan and Lisa Shihoten, the www.oregonbachfestival.org. BRIAN SWAGER Carillon Christensen; 6/24, Janet E. Hunt; July 1, Chenaults, Aaron Tan, Faythe Freese, Jennifer Pascual; 7/8, Leonardo Ciampa; Jan Kraybill, Organized Rhythm, and The Organ Historical Society JOHN BISHOP 7/15, Sarah Johnson. For information: others. For information: has postponed its 2020 convention in In the wind . . . https://mmmh.org. easttexaspipeorganfestival.com. ➤ page 4 GAVIN BLACK On Teaching THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles Reviewers Jeffrey Schleff 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. John L. Speller Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 3 Here & There

➤ page 3 member of The Diapason’s 20 Under United States as well as in Canada. He Guild of Organists Southwest Regional Columbus, Ohio, to July 2022. (There 30 Class of 2019), Daniel Minnick, and has also appeared on numerous occa- Competition for Young Organists and the will be a convention in Toronto in 2021.) Andrew Morris. Judges are Christian sions as an orchestral soloist. He has fi f- 2015 Albert Schweitzer Competition in For information: Lane, Iain Quinn, and Annette Rich- teen CD recordings to his credit, includ- the Young Professionals’ Division. She is organhistoricalsociety.org. ards. First prize is $3,500; second prize ing releases on the Arkay, Dominant, a member of The Diapason’s 20 Under is $1,000; third and audience prizes are Dulcian, Motette-Ursina, Organeum, 30 Class of 2016. $500 each. For information: Naxos, and JAV labels. For information: In 2019, she graduated from the Curtis Competitions syracuseago.org. ism.yale.edu. Institute of Music with an artist diploma in organ and a performer’s certifi cate in The Second Wadden Sea Inter- harpsichord, where she studied with Alan national Organ Competition, open Morrison and Leon Schelhase, respec- to organists of all nationalities born tively. She obtained her Bachelor of on or after January 15, 1986, will take Music (2016) and Master of Music (2017) place January 15–23, 2021, hosted by degrees in organ performance at Rice the Danish National Academy of Music University, Houston, Texas, where she in Esbjerg, Denmark. Winners will be studied with Ken Cowan and graduated offered prizes totaling DKK 250,000 summa cum laude. While in Houston, she (approximately $36,000) and concert served for two years as full-time organist engagements in Denmark. Deadline for at Christ Church Cathedral alongside application is September 1. For informa- Grammy Award-winning director Robert tion: organcompetition.dk. Simpson. She has been featured at the 2017, 2016, and 2015 Organ Historical Society national conventions, the 2019 Appointments Meg Cutting AGO regional convention in New Jersey, the 2017 AGO regional conventions in Meg Cutting is appointed organ Dallas and Montreal, the 2016 AGO scholar for St. James Episcopal Cathe- national convention (as a “Rising Star” dral, Chicago, Illinois, effective in August. and cathedral organist for solemn even- Cutting is a graduate student at the Yale song), the 2016 East Texas Pipe Organ Institute of Sacred Music and the Yale Festival, and the 2015 AGO regional School of Music, New Haven, Connecti- convention in Fort Worth. cut, pursuing a Master of Music degree Engagements for the 2019–2020 in organ performance in the studio of season include performances at Walt St. Patrick’s Church of Ireland Cathe- Martin Jean. She earned a Bachelor of Disney Concert Hall in Los Angeles, dral, Armagh, Northern Ireland, 1996 Music degree from Eastman School of California, Spivey Hall at Clayton State Wells-Kennedy Partnership, Ltd., organ Music, Rochester, New York, where she University in Morrow, Georgia, and studied with Nathan Laube. Cutting is a international festivals in Helsinki and The dates for the Northern Ireland native of Salem-Keizer, Oregon, where Lahti (Finland). For information: www. International Organ Competition she studied piano and organ with Pamela monicaczausz.com, kingofglory.com, have been provisionally changed to Miller. She was a fi nalist in the Taylor www.concertorganists.com. October 23–24, 2020. A streamlined Organ Competition in Atlanta, Georgia, version of the competition will run con- Craig Cramer and an E. Power Biggs Fellow of the currently with an altered version of the Organ Historical Society in 2015. Charles Wood Summer School, which Craig Cramer is appointed visiting Cutting has been featured on Pipe- has also been postponed from August. professor of organ at the Yale Institute dreams Live! and has performed in ven- The jury for the competition is chaired of Sacred Music and Yale School of ues such as Slee Hall at the University by Sophie-Véronique Cauchefer-Chop- Music, New Haven, Connecticut, for the of Buffalo and Central Synagogue in lin (France), replacing David Tittering- 2020–2021 academic year. He will teach New York City. She currently serves as ton (UK). Other jury members are David half of the graduate organ majors at Yale the Wilson Family Sacred Music Intern Hill (UK and USA) and Simon Harden and the organ seminar. at Brick Presbyterian Church, New (Ireland). Only the senior section of the Cramer holds degrees from Westmin- York City, where she works under min- competition and a masterclass by Cau- ster Choir College, Princeton, New Jer- ister of music Keith Tóth. She replaces chefer-Choplin will take place. NIIOC sey, and the Eastman School of Music, Isaac Drewes, who has been appointed is open to organists aged 21 and under, Rochester, New York, where he earned associate director of music and worship but a temporary change to the rules for the Doctor of Musical Arts degree in for Central Lutheran Church, Minne- Isaac Drewes this year means that performers who organ performance and where he was apolis, Minnesota. would have been eligible to take part also awarded the Performer’s Certifi cate Isaac Drewes is appointed associate on the original dates, but would be 22 in Organ. His teachers include Russell director for music and worship at Central by October 24, will be allowed to apply. Saunders, William Hays, James Drake, Lutheran Church, Minneapolis, Minne- Shortlisting will be by reference rather David Boe, and André Marchal (Paris). sota, effective in August. There he will than by submission of recordings, for this Cramer is retiring this month as profes- share in service playing, accompany the year only. For information: niioc.com. sor of organ at the University of Notre Central Choir, and direct the choristers Dame, where his teaching has been and bell choirs. The semi-professional The fi nal round of the 2020 Arthur recognized with a Kaneb Distinguished adult choir comprises 70 voices. Poister Competition in Organ Play- Faculty Award. Drewes is a graduate of St. Olaf Col- ing will be held November 13 at St. Cramer maintains an active recital lege, Northfi eld, Minnesota, and Eastman Paul’s Episcopal Church, Syracuse, New career in North America and in Europe; School of Music, Rochester, New York. York. The fi nalists areCarolyn Craig (a he has performed in forty-four of the His principal teachers were Catherine Rodland and David Higgs. He was the 2019–2020 Association of Anglican Musi- cians’ Gerre Hancock Fellow at St. James Episcopal Cathedral, Chicago, Illinois, Monica Czausz (photo credit: Joseph where he was the principal accompanist Routon) and assisted in service playing and choris- ter training. He earned fi rst prize in the Monica Czausz is appointed direc- 2018 Lynnwood Farnam organ competi- tor of music and artistic ministries at tion and has performed for two conven- King of Glory Lutheran Church, Dallas, tions of the Organ Historical Society. Texas, the largest ELCA congregation in north Texas. Czausz performs under the Charles Miller is appointed director management of Karen McFarlane Artists, of music and organist of Cherry Hill Inc. She has received fi rst prize at com- Presbyterian Church, Dearborn, Michi- petitions including the 2015 American gan. Prior to this position, he was asso- ciate organist of the Cathedral Church of St. Paul, Detroit. Miller is a graduate BACH AT NOON of the University of Michigan (Bach- elor of Music degree in organ) and the AUSTINORGANS.COM Grace Church in New York University of Connecticut (Master of 
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Music degree in conducting), and has www.gracechurchnyc.org served the American Guild of Organists ➤ page 6

4 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM proudly representing keyboard artists since 1988 CONCERT ARTISTCOOPERATIVE

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➤ page 4 Mona, Jamaica. He has also performed Philipp Emmanuel Bach, Jean-Baptiste the Mass for choir, congregation, and as an organist and harpsichordist with Antoine Forqueray, Jane Savage, and organ; Evening sets the traditional the Grammy-nominated vocal ensemble Elisabeth-Claude Jacquet de La Guerre. Evening Service canticles, Magnifi cat Seraphic Fire and the Firebird Cham- For information: www.uoregon.edu. and Nunc Dimittis, for SATB choir and ber Orchestra, based in Miami. He has organ. Joseph Causby is director of released two solo recordings, Sacred music and organist for the Chapel of the Expressions: Twentieth-Century Music Cross. For information: for Organ and Jacques Boyvin: Four http://www.locklair.com. Suites from the Second Livre d’Orgue (1700), both available from Raven (ravencd.com). Owolabi, a native of Canada who spent part of his childhood in Nigeria, has also been commissioned by the Old Salem Charles Miller Museum in Winston-Salem, North Car- olina, to compose a piece inspired by the Marguerite L. Brooks (photo credit: Robert as coordinator of its 2005 Regions I & African-American tradition to celebrate A. Lisak) II convention in Hartford, Connecticut; the life of Peter Oliver, a freed slave who program chair of the 2010 national con- served as a “bellows treader” for a local The National Collegiate Choral vention in Washington, D.C.; and dean Moravian organ at the turn of the 19th Organization (NCCO) has established Kent Tritle (photo credit: Jennifer Taylor) of the Washington D.C. chapter. In century. For information: the Marguerite L. Brooks Commis- addition to his work at Cherry Hill Pres- www.kolaowolabi.com. sioning Fund for New Music. The Kent Tritle is the recipient of Chorus byterian Church, he is president of Phil- fund is named for the longstanding Yale America’s 2020 Michael Korn Found- lip Truckenbrod Concert Artists, which Institute of Sacred Music and Yale School ers Award for Development of the celebrates its 53rd year of concert artist People of Music faculty member who retires this Professional Choral Art. Named after representation in 2020. For information: month from teaching choral conducting. one of the founders of Chorus America, www.cherryhillchurch.org and Brooks is a charter member of NCCO this award was established in 1978 to www.concertartists.com. and a current national board member. honor an individual with a lifetime of sig- Yale Camerata, founded by Brooks nifi cant contributions to the professional in 1985, is one of the university’s fi rst choral art. campus and city arts collaborations; its Tritle is awarded for his elevation of 60-plus members are students, faculty, professional choral music in the aca- and staff from throughout the Univer- demic, faith, and community spheres. sity and singers from the greater New Tritle is in his 13th season as music Haven community. Brooks is known for director of Musica Sacra, the longest programming new music by composers continuously performing professional Guy Bovet and Barbara Baird of a diverse array of gender, ethnic, and chorus in New York, and one of the racial backgrounds. The fund will sup- charter members of the Association of Guy Bovet visited the University of port the creation of one new work every Professional Ensembles, the organiza- Oregon, Eugene, Oregon, for a four-day two years, and the work will receive its tion that became Chorus America. His residency fi lled with masterclasses, indi- world premiere performance at the next- work with Musica Sacra carries on the vidual lessons, and concerts, February occurring biennial conference of the organization’s commitment to celebrate 19–21, the third invited performer to NCCO. The full list of commissioned contemporary composers and large- Kola Owolabi appear in the John D. Hamilton Visit- composers supported through this fund scale works through live performance ing Artist series. Hamilton was profes- must represent a spectrum of gender, and recordings. As director of choral Kola Owolabi is appointed to the sor of organ and harpsichord at the ethnic, and racial diversity. For informa- activities at the Manhattan School of faculty of the Department of Music and University of Oregon, having served 28 tion: ism.yale.edu. Music, he established the school’s fi rst Sacred Music at Notre Dame University, years. The John D. Hamilton Organ and doctoral program in choral conducting South Bend, Indiana, this fall as profes- Harpsichord Visiting Artist Fund was and created collaborations for his stu- sor of music and head of the graduate given from the estate of Hamilton for the dent ensembles to perform with other organ studio. Owolabi will replace Craig purpose of bringing visiting artists to the New York musical institutions. Tritle also Cramer, who is retiring at the end of the School of Music and Dance to work with presented more than 150 concerts after academic year. Owolabi leaves the faculty students and to present a performance in founding the Sacred Music in a Sacred of the University of Michigan, where he honor of Hamilton. Space series with the all-professional has taught courses in organ performance, Bovet’s masterclass was on ornamen- choir and orchestra of the Church of improvisation, and sacred music since tation and performance practice in early St. Ignatius Loyola, a tradition he has 2014. Before that, he taught at Syracuse Spanish music. His recital on February revived in his current position at the University, beginning in 2006. 20 at Beall Concert Hall included works Cathedral of St. John the Divine. For Owolabi earned a Master of Music by Sebastian Aguilera de Heredia, Fran- information: www.kenttritle.com and degree from Yale University, New Haven, cisco Correa de Arauxo, J. S. Bach, Alex- www.chorusamerica.org. Connecticut, and a Doctor of Musical andre Pierre François Boëly, Antonio Arts degree from Eastman School of Diana, and Bovet. Music, Rochester, New York. He has The last night of the residency fea- Nunc Dimittis performed at venues across the United tured Bovet and Barbara Baird in a States and internationally, including the joint concert of duets and solos for harp- Klosterneuburg Abbey in Austria; Église sichord in the university’s new Oregon du Bouclier in Strasbourg, France; and Bach Festival building. They performed the University of the West Indies in works by Antonio Lucio Vivaldi, Carl Dan Locklair

The world premieres of Dan Lock- Quality Pipe Organ lair’s Chapel Hill Service Morning and Chapel Hill Service Evening were pre- sented February 21 by the choir of the Building and Service Chapel of the Cross, Chapel Hill, North Carolina. The pieces were commissioned since 1969 in 2019 by the congregation in memory Edward Brewer of Dale Volberg Reed, a member of the choir for 47 years. Edward Brewer, 82, died April 3 The Chapel Hill Service consists of two in Leonia, New Jersey. Born in 1938 in services as found in Rite I of The Book of Erie, Pennsylvania, his talent for music Common Prayer (1979). Morning sets was revealed at an early age. the traditional parts of the Ordinary of Brewer majored in organ at Oberlin Conservatory of Music, Oberlin, Ohio. As a graduate student at University of A. Thompson-Allen Co., LLC Illinois Urbana-Champaign, Brewer 11 Court Street received a Fulbright Fellowship to con- New Haven, Connecticut 06511 tinue his studies with organist Helmut 203.776.1616 Walcha in Frankfurt, Germany. His bedientorgan.com | 402.420.7662 | Lincoln, Nebraska www.thompson-allen.com harpsichord studies continued with Maria Jaeger.

6 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Here & There

Edward Brewer’s school days ended in edition of the complete harpsichord time that he became an entrepreneur, New York City in 1963 where he served works of Couperin, published by Broude and along with the vision of wife Doro- in the Domestic Peace Corps until 1964, in 1973, and edited the complete harpsi- thy, they opened a British import store when he became organist and choir chord works of d’Anglebert, printed by in Door County, Wisconsin, where they director at Judson Memorial Church in Heugel in 1975. He also prepared new had a second home. Greenwich Village. As a continuo player editions of Bach’s Goldberg Variations In 1993 the Hadleys moved to Hender- he served Amor Artis, Oratorio Society of for Salabert in 1979, Frescobaldi’s fi rst sonville, North Carolina, to be closer to New York, and New York Choral Society, and second books of toccatas for Zani- the Brevard Music Festival. He became as well as New York Philharmonic, New bon in 1979 and 1980, and Rameau’s passionate about the program, choosing York Collegium, Orpheus, Orchestra of complete harpsichord works for Heugel to bequeath the majority of his estate for St. Luke’s, and Philharmonia Virtuosi. 1979. In 1980, he began to prepare a the continuing funding of its work. In He participated in the Madeira Bach reissue of Couperin’s complete works his retirement he served as organist of Festival, Mostly Mozart Festival, and for L’Oiseau-Lyre of Monaco. With Hendersonville’s First United Methodist North Country Chamber Players summer Élizabeth Gallat-Morin, he produced Church and fi nally St. Mary’s Episcopal festival. He was founding director of the an annotated edition of Livre d’orgue de Church, Asheville, North Carolina. Soclair Music Festival, a role he fi lled for Montréal, published in three volumes by John Benjamin Hadley was preceded 30 years. As founder and director of the Éditions Jacques Ostiguy in 1985, 1987, John Benjamin Hadley in death by his wife Dorothy, his part- Brewer Chamber Orchestra, he partici- and 1988. ner Phyllis Hansen, and daughter Vicki pated in a series of fi rst-time recordings of Gilbert’s performances were devoted in Grand Rapids, Michigan, he entered Anderson. He is survived by son-in-law operas by George Frederick Handel for primarily to the harpsichord. In 1968, the London School of Church Music, John Anderson, grandson Matt Ander- MMG, Nonesuch, Delos, and ESS.A.Y. he gave his fi rst recital in London and London, Ontario, where he spent three son, and daughter Kim Parr. Edward Brewer also provided por- commenced an international career of years under the tutelage of Ernest table pipe organs and harpsichords in concerts, broadcasts, and recordings. He White and Raymond Wicher. While in European styles of the 18th century for was a soloist with several Canadian and London, he met and married Dorothy New York musical organizations involved American orchestras. Helen Gallop with whom he would in the performance of Baroque music. Gilbert taught at the Conservatoire de spend 52 years, while raising two daugh- This service continues as Baroque Key- musique du Québec à Montréal 1957– ters, Vicki and Kim. boards, LLC, under the management of 1974, at McGill University 1964–1972, at The Hadleys moved to Chicago, Illi- his son and daughter. Laval University 1969–1976, and at the nois, in 1951 where they would remain Edward Brewer is survived by his wife Royal Flemish Conservatory, Antwerp, until the late 1980s. His fi rst position of 51 years, oboist Virginia Brewer; his Belgium, 1971–1974. In 1988, he began was at St. Clement’s Catholic Church, son Barry and wife Tomoko and their to teach at the Mozarteum in Salzburg, Chicago, as organist and choirmaster, daughters Miako and Emiko; and daugh- Austria, and he became professor of followed by Grace Episcopal Church, ter Hazzan Diana Brewer and wife Sara harpsichord at the Conservatoire de Hinsdale, and then Church of the Brewer and their daughter Camilla. Paris. For some years, he taught at Ascension, Episcopal, Chicago. In 1955, Accademia Chigiana, Siena, Italy. Fur- Hadley began assisting S. E. Gruenstein Kenneth Gilbert, 88, harpsichord- thermore, he presented masterclasses in his duties as editorial director and ist, organist, musicologist, and teacher, throughout North America and Europe. publisher of The Diapason. Upon the died April 16. He was born December In 1978, the Canadian Music Council death of Gruenstein in December 1958, 16, 1931, in Montreal, Quebec, Canada. named Gilbert Artist of the Year. He Hadley and Frank Cunkle were named He studied organ with Conrad Letendre, was honored with the Prix de musique associate editors of the journal. Hadley piano with Yvonne Hubert, and harmony Calixa-Lavallée in 1981. In 1986, he was became publisher in August 1958 and and counterpoint with Gabriel Cusson. named an offi cer of the Order of Canada left the staff of The Diapason Septem- Edmund Shay Gilbert won the Prix d’Europe for organ and in 1988 was elected to the Royal ber 1, 1959, for his duties at the Church in 1953 and studied for two years with Society of Canada. He was an honorary of the Ascension. During his time in Edmund Shay died April 21 in Nadia Boulanger (composition), Gaston member of the Royal Academy of Music Chicago, he was a sales representative Woodbury, New Jersey. He was born Litaize and Maurice Durufl é (organ), and Offi cier de l’Ordre des arts et lettres for the Schlicker Organ Company and in the Bronx, New York City, and and Sylvie Spicket and Ruggero Gerlin de France. held several positions with the Associ- attended the High School for Music (harpsichord). While he was on leave for ated Pipe Organ Builders of America. and Art in Manhattan, followed by The these studies, he remained the organist John Benjamin Hadley, 92, died Hadley became an editor at Ency- Juilliard School, New York City, where and music director at Queen Mary Road January 5 in Hendersonville, North clopaedia Britannica. He made several he received his bachelor’s and master’s United Church, Montreal, between 1952 Carolina. Born July 1, 1927, in Iowa trips to China in the 1980s as the edito- degrees. In 1962 he was awarded a Ful- and 1967. In 1959, he designed and Falls, Iowa, he began playing organ in rial liaison for the Chinese edition of the bright fellowship allowing him to study oversaw the installation at Queen Mary local churches at age 13 and received encyclopaedia. Additionally, he was a in Germany with Helmut Walcha. He Road Church of the fi rst major modern a Bachelor of Music degree from Iowa senior editor of Compton’s Encyclopedia later earned his Doctor of Musical Arts mechanical-action organ in Canada, an Falls Conservatory of Music in 1946. and executive editor for The Britannica degree in performance and music theory instrument built by Rudolf von Becker- After additional study in boy choir Book of Music as well as The Britannica from the University of Cincinnati. ath of Hamburg, Germany. Gilbert was a training and organ under John Dexter Book of English Usage. It was during this ➤ page 8 leader in the formation of the Ars Organi society, which infl uenced organ perfor- mance standards in eastern Canada. He received an honorary doctorate degree ATLANTA CHAPTER, AGO in music from McGill University in 1981. While in Paris in 1965 on a Quebec government grant doing research on ANNOUNCES Couperin in preparation for a CBC series of performances of the composer’s complete works for harpsichord, Gilbert The Taylor Organ undertook work for a new edition for the Couperin tercentenary in 1968. (He sub- sequently recorded the Couperin works Competition for RCI, released on Harmonia Mundi in France, RCA in England, Musical Heri- Saturday, April 17, 2021 tage Society in the United States, and other labels in Italy and Japan.) Heugel OPEN TO INDIVIDUALS BORN AFTER JUNE 1, 1998 would publish Gilbert’s four volumes of Couperin works as part of its early-music series, Le Pupitre, between 1969 and st $10,000 nd 1972. Gilbert prepared a new edition and a solo from existing editions of the 555 sonatas 1prize 2prize $5,000 recital in Atlanta of Domenico Scarlatti; eleven volumes were published by Heugel between 1971 and 1984. He prepared a facsimile Application deadline October 15, 2020 0LOQDU2UJDQ For complete details including repertoire, &RPSDQ\ please see www.taylororgancompetition.com

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WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 7 Here & There

➤ page 7 sought to promote the interdisciplinary Museum of History and Technology; Shay’s career as concert organist, study of Victorian culture. Weaver followed him to the Smithsonian teacher, and composer included teach- In 2012, a festschrift in his honor the next year, where he began a diverse ing at the University of the Pacifi c, Beloit (Music and Performance Culture in career producing concert programs and College, Pembroke State University, Nineteenth-Century Britain, ed. Bennett exhibits, among other activities. In 1971, Madison College (now known as James Zon) was published. In April 2019, MVSA he worked to found the Friends of Music Madison University), and Columbia presented him with its Lifetime Achieve- at the Smithsonian, which continues College, Columbia, South Carolina. He ment Award for his work in bringing to support the Smithsonian Chamber maintained an active recital schedule music into the purview of Victorianists. Music Society. while teaching and wrote articles for The A memorial service will be planned for Weaver pursued his exploration of American Organist and The Diapason. a later date. Memorial gifts may be sent newly restored harpsichords and forte- From 1986 through 1991 he wrote organ to the Evelyn Burnett Underwood fund pianos in the Smithsonian’s collection, music reviews for The Diapason. For at the Urbana School District, which producing recordings. He established an fourteen years, Shay directed a sum- provides musical instruments to students ensemble in residence at the museum in mer seminar for organists called “Bach who cannot afford them (contact Stacey 1976, the Smithsonian Chamber Players, Week,” sponsored by Columbia College. Peterik at [email protected]). which produced recordings through the Upon his retirement in 2003, Shay relo- Smithsonian Collection of Recordings, cated to a winter home in Washington, an arm of the institution’s Division of D.C., with a summer home in Vermont. Performing Arts (DPA), which Weaver In 2014 he began to battle dementia, joined in the late 1970s. and in 2017, he moved to Friends Village In 1983, DPA’s functions were in Woodstown, New Jersey, and sub- absorbed by other portions of the institu- sequently to Merion Gardens Assisted tion, and Weaver returned to the Division Living in Carney’s Point, New Jersey. of Musical Instruments at the National Jehan Alain: Mourir à trente ans Edmund Shay was predeceased by his Museum of American History (NMAH), life partner of over 35 years, Raymond as the National Museum of History and Schauerte-Maubouet: Jehan Alain: Harris; he is survived by his adopted Technology had been renamed in 1980. Mourir à trente ans (Jehan Alain: To Die nephew and niece, Dale and DeeAnn In addition to his Smithsonian activi- at the Age of Thirty) (9782752103991, Harris of Salem, New Jersey. Memo- ties, Weaver occasionally appeared with €32). The book, in French, presents the rial gifts in Shay’s name may be given the National Symphony Orchestra and composer’s life and works according to Alzheimer’s research or your local ani- various professional choruses of the unpublished primary source materials, mal shelter. area. With the Smithsonian Chamber letters, and personal accounts. Included Players, he had a presence in the inau- are numerous illustrations, a catalog of Nicholas Temperley, professor gural festivities for Jimmy Carter and his works and manuscripts, as well as his emeritus of the School of Music, Univer- later performed twice, including once as biography. For information: sity of Illinois, Urbana-Champaign, died James Merle Weaver harpsichord soloist, at the Carter White www.editions-delatour.com/en/. April 8. Born and educated in England, House. He was subsequently invited to Temperley came to the University of James Merle Weaver, 82, died April play at fi ve inaugural luncheons, from Illinois in 1959 as a postdoctoral fellow, 16 in Rochester, New York. Born in Dan- Ronald Reagan’s second inaugural to Recordings and he joined the faculty in 1967. He ville, Illinois, he began piano and organ George W. Bush’s fi rst. Weaver taught taught classes in the School of Music, studies there. He attended the Univer- at various times at American University, supervised over fi fty dissertations and sity of Illinois, Champaign-Urbana, dur- the University of Maryland, Cornell theses, and served on dozens of doctoral ing which time he gave piano and organ University, the Aston Magna Academy, committees. His publications include demonstrations and private lessons at and the Baroque Performance Institute The Music of the English Parish Church a local music store and played Sunday at Oberlin Conservatory of Music. (1979), Hymn Tune Index (1998), edi- church services. While on a high school Following his move to Washington, tions of music (including volumes for the fi eld trip to Washington, D.C., Weaver D.C., in the 1960s, Weaver served as Musica Britannica series and an edition saw his fi rst harpsichords, displayed at organist or organist/choirmaster at of Berlioz’s Symphonie fantastique), and the Smithsonian Institution’s National several churches, including Baltimore’s Bound for America: Three British Com- Museum of Natural History. During his Mount Calvary Church, Washington’s posers (2003), as well as several edited sophomore year at the U of I, he went St. Columba’s Episcopal Church and All essay collections and scores of book to Amsterdam to study harpsichord and Souls Episcopal Church, and fi nally at chapters and journal articles. historical performance practice with All Hallows Episcopal Church, David- After retiring in 1996, Temperley Gustav Leonhardt. sonville, Maryland. J. S. Bach: The Well-Tempered Clavier continued to be a researcher, writer, Returning to Illinois, Weaver com- Following retirement from the Smith- and editor. He also went on to guide pleted his bachelor’s (1961) and master’s sonian, Weaver was appointed executive the establishment of the North Ameri- (1963) degrees. Weaver and his young director (later chief executive offi cer) can British Music Studies Association family then moved to Boston’s North of the Organ Historical Society. During [NABMSA] (2003) and serve as its fi rst End. His facility as a continuo player the last years of his tenure at the OHS, president, and he endowed prizes for developed, both as a concert artist and he supervised the relocation of its head- student research: the Nicholas Temper- for recordings. While in Boston, he quarters and archives to “Stoneleigh” ley Dissertation Prize (later the Nicholas befriended the music director of Old in Villanova, Pennsylvania. He also Temperley Musicology Research Schol- North Church, John T. Fesperman, who expanded the E. Power Biggs Fellow- arship, University of Illinois) and the had been Leonhardt’s fi rst American ship program. Nicholas Temperley Student Paper Prize student (1955–1956). Fesperman left James Merle Weaver is survived by (NABMSA). In 1977, he was one of the Boston in 1965 to take a position at the husband/partner Samuel Baker; son co-founders of the Midwest Victorian collection of musical instruments in the Evan (Jill), three grandchildren, and Studies Association [MSVA], a group that Smithsonian’s newly opened National two great-grandchildren. He was prede- ceased by wife Patricia Estell and long- Confident pedal work time former partner Eugene Behlen. Memorial gifts may be given to the Biggs Sigfrid’s Unbeaten Tracks comes with practice and Fellowship Program of the Organ His- torical Society, 330 N. Spring Mill Road, Fugue State Films announces new the right shoes Villanova, PA 19085; or the Friends CDs, available in the United States from of Music at the Smithsonian, P. O. Raven. J. S. Bach: The Well-Tempered on the Box 37012, Washington, DC 20013-7012 Clavier, Books I and II, features Colin (https://www.smithsonianchambermu- Booth performing on a harpsichord he pedals sic.org/donate). built in 2016. Each book is available in a 2-CD set, priced at $16.98. x Men’s & Women’s Organ Shoes Sigfrid’s Unbeaten Tracks ($18.98) Publishers features Graham Barber performing with suede soles and heels Éditions Delatour France his transcription of Sigfrid Karg-Elert’s x Whole & Half announces a new book by Helga Sonata for Harmonium, op. 46, plus works by Weber, Chopin, Wagner, Sizes in 3 Widths J. Strauss, Verdi, and Grieg. Barber x Quick & Easy performs on the Link/Gaida organ of St. Returns Pauluskirche, Ulm, Germany. For infor- JL Weiler, Inc. mation: ravencd.com. OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET 44 Montague City Rd Email: [email protected] Museum-Quality Restoration Raven announces new CDs: Jehan of Historic Pipe Organs jlweiler.com Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes Alain: Trois Danses and other organ

8 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Here & There

Carillon profi le Longwood Gardens Kennett Square, Pennsylvania Royal Eijsbouts Bell Foundry, Asten, the Netherlands

Carillon bells (photo credit: Scott Hummel)

1930, Longwood founder Pierre S. du Pont bought a set of chimes from J. C. Carillon clavier (photo credit: Scott Hummel) Deagan Company in Chicago, Illinois. These large tubular bells could play tunes programmed on player rolls, similar to the mechanism in player pianos. These bells were replaced by an electronic carillon from the same company in 1956. In this mechanism, bell rods are struck in the tower and then amplifi ed by loudspeaker. In Carillon tower, Longwood Gardens, 1977, a set of traditional bells was Kennett Square, Pennsylvania (photo proposed for the tower, but the idea credit: Shelly Krocker) was set aside at that time. Finally, in 2000, Longwood Gardens hired Royal Eijsbouts to cast true bells for the tower. The current carillon is equipped to be played manually via a traditional baton keyboard and also via multiple methods of automation. The bells can be rung by a small digital piano keyboard, which activates all 62 electric strikers. Tunes can be programmed into the computer controller directly or via this same keyboard, Pear-shaped basin with carillon tower (photo credit: William Hill) allowing melodies to be played on demand or on a schedule. The carillon is performed on by guest carillonneurs in multiple concerts during Longwood Gardens in Kennett Square, Pennsylvania, uses its spectacular gar- the summer and fall. The bells are played via automation on a daily schedule. den setting to present inspirational, educational, and artistic experiences for its Audience members can meet the carillonneur and tour the Chimes Tower and guests. As part of Longwood’s mission to showcase the arts, the Chimes Tower carillon following performances. houses a fi ve-octave carillon that is played in live concerts for 1.5 million guests Longwood Gardens was the site for the 2009 congress of the Guild of Carillonneurs annually. The 62-bell carillon was cast and installed by the Royal Eijsbouts Bell in North America. It was also the planned site for the joint congress of the Guild of Foundry in Asten, the Netherlands. The bells arrived from overseas in March Carillonneurs in North America and the World Carillon Federation in June 2020. Due 2001 and were dedicated on Memorial Day of the same year. By number of bells, to measures to mitigate the spread of Covid-19; however, the congresses have been the Longwood carillon is the tenth largest in North America. Inspired by a forti- cancelled. The carillon will resume its performance schedule at a later time. ■ fi ed tower at Châtillon-Coligny on the Loing River in France, the tower sits next —Kimberly Schafer, PhD to a waterfall fl owing into a pond, creating a picturesque setting perfect for taking Founder and Partner, in carillon music. Community Bell Advocates, LLC The installation of the carillon in the new millennium marks the culmination www.communitybelladvocates.com of years of other bell systems in the tower. When the tower was completed in [email protected]

Jehan Alain: Trois Danses and other or- gan works works (OAR-163, $15.98 postpaid) is a two-CD set featuring Christophe Man- toux performing on the 1890 Cavaillé- Coll organ of four manuals in the Abbey Symphonic Splendor: Masterworks for Church of Saint-Ouen, Rouen, France. Organ & Orchestra The recording was originally issued as a single CD by Studio SM, France, set, co-produced with the Friends of the and reissued by Motette, Germany, but Wanamaker Organ. Rossen Milanov is now enhanced with more of Alain’s conducts the orchestra known as Sym- works. (The original recording received phony in C, with Peter Richard Conte “superb musicianship, masterly technique and savvy programming … Archer’s a Grand Prix du Disque.) at the Wanamaker Organ, Philadelphia. sweeping assurance and stamina enable you to hear the music behind the virtuosity.” Symphonic Splendor: Masterworks Works by Saint-Saëns, Poulenc, and — GRAMOPHONE (JAN 2018) — for Organ & Orchestra (OAR-159, Elgar are included. For information: MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com $29.99, postpaid) is a two-disc DVD/CD ravencd.com. ■

WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 9 In the wind...

If a tree fell in the and social movement founded by 1874 forest and there was no for the purpose of bringing cultural expe- one there to hear it . . . riences to rural communities. Started as Suppose that we are sharing Christmas a summer camp on the shore of Lake dinner. We are sitting with family and Chautauqua in western New York, it friends at a “groaning board” festooned grew to have chapters across the country. with Granny’s stemware and china, President Theodore Roosevelt com- ironed linen napkins, and the best silver, mented that the Chautauqua Assembly freshly polished. Red juices fl ow from was the most American thing in America. the beef tenderloin as slices fall from the In the June 1883 issue of the journal, The knife. Please pass the potatoes. Chautauquan, the question was posed, Over the clinking of silverware I hap- “If a tree fell on an island where there pen to mention, “By the way, did you were no human beings, would there be hear that all the churches will be closed any sound?” The essay went on to say, for Easter?” Silence. “And not just Eas- “No. Sound is the sensation excited in ter, Palm Sunday, and all of Holy Week.” the ear when the air or other medium is Shazam! I was right! To be truthful, I set in motion.” I am not smart enough did not foresee it. No one did. Accord- to second guess such an august source of ing to Science Daily (April 9, 2020), philosophy, but my crude understanding by Christmas 2019, COVID-19 was of the science of noise is that sound is more than a glimmer in the eye of a created by the vibration of air stimulated Chinese bat, but no one imagined that by some physical source and exists as it would be spreading across the globe sound waves that travel whether or not like wildfi re a few months later. When there is a receptor. That rhetorical ques- John Cantrell, choirmaster and organist, St. Michael’s Episcopal Church, New York, my family and I left New York City for tion is reminiscent of Neils Bohr chal- New York. John records rehearsal tracks for choir members, they practice and send our house in Maine on March 14, there lenging Albert Einstein to prove there is in their videos, and he mixes them into a virtual choir, adds readings recorded by parishioners at home, sermon, and voilà! (Photo credit: Kathleen Cantrell) were fewer than 500 cases reported in a moon without looking at it. the city. Three weeks later there were Because of the widespread shutdown in more than 20,000. Today, just one month response to COVID-19, we are learning exhale goes into the blower intake, and Ventura and Santa Barbara where I later, there are over 110,000 confi rmed a lot about working empty rooms. Late- a great circle is established. That is not noticed a group of at least fi fty people cases with over 10,000 deaths in New night television hosts are trying to get big happening on Zoom. gathered on a bluff staring at the ocean York City alone. With the deadline for laughs while sitting in their living rooms. with binoculars. I was curious—what submissions to The Diapason six weeks Symphony orchestras are presenting live Alternative worship would bring so many people together so before publication, writing these essays broadcast concerts in empty halls. And we This phrase brings fear into the early in the morning—so I parked my car is no way to report the news. I am writing hear the peace and word of the Lord by hearts of many organists, conjuring up and walked toward the group. in mid-April, and you are reading in early way of a MacBook Pro, a church’s organist images of guitars, drum sets, and songs Someone welcomed me in and explained June—plenty will have happened in the leading Zoom worship from his piano at with four notes, four chords, four lines, what was going on. The Los Angeles meantime. I hope some of it was good. home. All performing artists know that four stanzas, and four tuned strings. Chapter of the American Cetacean Soci- March 14 was the day Pope Francis audience reaction is palpable. When you Several years ago, I was assembling the ety was counting migrating whales. There announced that Saint Peter’s Basilica are playing before an enthusiastic crowd, restored tracker action of a nineteenth- were tables set up with coffee and pastries. in Vatican City would be closed to the you can feel the excitement, even if you century organ, working toward an Easter The people with binoculars were shouting public and Easter Masses would be cel- are sitting with your back to them, buried deadline. The church’s contemporary out numbers while people with clipboards ebrated with no congregation. Thousands behind a massive Rückpositiv case. Many ensemble needed to practice, and I were recording them. There was a strong of churches around the world shared the of my performing friends have identifi ed needed the time, so we agreed that I sense of comradery driven by a common example. The internet was rich with video this as a challenge during recording ses- would just keep working quietly inside purpose, and I quickly abandoned my plan clips of worship being led by two or three sions. Does your performance sound, feel, the organ while they rehearsed. One of going to church. Standing by the ocean people in an empty church or by individu- and project differently when the audience thing was certain: they needed to prac- with a group of friendly people watching als participating in orders of worship indi- is absent? How do you get that fi re in your tice. Another thing was certain: it didn’t the glory of creation swim by was wor- vidually from their homes, iPhone videos belly when playing for a few recording help. Their rehearsal technique was to shipful enough for me that day, lifting my spliced together for broadcast on Sunday engineers and a roomful of microphones? barge through a song four or fi ve times spirits and clearing the mess from between morning. Thousands of brass players Part of the magic of public worship is shar- compounding the mistakes and slapping my ears. and singers lost income. Hundreds of ing the experience with the people around each other on the back as if they had just That singular Easter has just passed. thousands of volunteer choir members you, both old friends and strangers. fi nished their set at Woodstock. We are all learning new ways to worship. missed the high point of the season. And I love the notion that congregational But alternative worship can mean Facebook is often a wormhole of self- thousands of preachers delivered Resur- singing led by a pipe organ is a physi- many different things. A little over satisfaction. I am not interested in your rection messages via their laptop screens. ological phenomenon in which all the twenty years ago, I was working on a haircut or your magnifi cent meal. But I The New York Chautauqua Assembly producers of tone are using the same project on the campus of UCLA and sure am interested in the dozens of posts was an adult education, entertainment, body of air as fuel. What the singers staying in a twenty-room hotel on cam- I have read from colleagues sharing what pus that was operated by students in it was like to participate in virtual Easter. the hotel management school. The icy Some showed clips of people dressed phone calls during which my fi rst wife casually, leading a hymn from the piano and I were separated happened when I in their living room, shifting to a pastor was in that room. It was not a fun time. sitting at a desk leaning earnestly toward

I was interested in hearing and see- the screen speaking of the Resurrection ing the mammoth organ at the First “in this unusual time.” Others showed Congregational Church in Los Angeles elaborately vested social-distancing and planned to attend worship there on priests at a high altar festooned with lilies, Sunday, but I was on Eastern time and beeswax candles afi re, a group of singers woke up at three in the morning. Organ standing six feet apart, and the organist preludes would start at 10:30 a.m., so I raising the dead with blazing trumpets. fi gured I had plenty of time for a drive Our rector in New York City spoke up the coast, thinking that some wind off of taking a walk in abandoned lower the ocean would ease the darkness I was Manhattan and seeing a small fl eet of feeling. I do not remember just where I refrigerated trucks serving as temporary wound up. A glance at a map suggests morgues behind a neighboring hospital. Proud builders of the pipe organ kit it must have been somewhere between Realizing what they were and struck by the tragic loneliness of the scene, he stopped and offered a blessing. How’s that for an Easter message? follow us on facebook! Resiliency In the relative safety and serenity of our place in Maine, we have had two Photo courtesy of Eric Harrison

16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA t 800 625-7473 [email protected] Visit our website at www.letourneauorgans.com

10 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM By John Bishop

The new normal I wonder when things will go back to normal. I wonder what the “new normal” will be. We were living in an unusual time before the start of the pandemic. Yesterday, CBS News reported that this is the fi rst March since 2002 without a school shooting in the United States. Why? Simple. Schools are closed. Every signifi cant arts organization in the coun- try is closed. Thousands of orchestral musicians, actors, stagehands, ushers, and administrators are out of work. When the Metropolitan Opera laid off its entire staff with pay ending on March 31, I wondered if that fantastic assembly (photo credit: Félix Müller) of talented skilled people could ever be gathered together again? But it is not In this column in the May 2017 issue of as if disgruntled, they would take other The Diapason, I wrote under the title, jobs. There are no other jobs. “Music in terrible times.” Wendy and I can imagine sitting down again with I had just heard the Boston Symphony trusted friends for a drink or a meal, Orchestra play Shostakovich’s Leningrad maybe not so long from now. I can imag- Symphony. I started that essay with Leon- St. Mark’s Episcopal Church, Philadelphia, Pennsylvania. High altar ready for virtual ine taking an unessential drive to a park ard Bernstein’s famous quote from the Easter. (Photo credit: Robert McCormick) for a picnic. I can even imagine booking Vietnam era: “This will be our response a hotel room and working on a job away to violence: to make music more inten- dramatic weather events in the last few employer. He is a man of rigid routine. from home. But knowing how I feel sively, more beautifully, more devotedly days. In the afternoon of Holy Thursday, Early in the fi lm, arriving home from the when I have to walk past an unmasked than ever before.” I wrote of the siege of the wind came up, heavy rain turned to offi ce, he sings: stranger in a grocery aisle, I cannot Leningrad in which more than a million far heavier snow, the power went out, imagine walking through a foyer into a people died, a battle that inspired Shosta- I feel a surge of deep satisfaction the generator came on, and the storm Much as a king astride his noble steed. crowded theater or concert hall, expos- kovich’s masterpiece. I wrote of the whipped through the night. On Good When I return from daily strife to hearth ing myself and those I love to whatever bombing of Coventry, England, in 1940 Friday, we woke to six inches of white and wife, foolish indiscretion a seatmate might from which came Benjamin Britten’s War wet glop, nearly impossible to walk on. How pleasant is the life I lead . . . . have committed. I assume I will go to Requiem. I wrote of Stalag VIIIA where Lichen-encrusted branches had fallen . . . I run my home precisely on schedule. a concert again, but I cannot imagine Olivier Messiaen was a prisoner of war everywhere, and walking a few dozen At 6:01, I march through my door. it yet. A vaccination against COVID-19 and a sympathetic guard provided him yards up the driveway with a dog was My slippers, sherry, and pipe are due at must be the greatest brass ring for medi- with pencil and paper, allowing him to like running a gauntlet with snow and 6:02, cal research since polio. create Quartet for the End of Time. debris falling from trees every few steps. Consistent is the life I lead. The community of the church choir Those great masterpieces are all the The driveway is a half-mile long. It was has always been a source of recreation expressions of creative geniuses respond- grocery day, and I was planning to go to The trouble is that while he is singing, and spiritual enhancement. In a video ing to vast human crises. The people who town. I put a saw in the car and spent a Winifred is trying to interrupt to tell him interview produced by the publisher lived those days must have wondered if couple hours moving stuff off the road the children are missing. J. W. Pepper in 2015, composer and it would ever end. And horrible as they into the ditches. I can hear Wendy snickering. Cock- conductor John Rutter says, “. . . choral were, they all did end. Many people suf- The power was out all day, through tails here are at six-oh-oh. Dinner at music is not one of life’s frills. It is some- fered, many people died, families were Friday night, through Saturday night, eight-oh-oh. The routine is regular thing that goes to the very heart of our destroyed, and dreams were shattered. and into Sunday afternoon, coming back enough that Farley the Goldendoodle humanity, our sense of community, and I trust that we will see each other at the on just as hundreds of colleagues would can tell time. “Paws up” on the bed at our souls.”1 I fi rst sang in a children’s symphony again. We will go to the theater be launching into “the Widor” across 6:30 in the morning. (That is the only choir in 1966 when I was ten years old. again. We will go to ball games again. We the country. The head of our driveway time he ever gets on furniture.) A couple I have vivid memories from a few years will go sailing again. For now, we have to is four miles down a rural road from minutes before cocktails, he is sitting later of using my new grown-up voice stay strong, take care of the people we the village, and the power lines snake watching me. He gets an ice cube or as a member of the adult choir singing love, and nourish the creativity within. through a maze of branches. There was two when I am fi xing drinks and a dental Bach’s Cantata 140. (Va-ha-ke-het auf, Now go practice while you have a a heavy ice storm shortly after we moved “chewy” when we sit down with them. Va-ha-ke-het auf, Va-ha-ke-het auf— chance. ■ in the winter of 2001, and the power was He depends on that routine as much two, three, one—ruft die Stimme!) I out for nearly a week. That was when we as I do. We have laughed about it many trust that future generations will have Notes installed the generator, and it has been a times. Sometimes wryly. similar thrills, knowing the joy of singing 1. You can see the interview at https:// trusted part of the household since. But consistent no more. Our daugh- closely with others. www.youtube.com/watch?v=pm-Pm1FYZ-U. On Easter Monday, the rain started ter, son-in-law, and granddaughter who again, and the wind whipped up to gale live in Brooklyn, New York, came to force. The temperature was mild so there Maine with us—and their dog. Remem- was no snow, but that storm stood out for bering those refrigerated trucks, we are the velocity and ferocity of the wind. The glad we can offer them shelter from the trees along the shore at the bottom of ravages of the city. We are four adults, the yard were whipping wildly back and a toddler, and two dogs, and the quiet, forth. After dinner I sat on the deck in comfortable routine of two empty nest- the lee of the storm watching the crazy ers is on sabbatical, if not just gone. We motion in the darkness and listening to are fi ve weeks into it now, and I have the roar of the wind when it stopped. had some tough moments adjusting. It did not lessen and die down. It just But think of our Brooklynites. At least stopped. The roar became silence. The we are at home. We have lived in this next morning, we confi rmed that noth- house for almost twenty years, the lon- ing new had fallen in the yard or on the gest either of us have lived in one place. driveway. After all that whipping about, We have clothes in the closets, unread no trees had fallen. Such resilience. Such books on the nightstands, extra tooth- strength. Such stability. A metaphor for brushes in the drawers in the bathroom. facing life today. It is familiar. They have left their home In the 1964 fi lm Mary Poppins, behind, all their daily routines, and all George Banks (played by David Tomlin- their stuff. We are coming up with new son) works for the Dawes Tomes Mously common daily rhythms, and the great Grubbs Fidelity Fiduciary Bank. He news is that we are getting more time is the father of Jane and Michael, hus- with our granddaughter than we could band of Winifred, and Mary Poppins’s have imagined.

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WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 11 Organs and organists in Ukraine

Lviv Organ Art

History, churches, music, and personalities

By Olena Matselyukh Cathedral of Saint Mary Magdalene, Lviv, Rieger Kloss Opus 3375

The origin of the organ and organbuilding in Lviv, Ukraine Christianity played a fundamental role in the formation and development of Ukrainian society. The existence of an organ in Ukraine is noted on a fresco in Saint Sophia’s Church, founded in 1037 by Prince Yaroslav the Wise.1 In western Ukraine, the organ and instrumental music played a major role in the church. In 1240, Kyiv was destroyed during the Tatar-Mongol invasion, and the grandson of Yaroslav the Wise, Prince Roman, united the Halychyna and Volyn principalities into a new unifi ed state, which became Kyivan Rus. Thus, western Ukraine became a center of the cultivation of Christian artistic and musical traditions. The son of Roman, Stanislav Liudkevych Concert Hall organ, Lviv Danylo Halytskyi, founded the city of Lviv, which he named after his son Lev. There is also a close connection picture of the life of the most prominent In Dorogychin (Polissya Volyn), Prince Latin Cathedral of the Assumption of between Lviv and Czech organbuild- Lviv organbuilder. Danylo received the royal crown, which the Blessed Virgin Mary, small organ ers, as evidenced not only by the organ From his earliest years as a child, his was subsequently inherited by Leo. of Saint Mary Magdalene Cathedral, sphere of interests included organ con- Historians associate the introduc- Kramkovsky (18th century–ca. 1840). built in the Moravian Krsno, but also struction. In his printed catalog, he wrote, tion of the organ to Lviv with the reign He built the three most prominent by the presence of students of the most “My love and enthusiasm for the organ of King Lev and his wife, Hungarian organs of the era for Lviv, found in the prominent Lviv organbuilder, Jan Sli- arose at a very early age. From my youth Princess Constance. Queen Constance Franciscan Church (25 stops, 1806), the winsky—in particular, Rudolf Haase and I tried to learn as much as possible about invited monks of the Dominican order Dominican Church (26 stops, 1808), and Franciszek Gajda, who came from the the structure and function of the organ. I to Lviv, and the Dominicans brought an the Bernardine Church (33 stops, 1812). Czech Republic. constantly felt the need to acquire knowl- organ to the city. Roman Dukhenskyi (ca. 1800–ca. Among the Lviv organbuilders is edge in this profession.” Elsewhere in The fi rst mention of Lviv organist Peter 1870) started a career as an organbuilder the family of Zebrovsky,4 with the last the same catalog, the master recalled his Engelbrecht is found in the archives of in Warsaw and Krakow, and by the 1830s generation represented by the brothers woodworking and joinery training. the Latin Cathedral of the Assumption he had already built organs for the Jesuit Aleksandr and Kazymyr. Notable instru- Such a way to approach building of the Blessed Virgin Mary in 1405. The monks in Stanislav and Lviv. Among the ments include the organ of the Bernar- organs was quite natural for a beginner. organ tablature of Lviv musician Luke (d. most interesting instruments he built dine Church (33 stops, 1898), which was Woodworkers and joiners have long 1532), dated 1530, is the oldest example of was a two-manual organ for the Carmel- destroyed in the 1960s by Communists, been highly valued for their skills in con- organ music notation in Eastern Europe. ite Church. though the façade still serves as a decora- struction of musical instruments. After The tablature is now kept in an archive The Church of Saint Mary Magda- tion of the church interior. fi nishing an elementary education in his in Warsaw, Poland. Leszek Mazepa, a lene was founded in Lviv in 1615. It was Among Kazymyr’s notable work is homeland (most likely in Lviv), young researcher of Lviv music history, lists the built on Holy George Mountain outside the organ of the Armenian Catholic Sliwinsky went abroad, which meant names of twenty-two musicians from the Renaissance Lviv and was regularly Church, as well as an instrument in the leaving Halychyna. From documents fi fteenth to the fi rst half of the sixteenth strengthened, rebuilt, and expanded Dominican church. With the advent of describing the participants of regional centuries, pointing out that in Lviv at as a defensive stronghold. While it is the Communist regime after the Second organ exhibitions, one can infer that that time organists were also virginalists, known that the church housed organs, World War, this organ was destroyed. natives from Halychyna who worked out- harpsichordists, and musicians playing all no information about the fi rst organs The pipes and the façade were saved side their homeland participated in the manner of keyboard instruments, includ- has survived. thanks to the efforts of young enthusi- exhibition process on an equal footing ing the regal and positive organs.2 Today this Baroque edifi ce func- asts. Now they decorate the concert hall with the local masters of organbuilding. In the seventeenth and eighteenth tions in a twofold manner: as a Catholic of Stanislav Liudkevych, home to the Most often, these were Halychyna natives centuries, court organists Bartholomew church and as an organ hall. Lviv organ- Lviv Philharmonic. who worked in France or in Vienna. Cavinsky, Jakob Leydens, and the broth- ist Antony Clement (ca. 1837–ca. 1897) There is no information as to where Jan ers Stanislav and Jan Kindlarsky were also built an organ in 1863 in the old village Jan Sliwinsky (1844–1903) and his Sliwinsky continued his studies, but there organbuilders. They created instruments of Vovkiv (14 miles from Lviv), which organ factory in Lviv is evidence that he worked for Aristide not only for Lviv and the Lviv Kingdom, was moved to St. Mary Magdalene Little reliable information about Jan Cavaillé-Coll for several years. Between but also exported them abroad. Church in 1930. Subsequently, this Sliwinsky’s early years has survived.5 1872 and 1876, Sliwinsky worked at Le According to researcher Jerzy Golos, organ was moved to the Catholic church He was born in the town of Pistyn in Vigan (in the department Gard), where Mykhailo Sadkovskyi built a new organ of the town of Bohorodchany. In its place Pokuttia and at the age of nineteen went he independently built a twelve-stop for the Dominican Church of Corpus in 1936, the fi rm Rieger Kloss installed to Warsaw and participated in the Janu- organ for the Church of Saint Pierre. Christi in Lviv between 1765 and 1766. its Opus 3375, which remains the largest ary uprising of 1863. It is likely that the The acquired experience allowed This is one of the most prominent in Ukraine. repercussions that befell the perpetra- him to become a manager of one of the names in Lviv organbuilding of the Among the Lviv organbuilders who tors of the anti-Russian uprising forced offi ces of the Cavaillé-Coll fi rm outside eighteenth century.3 worked at the turn of the nineteenth the young man to fl ee Warsaw. At rstfi Paris for a few years. After his marriage, and twentieth centuries were Romuald Sliwinsky headed to Vienna and then Vincent Cavaillé-Coll, Aristide’s brother, Lviv organ builders of the Bochensky, Jan Grocholsky, Tomasz moved to France, returning to his home- left the leadership of the offi ce of the nineteenth century Fall, and Bartholomew Zemiansky. All land thirteen years later. From advertise- company in the city of Nîmes in the The leading Lviv organbuilder of of them were professionally trained in ments that he later published for the sale south of France, and Jan Sliwinsky was the nineteenth century was Jakub either Leipzig, Vienna, or Kraków. of organs, one can make a fairly integral subsequently appointed manager.

12 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Most likely, Jan Sliwinsky’s business in initiative to teach organ performance was France was not successful, because in a undertaken by the Dominican Fathers. year and a half, his branch sold only two In 1495, in the town of Belz, 62 miles organs. Jan Sliwinsky thus returned to north of Lviv, was founded a school for Halychyna and started his own business organists. As early as the beginning of in Lviv. the sixteenth century, the students of From its inception, Jan Sliwinsky’s fi rm this school worked as organists in Lviv was popular both in Lviv and throughout churches.6 Leszek Mazepa, who has care- Halychyna. Some of the fi rst organs he fully studied the documents of available built for Lviv were located at Saint Mary archival collections, states: “At the end Snizhna and Saint Kasimir Under the of the sixteenth century, the best music High Castle. Another important work program was found at the chapel of the for the fi rm was the radical restructuring Dominican Church, where in the years of the organ in the Garrison Church of 1587–1595 several organists and several Saints Peter and Paul in the center of trumpeters worked simultaneously, and Lviv, which was under the leadership of from 1623 there was also a church choir.”7 Jesuit priests. In his price lists, Sliwinsky A new Lviv school for organists was identifi ed the following: four-stop organs founded in 1841 by Franciszek Bemm. were sold at 650 zloty, and large ones— The instruction was expected to last two up to thirty stops and three-manuals— years, and the school was designed to for 12,000 zloty. Each instrument was house fi fteen to twenty students. custom designed and built. The acous- The Halychyna Society of Saint Ceci- Garrison Church of Saints Peter and Paul tics of the church in which it was to be lia, founded by Franz Xavier Mozart, installed were studied as well. brought about a change in the music activities of Lviv musicians and created The Golden Age of organ art in Lviv Organ factories were highly success- school system in Lviv. The youngest of an organization of mutual aid for organ- Lviv was the only Ukranian city that ful around this time. Whether Roman Wolfgang Amadeus Mozart’s sons, he ists,8 initially led by Father Leonard could boast of organ art and organbuild- Duchensky’s fi rm was still functioning dedicated twenty-eight years of his life to Soletsky. These two societies became ing at a rather high level in the nine- is unknown, but the fi rms of Romuald the musical culture of Lviv. The Society the initiators of the founding of the teenth and twentieth centuries. Fifty Bohensky and Antony Clement, which of Saint Cecilia supported professional Halychyna Conservatory. different organs sounded daily in Lviv worked simultaneously with the factory of Jan Sliwinsky, never achieved any such scope nor such publicity in their activities. Around 1888, Jan Sliwinsky bought a house at Copernicus St., 16 to serve his NORTH AMERICA’S growing business. It was rebuilt for the new owner by one of the most famous PREMIER PIPE ORGAN Ukrainian architects of Lviv, Ivan Levin- skyi (1851–1919). BUILDING, REBUILDING Organs built by Sliwinsky were AND SERVICE FIRMS installed relatively far afi eld: from Leipzig to Tbilisi, from Chisineu to Vilnius. But, of course, the vast majority of orders came from regional Halychyna parishes. In 1900, for the Church of the OUR MEMBERS Immaculate Conception in Stanislav WHY CHOOSE (now Ivano-Frankivsk), a two-manual and pedal, twenty-four-register instru- AN APOBA FIRM? ment was installed. 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APOBA.com Call or email today for Please watch and share This is my secret, which I learned during 800.473.5270 years of long studies.” APOBA’s free 84+ page our short video at: color prospectus! apoba.com/video 11804 Martin Road Music education in Lviv Waterford, PA 16441 With the arrival of the fi rst organs in Lviv came the issue of how to train organists to play them. Again the

WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 13 Organs and organists in Ukraine

Dominican Church of Corpus Christi, Lviv

Jan Sliwinski and his organ factory churches. Lviv factories and individual in Vienna, Prague, and Paris. The infl u- workshops were busy building organs not ence of French composition is particu- only for Halychyna, but also for sacred larly noticeable in the creative work of edifi ces in various European cities. Along Mieczysław Sołtys and Tadeusz Mahl. with the daily use of organs at Mass in One can also note the infl uences of post- Lviv churches, organ concerts were fre- classical Viennese masters and the Ger- quently presented. There were concerts man Leipzig school. In addition, there by international artists in the Catholic are infl uences from Warsaw and Kraków. churches of Saint Elizabeth and Saint Piano technique of the nineteenth Mary Magdalene. Saint Elizabeth’s organ century provided a signifi cant founda- Barnardine Church, Lviv was larger, though Saint Mary Magda- tion for the curriculum of the modern lene had excellent acoustics and housed Lviv Organ School and its representa- musical forms and conducting, as well again. A few years later, I fi nished my a more technically advanced instrument. tives in particular. Notable is the role of as piano and organ. At the same time, piano course and, thanks to my profes- Organ music in Lviv is inseparable piano virtuoso Karol Mikula, and later, his reputation as a music critic and sor, started to perform as a pianist.”11 from the Catholic liturgy. At the end of composer, pianist, and teacher Tadeusz publicist grew. Sołtys became the edi- Majerski did not betray Lviv even in the eighteenth century Lviv’s Protestants Majerski. Lviv organist and composer tor of several Lviv periodicals, such as the Soviet era when communist ide- began to encourage use of the organ, and Andriy Nikodemovych as well as pianist Artistic News, Our Art, People’s Diary, ologists accused him of formalism, for in the late nineteenth and early twenti- and organist Samuel Daych started their and Lviv Courier.10 which he was persecuted and subjected eth centuries the Evangelical church, performance careers as pianists. The formation of public opinion in the to political repression.12 Majerski con- located at the beginning of Zelena Street, The creativity of Lviv composers who musical sphere of Lviv in the early twen- centrated his compositions on purely began to host organ recitals. At the same wrote music for the organ during the tieth century was based on the unsur- instrumental, non-programmatic music. time, Lviv composers who created music second half of the nineteenth and the passed authority of Professor Sołtys. He Along with avant-garde features in for the organ began to skillfully combine fi rst half of the twentieth centuries is was not only a notable composer and some of these works, folkloric inspira- deep spirituality with secular elements in less known to the general public. Unfor- organist, but also a researcher of organ tions are also found. Among Majerski’s their compositions. tunately, it is still weakly promoted in art. One of his most famous essays was compositions are Four Works for Organ, Ukraine, and this problem still continues the article, “The New Organ in the Ber- recorded on compact disc by Valery Formation of the Lviv Organ School for modern Ukrainian organ composers. nardine Church.” Korostelyov of Lviv in 2007. As organbuilding in Lviv began to fl ourish in the middle of the eighteenth Mieczysław Sołtys (1863–1929) Tadeusz Majerski (1888–1963) Tadeusz Mahl (1922, Lviv–2003, century, Lviv organs were suffi ciently Mieczysław Sołtys played a special role Another teacher, composer, and Kraków) sophisticated to satisfy the perform- in Lviv’s music milieu. He was born and pianist who associated with Lviv was Organist and composer Tadeusz Mahl ing needs of organ literature as well as died in Lviv, although his years as a mature Tadeusz Majerski. A Lviv native, he combined the sacred and profane in a improvisation. The best-known com- professional musician and composer studied philosophy at the university, and fl exible and convincing way. Mahl lived posers of the Lviv Organ School were were connected with Vienna and Paris.4, 9 at the Lviv conservatory (1905–1911) in Lviv from birth until 1946, but he educated in European capitals, primarily Sołtys was a composer, conductor, pianist, studied piano and composition under never stopped loving the city of his youth organist, teacher, and publicist. He began Ludomir Róycki (1883–1953). In 1920 throughout his life. Here his aesthetic his music career at the Conservatory of at the Conservatory of the Halychyna views and his maturity as a composer A. E. Schlueter Pipe Organ Co. the Halychyna Music Society, where his Music Society, Tadeusz Majerski was were formed. In Lviv, he wrote his fi rst mentor was the founder and director of named a professor of piano. In 1927 works, among which the oratorio Stabat the Society and the Conservatory, vir- he founded the Lviv Trio, with which Mater (1945) stands out. His love for tuoso pianist, composer, conductor Karol he toured Europe, and he acted as a Lviv was evident throughout his life, Mikuli (1819–1897). critic and publicist in the Lviv press. In so much so that he dedicated his sym- According to Halychyna tradition, the 1930s, Majerski was one of the fi rst phonic poem My City (1991) to Lviv, Sołtys simultaneously received another avant-garde composers to use dodeca- and his Sixth Symphony (1997) was in education, studying at the Faculty of phonic technique. a sense inspired by Lviv. Evaluating the Philosophy of the Jan Kazimierz Lviv In 1931 Majerski founded a society of role and signifi cance of Tadeusz Mahl’s University. Beginning in 1887, he stud- music and opera admirers in Lviv, and creativity, Polish scholars refer to him ied music composition at Vienna Conser- in 1939, with the arrival of the Soviets, as a representative of the group of Lviv- vatory (Das Konservatorium der Gesell- he became one of the fi rst professors of Kraków composers.13 schaft der Musikfreunde in Wien) and the Lviv State Conservatory. Majerski is Mahl’s works for organ solo and  New Instruments  Tonal Additions later at the Paris Conservatory, where he referred to by Andriy Nikodemovych, ensemble with organ occupy the most Rebuilding  Maintenance mastered organ and counterpoint with who recalls: “When I was studying prominent place in his compositional  New Consoles Tuning Eugène Gigout and composition with composition, I was assigned to the piano output. Undoubtedly, the impetus of Camille Saint-Saëns. class of Professor Tadeusz Majerski. the formation of Mahl as an organist How can we help you? After his completion of studies, Sołtys Getting to know this great personality and composer was studying at the Lviv 800-836-2726 returned to Lviv in 1891 and became and musician was a turning point for me. Music School (in particular under Adam professor at the Conservatory of the Piano classes with him helped me cure Sołtys), as well as his time as organist at www.pipe-organ.com Halychyna Music Society. He taught my injured arm, and I started playing Saint Elizabeth’s Church in Lviv.

14 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM includes Concerto No. 6 for organ and libitum, and cadenza constructions”—a Lviv musicians—composition with Adam two orchestras—a big band and a string professional characteristic of the formal Sołtys and piano with Tadeusz Majerski. orchestra. Nevertheless, his seven organ and structural layout of this composer’s From 1947 to 1950, Nikodemovich was concertos, twenty-two works for organ language given by the researcher of organist at the Church of Saint Mary solo, and a Requiem for mezzo-soprano, organ music R. Koval.15 Magdalene, and from 1951 to 1973 he baritone, mixed choir, and organ (1981) The creativity of Mahl occupies a very taught composition, music theory, and stand out among Mahl’s output.15 special place in contemporary music and piano at the Lviv Conservatory. The creative life of Tadeusz Mahl can is important not only for Ukrainian and The fi rst recognition of his composi- be divided into three periods: Polish cultures. Critical notes of Tadeusz tional talent came in 1961, when he was 1. The neoclassical period (1940s– Mahl, as well as his publications on the awarded the third prize at the All-Union 1950s), including his fi rst Concerto for development of organ art, have been Composers’ Competition in Moscow. Organ and Symphony Orchestra (1950). published in Lviv and Kraków. This is In the 1970s Nikodemovych was noted This work, according to Bronisław Rut- mentioned in the publication Society of as one the most prominent composers kowski, is a vivid example of how diffi cult supporters of Lviv and the south-eastern according to UNESCO. However, hav- it is to combine a multi-timbral organ lands. The latest information on this sub- ing refused to renounce his religious palette with orchestral sound. Only in ject was published in Kraków in 1995.16 beliefs, he was dismissed from his work tutti sections are these self-suffi cient at the conservatory in 1973 by Com- antipodes found in a common language. Andriy Nikodemowych (January 2, munist authorities and deprived of any Therefore, the critic even suggests titling 1925, Lviv–January 28, 2017, livelihood, and the composer’s entire this work Sinfonia Concertante;15 Lublin, Poland) output was banned. Tadeusz Mahl 2. The sonoristic period (1960s– Ukrainian-Polish composer, teacher, During the next seven years he earned 1970s), in which Mahl refers to various pianist, and organist Andriy Nikodemo- his living giving private lessons. He At the end of the Second World War, musical instruments in the genre of con- vych was a leading creator of religious moved to Lublin, Poland,16 and taught Mahl moved fi rst to Szczecin and then to cert, but again the organ holds a central music among Eastern European con- at University of Maria Curie-Skłodowska Kraków. French musical culture exerted place. Among his works of this period temporary composers.17, 18 He was born and at Lublin Catholic University a decisive infl uence on Mahl’s composi- is a triple concerto for two pianos and in Lviv, where he lived, worked, and (KUL). His creative achievements were tional style. At the end of the 1950s, as a organ (1971); composed until 1980. His compositional acknowledged by the Award of Saint scholarship grantee, he left for Paris. But 3. The postmodernist period (after output includes choral, orchestral, and Brother Albert (1981), President of he faced a choice: either follow the fash- 1975), in which Mahl gives preference chamber music, as well as works for the City of Lublin (1999), the Polish ion of the avant-garde (which then pre- to religious motives or to the elements organ and various ensembles. He com- Composers’ Union, and the Minister of vailed in Poland) or seek his own way.14 of Podhale folklore. During most of this posed nearly forty spiritual cantatas. Culture and National Heritage (both in Mahl’s choice did not fall on the rejection period, he composed for organ alone. In Andriy Nikodemovych spent half of his 2000). In 2008, Andrzej Nikodemowicz of traditions through a radical renewal these works, one can detect a maneu- creative life in a country that led a ruth- [Polish spelling] became an honorary of musical language, but on a renewed vering between profane essence and less and irreconcilable struggle against citizen of Lublin. comprehension of post-Romanticism in sacred spirituality. religion. He counted Lviv architect and Eventually, the independent Ukrai- organ sound. In his Parisian studies he According to researchers, Mahl’s professor of the Polytechnic Institute nian State fully rehabilitated the name focused on César Franck, Camille Saint- creativity in organ composition takes its Marian Nikodemovych (1890–1952) as and work of this Lviv citizen. In 2003, Saëns, Charles-Marie Widor, Louis roots in improvisation.13 “His concertos a relative. Prior to the Second World the Lviv Music Academy gave Nikode- Vierne, Gabriel Fauré, and, of course, are marked by an unconstrained narra- War, Nikodemovych studied piano and movych the title Professor honoris causa. Johann Sebastian Bach. tive, contrasts between quick passages organ and was organist at the Carmelite His works are once more heard in the Among the creative corpus of Mahl’s and meno mosso, which are most often sisters’ chapel from 1939 to 1940. From concert halls of Lviv and other cities of works are six symphonies, four sym- associated with ritardandi and accele- 1943 to 1947 he simultaneously studied Ukraine. He returned to Lviv several phonic poems, and nine concertos for randi, the contrast of sequences of toc- chemistry at Lviv University and music times to participate in concerts. In April various instruments with orchestra. This cata-like or fast sequences, recitative ad subjects under the guidance of leading 2016, the fourth festival of classical

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WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 15 Organs and organists in Ukraine music “Andrzej Nikodemowicz – czas i dwik” (“Andriy Nikodemovych – Time and Sound”) was held in Lublin.18 His religious works were performed for fi ve evenings. The festival opened with his cantata for alto solo and small orchestra Słysz, Boże, wołanie moje (Hear, my God, my appeal). Sacred music remained an integral feature of his creativity until the end of his life. Andriy Nikodemowych Organ music by Bohdan Kotyuk Bohdan Kotyuk (b. 1951) is a for Joseph, Rejoice, Jordan, and Behold versatile and creative sacred music the Heart. To the same group can also be composer.19, 20 Kotyuk started writ- conditionally attributed the work for pan ing music as a schoolboy, and his fi rst fl ute and organ, Mysteries of Dionysus; mentor was a friend of his parents, 3. The third group consists of works Andriy Nikodemovych. At the Lviv that, though deprived of a specifi c Conservatory, he studied with Stanislav program, call forth certain associative Lyudkevych (form, analysis, and folk allusions. First of all there is a collection art), Roman Simovich (instrumental for organ pedals Step by Step, which study and instrumentation), Anatoly consists of four pieces: “The Step of the Kos-Anatolsky (polyphony and dramatic Faraoh,” “Canzona di Venezia,” “Sema – Latin Cathedral of the Assumption of the Blessed Virgin Mary opera), Stephania Pavlyshyn (music his- The Dance of the Sufi -Dervish,” and tory and musical-theoretical systems), “The Slalom – Zugspitze.” To this third and the city of Jericho, which became The impressive symbolism lies in תי :and Desideriy Zador (composition). group might also belong Adagietto “Tet- the fi nal destination of the Israeli people the name of the city of Bethlehem ”Beth-lehem] is a “bread house] םחל For Kotyuk, spiritual music and a-tet” for organ and celesta (ad libitum), led by Moses to the Promised Land. And Beit-Lahm] is a] محل تيب ;sacred themes occupy a signifi cant and as well as the trio for the pan fl ute, harp, the second one is the city of Bethlehem, in Hebrew prominent place, conditioned by family and organ, Eolian Harp; in which the Savior, Jesus Christ, came “house of meat” in Arabic. The diffi cult traditions and family members. Among 4. His concerto for organ Dona nobis into the world. path through the Jewish desert to Beth- the infl uential people in his life are pacem is in a classifi cation of its own. Jericho is the oldest city in the world lehem, the lack of accommodation for Archbishop Samuel Cyryl Stefanowicz The work is in three parts, which is and has been continuously populated for the pregnant Mary, and the birth of the (1755–1858); doctor of philosophy, rooted in the composer’s thoughts and eleven thousand years. In the Bible, this Savior in the manger, the rise of the lead- historian, ethnographer, and one of the feelings on the aggression and war in the city is referred to as a symbol of majestic ing star in the sky, showing the way for founders of the Prosvita Society in Lviv, East of Ukraine. These are contempo- achievements. In these events, fanfares the shepherds to the newborn Son and Julian Tselevych (1843–1892); Father rary philosophical refl ections about the on the ritual Jewish shofar played a spe- the Three Magi—this dramatic biblical Ivan Huhlevych; religious scholar, his- eternal theme of war and peace; cial role. By means of the loud fanfares history was drawn by Kotyuk into the torian, doctor of philosophy, professor 5. His transcriptions for organ include of Joshua, the commander crumbled the program of Bethlehem. Hryhoriy Yarema; and the grandmother fragments from Richard Wagner’s operas impenetrable walls of the city of Jericho, The work has distinct dramatic sec- and teacher of Kotyuk, opera singer Olha published as a separate collection; W. A. the fi rst fortifi cation on the West Bank of tions. The texture of the fi rst fast sec- Huhlevychivna-Yarema. Mozart’s operatic arias for soprano the Jordan River in the Promised Land, tion with the highlighted tonal founda- From Kotyuk’s fi rst attempts at com- and organ; and Carnival of Animals by to which Moses brought his people tion that should be associated with the posing, spirituality and religious rites Camille Saint-Saëns for organ solo. (Joshua 6:1–27). Arabic east is an image of a desert, but formed an inseparable integrity. He has Kotyuk’s traditional Missa solemnis The fall of the walls of Jericho has the composer also puts into this image a written a variety of vocal and instrumen- consists of six parts. Mentioned above, symbolic signifi cance. The composer deep philosophical content. This is not tal compositions, among which is the Sanctus and Benedictus, respectively, seeks to draw a parallel between Biblical only the desert symbolizing the com- church cantata Chiesa, as well as spiri- constitute the fourth and fi fth parts of the history and the symbolism of the infl u- pulsory wanderings of the Holy Fam- tual songs and psalm settings. In the last Mass. Kotyuk interprets these texts as an ence of music (in particular, organ fan- ily, but also a desert that overwhelms decade he has turned to organ composi- impulse to the formation of independent fares) on the destruction of stereotypes human souls in their inability and tions for use in the church. organ compositions. Therefore, in con- and misunderstandings between people reluctance to give an adequate assess- However, his spiritual works are not cert performance Sanctus and Benedic- with the help of sacred music. ment of their own sinfulness. It was to interpreted by the composer in a ritual- tus are stand-alone compositions. In the New Testament, Jericho is the reveal the essence of people’s sin that religious sense, but rather as a musical Benedictus is lyric and at the same symbol of “all the kingdoms of the world the Lord sent his Son among people embodiment of the ideology of a biblical time an elevation of the “Song of Grati- and their glory” (Matthew 4:8). The for the sake of enlightenment and for text. The Frankfurter Allgemeine Zeitung tude” the Prophet Zechariah sang at the Holy Spirit led Jesus after his baptism in the redemption of their sins. And these has noted, “Spiritual music of Ukrainian birth of his son, Saint John the Baptist. the Jordan River through the desert to sins Christ took upon himself through composer Bohdan Kotyuk is a new word Kotyuk’s Benedictus is a psalm of grati- Mount Qarantal, overlooking Jericho. In his crucifi xion. in the contemporary interpretation of tude composed for the organ. one of the caves of this rock in solitude, The second image, contrasting with the role of music in the church.”20 Bohdan Kotyuk’s Sanctus for organ is praying and refl ectioning on his mission the melismatic briskness of the desert In many cases, Kotyuk supplies brief not just the words taken from Isaiah 6:3: on earth, Jesus spent forty days fasting image, is the pompous grandeur of the essays to explain his concepts to his “Holy Lord God of Sabaoth, the whole and standing against the temptations cities and temples built by the hands of audience. This approach is followed earth is full of your glory!” This is the of the devil. Mount Karantal (Mons the people. The symbolism of this image in his collection of music pieces for viewpoint of a person in the twenty-fi rst Quarantana in Latin, Quaranta meaning in the symphonic poem is in excessive wind and string instruments, Aulos and century for whom “the holiness and glory forty) is also called the Mount of Temp- haughtiness and inaccessibility for the Kithara, as well as in his concert pieces, of the Lord” penetrate both the spaces tation (Luke 4:12). Kotyuk’s Jericho – common man of Jerusalem’s strongholds, Monaco, Drive, Pit-Stop, and DJ. The of the universe and the elementary par- Fanfare is a sonic attempt to convey the which the Holy Family was passing by, composer has added his comments ticles of the nucleus of the atom. They greatness of spirit and man’s faith in the and the closed doors of Bethlehem’s to his symphonic poems for organ, are also in the secret depths of human triumph of the Lord’s intentions through buildings, which failed to open before Sanctus, Bethlehem (with narrator or consciousness and subconsciousness. the organ. the mother of the future Savior. children’s choir), and Lauda nostra, as According to its emotional charge and Kotyuk composed a symphonic poem The vivid contrast in Bethlehem is well as to organ works, Benedictus, Jeri- deep essence, Kotyuk’s Sanctus is very for organ entitled Bethlehem (with narra- the episode of the birth of the Savior. cho – Fanfare, Adagietto “Tet-a-Tet,” similar to the poem “Deus Magnifi cus” tator or children’s choir). Bethlehem was The optimistic nature of this episode is Alleluia Prayers, and the epitaph, Way from the collection by Bohdan-Ihor Ant- the royal seat of King David. It was from the bright hope of mankind for the pos- to Heaven. onych, Great Harmony (1932). this royal family that came Joseph, the sibility of salvation. However, anxiety The organ works by Bohdan Kotyuk Laudatis (or “The Praised One”) for spouse of the Virgin Mary and guardian and doubt overwhelm this composition; can be divided into fi ve groups: solo organ is a hymn in which the com- of Jesus in his youth. After the accession the desert continues to be the devour- 1. The fi rst group consists of purely poser fi rst of all addresses the Creator. of Judea to Syria, the emperor Octavian ing trap from which it is so diffi cult for sacred music, corresponding to the Lauda Nostra (or “Our Song of Praise”) Augustus (63 BC–14 AD) ordered the mankind to break through for millennia. requirements of religious rituals. These is a symphonic poem for solo organ, governor of Rome in Judea Quirinium to The deep sacral content of Bethlehem is works, though performed in concert, can a majestic composition in which the carry out a census. This took place in the a kind of philosophical credo of Kotyuk, be quite legitimately incorporated into author skillfully combines the principles Holy Land just at the time when Jesus a composer for whom the Spirit, spiri- liturgy. These include Sanctus, Benedic- of symphonic development with purely was born. The path of the Holy Family of tuality, and high moral values form a tus, Alleluia (or “Praise to the Lord”), organ-related techniques. Jesus, Mary, and Joseph from Nazareth single whole. Laudatis (or “You are Lord of Honor”), In his creativity the composer pro- to Bethlehem became a journey that All of the above-mentioned works and Ave Maria for pan fl ute and organ; vides historical and religious content was conditioned by the regulations of have been written by Bohdan Kotyuk 2. The second group is programmatic through music. Kotyuk’s attention is the census. God’s great love of mankind during the last ten years in his creative religious music: Jericho – Fanfare and attracted to those historic places that manifested itself in the birth of his Son, collaboration with organist Olena Mat- the symphonic poem for solo organ have an important bearing on the his- Jesus, and the long-awaited message selyukh. They constitute part of her Bethlehem; as well as works for soloists tory of Christianity. Among the different about the Savior: “Today, in the city of repertoire and are performed at organ and ensemble accompanied by organ, themes are distinguished two: the fi rst David, the Savior, who is Christ the Lord, concerts at the Lviv Hall of Organ and Queen of the Angels, Christmas Carols one is connected with the Old Testament was born to you” (Luke 2:11). Chamber Music, in the Lviv Regional

16 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM «Zeszyt Naukowy Pol. Instytutu Muz.» V, 12. Kosiska, Małgorzata. “Andrzej Łód, 2003, p. 76. Nikodemowicz: ycie i twórczość,” Polskie 16. Machl, T. “Towarzystwo Miłośników Centrum Informacji Muzycznej, Zwizek Lwowa Kresów Południowo-Wschodnich, Kompozytorów Polskich, 2006, http://cul- oddział w Krakowie,” Informacje nr. 23., ture.pl/pl/tworca/andrzej-nikodemowicz. Kraków, Poland, 1995, p. 14. 13. Mazepa, Leszek. “Muzycy i muzykalia 17. Kosiska, Małgorzata. “Andrzej w miejskich ksigach kasowych Lwowskiego Nikodemowicz: ycie i twórczość,” Polskie Magistratu w XV–XVII wiekach, Musica An- Centrum Informacji Muzycznej, Zwizek tiqua IX, Vol. 1. Acta Musicologica, Bydgo- Kompozytorów Polskich, 2006, http://cul- szcz, 1991. ture.pl/pl/tworca/andrzej-nikodemowicz. 14. Mazepa, L. “Szkolnictwo muzyczne 18. Bojarski, Jerzy Jacek. “Andrzej we Lwowie (XV-XX w.), Lwów–miasto, Nikodemowicz: profesor znany i nieznany,” społeczestwo, kultura, Kraków, Poland, MOL czyli Miejskie Okienko Literackie, 2002, 1996. www.niecodziennik.mbp.lublin.pl/images/sto- 15. Mazepa, Leszek. “ycie muzyczne ries/archiwum/niecodziennik_02.pdf. Lwowa od koca XVIII st. do uyworzenia 19. . Towarzystwa w. Cecylii w 1826 r.,” Musica Galiciana. Tom V. / Red. Leszek Mazepa. – «––»// W-wo WSP, Rzeszów, 2000, pp. 97–118. .–. 6 (10): . . 16. Machl, T. “Towarzystwo Miłośników .–., 2005.–. 27–32. Lwowa Kresów Południowo-Wschodnich, 20. . Church of Saint Mary Magdalene, Lviv oddział w Krakowie,” Informacje nr. 23., . . – , Kraków, Poland, 1995, p. 14. , 2008. – 159 . 17. Nikodemowicz, A. “Zapomniany kompo- Spirits—and the compact disc Syrinx zytor lwowski,” Ruch Muzyczny, 1989, nr. 12. with Ihor Matselyukh on the pan fl ute. Bibliography 18. Nikodemowicz, A. “Tadeusz Majerski,” Matselyukh is trained as a musician 1. The Holy Bible Containing the Old and Ruch Muzyczny, 1964, nr. 23. New Testaments Translated out of the Origi- 19. Rutkowski, B. “Koncerty na organy and a scientist, and her research in the nal Tongues and with the Former Transla- i wielk orkiestr symfoniczn Tadeusza domain of the organ is regularly pub- tions Diligently Compared & Revised Set Machla, Muzyka, 1952, nr. 1–2. lished in Ukrainian and foreign journals. forth in 1611 and commonly known as the 20. Sowiski, Wojciech. “Słownik muzyków As a doctoral student of the oldest uni- King James Version: http://www.gasl.org/ref- polskich dawnych i nowoczesnych,” Paryż, bib/Bible_King_James_Version.pdf. Drukarnia E. Martinet, 1874, Biblioteka versity in the Czech Republic, Moravian 2. Encyclopædia Britannica, Eleventh lska, Katowice, Poland, p. 436. Palacký University in Olomouc, she has Edition: https://en.wikipedia.org/wiki/ 21. . researched her doctoral dissertation on Encyclop%C3%A6dia_Britannica_Elev- « “The Sacred and profane in the organ enth_Edition. – – » // 3. Kiev History website: https://web.ar- . – . 6 (10): . creativity of the composers of Ukraine chive.org/web/20071109205908/http://old- . . – ., 2005. – . 27–32. and the Czech Republic.” kyiv.org.ua/data/sophia.php?lang=en. 22. . Olena Matselyukh was artistic director 4. Babnis, Maciej. Kultura organowa . . – , of the VI. and VII. International Festivals Galicji, Słupsk: Akademia Pomorska, 2012, , 2008. – 159 . p. 674. 23. . . of Organ Music “Diapazon,” which took 5. Blaszczyk, L. Zycie muzyczne Lwowa , . place in the Lviv Organ and Chamber w XIX wieku / Leon Blaszczyk // Przeglad . , Music Hall in October 2016 and July Wschodni, Warszawa, 1991, p. 197. (. . , . 2017. For the Lviv Philharmonic, she is 6. Bojarski, Jerzy Jacek. “Andrzej ). – .: , 2001. – 592 . the founder and director of the interna- Nikodemowicz: profesor znany i nieznany,” 24. . . MOL czyli Miejskie Okienko Literackie, 2002, / .. . – .: , 1982. – 276 . tional summer festival “Pizzicato e canta- www.niecodziennik.mbp.lublin.pl/images/sto- 25. . . bile” and the international festival “Music ries/archiwum/niecodziennik_02.pdf. / . – .: , 2003. Bohdan Kotyuk in Old Lviv.” She is the producer and 7. Gołos, Jerzy. “Polskie organy i muzyka – 296 . co-organizer of the international festivals organowa, Instytut wydawniczy “PAX,” 26. . Warszawa, 1972, p. 512. , http://risu.org.ua/ Philharmonic, and when she tours of organ music in Rivne and Chernivtsi— 8. Durkheim, E. The Elementary Forms ua/index/studios/announcements_of_publi- Ukraine and abroad. They are also “Musica viva Organum 2018.” of Religious Life, Oxford University Press, , cations/29834. performed at the concerts of touring New York, New York, 2001, p. 416. 27. . organists from different countries of Notes 9. Jarzbska, A. “Tadeusz Machl.” Encyk- . – ., 1992. – 380 . lopedia Muzyczna, PWM, Kraków, Poland, 28. . . the world. 1. Kiev History website: https://web.ar- chive.org/web/20071109205908/http://old- 2001, p. 526. [ 2 .] / . . , § kyiv.org.ua/data/sophia.php?lang=en. 10. Kostrzewa, Krzysztof. “Grupa kompo- .. . – : , 2003. – 2. Mazepa, Leszek. “Muzycy i muzykalia zytorów Lwowsko-Krakowskich: T. Machl, . 1. – 288 . The names and achievements of com- w miejskich ksigach kasowych Lwowskiego K. Moszumaska-Nazar, B. Schaeffer,” Mu- 29. . posers and organists of the Lviv Organ Magistratu w XV–XVII wiekach, Musica An- sica Galiciana. « ». Tom // tiqua IX, Vol. 1. Acta Musicologica, Bydgo- VI. . . . . . – 2 (24). – School should rightly occupy a worthy szcz, 1991. 5. – , 2001. – . 141–147. 2017. – . 59 – 67. place not only in Ukrainian musicology, 3. Gołos, Jerzy. “Polskie organy i muzyka 11. Kowal, R. “Koncerty organowe i 30. . . but also in the history of world music organowa, Instytut wydawniczy “PAX,” twórczość organowa Tadeusza Machla,” Kra- and culture. This is especially true of Warszawa, 1972, p. 512. kowska szkoła kompozytorska 1888–1988, . 4. Babnis, Maciej. Kultura organowa Red. T. Malecka, Kraków, Poland, 1992. – .: « - the depth of sacredness and its inter- Galicji, Słupsk: Akademia Pomorska, 2012, «Zeszyt Naukowy Pol. Instytutu Muz.» V, », 2008. – pretation in the conditions of modern p. 674. Łód, 2003, p. 76. 272 . innovative technologies and textual 5. . multi-interpretations. // . . – 2 (24). – Modern Ukrainian organ art has only 2017. – . 59 – 67. recently begun to regain its rightful 6. . . status. Ukrainian musicology still lacks [ 2 .] / . . , specialists in religious ritualism, which .. . – : , 2003. – . 1. – 288 . For Sale provides an insight into the world of the 7. Mazepa, L. “Szkolnictwo muzyczne sacred. It is this factor of sacredness that we Lwowie (XV-XX w.), Lwów–miasto, greatly inspires composers’ music for społeczestwo, kultura, Kraków, Poland, Exceptional original Baroque organ case with elegant 1996. the organ. Such professional knowledge carvings (18th century) containing a well-conserved Romantic would allow many contemporary Ukrai- 8. Mazepa, Leszek. “ycie muzyczne Lwowa od koca XVIII st. do uyworzenia Belgian organ (19th or 20th century) by Pierre Schyven. nian composers to better understand the Towarzystwa w. Cecylii w 1826 r.,” Musica boundaries of the sacred and profane in Galiciana. Tom V. / Red. Leszek Mazepa. – Two manuals and pedal; organ music. Using these important cate- W-wo WSP, Rzeszów, 2000, pp. 97–118. 9. Blaszczyk, L. Zycie muzyczne Lwowa 17 stops, 18 ranks. Manual/ gories in the analysis of organ music must w XIX wieku / Leon Blaszczyk // Przeglad become an integral part of the apparatus Wschodni, Warszawa, 1991, p. 197. pedal key compass 56/30. of the musicologist-researcher. ■ 10. Sowiski, Wojciech. “Słownik muzyków ;ڍheight 15.5 ;ڍpolskich dawnych i nowoczesnych,” Paryż, Depth 10.5 ڍ Drukarnia E. Martinet, 1874, Biblioteka Olena Matselyukh is an organ per- lska, Katowice, Poland, p. 436. width 15.3 former for the Lviv Organ and Chamber 11. Nikodemowicz, A. “Tadeusz Majerski,” Music Hall, as well as a soloist of the Ruch Muzyczny, 1964, nr. 23. For sale, with Lviv and Rivne Philharmonic orches- 12. Nikodemowicz, A. “Zapomniany kompo- installation available. zytor lwowski,” Ruch Muzyczny, 1989, nr. 12. tras. She has concertized throughout 13. Kostrzewa, Krzysztof. “Grupa kompo- Ukraine, as well as continental Europe. zytorów Lwowsko-Krakowskich: T. Machl, Inquiries: In 2017 Olena Matselyukh opened the K. Moszumaska-Nazar, B. Schaeffer,” Mu- [email protected] Bach Festival in Brno, Czech Republic, sica Galiciana. « ». Tom VI. . . . Tel. 00 34 629 30 17 18 and Wrocław, Poland. In Poland, she 5. – , 2001. – . 141–147. has performed at several other festivals, 14. Rutkowski, B. “Koncerty na organy including “Music in Old Kraków.” Mat- i wielk orkiestr symfoniczn Tadeusza seliukh has recorded CDs—Benedictus Machla, Muzyka, 1952, nr. 1–2. Pattern: bulbbright - stock.adobe.com 15. Kowal, R. “Koncerty organowe i and Amazing Grace—as well as record- twórczość organowa Tadeusza Machla,” Kra- ings of the works of composer Bohdan kowska szkoła kompozytorska 1888–1988, Kotyuk—Refl ections and Mood and Red. T. Malecka, Kraków, Poland, 1992.

WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 17 Cover feature

Foley-Baker, Inc., Tolland, Connecticut Holy Cross Catholic Church, New York, New York The saga of Aeolian-Skinner Opus 908 This is a special organ. It was built at a special time and for installation in a special city. Most know the story: by the 1930s Ernest Skinner had sold his fi rm (1919) to Arthur Hudson Marks, businessman and organ enthusiast. It was a move that saved the company but also paved the way for new blood and new ideas. G. Donald Harrison was just such a paragon and at fi rst (1927) a near soulmate of Skinner’s. However, when the organ-buying world began taking note of Harrison’s new and different tonal approach, Skinner took umbrage, and by 1932, and despite an active employment agreement with Marks, he walked out. Harrison was free to do his own thing, and Opus 908, a three- manual, twenty-nine-rank organ, was a good example. The reviewer for the organ’s opening in December of 1933 was none other than William H. Barnes, whose notes in The American Organist clearly stated that the instrument’s design was so advanced and good for a small organ, that “This will stand out as a fi ne musical instrument through the years, in spite of fads or fancies, or swings of the (tonal) pendulum. It is my contention that the best all-around service will be obtained from an organ of this character . . . . It will always be a musical instrument pleasing to musicians.” Few listened more closely back in those days and, frankly, Barnes’s take on things was spot on. As a relatively small organ, the Harrison-Skinner speci- fi cation and voicing made Opus 908 a winner—especially in such welcoming acoustics. Unlike so many other organs of this era, Opus 908 is as marvelously musical in the twenty-fi rst century as it was in the early twentieth. Ten years ago, things weren’t so great for this organ. Holy Cross was ramp- ing up to start a massive redecorating project. At the last minute, the con- tractors decided that the organ had to be removed. Luckily, we had the time and resources. The fact that all this Ready for another ninety years (photo credit: Tom DeFrancesco) organ equipment had to be temporar- ily trucked away inspired hopes that project instead usurped all available to the least costly storage location—a the organ plummet. Could its renovation while it was at our shops, it could also funding. In fact, it went over budget to container. Words were laced with hopes costs possibly cause the church to sell be reconditioned, something it badly the point that there was then no money that somehow money would soon be the organ? By this time, only the organ- needed. But that did not happen. Plain to bring the organ back to the church. found to recondition the instrument. ist, Charles Currin, and a few involved and simple, despite some good effort Despite our recommendation that it be Adding to all the anxiety, a change in parishioners remained to lament what and pleas, the building renovation warehoused, we were asked to move it hierarchy at Holy Cross saw interest in was not happening with the Skinner.

Aeolian-Skinner Opus 908/Foley-Baker, Inc. Holy Cross Catholic Church, New York, New York

GREAT ORGAN (Manual II) CHOIR ORGAN (Manual I, COUPLERS Swell Unison 16′ Flute Conique (Gemshorn)* 12 enclosed) Swell to Pedal Great Unison 8′ Diapason 61 8′ Viola 73 Great to Pedal Choir Unison 8′ Flute Harmonic 61 8′ Concert Flute 73 Choir to Pedal 8′ Gemshorn 61 8′ Kleine Erzähler 73 Swell to Pedal 4 Manual Transfer 4′ Principal 61 8′ Kleine Erzähler Celeste 61 Choir to Pedal 4 All Pistons Next 2 2 ⁄3′ Grave Mixture II 122 4′ Flute d’Amour 73 Pedal to Choir 8′ Trumpet (Sw) 8′ Clarinet 73 29 ranks, 25 stops, 1,927 pipes Chimes (Ch) Tremulant Swell to Great Chimes Choir to Great Builder’s website: http://foleybaker.com SWELL ORGAN (Manual III, Swell to Choir Church website: https://christinthecity.nyc enclosed) PEDAL ORGAN 8′ Geigen Diapason 73 32′ Resultant Swell 16 Cover photo by Tom DeFrancesco 8′ Rohrfl öte 73 16′ Diapason 32 Swell 4 8′ Salicional 73 16′ Bourdon 32 Swell to Great 16 8′ Voix Celeste 73 16′ Gemshorn (Gt) Swell to Great 4 8′ Aeoline 73 8′ Octave 12 Swell to Choir 16 4′ Flute Triangulaire 73 8′ Flute 12 Swell to Choir 4 2′ Mixture IV 244 8′ Rohrfl öte (Sw) Choir 16 16′ Waldhorn ** 73 16′ Waldhorn (Sw) Choir 4 8′ Trumpet 73 8′ Trumpet (Sw) Choir to Great 16 8′ Corno d’Amour 73 Choir to Great 4 8′ Vox Humana 73 * Original factory knob name Great 4 4′ Clarion 73 ** Spec’d in 1933; built/installed in 2019 Tremulant

18 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Pipes were in the worst condition of any we’ve ever tackled. Here FBI tech Richard FBI techs Karl Krivanec, Mark Palmer, Doug McKeever (installation foreman), and Cote starts cleaning the time and storage scarred 16′ Gemshorns (photo credit: Foley- Austin Storo (photo credit: Tom DeFrancesco) Baker, Inc.)

The Great pipework as we found it (photo Great pipework reconditioned at our credit: Foley-Baker, Inc.) shops (photo credit: Tom DeFrancesco)

Weeks turned to months, and months very interested organist, felt a personal turned to years. Changes in pastors and attachment. Opus 908 had to rise again. organists (a used electronic had been Adding further suspense, Father purchased) saw Opus 908 all but disap- Franks had signed the contract on his pear from memory, let alone anyone’s way to his new parish. Would Holy focus. That is, until Father Tom Franks Cross’s next pastor have any interest? He came on board. It was nearly eight years sure did. Read on . . . . later when my phone showed the incom- Father Francis Gasparik arrived at Holy ing call from area code 212. Father Cross and all too soon became aware of Franks was the new pastor—and he had the many needs of the 150-year-old build- interest. Emails were exchanged, and ing—the oldest structure on Manhattan’s although he could not fi nd money yet, 42nd Street. Needless to say, with such an the organ could at least feel the stirrings old building, many of its needs refl ected of its heritage calling—somebody at the industrial-strength issues that all came top cared! with industrial-strength repair costs. But About six months later the magic call instead, he heard of the money being spent arrived: Father Franks proclaimed that on reviving the old organ. Understand- the church was selling a tiny nearby ably, it took a while for Father Gasparik building, and it looked like the money to digest the situation, learn about organs, would cover the organ’s total recondi- and develop an appreciation for the tioning and reinstallation. You can only Aeolian-Skinner. I think the day the 128 imagine the relief we and some at the restored façade pipes were reinstalled was church felt. You can bet Opus 908 had a one of great change and appreciation by smile on its face. everyone involved. The reinstalled organ Its very rusted face, that is, because made Christmas of 2019 very special. when we removed its hundreds of Our reconditioning work included components from what was to have replacement of every piece of leather, been short-term storage, we found that scrubbing and clear coating of every The reconditioned Swell reeds, ready for a new life (photo credit: Tom DeFrancesco) more than the original water damage (now very seasoned) piece of wood, plus was now visible. (Why is it that leaking a pipe washing and voicing process far given every nuance of attention. It is delighted; the organ looks, sounds, and roofs are so often over pipe organs?) more time consuming than we’ve ever now as comfortable and beautiful as the works wonderfully. The years, problems, Most everything was salvageable, but before encountered. Even the Spencer photos here indicate. and costs will pass into history, but this the work effort to restore this once Turbine blower and its motor were In my fi fty-plus years in the organ special Aeolian-Skinner will live on. The fi ne instrument had nearly doubled. refurbished. All reed stops were recon- business, no FBI job has approached old adage is true: All’s well that ends well. By now, so many of us, including Tom ditioned by Broome and Company. The the challenges that came with Opus —Mike Foley, President DeFrancesco, the church’s new and very tired eighty-year-old console was 908. But, now it’s over. The church is Foley-Baker, Inc.

WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 19 Harpsichord Notes By Larry Palmer Reviews

Time fl ies. New Organ Music Elaine Funaro’s compact disc Time Flies (Centaur CRC 3783) is this valued artist’s valedictory musical program to mark her stepping down as CEO of Aliénor, the non-profi t organization that sponsors worldwide competitions for contemporary harpsichord compositions and for the promotion and publication of the winning works thereof. Aliénor (named for Eleanor of Aqui- taine) was the brainchild of Dr. George Lucktenberg (1930–2014), founder of the Southeastern Historic Keyboard Society, which, united with the Mid- western society of similar name and purpose, is now known as the Historic Keyboard Society of North America (HKSNA), which now has jurisdic- tion over Aliénor and its events. It was Funaro who registered Aliénor as an independent, non-profi t 501(c)(3) orga- Fred J. Cooper Organ Book: Five Com- nization when she took charge in 1999 positions for Organ Solo following two decades of leadership by its founder Lucktenberg. It seems Fred J. Cooper Organ Book: Five that two decades comprise the term of Compositions for Organ Solo. E. C. service for individuals who supervise Schirmer Music Company (a division Aliénor’s endeavors. of ECS Publishing Group), 2017, No. Elaine Funaro has been an active 8544, $22. Available from: CEO who has travelled extensively to morningstarmusic.com. make Aliénor known on at least fi ve con- Philadelphia Flourish, by Jeffrey tinents. She is a fi rst-rate harpsichordist Elaine Funaro Brillhart; Fanfare on GELOBT SEI GOTT, with multiple recordings of contempo- by Matthew Glandorf; Organum, by rary harpsichord pieces and has been copyrights for their creations. In the • Aliénor Harpsichord Competition: Kathleen Scheide; Kokopelli: Trickster active in providing print volumes for spirit of that necessity (the support of The 2000 Composition Winners, Dmitri God, by David Schelat; and Refl ection, many of the prize-wining compositions. copyright), I draw attention to four vol- Cervo, Rudy Davenport, Kent Holliday, by Kile Smith. Recently I received a request from a umes published by Aliénor: and Timothy Tikker, Wayne Leupold In the preface to this collection, David correspondent of The Diapason who • The Aliénor Book: A Collection of Editions, 2007, WL600233, available Furniss, who was then dean of the Phila- asked me to make copies of several of Contemporary Pieces for Harpsichord, from wayneleupold.com, $26.50. delphia Chapter of the American Guild of the contemporary scores that I have by Thomas Benjamin, Jorg Demus, • Aliénor Preludes for Harpsichord, Organists (AGO), outlines the evolution recommended. I responded quickly that Albert Glinsky, Robert Muczynski, and Rudy Davenport, Thomas Donahue, of the project in celebration of the tenth I was not authorized to make copies Chan Ka Nin, Hinshaw Music, Inc., Pablo Escade, Edward Gerber, Andrew anniversary of the Fred J. Cooper Memo- and suggested that the inquirer contact 1988, $19.99, available from sheetmusic- Guster, Kent Holliday, Janine Johnson, rial Organ in Verizon Hall at the Kimmel the composers, who, of course, own the plus.com. Rachel Laurin, Ronald McKean, and Center in Philadelphia, Pennsylvania. Philip Underwood, PRB Productions, This instrument is a 2006 installation by available from skylinestudio.com, $35. Dobson Pipe Organ Builders, Ltd., the • Aliénor Anthology 2015 (Ten fi rm’s Opus 76, and reigns as the largest Pieces), by Yuri Ban, Daniel Basford, mechanical-action concert hall organ in Ivan Bozicevic, Andrew Collet, Sviato- the United States. To commemorate the slav Krutykov, Satono Norizuki, Gianam- anniversary, fi ve Philadelphia-area com- drea Pauletta, Adam Rothenberg, Dina posers were given a “general guideline for Smorgonskaya, and Laura Snowden. All the style of the piece they were to write,” ten of these are included on the cur- music for diverse occasions and settings. rent CD. Note the increased number The premier performances of these new of women composers! Also of interest is compositions took place at the Kimmel that Elaine included all of this volume on Center Organ Day on June 10, 2017, her current disk. and were presented by organists Parker Yes, indeed, time does fl y—the older we Kitterman, David Furniss, Clara Gerdes, get, the faster it seems . . . . I recommend Edward Landin, and Daryl Robinson. for all who are interested in new music Fanfare on GELOBT SEI GOTT (Hom- for our “old” instrument to access Elaine mage à Michael Praetorius) is a Funaro’s valedictory offering. Her play- chorale-based work commemorating ing is stellar as is her Richard Kingston the 500th anniversary of the Lutheran harpsichord. I am reminded of some Bib- Reformation. Matthew Glandorf set the lical words when I think of Elaine’s years familiar Easter chorale in contemporary of service to our music-making: “Well twenty-fi rst-century idiom. The fi rst 35 done, thou good and faithful servant.” ■ measures are designed for manuals only. Beginning with a rhythmically snappy Editor’s note: learn more about Elaine statement of the harmonized chorale, Funaro at her website: with phrases shared between two divi- http://elainefunaromusic.com sions featuring contrasting 8′ reeds, the second statement of the chorale provides Comments and questions are wel- an agile bicinium featuring contrasting come. Address them to lpalmer@smu. “Antique” reeds. A cascading solo pas- edu or 10125 Cromwell Drive, Dallas, sage of sixteenth notes reveals the com- Texas 75229. poser’s penchant for improvisatory organ playing. The third setting of the chorale tune makes use of quick chords arranged in fl uctuating duple and triple meters, The Sound of Pipe with registration suggestions of 16′, 8′, and 4′ reeds (including a solo Tuba stop). Organs A fourth improvisatory statement of the tune makes use of pedals alone, with four M. McNeil measures of double pedaling. Marked 191 pages hardbound “Allargando,” the entire fanfare con- cludes with massive tutti block chords now on sale at Amazon books on the fi nal long phrase of the chorale $29.95 followed by a solo melodic fl ourish on the “Biggest reed!,” followed by a sur- prising C-major chord in root position. The fanfare is designed to be an assertive

20 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Reviews Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN and convincing recital program opener, Gothic label. It should provide a help- Park Ridge, IL GRACE CHURCH and it succeeds in fulfi lling that mission. ful guide for stimulating any number of Pickle Piano & Church Organ Systems NEW YORK Modest in length, it would also make valid and worthwhile interpretations! Bloomingdale, IL for a convincing postlude for the Easter —Jeffrey Schleff season, especially following the closing Gainesville, Texas hymn for congregations familiar with the Vulpius tune. To be sure, Glandorf’s Michael J. Batcho fanfare was designed to be “a color tour New Recordings Christopher Babcock of the reed stops,” but he admits that it An Ely Christmas. The Girl Choris- Director of Music could work with any registrational com- ters and Lay Clerks of Ely Cathedral; St. Andrew’s by the Sea, bination. And it does! Sarah MacDonald, conductor; Aaron Hyannis Port CATHEDRAL OF ST. JOHN Refl ection is the most accessible and Shilson, organist. Regent Records MILWAUKEE “peaceful” setting in the collection. Kile compact disc REGCD527. Available Smith was asked to provide a composition from: www.regent-records.co.uk. that is “slow and introspective, perhaps an Deck the hall, Welsh traditional, arr. aria.” The piece is a lovely setting appro- Mark Armstrong; No Small Wonder, Paul Dean W. Billmeyer priate for both liturgical and concert use. Edwards; O holy night, Adolphe Adam, With melodic contours resting on sparse arr. Sarah MacDonald; There Is No Rose, University of Minnesota but compelling harmonies, Smith brings John Joubert; Come to Bethlehem, Peter Minneapolis 55455 • [email protected] back a signature sense of Americana Warlock, arr. Maurice Jacobson; Away reminiscent of Aaron Copland. A bit of in a manger, Normandy traditional, arr. whimsical homage to the title of Leon- Alexander Berry; Glorifi camus Deum, ard Bernstein’s Arias and Barcarolles is Annabel Rooney; Corpus Christi Carol, AVIN LACK provided in the composer’s notes. This Richard Peat; The cherry tree carol, tradi- G B Byron L. Blackmore is six minutes of pure musical bliss that tional, arr. Sarah MacDonald; A Hymn to Princeton Early Keyboard Center Crown of Life Lutheran Church brought tears to this reviewer’s eyes. the Virgin, Edmund Rubbra; Sir Christe- 732/599-0392 Sun City West, Arizona David Schelat has a distinguished mas, Bernard Trafford; A Spotless Rose, www.pekc.org career as a recitalist, composer, and Paul Mealor; Love came down at Christ- 623/214-4903 church musician. He describes his con- mas, Simon Lole; Follow That Star, Peter tribution, Kokopelli: Trickster God, as a Gritton; Adam Lay Ybounden, Matthew “concert scherzo for organ solo of mod- Larkin; What sweeter music, John Rut- erate diffi culty, [and] . . . uses a number ter; St. Godric’s Hymn, Gary Higginson; THOMAS BROWN Carson Cooman of organ colors associated with the organ Mater ora Filium, Charles Wood, arr. CHAPEL HILL, NORTH CAROLINA Composer and Concert Organist scherzos of the French Romantic organ Harrison Oxley; A Christmas Blessing, Harvard University tradition.” The unusual title makes ref- Philip Stopford; The holly and the ivy, ThomasBrownMusic.com www.carsoncooman.com erence to the fertility god, Kokopelli, traditional, arr. Sarah MacDonald; Away a “humpbacked woodwind player . . . in a manger, William J. Kirkpatrick, arr. worshipped by some Native American Gary Cole; My Lord Has Come, Will cultures in the Southwestern United Todd; Three Angels, Ben Parry. Your professional card States.” The energetic opening “Allegro Canadian-born Sarah MacDonald has DELBERT DISSELHORST moderato” section features patterns made quite a name for herself as Fellow could appear here! of repetitive two- or three-note chord and Director of Music at Selwyn Col- Professor Emeritus Contact: [email protected] clusters in the style of Louis Vierne. lege, Cambridge, and as director of the University of Iowa–Iowa City or 608/634-6253 The middle “Adagio” section utilizes Girl Choristers of Ely Cathedral. (An compelling melodic material supported interview with MacDonald is found in by sustained chordal accompaniment, the August 2004 issue.) On this record- punctuated by brief scherzando ges- ing she conducts a choir composed of the STEVEN EGLER JOHN FENSTERMAKER tures. An accelerating bridge passage Girl Choristers and the Lay Clerks of Ely Central Michigan University leads to a return of the opening tempo Cathedral, the latter being augmented School of Music RINITY BY THE OVE and compositional characteristics of the by additional local singers. The organist T - - -C opening “A” section. on this recording is Aaron Shilson, assis- Mt. Pleasant, MI 48859 APLES LORIDA Kathleen Scheide’s Organum is an tant organist for the Girl Choristers of [email protected] N , F accessible and restrained setting in which Ely Cathedral. The booklet with the CD the composer “explores parallelism and gives the texts of the carols and anthems, Norberto triple meter, traits of medieval poly- but unfortunately does not discuss the phony, in a contemporary, freely com- music or its composers, so I have taken Susan Goodson posed idiom.” Scheide suggests that a vari- the liberty of adding a few notes of my Guinaldo ety of registrations is acceptable as long own on these subjects. Emanuel United Church of Christ His Music as celestes and tremulants are avoided. A Mark Armstrong, the arranger of Deck Manchester, Michigan See—Listen—Buy convincing and hypnotic effect is created the hall, is primarily a performer and www.GuinaldoPublications.com by intervals of open fourths and fi fths, teacher of jazz music. This is far from along with judicious use of dissonances. apparent in this arrangement, which is a This piece, along with Smith’s refl ection, cheerful carol for SATB and organ in a A Professional Card in can be convincingly performed on smaller style not unlike John Rutter’s. The next STEPHEN HAMILTON church instruments and is appropriate for carol, No Small Wonder, is a setting of The Diapason liturgical use. Paul Wigmore’s poem of the same name. For rates and digital specifi cations, recitalist–clinician–educator Inspired by the works of Jeanne The Bedfordshire organist and composer contact Jerome Butera www.stephenjonhamilton.com Demessieux, Olivier Messiaen, Francis Paul Edwards has written several carols, 608/634-6253; [email protected] Poulenc, and “Philly Jazz,” Jeffrey Brill- of which this is one. It is a lilting, lullaby- hart’s Philadelphia Flourish is a capti- like setting for SSATB and organ. The sec- vating composition based on a musical tion for sopranos divisi and organ alone is cipher created by Arthur Honegger for particularly effective. Sarah MacDonald’s David Herman his Hommage à Albert Roussel. As a basis own arrangement of Adolphe Adam’s for this composition, Brillhart spells out well-known carol, O holy night, forms Trustees Distinguished Professor Emeritus of Music and University Organist “AGO Philadelphia” and “Philly” as the track 3 of the compact disc. This is not basis for themes he employs and incor- one of my favorite carols, but one cannot The University of Delaware Q [email protected] porates in a number of variations. After but admire the musical craftsmanship of a restful and expressive “cantabile” sec- Dr. MacDonald’s arrangement. The fi rst tion, the piece concludes with a stirring two stanzas are sung by the girl choristers toccata in the fi nest French tradition. in unison, accompanied on the organ, Gail Archer This selection is thoughtfully composed but then the last two lines are repeated organist and worthy of study. Performances of the in canon by the sopranos divisi at the end. work will also require study and careful Following this we hear John Joubert’s www.gailarcher.com Lorraine Brugh, Ph.D. preparation. With the technical demands familiar carol, There Is No Rose, sung a Professor of Music in mind, Brillhart’s Philadelphia Flour- cappella SATB. Then comes an arrange- Vassar College Barnard College, Columbia University University Organist ish is highly recommended for recital/ ment for soprano 1 and 2 and organ of [email protected] Valparaiso, Ind. concert use, due to both the carefully Peter Warlock’s carol, Come to Bethle- (212) 854-5096 crafted musical gestures and the work’s hem. The arranger, Maurice Jacobson, valpo.edu structural integrity. A fi ne recording of a student of Stanford and Holst, was a Promotion 219.464.5084 this piece by the gifted organist, Darryl pianist, composer, and chairman of the SOZO Media [email protected] Robinson, is currently available on the music publishing house J. Curwen & [email protected]

WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 21 WILL HEADLEE ANDREW HENDERSON, DMA Reviews 1650 James Street Madison Avenue Presbyterian Church New York, NY Sons. This carol in turn is followed by the Peter Gritton is responsible for both Syracuse, NY 13203-2816 fi rst of two settings on this CD of Away the text and music of the next carol, Fol- (315) 471-8451 www.andrewhenderson.net in a manger. This, the lesser known of low that star. He has led a very varied the two versions, weds the text with an career as organist, singer, educator, old Normandy carol in an arrangement music publisher, and composer. His again for soprano 1 and 2 and organ. music is also in varied styles includ- Richard Barrick Hoskins Brian Jones The arranger here is Alexander Berry, ing traditional church styles, jazz, and currently director of music and organ- rhythm and blues. His carol, Follow that Director of Music & Organist Director of Music Emeritus St. Chrysostom's Church ist of Bradford Cathedral, but formerly star, is a piece for a cappella SATB that Chicago TRINITY CHURCH assistant organist of the Ely Girls’ Choir. might even be described as belonging to [email protected] BOSTON Annabel Rooney, who holds a doctor- the Doo-wop genre, again in close har- ate from Cambridge University, is a vir- mony. The next piece, Matthew Larkin’s tuoso ’cellist and a member of the Clif- setting of Adam Lay Ybounden, is, like ton String Trio. She is also well known Corpus Christi Carol, a musical setting KIM R. KASLING JAMES KIBBIE as a pianist and is increasingly prominent of a medieval carol whose original tune D.M.A. The University of Michigan as a composer of choral music that has has been lost, and like Corpus Christi been widely performed in English col- Carol, there are several memorable ver- St. John’s University Ann Arbor, MI 48109-2085 734-764-1591 FAX: 734-763-5097 legiate chapels and cathedrals. She has sions. Larkin, formerly director of music Collegeville, MN 56321 written several Christmas carols, includ- at Christ Church Cathedral, Ottawa, email: [email protected] ing Gaudete, This Infant of mankind, Canada, is currently director of music and Sweet was the song the Virgin sang, at Saint Thomas’s Anglican Church in David K. Lamb, D.Mus. as well as settings of The Lord’s Prayer Toronto and director of the ground- Karen Schneider Kirner and two Latin settings of the Magnifi cat breaking Caelis Academy Ensemble. Director of Music and Nunc Dimittis. Her setting here is of The haunting arrangement is for sopra- Director, Notre Dame Handbell Choir Trinity United Methodist Church an anonymous thirteenth-century carol nos in unison and divisi and two soprano Assistant Director, Notre Dame Folk Choir New Albany, Indiana text, Glorifi camus Deum. This carol is soloists. This is followed by John Rutter’s University of Notre Dame 812/944-2229 rhythmic and ebullient and includes familiar carol, What sweeter music, sung a rather exciting organ part, in which SATB with organ accompaniment. the famous Ely Tuba Mirabilis features St. Godric’s Hymn is one of four prominently. Annabel Rooney is a com- hymns written by St. Godric of Finchdale poser whose music deserves to be much (c. 1065–1170) and is again best known

A.S.C.A.P. more widely known. in its setting by Benjamin Britten. Gary FELLOW, AMERICAN GUILD OF ORGANISTS Corpus Christ Carol is an anonymous Higginson (b. 1952), who wrote the cur-

345 SADDLE LAKE DRIVE thirteenth-century text, for which the rent setting, was a student of Edmund ROSWELL-ATLANTA, GEORGIA 30076 original tune is unknown. There are Rubbra and John Joubert. Higginson was (770) 594-0949 several excellent musical settings of the for some years director of music at Our text, of which the best known is probably Lady’s Chetwynde School in Cumbria the Benjamin Britten setting in A Cer- before his retirement to Herefordshire. emony of Carols. The version on this CD Higginson’s setting for sopranos 1 and 2 ANDREW PAUL MOORE LEON NELSON is an unaccompanied setting for soprano and soprano solo has a certain mystical CHRIST CHURCH Director of Traditional Music solo and sopranos divisi. The composer character, and its harmonies have a dis- Southminster Presbyterian Church is Richard Peat, who is a scholar and tinctly medieval feel. Mater ora Filium SHORT HILLS Arlington Heights, IL 60005 expert on the music of Latvian composer is a fi fteenth-century Latin and English Pēteris Vasks as well as a composer of text that was set as a carol by Charles choral and operatic music. His Corpus Wood. The arrangement here is by Har- Christi Carol draws on both medieval rison Oxley, for thirty-seven years organ- and old English folk traditions. This is ist of Saint Edmundsbury Cathedral. In The staff of THE DIAPASON congratulates followed by Sarah MacDonald’s arrange- 1971 he became the fi rst English cathe- Alexander Meszler as the winner of the inaugural ment of The Cherry tree carol of ca. dral organist to recruit girl choristers. A Gruenstein Award. 1300. Here we have two soprano soloists, new provost, appointed in 1981, began one representing Mary and the other the to phase out the girl choristers, and Christ-child, together with the sopranos Oxley resigned in protest in 1984. Oxley in unison and divisi, accompanied on the arranged the present carol with the girl organ. We then turn to Edmund Rubbra, choristers of Saint Edmundsbury Cathe- who taught at Oxford University and the dral in mind. It is set for two soprano PHILIP CROZIER LARRY PALMER Guildhall School of Music. His A Hymn soloists, sopranos 1 and 2, and organ. to the Virgin, op. 13, no. 2, dates from Philip Stopford’s carol, A Christmas CONCERT ORGANIST Harpsichord – Organ 1929. It is scored for unison trebles with Blessing, is a setting of the Church of ACCOMPANIST organ accompaniment and contains Ireland’s blessing for Christmas Eve. It is Professor of Music, Emeritus some spectacular soaring melodies. set for SATB and organ. This is followed 3355 Queen Mary Road, Apt 424 The fi fteenth-century carol Sir by Sarah MacDonald’s version of the Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Christemas is described in the leafl et as well-known carol, The holly and the ivy, Canada being anonymous, though it is in fact the arranged for two soprano soloists, sopra- nos 1 and 2, and organ. After this we hear (514) 739-8696 Recitals — Lectures — Consultancies work of Ric(h)ard Smert (or Smart), rec- tor of Plymtree, Devon, from 1435 until the second version of Away in a manger in [email protected] 1477 and a vicar-choral of Exeter Cathe- an arrangement of Kirkpatrick’s familiar [email protected] + 214.350-3628 dral from 1428 until 1465, who also left carol by Gary Cole, a freelance organist an original tune, though this is not used and composer who since 1992 has worked here. Bernard Trafford, who won a prize almost exclusively as a sound recording from the BBC for this carol setting, is an producer and engineer. His arrangement educator and musician in the North of of Away in a manger is as a close-harmony England. The carol is a boisterous and carol for SATB and tenor solo. In the fi nal A gift subscription to rhythmic setting for SATB a cappella. stanza the lower parts show some similari- The Welsh composer Paul Mealor ties with those in Carols for Choirs. Will (b. 1975) is best known for his motet Todd, an accomplished jazz pianist and The Diapason Ubi caritas et amor, commissioned for composer, published both the text and The perfect gift for the royal wedding of Prince William music of My Lord Has Come in 2011. It is + organist colleagues + choir directors and Catherine Middleton in 2011. A again a close-harmony setting for SATB. Spotless Rose is an English translation The fi nal track of the CD is Ben Parry’s + students + organ builders of a sixteenth-century German text, and setting of Gareth Bardsley’s carol, Three + teachers + clergy Paul Mealor’s carol is a warm a cappella Angels. The composer is assistant director SATB setting in rather close harmony. of music at King’s College, Cambridge. Each month your gift will keep on giving by providing the This carol is followed by Simon Lole’s The carol is an animated setting for SATB important news of the organ and church music fi eld. Know that setting of Christina Rossetti’s poem Love and organ. your gift will be just right. came down at Christmas. Simon Lole, I congratulate Sarah MacDonald and For information, The Diapason, P.O. Box 300, Lincolnshire, IL who currently lives in Dorset, is a former the singers on a superb performance 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: director of music and organist at Shef- on this compact disc. Dr. MacDonald 847/763-4933. Or visit www.thediapason.com and click “subscribe.” fi eld and Salisbury cathedrals. The carol has also accomplished a brilliant job of is for sopranos 1 and 2, soprano solo, and choosing the repertoire. $44 one year USA; $35 one year digital; $20 one year student organ, and is again somewhat reminis- —John L. Speller cent of the work of John Rutter. Port Huron, Michigan

22 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Calendar Tiffany K. Ng, PhD DEREK E. NICKELS, DMA University Carillonist | New Music Performer Church of the Holy Comforter 1 JULY The University of Michigan, Ann Arbor This calendar runs from the 15th of the month Kenilworth, IL 60043 Jennifer Pascual; Methuen Memo- [email protected] of issue through the following month. The deadline soundcloud.com/carillonista (847) 251-6120 • [email protected] is the fi rst of the preceding month (Jan. 1 for rial Music Hall, Methuen, MA 7:30 pm Feb. issue). All events are assumed to be organ (livestream) recitals unless otherwise indicated and are grouped Garrett Law; St. Paul’s Episcopal, within each date north-south and east-west. •=AGO Greenville, NC 7 pm chapter event, • •=RCCO centre event, +=new organ GREGORY PETERSON dedication, ++= OHS event. Wolff von Roos; Cathedral of St. ANDREW PETERS John the Evangelist, Milwaukee, WI Information cannot be accepted unless it Organ Recitals – Silent Movies – Hymn Festivals Professor of Music specifi es artist name, date, location, and hour in 12:15 pm and College Organist writing. Multiple listings should be in chronological www.AndrewJPeters.com Luther College, Decorah, Iowa order; please do not send duplicate listings. 7 JULY THE DIAPASON regrets that it cannot assume Nathan Laube; Cathedral of the As- responsibility for the accuracy of calendar entries. sumption, Louisville, KY 7:30 pm ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. 8 JULY UNITED STATES Luther Memorial Church (ELCA) East of the Mississippi Leonardo Ciampa; Methuen Me- Organist/Director of Music Madison, Wisconsin morial Music Hall, Methuen, MA 7:30 First Presbyterian Church 17 JUNE pm (livestream) [email protected] Gainesville, Texas Heinrich Christensen; Methuen David Jonies; Sinsinawa Mound, Recitals — Hymn Festivals [email protected] Memorial Music Hall, Methuen, MA Sinsinawa, WI 7 pm 7:30 pm (livestream) Filippa Duke; St. Paul’s Episcopal, 10 JULY Greenville, NC 7 pm Sarah Simko; Cathedral Church of STEPHEN SCHNURR St. Paul, Detroit, MI 12:10 pm 19 JUNE Saint Paul Catholic Church Organogenesis Artists LLC 12 JULY Alain Truche; National City Chris- Valparaiso, Indiana [email protected] tian, Washington, DC 12:15 pm Josef Sole-Coll; St. Paul Catholic Cathedral, Pittsburgh, PA 3:30 pm 21 JUNE Bob Knupp; Washington National 15 JULY Cathedral, Washington, DC 5:15 pm Sarah Johnson; Methuen Memo- ROBERT L. rial Music Hall, Methuen, MA 7:30 pm Mark Steinbach 24 JUNE SIMPSON (livestream) Brown University Janet E. Hunt; Methuen Memo- Christ Church Cathedral rial Music Hall, Methuen, MA 7:30 pm 19 JULY 1117 Texas Avenue Houston, Texas 77002 (livestream) Benjamin LaPrairie; St. Paul Cath- Mark Pacoe; St. Paul’s Episcopal, olic Cathedral, Pittsburgh, PA 3:30 pm

Greenville, NC 7 pm Nicholas Schmelter; Basilica of ] Michael Hey; Cathedral of Christ the National Shrine of the Immaculate THOMAS R. THOMAS Joe Utterback the King, Atlanta, GA 7:30 pm Conception, Washington, DC 6 pm Organist/Choirmaster www.jazzmuze.com]] ] 25 JUNE St. Luke’s Episcopal Church UNITED STATES Live Oak, Florida 32064 Avi Stein; St. Paul’s Chapel, Trin- West of the Mississippi 203 386 9992 ity Church Wall Street, New York, NY [email protected] 1 pm 19 JUNE 26 JUNE David Boeckh; Christ Episcopal, Aaron Comins; National City Chris- Tacoma, WA 12:10 pm Kevin Walters tian, Washington, DC 12:15 pm David Wagner 20 JUNE DMA M.A., F.A.G.O. 28 JUNE Temple Hill Choir & Orchestra, Gar- www.davewagner.net Carson Cooman; Washington Na- ner, Lamb of God; Cathedral of St. Rye, New York tional Cathedral, Washington, DC Mary of the Assumption, San Fran- 5:15 pm cisco, CA 7 pm

29 JUNE 21 JUNE Alan G Woolley PhD KARL WATSON Paolo Bordignon, with Philadelphia Michal Kopycinski; Cathedral of St. Musical Instrument Research FIRST PRESBYTERIAN CHURCH Orchestra; St. Bartholomew’s Church, Mary of the Assumption, San Fran- Edinburgh New York, NY 7 pm cisco, CA 4 pm WOODBRIDGE, NJ [email protected]

DIAPASON Student Rate RONALD WYATT $20 one year Trinity Church 847/954-7989 Galveston WOW! [email protected] 2022 - The Sounds of Summer Suspended? . . . we highlight a few of the famous pipe organs for which the summer season usually is particularly active. J A two-inch Professional Card in The Diapason U 2023 - Five (Not So) Easy PiecesDUHÀHFWLRQRQWKHHIIXVLYH N art of Max Reger, whose pages may be black with notes but For information on rates and specifi cations, contact Jerome Butera: E also colorful with emotion. [email protected] 608/634-6253 2024 - Potpourri . . . a selective review of intriguing and recent 2 compact disc releases. 0 ArtistArtist Spotlights Spotlightspotlight s 2025 - More Modern Music Makers . . . a deliciously diverse 2 display of newer pipe organs at home and abroad. Artist Spotlights 0 are available on Your professional card 2026 - The American Muse . . . let’s delight in American The Diapason composers during our American holiday week. website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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30 JUNE 24 JUNE Stephen Hamilton; Aspen Com- Daniel Roth; Kreuzkirche, Dresden, munity United Methodist, Aspen, CO Germany 8 pm 7 pm Nicholas Schmelter, with piano; Yorkminster Park Baptist, Toronto, 5 JULY ON, Canada 12:35 pm Karen Beaumont; Cathedral of St. 27 JUNE Mary of the Assumption, San Fran- Jennifer Chou; St. John the Evan- cisco, CA 4 pm gelist, Islington, UK 7:30 pm Celebrating a 110-year strong tradition 13 JULY 28 JUNE Daryl Robinson; Balboa Park, San Carolyn Craig; Cathedral Church of Diego, CA 7:30 pm St. James, Toronto, ON, Canada 4 pm Share Your Love for the 19 JULY 30 JUNE Christopher Houlihan; Aspen Charles Harrison; Selby Abbey, Organ, Harpsichord, Carillon and Community United Methodist, Aspen, Selby, UK 12:30 pm CO 7 pm Church Music 7 JULY 20 JULY Aleksandr Nisse; Selby Abbey, Sel- Purchase a one-year subscription to by, UK 12:30 pm Alcee Chriss; Balboa Park, San Di- THE DIAPASON and receive a free ego, CA 7:30 pm 8 JULY Virginius Barkauskas; Frauen- digital subscription to give to a friend INTERNATIONAL kirche, Dresden, Germany 8 pm 14 JULY 16 JUNE Johannes Geffert; Selby Abbey, Ashley Grote; Selby Abbey, Selby, Selby, UK 12:30 pm UK 12:30 pm 15 JULY 17 JUNE Wolfgang Kapek; Frauenkirche, Christophe Mantoux; Frauen- Dresden, Germany 8 pm kirche, Dresden, Germany 8 pm 20 JULY 23 JUNE David Quinn; Reading Town Hall, Reading, UK 1 pm *Also applicable to subscription renewals Eleni Keventsidou; Selby Abbey, Offer expires June 30, 2020 Selby, UK 12:30 pm 21 JULY Martin Baker; Selby Abbey, Selby, UK 12:30 pm Perfect gift for • Organist colleagues • Choir directors 25 JULY Katelyn Emerson; St. John the • Students • Organ builders Evangelist, Islington, UK 7:30 pm • Teachers • Clergy 28 JULY James O’Donnell; Selby Abbey, Selby, UK 12:30 pm 1 year subscription rates to THE DIAPASON 29 JULY Print Digital Stephen Hamilton; Cathedral, Trier, $44 $35 Germany 7:30 pm Isabelle Demers; Frauenkirche, Dresden, Germany 8 pm For information, THE DIAPASON, P.O. Box 300, Lincolnshire, IL 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: 847/763-4933. For new subscriptions: sgc.dragonforms.com/DPP_newfriend For renewals: sgc.dragonforms.com/DPP_renewfriend The free digital subscription for a friend is only intended for individuals that have never subscribed to THE DIAPASON.

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

24 ■ THE DIAPASON ■ JUNE 2020 WWW.THEDIAPASON.COM Recital Programs

JEREMY FILSELL, St. Thomas a Basque Noël, Cooman; Berceuse on mas Song (A Charlie Brown Christmas), MARK STEINBACH, St. Michael’s Church Fifth Avenue, New York, NY, Cradle Song, Nixon; Carillon de West- Guaraldi, transcr. Schmelter; In Dulci Episcopal Church, New York, NY, No- January 19: Symphonie pour Grand minster, op. 54, no. 6, Vierne. Jubilo, Sowerby; Pastorale Gesù Bam- vember 22: Nun komm’ der Heiden Orgue, Boulnois; Sonata Dyad, Hough. bino, Yon; Variations on Adeste Fideles, Heiland, BuxWV 211, Buxtehude; Passa- OAK MARTIN, Cathedral of St. Taylor; Variations to the Sicilian Hymn, caglia, Heiller; Nun komm’ der Heiden ARVID GAST, Church of the Advent, Philip, Atlanta, GA, November 24: Sym- Carr; Carol Rhapsody, Greensleeves, Heiland, BWV 659, Bach; Variations on Boston, MA, January 31: Allegro (Sym- phonie V in f, op. 42, no. 1, Widor. Purvis; Of the Father’s Love Begotten, Nun komm’ der Heiden Heiland, Heiller; phonie VI in g, op. 42, no. 2), Widor; Held; Paean on Divinum Mysterium, Fantasie und Fuge in g, BWV 542, Bach; Eight Short Pieces, op. 154, Karg-Elert; JENNIFER PASCUAL, St. Thomas Cook; Grouse Mountain Lullaby, Chat- Freu dich sehr, o meine Seele, Kleine Par- IV. Innig (Six Studies in Canonic Form, Church Fifth Avenue, New York, NY, man, transcr. Hyslop; Rise Up, Shepherd, tita Es ist ein Ros’ entsprungen, Heiller; op. 56), Schumann; Choral Fantasy on December 8: Wachet auf, ruft uns die and Follow, Behnke; Three Grand Court Es ist ein Ros’ entsprungen (Eleven Cho- Hallelujah! Gott zu loben bleibe meine Stimme, BWV 645, Bach; Tiento IV (par- Carols, Chapman; Improvisation on a rale Preludes, op. 122), Brahms; Orgel- Seelenfreud, op. 52, no. 3, Reger; Fan- tido de mano derecha sobre ‘Ave maris German Christmas theme; Sleigh Ride, satz: Es ist ein Ros’ entsprungen, Tanz- tasy and Fugue on the Choral Ad nos, ad stella’), Cabanilles; Tres glosas sobre Anderson, transcr. Schmelter. Toccata, Heiller. salutarem undam, Liszt. esto canto llano de la Inmaculada Con- cepción, de Arauxo; Ave Maria (Advent: BENJAMIN SHEEN, St. Thomas AARON TAN, Shadyside Presbyterian ANDREW HENDERSON, St. First Religious Suite for Organ), Yon; Church Fifth Avenue, New York, NY, Church, Pittsburgh, PA, November 24: Thomas Church Fifth Avenue, New Mariales, Hakim; Ave Maria, Ave Maris December 15: Overture (Die Fleder- Allegro maestoso (Symphonie III, op. York, NY, January 5: Wie schön leuchtet Stella (Trois paraphrases grégoriennes), maus), J. Strauss II, transcr. Sheen; 28), Vierne; Prière (Quatre Pièces, op. der Morgenstern, BuxWV 233, Buxtehu- Langlais; Fantasy on Veni Emmanuel, Scherzetto (Sonata in c), Whitlock; 37), Jongen; Notes répétées (Six Études, de; Master Tallis’s Testament (Six Pieces Rowley; Toccata on Veni Emmanuel, Variations sur un Noël, op. 20, Dupré; op. 5), Demessieux; Poème Symphonique for Organ), Howells; Lullaby, MacFar- Hailstork; Sortie in D “Laissez paître vos Improvisation on St. Clement, Hancock, pour le Temps de L’Avent, op. 69, Laurin; lane; Phantasie über den Choral Wie bêtes,” Franck. transcr. Buzard; Cockaigne Overture, op. Cloches dans le ciel, Bonnal; Allein Gott Schön leucht’t uns der Morgenstern, op. 40, Elgar, transcr. G. Sheen. in der Höh’ sei Ehr, BWV 664, Bach; 40, no. 1, Reger. NICHOLAS QUARDOKUS, St. The Christmas Tree March (The Nut- Thomas Church Fifth Avenue, New JOHN W. W. SHERER, Fourth Pres- cracker, op. 71), Tchaikovsky; Farandole WESTON JENNINGS, Cathedral of York, NY, December 1: Partita on Wa- byterian Church, Chicago, IL, Decem- (L’Arlésienne Suite, no. 2), Bizet; Jesus St. Philip, Atlanta, GA, January 12: So- chet auf, ruft uns die Stimme, op. 8, no. ber 20: Noël, Beauvarlet-Charpentier; La Loves Me (Gospel Preludes), Bolcom; nata II in c, op. 65, no. 2, Mendelssohn; 2, Distler; Nun komm der Heiden Hei- Nativité, Langlais; Carol, Finzi, transcr. Final (Symphonie VI, op. 59), Vierne. Chorale with Variations, Smart; Solilo- land, Bruhns; Chorale Fantasia on Wa- Gower; Noël, arr. Archer; Fantasia on quy, Conte; Festival Toccata, Fletcher. chet auf, ruft uns die Stimme, op. 52, no. O Come, All Ye Faithful, Shaw; What Is JEREMY DAVID TARRANT, & Jeff, 2, Reger. This Goodly Fragrance?, Oxley; He Is Dwarshuis, guitar, Cathedral of St. Paul, DAVID JONIES, Fourth Presbyte- Born, the Divine Christ Child, Simmons; Detroit, MI, November 15: Prelude and rian Church, Chicago, IL, January 17: NAOMI ROWLEY, Loyola Univer- What Child Is This?, Vaughan Williams; Fugue in C, BWV 547, Allein Gott in der Concerto in B-fl at, op. 4, no. 2, Handel, sity, Chicago, IL, November 17: A Trum- Variations on an Old Carol Tune, Shaw; Höh sei Ehr’, BWV 663, Bach; God Is transcr. Dupré; O Salutaris Hostia, pet Minuet, Hollins; Partita on Praise Lo, How a Rose E’er Blooming (Eleven Our Righteousness, DeBlasio; Cortège et Saint-Saëns; Es ist ein Ros’ entsprungen and Thanks and Adoration, Böhm; Can- Chorale Preludes, op. 122), Brahms; Toc- Litanie, op. 19, no. 2, Dupré; Symphonie (11 Chorale Preludes, op. 122), Brahms; tilène, op. 29, no. 2, Pierné; Plein Jeu, cata on Joy to the World, Dell. Romane, op. 73, Widor; Impromptu, Salve Regina, op. 39, Piechler; Sonata I Récit de Nazard, Caprice sur les grand Carillon de Westminster (Pièces de fan- in f, op. 65, no. 1, Mendelssohn. jeux (Suite du deuxième ton), Cléram- NICOLE SIMENTAL, Cathedral of taisie, Troisième suite, op. 54), Vierne. Court Street United Methodist Church, bault; Pastorale (Bach’s Memento), Bach, St. Paul, Pittsburgh, PA, November 22: Rockford, IL, January 18: Concerto in B- transcr. Widor; Variations on Amazing Toccata in F, BuxWV 156, Buxtehude; DAVID TROIANO, Cathedral of St. fl at, op. 4, no. 2, Handel, transcr. Dupré; Grace, Bédard; Floral Prelude on Ze- Echo Fantasia in d, Sweelinck; March Helena, Helena, MT, November 17: O Salutaris Hostia, Saint-Saëns; Sonata I henspitzen durch die Tulpen, Gawthrop; (Ode for St. Cecilia’s Day), Handel; Maestoso, Schenk; Andante Devoto, Ayl- in f, op. 65, no. 1, Mendelssohn. Sortie in E-fl at, Lefébure-Wély. Vater unser im Himmelreich, Böhm; ward; Canzona, Langlais; Offertorio, Ber- Prelude and Fugue in e, BWV 548, Bach; nal; Prelude and Fugue in b, Willan; Con- SCOTT LAMLEIN, St. John’s Epis- NICHOLAS SCHMELTER, St. Toccata Settima, Rossi; Sonata IV in B- certo in a, Walther; Aria, Manz; Intento copal Church, West Hartford, CT, Theresia Church, Weilimdorf, Ger- fl at, op. 65, no. 4, Mendelssohn; Lullaby en Re-Menor, Lidon; Amazing Grace, January 5: In dir ist Freude, BWV 615, many, December 20: O Tannenbaum, (Suite No. 2), Hampton; Tierces (Four Shearing; Variations on Veni Creator Bach; Weinachten, Reger; Variations on Christmas Time Is Here, The Christ- Concert Etudes), Briggs. Spiritus, Ferko.

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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 Building websites for tomorrow is bordered in gold-colored metal, and 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 Include pictures with your members of the 50-Year Subscribers 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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POSITIONS AVAILABLE PUBLICATIONS/RECORDINGS PUBLICATIONS/RECORDINGS PUBLICATIONS/RECORDINGS

Wanted: Organists visiting Maui. Raven, in collaboration with the Raven has released a 2-CD set, From Fruhauf Music Publications: Lahaina’s Holy Innocents Episcopal Friends of the Wanamaker Organ, Jehan Alain: Trois Danses and Other Sing Joyful Hymns and Songs of Church invites visiting organists to play has released a video DVD and audio Organ Works, played by Christophe Praise is a three-verse hymn anthem for its Beckerath Positiv organ at Sunday CD in a 2-disc set, Symphonic Splen- Mantoux on the 1890 Cavaillé-Coll voices and organ, based on an original services. Built in 1972 by Rudolf von dor: Masterworks for Organ and 4-manual organ at St-Ouen in Rouen, text and tune. The fi rst verse features Beckerath and then-apprentice Hans- Orchestra, with Peter Richard Conte France. The recording received the unison voices with organ accompani- Ulrich Erbslöh for Honolulu’s Lutheran at The Wanamaker Organ and the French Grand Prix du Disque in its ini- ment; the second verse offers a three- Church, the 408-pipe Shrankpositiv orchestra known as Symphony in C. tial release as a single CD in 1992 on part (solo or sectional) harmonization has a 54-note “split” manual, 30-note Filmed and recorded at a live concert a small French label, Studio SM, with of the melody and text, and the fi nal pedal, 11 stops, 8 ranks, and 6 registers. in 2014 at the Philadelphia Macy’s fewer of Alain’s works included, and verse provides a hymn of praise for Holy Innocents acquired the instrument department store, the concert includes was reissued in 2009 on the Motette unison voices with soprano descant in 1977 and moved it to Maui where it Saint-Saëns, Organ Symphony; Pou- label. The Raven 2-CD release includes and an organ free harmonization. The has been played by parish musicians lenc, Concerto for Organ, Stings, & additional works recorded in the same setting is upbeat and optimistic, and it and visiting artists. The instrument is Timpani; Elgar, Cockaigne Overture; is published with the hope that perhaps sessions but never released, with new extremely responsive and fi lls the wor- Elgar, Pomp & Circumstance March it might offer renewed hope in difficult editing by Mantoux and new mastering. ship space beautifully. The parish com- No. 4. Raven OAR-159 DVD/CD $29.95 and deeply troubling times. Please visit Raven OAR-163 2-CDs for the price of munity is “exemplary in its hospitality to postpaid in the U.S. from RavenCD. www.frumuspub.net’s home page bul- all visitors,” and that especially includes com 804/355-6386 or $26.95 plus one $15.98 postpaid in the U.S. from letin board for a link to the score. visiting organists. For information: postage and handling from Friends of RavenCD.com 804/355-6386. 808/661-4202; holyimaui.org. the Wanamaker Organ. PIPE ORGANS FOR SALE Certifi ed appraisals—Collections of PUBLICATIONS / RECORDINGS organ books, recordings, and music, for The Organ Historical Society Exceptional original Baroque organ e-shoppe offers a new DVD by Fugue divorce, estate, gift, and tax purposes. case with elegant carvings (18th ChicAGO Centenary Anthology, by State Films, The English Organ, a Stephen L. Pinel, Appraiser. 629 Edison century) containing a well-conserved Alan J. Hommerding, Paul M. French, three-part documentary presented by Drive, East Windsor, NJ 08520-5205; Romantic Belgian organ (19th or 20th Richard Proulx, et al. This joint effort of Daniel Moult. In addition to three hours phone: 609/448-8427; email: slporgan- century) by Pierre Schyven. Two man- the Chicago Chapter of the American of documentary, almost eight hours [email protected]. uals and pedal; 17 stops, 18 ranks. Guild of Organists and World Library of music is presented on DVD or CD Manual/pedal key compass 56/30. Publications presents specially com- (in both stereo and surround). More Depth 10.5′; height 15.5′; width 15.3′. than thirty organs have been fi lmed Largo “From the New World,” by missioned organ works by Chicago For sale, with installation available. composers, as well as rare or unpub- and recorded, including Christ Church Antonin Dvorak, is known by many as Inquiries: [email protected]. lished pieces by earlier organists from Spitalfi elds, Truro Cathedral, Sydney “Going Home.” This transcription by the Tel. 00 34 629 30 17 18. See display the city including Leo Sowerby. Also Town Hall, St. George’s Hall Liverpool, great Pittsburgh organist, Caspar Koch, ad on page 17. includes a jubilant Bailado Brasileiro St. Paul’s Cathedral Melbourne, and is unusual because, unlike the other by Richard Proulx, the AGO’s 2006 King’s College. The set is available for transcriptions, it contains every mea- Composer of the Year! 003074, $25.00, $98. For information: https://ohscata- sure of the orchestral score. michaels- 1901 Hutchings-Votey 2/10 tracker, 800/566-6150, Wlpmusic.com. log.org. musicservice.com 704/567-1066. Opus 550. In storage. 508/932-7736.

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Schoenstein Opus 7, 1891. The Zoller home pipe organ (1985) for 1916 Hook & Hastings, II/14. Includes Releathering all types of pipe great 1906 San Francisco Earthquake sale. One manual and fl at pedalboard, Cornopean, 16′ Open Wood. E-P action. organ actions and mechanisms. destroyed most of Felix F. Schoenstein’s cherry case with doors, bench. Six Beautiful period console. $20,000. Highest quality materials and work- life work. This two-manual, 24-rank stops divided at middle C: 8′ Stopped Contact Organ Clearing House, john@ manship. Reasonable rates. Colum- mechanical-action instrument in the Diapason, 8′ Krummhorn, 4′ Flute; organclearinghouse.com. bia Organ Leathers 800/423-7003. German Romantic style is the only 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Tierce www.columbiaorgan.com/col. remaining example. It is currently in the (no pipes). $15,000 or best offer, buyer Kimball Organ (3/29, 1930), all care of A. David Moore of Pomfret, VT, to remove, located Newcastle, Maine. enclosed, terrifi c Swell reeds, four Aeolian/Robert Morton-style who states, “A wonderful example of 207/563-5679. 8-foot Diapasons, two sets of celestes. Nineteenth Century organ building infl u- $70,000. The Organ Clearing House, maroon leather is now available enced from earlier times—Full principal 617/688-9290, john@organclearing- from Columbia Organ Leathers! chorus on the Great with the correct bal- Pfeffer and Debierre organs. Circa Highest quality. 800/423-7003, 1860 Pfeffer eight-rank organ, available house.com. ance of upperwork, a diverse selection www.columbiaorgan.com. of 8′s and 4′s and a 2′ in the Swell.” His rebuilt and custom fi nished. Also 1884 fi rm is prepared to renovate and install it. choir organ by Louis Debierre. Both are Expressive and compact—3/27 Kil- The organ is offered free of charge along pictured on the Redman website: www. gen (1940). Two expressive divisions. ANNOUNCEMENTS with a starter grant to the institution redmanpipeorgans.com. 17 manual 8-foot fl ues. Reeds include providing its new home. Full information: Tuba, Cornopean, Oboe, Clarinet, Vox THE DIAPASON E-Newsletters are ′ [email protected]. Humana. Harp. 16 Open Wood. H: e-mailed monthly to subscribers who E. & G.G. Hook & Hastings, 1879. ″, ″, ″. 237 W: 170 D: 189 Organ Clearing sign up to receive them. Don’t miss the $45,000. II/25. For more information, House, 617/688-9290, john@organ- latest news, featured artists, and classi- Bosch Opus 518 (1968) for sale. Tracker visit https://www.organclearinghouse. clearinghouse.com. action, 16 ranks, 12 stops, Hauptwerk, com/organs-for-sale#/2181-e-gg-hook- fi ed ads—all with photos—some before Schwellwerk (expressive), Pedal. Excel- hastings-manchester-nh they appear in print! Visit www.The- lent condition. Detached console. Buyer HARPSICHORDS/CLAVICHORDS Diapason.com and click on Subscribe to remove from Seattle, Washington by Patrick J. Murphy & Associates to our newsletter. For assistance, con- Zuckermann one-manual harpsichord 2/26/21. Best offer. Contact for pictures Opus #47 (2006). Three manuals, 61 tact Stephen Schnurr, 847/954-7989, and details: Howard Wolvington, how- from a kit for sale. Good condition. 57 keys [email protected]. stops, includes 32′ Bombarde. Read- ″ [email protected], 425/761-4729. starting on low A. Outside dimensions 64 ing, Pennsylvania. $200,000, exclusive x 36-1/2″ x 10-1/2″. The company sent a of OCH fees and relocation costs. jack conversion kit, which must still be cut Postal regulations require that mail to THE Aeolian-Skinner, 1962. III/50. $45,000. Video recordings and layout plans are and installed. All materials and instruc- DIAPASON include a suite number to assure For more information, visit https://www. available by request. Contact John tions are included. $300 or best offer. delivery. Please send all correspondence to: THE DIAPASON, 3030 W. Salt Creek Lane, Suite organclearinghouse.com/organs-for- Bishop, the Organ Clearing House, Located in Newcastle, Maine. Buyer to 201, Arlington Heights, IL 60005. sale#/2997-aeolianskinner-new-york-city. [email protected]. remove. Jay Zoller, 207/380-5949.

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

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WICKS ORGAN LLC www.Facebook.com/ www. wicksorgan.com TheDiapason 618-654-2191

3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 CLASSIFIED THE DIAPASON 608/634-6253 • [email protected] ADVERTISING RATES

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WWW.THEDIAPASON.COM THE DIAPASON ■ JUNE 2020 ■ 27 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 Stephen Buzard Chelsea Chen Aaron Tan 2018 AGO National Competition Winner Available 2018-2021

Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois* Katelyn Emerson

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Stefan Engels* Thierry Escaich* Janette Fishell David Goode* Thomas Heywood* David Higgs

Choirs Available

Christ Church Cathedral Oxford, United Kingdom (April 2021)

Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Colin MacKnight Amanda Mole Saint Thomas Church Fifth Avenue, New York City (October 2021) New College Oxford, United Kingdom (Spring 2022) Trinty College Cambridge United Kingdom (September 2022) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

Celebrating Our 99th *=Artists based outside Season! the U.S.A. Jonathan Ryan Todd Wilson Christopher Young