THE DIAPASON JANUARY, 2011
Zion Lutheran Church Wausau, Wisconsin Cover feature on pages 28–29
Jan 2011 Cover.indd 1 12/9/10 11:45:20 AM Jan 2011 pp. 2-19.indd 2 12/9/10 11:46:25 AM THE DIAPASON Here & There A Scranton Gillette Publication One Hundred Second Year: No. 1, Whole No. 1214 JANUARY, 2011 Washington National Cathedral January 23, Carol Williams; March 13, Established in 1909 ISSN 0012-2378 continues its organ recital series: Janu- Stephen Tharp; May 8, Cameron Carpen- An International Monthly Devoted to the Organ, ary 2, Robert Costin; 1/9, Kyle Babin; ter. For information:
Washington, D.C., July 5–8, 2010 Alain; March 3, Tomás Luis de Victoria, BRIAN SWAGER by Marijim Thoene, Francine Maté, Carillon Camp Hill Presbyterian Church, 400th anniversary celebration; April 14, Thomas Marshall 24 Camp Hill, Pennsylvania, continues its C.P.E. Bach, St. Matthew Passion. For JOHN BISHOP music series: January 5, Timothy Bra- information: 212/414-9419; NEWS & DEPARTMENTS In the wind . . . band; February 2, Susanne Faust; March
In this issue the 40th anniversary of the Möller or- The Diapason begins its 102nd gan at National Presbyterian Church, a year with this issue. We will continue discussion of Jehan Alain’s “Jannequin” our mission: “devoting its pages to the Fugato, a look at the evolution of Ameri- construction of the organ and to those can choral music, the Courante in Bach’s whose life work is the creation of the English and French Suites, a report on kist o’ whistles.” the national convention of the Organ In this issue of The Diapason Da- Historical Society, and much more. vid Spicer reports on the 13th annual Albert Schweitzer Organ Festival at 2011 Resource Directory First Church, Wethersfi eld, Connecti- Included with this issue of The Dia- cut; Charlie Steele discusses shape-note pason is our 2011 Resource Directory. tunes, their inclusion in modern hym- Call or e-mail me if you would like to nals, and organ settings by contempo- purchase additional copies of the direc- rary composers; and Marijiim Thoene, tory. Suppliers, please check your list- Francine Maté, and Thomas Marshall ings so we can update any corrections report on the national convention of the for next year. American Guild of Organists last July in Washington, D.C. In his column, “In the THE DIAPASON website and newsletter wind . . . ,” John Bishop muses on the Are you receiving our free monthly many holes that must be drilled in build- e-mail newsletter? Visit our website and ing an organ, and the drills and bits used click on “Newsletter.” A general newslet- to make all those holes; and Gavin Black ter is sent the last week of the month, (L to R): Michael Schaner, Dana Steele, Patrick Parker, Todd Wilson, Paula Maust, presents part 4 of his tutorial on Boëll- and a classifi ed ad newsletter the second Hye Ji Hwang, Anthony Rispo, John Alexander, Lynn Balaze, Justin Miller (per- mann’s Suite Gothique. This is in addi- week of the month. formers not pictured: Laura Ross, Scott Hayes) tional to our regular columns of news While on the website, peruse the many and reviews, new organs, calendar, organ offerings of news, calendar, classifi ed ads, Todd Wilson and organ students at in Painesville, Ohio. Students included recitals, and classifi ed ads. and more. You can read the current issue the Cleveland Institute of Music John Alexander, Lynn Balaze, Scott online, as well as search the archives. performed the complete organ works Hayes, Hye Ji Hwang, Paula Maust, Looking ahead 847/391-1045 of César Franck on November 7, 2010, Justin Miller, Patrick Parker, Anthony In the coming months, we will offer [email protected] on the restored E.M. Skinner organ in Rispo, Laura Ross, Michael Schaner, and an update on the Atlantic City organ, www.TheDiapason.com Morley Music Hall of Lake Erie College Dana Steele.
JANUARY, 2011 3
Jan 2011 pp. 2-19.indd 3 12/9/10 11:46:57 AM St. James’ Church, New York City, 14, soprano Sarah Rose Taylor. For in- The results of several organ competi- Jule Rosner (Germany), 2nd prize; Ami continues its music series: February 3, formation: 212/787-2755 x6; tions have been announced. Hoyano (Japan) and Thomas Kientz Christopher Jennings, with violin; 2/12,
The Worcester AGO chapter pre- Be Praised.” The festival also featured sented a festival service on Septem- hymns written by WorcAGO members ber 26 at Worcester’s First Unitarian (with fanfares, interludes, descants, and Church, which featured choral and or- timpani), an address by chapter chap- gan music and a congregation of 100 lain, the Rev. Richard F. Jones (“The organists, directors, and listeners from Lost Chord”), the installation of chap- the Worcester community. The choir ter offi cers, and a reception featuring performed the Laudes Organi by Zoltan “Pipes on Broadway” entertainment and Kodály, as well as the introit, “Worthy to a choral music giveaway.
David Baskeyfi eld, Chelsea Ann Vaught and Weicheng Zhao
The fi nal event in the Twelfth Nation- studies organ with David Higgs and al Organ-playing Competition sponsored improvisation with William Porter. Sec- by the Ruth and Clarence Mader Me- ond prize and audience prize were both morial Scholarship Fund was held on awarded to Weicheng Zhao, a student November 6 at the Claremont United of Cherry Rhodes enrolled in the Grad- Church of Christ, Claremont, California. uate Certifi cate program at the Univer- The competition was open to organists sity of Southern California Thornton under the age of 35 who are residents School of Music, Los Angeles. Third of the United States. Three fi nalists had prize winner Chelsea Ann Vaught is been selected previously from recorded a doctoral student at the University of performances submitted by 23 contes- Kansas, Lawrence, Kansas, where she Top row, left to right: David Lamb, past president of Indiana Organists United; tants. In both the preliminary and the studies with Michael Bauer. The instru- Herndon Spillman, IOU board member and past alumni award recipient; middle fi nal events, the repertoire was unre- ment used for the fi nal competition was row, left to right: honoree David Schrader; Mr. and Mrs. Delman Farris, parents of stricted except for one required work: Glatter-Götz/Rosales Opus 2 (1998). honoree Michael Farris; bottom row, left to right: Janette Fishell, professor and October Interlude by Clarence Mader. James Hopkins, Frederick Swann, and chair, organ department, Jacobs School of Music; honoree George Ritchie Four prizes were awarded: $6,000 Peter Sykes served as judges. (fi rst prize), $4,000 (second prize), The Ruth and Clarence Mader Me- On September 16, as part of the bi- Ritchie (DM ’74), David Schrader (MM $2,000 (third prize), and $1,500 (audi- morial Scholarship Fund was founded in ennial Jacobs School of Music Organ ’76, DM ’87), and Michael Farris (MM, ence prize). The audience prize was 1971 to honor the memory of two out- Department Fall Organ Conference Performer’s Certifi cate, ‘85), awarded given by the Los Angeles AGO chapter, standing Southern California musicians. and Alumni Reunion “Bach to School,” posthumously. Honoree George Ritchie and the other awards were supplied by Dr. Frances Nobert is president of the three graduates of the department were presented a masterclass on the perfor- the Mader Fund. organization. In addition to organ-play- recognized for outstanding contributions mance of J.S. Bach’s organ works earlier First prize was awarded to David ing competitions, the fund has sponsored made to the profession. Recipients of in the day and recipient David Schrader Baskeyfi eld, a doctoral student at the new compositions and research projects the 2010 Oswald Gleason Ragatz Dis- performed a solo organ recital following Eastman School of Music, where he related to the organ. tinguished Alumni Award are George the banquet.
4 THE DIAPASON
Jan 2011 pp. 2-19.indd 4 12/9/10 11:47:14 AM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Professor of Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Organ, Indiana University Montevideo, Uruguay Palm Beach, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Catherine Ennis Henry Fairs Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist/Lecturer Organist Dijon, France Spartanburg, South Carolina Frostburg, Maryland Gainesville, Florida London, England Birmingham, England
Faythe Freese Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Tuscaloosa, Alabama Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea
David K. Lamb Maija Lehtonen Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Choral Conductor Organist/Pianist Organist Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana Helsinki, Finland Fort Worth, Texas Bergen, Norway New York, New York Champaign, Illinois
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Mark Quarmby Ann Marie Rigler Organist Organist/Lecturer Harpsichord & Organ Organist Organist/Teacher Organist/Lecturer Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa Sydney, Australia William Jewell College
Stephen Roberts Brennan Szafron Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Beth Zucchino Organist/Harpsichordist Organist/Harpsichordist Organist/Musicologist Organist Organists/Pianists organist/harpsichordist/pianist Danbury, Connecticut Spartanburg, South Carolina Speyer, Germany Charleroi, Belgium Edmonton, AB, Canada Sebastopol, California www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
Jan 2011 pp. 2-19.indd 5 12/9/10 11:47:33 AM terian Church, Atlanta. The Chenaults Appointments have just completed 35 years as organists and choirmasters of All Saints Church, Atlanta. Under the management of Phil- GIA Publications, Inc. has apppoint- lip Truckenbrod Concert Artists, the ed David Anderson vice president for Chenaults specialize in over 40 organ church music, a newly created position duets commissioned by and written for within the company. He is responsible them. The Chenault Duo records under for setting the overall editorial direction the Gothic/Loft Label. of the company, and will work in consul- tation with GIA’s editorial and manage- ment teams and a new advisory board. He has served as as director of music at Ascension Parish in Oak Park, Illinois, and as workshop director for GIA. Anderson received a Master of Church Music degree from Concordia Universi- ty, Chicago with postgraduate studies in Christoph Bull, First & Grand liturgy at Catholic Theological Union and choral conducting at Westminster Choir downtown Los Angeles. The organ is a College. He is a well-known speaker at collaboration of Glatter-Götz and Ro- Due Solisti many national conferences, is frequently sales organbuilders, and the façade of asked to prepare the liturgy and music the instrument was co-designed by the lene Hoffmann, Elisabeth Jacquet de la for national events, has consulted and hall’s architect Frank Gehry. Guerre, as well as Pamela Decker and authored materials for Liturgy Training Most of the tracks were recorded with Lynn Job, who have recently written for Publications (including Handbook of a pair of vintage Neumann microphones Due Solisti. Due Solisti is represented in Church Music for Weddings), and has placed to capture the sound of both the North America by Phillip Truckenbrod served as an editor of GIA’s hymnals Rit- organ and the hall. The recording engi- Concert Artists. ualSong, Gather–Third Edition (forth- neers were Grammy-award-winners Al- coming), and Singing Our Faith, GIA’s len Sides and Fred Vogler as well as Ale- children’s hymnal. jandro Leda. The album was mastered Scott Dettra by Grammy-winner Bernie Grundman. The repertoire includes works by Bach, Karen McFarlane Artists, Inc. an- Bruhns, and Barber as well as original nounces the addition of Scott Dettra Here & There compositions, improvisations, and ar- to its roster of concert organists begin- rangements. Christoph Bull is university ning January 2011. Scott Dettra is or- organist and organ professor at UCLA ganist and associate director of music at and a member of the Los Angeles AGO Washington National Cathedral, where chapter. For more information: he serves as principal organist and as-
6 THE DIAPASON
Jan 2011 pp. 2-19.indd 6 12/9/10 11:47:53 AM Jan 2011 pp. 2-19.indd 7 12/9/10 11:48:24 AM included a PowerPoint presentation, In 2005 Hart was appointed profes- showing manuscript opening pages of sor emeritus of sacred music at Southern each movement in tandem with photos Methodist University when he retired of Mt. Timpanogos, a mountain in the from his position as director of the gradu- Wasatch range of the Rockies. Marsha ate program in sacred music, one he held Foxgrover is artist-in-residence at Au- for 18 years. He was educated at Grin- rora University in Illinois, organist of the nell College (Iowa), Union Theological Wheaton Bible Church in West Chicago Seminary (NYC), and the University of and the Batavia Covenant Church, and Cincinnati. He has conducted and played serves on the music faculties of Rockford recitals in many states and in Europe College and College of DuPage. and New Zealand, and held university Crawford Gates, currently residing positions in Kentucky, Nebraska, Kan- in Salt Lake City, is a composer of or- sas, and Texas. Active in the AGO, he is chestral and chamber works. July 2010 currently North Texas district convener. saw the performance of his newly com- He has served on national committees, missioned work for the Oconomowoc especially the seminary-denominations Chamber Orchestra, Wisconsin. committee, and as sub-dean and/or dean of chapters in Lincoln, Nebraska; To- peka, Kansas; and Dallas, Texas. He and his wife Ellen Armitage Hart, AAGO, The Murray/Lohuis Duo FTCL, will remain in Dallas and contin- ue to substitute for organist-choirmaster compositions for the instrumental com- Robert Parkins positions in the Dallas-Ft. Worth area. bination. An International Collection presents nine works for violin and organ Spanish organ specifi cations, and modern Mark King, minister of music, and by composers of the 19th, 20th, and 21st editions of early Iberian keyboard music. the choir of St. John’s Episcopal Church, centuries. The CD (Raven OAR-923) Members of the organ studio at the But- Hagerstown, Maryland, presented Even- became available from
Andrew Peters at DePauw University
Andrew Peters performed works by students of Carla Edwards performed Bach/Vivaldi, Mader, Decker, and others works of J. S. Bach in a masterclass con- on October 14 in Kresge Auditorium at ducted by Peters. The student perform- DePauw University in Greencastle, In- ers were Michael Conley, James Rich- diana. The following day, DePauw organ ardson, and William Scharfenberger.
8 THE DIAPASON
Jan 2011 pp. 2-19.indd 8 12/9/10 11:48:41 AM
boy choir and founded a community Vardell Sandresky, Volume VIII (Mora- a new Rembrandt-497 four-manual con- Nunc Dimittis chorus. Smith served the New York City vian Music) (WL600242, $29.50); sole with custom fi nish. By using a stan- AGO chapter as dean and treasurer, and Susanne Skyrm, editor, Anthology of dard console and adding a few additional holds the AGO’s Choirmaster certifi cate; Eighteenth-Century Spanish Keyboard drawknobs, Johannus was able to cost- he was also a life member of the Asso- Music (WL600240, $49); Larry Visser, effectively customize the Rembrandt to ciation of Anglican Musicians. Frank Jacob’s Ladder (WL600198, $12.50); the new specifi cations. This also made Cedric Smith is survived by his wife of Scott Joplin, Ragtime Pipes, Music of available a complete stoplist of digital fi fty-two years (and musical partner), Scott Joplin, transcribed by Gregory Ea- pipe samples that allowed the addition of Dilys; sons Derek (wife Lynne), Geof- ton (WL600209, $30); Maurice Ravel, Choir and Solo divisions, along with sev- frey (wife Jayme, children Bennette and Pavane pour une infante défunte, tran- eral missing stops needed to complete Emily), brother David (wife Eve), and scribed by Dennis Janzer (WL600263, the pipe ranks in the Pedal, Great, and many nieces and nephews. $9); Gioachino Rossini, The Barber of Swell divisions. Seville [Overture], transcribed by Ekat- There are 37 ranks of pipes, includ- erina Melnikova (WL700005, $12.50); ing a Bombarde. Pipework and new Gioachino Rossini, The Barber of windchests were handled by Chris Har- Here & There Seville [Overture], transcribed for two ris of Harris Organ Works. Pipe tonal organists at one organ by Robin Dinda fi nishing was by Dan Abrahamson of (WL700049, $21); John Core, Within Reuter (retired). The fi nal voicing of the GIA Publications, Inc. has an- the Maddening Maze (WL800040, Johannus digital pipe samples was done nounced the establishment of a new ad- $15); John A. Dalles, We Turn to God by Dan Bashor of Church Organ Works visory board to help guide the company’s (WL800037, $15.00); Jonathan B. Hall, LLC, using the Johannus INTONAT© future publishing decisions. The advisory Calvin Hampton, A Musician without voicing software. board will be chaired by Thomas Stehle, Borders (WL800021, $40); Rachel Lau- The pipework is of a more Romantic currently pastoral associate for liturgy rin, Fantasia for Organ and Harp, op. 52 fl avor, so the Johannus Romantic sample and director of music ministries at the (WL600253, $49.50). For information: palette was used. The Rembrandt-497 Cathedral of St. Matthew the Apostle in 800/765-3196; also has Baroque and Symphonic tonal Washington, D.C. He is also vice chair of
Back row from left: Eric Grane, John F. Nordlie, Rev. Laurie Kidd, Rev. Richard Collman; front row from left: David Beyer, Nora Christensen, Marilyn Schempp
The 1990 J.F. Nordlie organ at Laurie Kidd, First’s current Worship, First United Methodist, Sioux Falls, Music & Fine Arts Pastor, led the choir South Dakota, was re-consecrated to and was pianist in an organ/piano duet. the music ministry of the church on Attending the concert was lead fi nish Sunday, November 14, 2010. Partici- voicer A. Eugene Doutt, of Watertown, pants included builders-fi nishers of South Dakota, now 94 yrs old. the three-manual tracker organ: John Gracing festival anniversary morning Franklin Nordlie, Eric Grane, and Da- services and the afternoon concert pro- vid Beyer. Organ performers included gram were Les Cloches (senior bell choir), organ project chair and music minister, the Chancel Choir, plus brass quartet and Rev. Richard Collman; organist from tympani. Pastors Bill Bates and Dick delivery until 1996, Marilyn Schempp; Boyd led the assembly in prayers at the FUMC’s current organist, 1996 to date, concert and a litany of re-consecration Nora Christensen; and associate organ- during Sunday morning services. For in- ist then and now, Bruce Feistner. Rev. formation:
10 THE DIAPASON
Jan 2011 pp. 2-19.indd 10 12/9/10 11:49:03 AM The sound of European history meeting today’s American standards
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10100260_JOHANNUS_ADV_246x360_DIA_FC.indd 1 12/2/10 5:15 PM Harpsichord News by Larry Palmer
The Harpsichord Repertoire in the to Stephen Best (whose organ arrange- 20th Century: ment of Petit Lied graced the last page Petit Lied by Henri Mulet of The American Organist for August As detailed in The Diapason for 2010), and Best’s subsequent scan of the August 2010, a most observant reader, original harpsichord score have made it Thomas Annand of Ottawa, brought the possible for us to share this addition to existence of a short piece for harpsichord the early 20th-century harpsichord rep- by French composer Henri Mulet to my ertoire with our readers. attention. I had not been aware, previ- Thanks to all who asked the questions ously, of these two pages published in and provided the answers. Now all of us 1910 “for harpsichord (or piano),” but in the harpsichord community may enjoy a check of listings in Grove Music On- Mulet’s “Little Song” as this lovely “noel” line, a query to Rollin Smith, a referral attains its 100th birthday!
On Teaching by Gavin Black
Boëllmann Suite Gothique, Part 4: voice would otherwise be played. (Only Prière à Notre-Dame near the end of the movement, when Last month I wrote of the Menuet Boëllmann has the treble melody briefl y Gothique as an especially tuneful piece, swoop down low and then continue to one that I often fi nd myself whistling cross the [fairly high] left-hand chords, or humming as I walk along. The next does he ask that the two hands play on movement of the Suite Gothique— separate keyboards.) If I am right about Prière à Notre-Dame—is also one in this, or more meaningfully, if any other which the treble melody is a large part player, teacher, or student also wants to of the artistic effect of the piece. How- see it this way, that would suggest that ever, the mood of the piece is as differ- practicing separate components—right ent as can be, and the implications of hand, left hand, pedal—while almost the shape and nature of the treble mel- certainly still a good idea and indeed still ody for the act of learning the piece are quite important, would serve primarily a also largely different. technical rather than a musical function. (A practical consequence of this idea: Texture when practicing separate voices or one In the Menuet, the treble melody melody for the purpose of learning it should be practiced all by itself, as a sin- musically, it is normal to use a fi nger- gle line, and then accompanied just by ing that is specifi cally not the fi ngering the bass line. This is both because of the that will be used in learning the notes. essential tuneful nature of that melody, When practicing separate components and because all of the other notes—the for technical reasons it is crucial to use inner voices, so to speak, though they are the fi ngering that will be used in learning not by and large organized as voices— the notes.) serve primarily to reinforce the harmo- In the Menuet, the rather jaunty melo- nies and rhythms of the melody. This ap- dy is presented as the upper line of a se- proach to practicing the Menuet strikes ries of chords in the right hand, marked me as being the equivalent for this piece non legato. The notion of practicing the of practicing the separate voices and top line of notes, the melody, all by it- pairs of voices of a fugue or other con- self comes from the desire to allow the trapuntal piece. ear to engage with that melody as eas- Looking at the texture of the Prière, ily as possible. The nature of the melody it strikes me that the essential element and the non legato instruction from the is the whole texture itself. That is, the composer then allow the fi ngering and treble melody seems to fl oat on the bed execution of the melody and its chords of the pedal and inner-voice chords in a to be performed in a technically very way that is essential to the nature and natural way. Each chord can be given effect of that melody. This is of course whatever fi ngering feels most comfort- a subjective analysis. Perhaps it is sup- able to the player, based primarily on ported by the somewhat odd fact that hand position, and the transition from the composer has emphatically not one such comfortable position to the “solo’d out” the melody. For almost all next can be practiced. The situation with of the piece, both hands are meant to be the Prière is almost exactly the opposite on the same keyboard, sometimes the of all of this. The treble melody is a sin- Récit, sometimes the Grand Orgue. And gle line, not the upper note of a series of this is in spite of the fact that as early the chords. In 45 out of the 55 measures of fi rst measure the treble line encroaches the piece, the upper line can be played upon a note being held by the inner all by itself in the right hand while the voices, forcing at least a brief departure left hand takes care of the other manual from the legato with which that inner notes. This is not always necessarily the
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12 THE DIAPASON
Jan 2011 pp. 2-19.indd 12 12/9/10 11:49:30 AM Example 1 Concert hall instrument: Practice instruments: Local community instruments: C.B. Fisk, 3 manuals, 35 stops Fisk, Holtkamp, Walker E.M. Skinner, Fisk-Schreiner, Flentrop, Tannenberg, Grooms & Payne, Austin
Timothy Olsen,RLUHUWYVMLZZVYVMVYNHU[email protected]
best fi ngering by any means, though it Example 2 often is. This line is clearly meant to be played legato. There is no overall articu- lation instruction at the beginning of this movement, however the melody exists under long slurs—some one measure, some two, a few slightly longer. This movement, marked Très lent at the be- ginning and Animato later, has no metro- nome marking, whereas all three of the other movements do. While pieces with metronome markings are certainly not meant to be played “metronomically,” and pieces without them certainly do not Example 3 have to be played very freely, this state of affairs at least suggests the possibility that the composer meant for this piece to be freer or more fl uid rhythmically than the other movements. Meanwhile, whereas the pedal line in the Menuet is quite active and, just as a matter of note-learning, rather chal- lenging, the pedal line in the Prière is slow-moving throughout and simple. Its note patterns could be learned by some- one who had started pedal-playing that month, perhaps that week. (Further- Example 4 more, 49 of the 72 notes of the pedal line are on raised keys, which helps! In the Menuet it is eleven notes out of 165.) *)-PZR6W However, the non legato of the pedal line in the Menuet allows the player to ad- dress each note with the most comfort- able (part of a) foot and, by and large, 4HZ[LY*SHZZLZ^P[OPU[LYUH[PVUHSS`YLUV^ULKN\LZ[HY[PZ[Z simply move from one note to the next. The legato of the Prière requires a differ- 7HY[ULYZOPW^P[O:HSLT*VSSLNLPUJS\KPUNYLN\SHY ent kind of planning and practicing. THZ[LYJSHZZLZ^P[O)HYIHYH3PZ[LY:PUR
Hand and fi ngering choices *V\YZLZPUZHJYLKT\ZPJPTWYV]PZH[PVU >HKL>LHZ[KLHU So, what do any of these observations Example 5 VYNHUOPZ[VY`HUKSP[LYH[\YLHUKVYNHUWLKHNVN` tell us about mapping out, practicing, and learning the piece? First of all, except .LULYV\ZZJOVSHYZOPWZHUKNYHK\H[L[LHJOPUNHZZPZ[HU[ZOPWZ in those few measures where the com- poser has done this for us—mm. 36–42 and the last two measures—the fi rst task in the manual part is to work out which 2011 on campus auditions: 4LYP[ZJOVSHYZOPWJVUZPKLYH[PVU 7YVMLZZPVUHS(Y[PZ[*LY[PÄJH[L hand will play which notes. This is always 4HZ[LYVM4\ZPJ the case, of course, unless the piece has 1HU -LI -LI been set up by the composer to be on )HJOLSVYVM4\ZPJ (WYPS 4H` two manuals. The fi rst consideration is *VSSLNL(Y[Z+PWSVTH always this: what distribution between The University of North Carolina School of the Arts is an equal opportunity campus of the UNC system. /PNO:JOVVS+PWSVTH the hands makes it easiest and therefore most reliable for the fi ngers to get to the Example 6 notes? In this piece, this should be sup- plemented by an awareness of the need to make the melody legato as indicated by the slurs, or, to put it perhaps more accurately, by an awareness of the impli- cations of handing choices for the legato of all of the lines. The beginning of the piece already provides opportunities to think about hand choices and other aspects of tech- nical planning, as well as interpretation (Example 1). In the fi rst measure, the as the lower of two voices in the upper dotted half-note E-fl at on the fourth beat staff can be played by either hand. Of can be reached by either hand. Any play- course those eight notes do not all have er, but especially one with small hands, to be played by the same hand. Here is might want to take that note in the right one way to divide the notes between the hand. (Playing the entire chord in the left hands (Example 6). hand could create tension in the outer There are, as usual, several other ways part of the left hand.) That would, how- to do it. This one in particular is designed ever, make it harder, or more involved, in part to minimize the extent to which to make the transition from the third to the thumbs play black notes, and in part the fourth beats in the treble voice com- to feel comfortable. Of course, in general Dance 0 Design & Production 0Drama 0 Filmmaking 0 Music pletely legato. it is a good idea to keep the thumbs off of Here are some possible fi ngerings for black notes, as I have discussed in other that moment in the piece (Examples 2, 3, columns. However, in a piece written in a 4, 5), and there are many others. (In this key with four fl ats, of course it will not be and other fi ngering examples I have omit- possible to accomplish this completely. It 1533 S. Main Street Winston-Salem, NC 27127-2188 ted the slurs and other markings to make is also not necessary to be absolute about 336-770-3290 [email protected] www.uncsa.edu more room for the fi ngering numbers.) it, especially when all of the notes in one In mm. 5–6, the notes that are printed hand at a given moment are on black
JANUARY, 2011 13
Jan 2011 pp. 2-19.indd 13 12/9/10 11:49:45 AM keys, as in the left hand in m. 1 above. that the note be released as lightly and Example 7 Students should try several possibilities, gently as possible. After all, the real goal especially in spots where the notes are all is to release it without the listener even close enough on the keyboard that many knowing that it is gone. It is better to of them could go into either hand, and release a note in this situation a little bit make choices. earlier than absolutely necessary than to release it abruptly. If the note be- Interpretive/technical points ing released draws attention to itself by Example 8 There are two interesting interpre- snapping off, then the other voice will tive/technical points that arise in the not sound cantabile or legato, no mat- opening measures. In m. 1 at the sixth ter how it itself is played. It is important quarter-note, the treble melody plays a that the held note and the newly played note that is being held by an inner voice, E-fl at be played with different fi ngers. probably in the left hand. There is one This is of course accomplished automat- simple basic answer to what to do here: ically if they are in different hands. the piece can be carried out throughout Example 9 release the dotted half-note and play the Then in m. 2, moving from the third the Prière. This movement reveals itself quarter-note in the treble melody. It is quarter-note beat to the fourth, the in- to be perhaps the most complicated of fairly clear that the playing of this treble ner voice takes over a note—D-fl at— the four movements of the Suite in this note is more important than the holding that has just been played by the treble respect, and the one requiring the most of the last quarter-note’s worth or so of melody. In this case, in order actually meticulous work; though, because it is a the longer note. Of course this is not a to play the inner voice D-fl at, it is nec- fairly slow movement and because the Example 10 rigorous, scientifi c truth. Some players essary to release the treble note early, pedal line is not virtuosic, it is probably might feel that holding the long note is breaking the legato of the upper voice. not the most diffi cult in performance for more important, here, or, more likely, Again, the way that this is done can af- most players. in various other places in the repertoire fect how disruptive it is: if different where this type of confl ict arises. A stu- fi ngers are used, and the release of the Pedal line dent can certainly try it both ways: the treble eighth-note is made lightly and The pedal line is, as I mentioned Practicing holding of the long note, combined with gently, then the interruption of the le- above, slow-moving and fairly simple. As always, the practicing of separate the correct timing of the release of the gato will be minimal, perhaps not really There are, as always, various possibili- components is crucial to the learning of treble A-fl at might give an illusion that noticeable to a listener. There are also a ties for pedaling. A basic pedaling for the piece. After hand assignments, fi n- a new E-fl at is being played at that mo- couple of other possibilities. The treble the beginning might look like that shown gering, and pedaling have been worked ment. This illusion might or might not eighth-note could be tied to the (no lon- in Example 7. It should be noted that out, the student should practice pedals, be convincing. ger really) new dotted half-note D-fl at. Boëllmann in this piece only asks for the including the choreography of the swell If the player is going to choose to re- Or the three-note left-hand chord can use of the swell pedal at times when the pedal where it is indicated, and separate lease the E-fl at and play it again on the be arpeggiated, thereby delaying the pedal part is on low sustained notes, as hands, as much as is needed: that is, until sixth quarter-note, then it is important upper note of that chord and remov- in m. 8 or m. 11, or during rests. In the each of those components is absolutely to do it the right way. To start with, it is ing the confl ict between that note and above example, the main thing that could secure. My guess is that with this par- only the inner voice E-fl at that must be the upper voice. In general we do not be different is the use of some same-foot ticular texture, the fi rst step in putting released early. It is surprisingly easy to necessarily think of arpeggiating chords substitutions for students who would things together should be the two hands borrow this release for the other voice or staggering notes on the organ, except rather strike notes initially with the toe together, and that this can be followed that is involved: that is to release, in as instructed to do so by the composer. (Example 8). by adding the pedals (again, assuming this case, the treble A-fl at early, with However, the aesthetic of this move- I myself would probably do the fi rst of that each of these components is very the inner voice E-fl at. This creates a ment suggests to me that this could be these substitutions but not the second. well learned). That is, I think that prac- discontinuity that is unnecessary and appropriate not only at this spot, where There are also places in the piece—mm. ticing each hand separately with pedal is that is probably responsible for giv- it also helps to solve a specifi c prob- 6–8, mm. 25–29—where both-foot sub- not as important here as it is with some ing the whole phenomenon of voices lem, but also elsewhere, where it might stitution is necessary to preserve com- pieces. Of course there is no harm in bumping into each other like this a bad support a gentle fl owing feeling in the plete legato. In this passage (Example 9), doing some of it. Everything should be name! In fact, if the dotted half-note piece. Of course this is quite a subjec- the student can listen to the difference kept slow enough to feel easy. Since the E-fl at is released appropriately early, tive interpretive choice, but something between the strict legato created with fi nal tempo is not meant to be fast—très then the treble line can be played ex- that a student can ponder. the help of the indicated substitution lent—the process of speeding up to tem- actly as if it were the only thing being This kind of analysis of the effect of and the slight articulation that would re- po should happen naturally and fairly played, with whatever articulation and hand and fi ngering decisions on the in- sult from this pedaling (Example 10). easily, but should not ever be rushed. timing that implies. It is also important terpretive impact of the performance of Next month I will return to the Bux- tehude Praeludium in E Major, looking at some contrapuntal and some non-con- trapuntal sections. Q
Gavin Black is Director of the Prince- Atlanta ton Early Keyboard Center in Princeton, New Jersey. He can be reached by e-mail at Chapter,
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14 THE DIAPASON
Jan 2011 pp. 2-19.indd 14 12/9/10 11:50:00 AM We drill holes in the ends of squares and roller arms to accommodate the In the wind . . . tracker action. We drill holes in the key- by John Bishop boards for balance and guide pins. We drill thousands of screw holes to hold the whole thing together. In an electro-pneu- The truth about holes matic organ there are rows of holes that Almost thirty years ago my wife and serve as pouch wells, pitman wells, hous- I were expecting our fi rst child. I was ings for primary and secondary valves, working for organbuilder John Leek in and miles of channeling drilled through Oberlin, Ohio, and we were in the midst various windchest components to con- of building an organ for St. Alban’s Epis- nect the interior of the pouch wells to the copal Church in Annandale, Virginia. I atmosphere, allowing pneumatics to ex- was drilling the holes in rackboards— haust when actions are activated. Count- those horizontal boards mounted on ing on my fi ngers, I guess that there windchests that support the pipes about would be something like 7,000 holes in a six inches above the toeboards. ten-stop pitman windchest. Really! Big multi-spur bits It wasn’t a large organ, only eleven You might say that the art of organ- stops on the manuals, so including the building is knowing where to put the screw is fl ush with the surface of the Mixture, there were about 760 holes to holes, and what size each should be. wood. There are airplane bits, which are drill. That’s not quite 14 ranks times 56 Drill baby, drill! twist drills 16 or 18 inches long. I don’t notes, but some were in the façade, and know why they’re called airplane bits. some others were tubed off the main Just a little bit Drilling holes in airplanes wouldn’t re- chests and mounted on the inside walls There are hundreds of drill-bits in quire a very long bit. Multi-spur at work of the case. any organbuilding workshop. There are Any organ shop will sport an impres- You determine the sizes of the holes multi-spur bits that have center points sive rack with rows of bits arranged in or- ance of at least one of my co-workers. In using a jig that is a mock-up of a toe- for drilling larger holes. There are Forst- der of size. The smallest might be around my mind this distinguishes the machine board-rackboard assembly with holes ner bits that are guided by the outside one-hundredth of an inch, the largest from the bit. You use a drill-motor to drilled in the rackboard to match all the edge rather than by a center point, handy would be something like three inches. turn a drill-bit. I think that if you just say appropriate drill sizes. You move each if you need to “stretch” a hole by cutting “drill” you could be referring either to pipe among the holes in the jig until you another half-moon. There are twist drills Twist-and-turn the motor or the bit. Let’s be specifi c. I fi nd the right size, then write the drill with 60º bevels on the points for drilling You need a variety of machines to turn know I got that habit from someone else, size on the rackboard by the mark for smaller holes such as screw holes. These those bits. The workbench workhorse is but I don’t remember who. Terence, I the pipe hole. That being fi nished, I had are also used to drill holes in metal. now the rechargeable drill. I have had didn’t make it up. laid out all the marked rackboards on a There are countersinks that chamfer a a long habit of calling the electric hand We have electric hand drills with half- table near the drill-press and was going screw hole so the fl at head of a fl at-head drill a “drill-motor” much to the annoy- inch chucks that can handle the larger through all the boards with each change of the drill-bit. I start with the smallest holes in the remote chance that I might ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD
drill one extra hole of a given size. If you DOBSON CASAVANT FRERES make a mistake, it’s easier to drill a hole bigger than smaller! I suppose I would have been using around 30 different bits for this job, start- ing with something like 7/32″, graduating by 32nds to one inch, by eighths to two inches, and by quarters to three. I guess it took about a day-and-a-half, and all the while I was expecting that call from home. BOODY TAYLOR I was sure it wouldn’t be on Wednesday. It would have to be Thursday, because that would mean I’d have to cancel choir rehearsal, an ice storm was predicted, and the hospital was an hour away in Pipe Organs - Cleveland. Sure enough, Michael joined us on Thursday afternoon. A couple days later I went back to fi nish the rackboards.
I have no specifi c recollection, but I bet DYER R. there were a few mistakes. If you’d like to know something about Not this organ, go to
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JANUARY, 2011 15
Jan 2011 pp. 2-19.indd 15 12/9/10 11:50:32 AM But be reasonable—this is not the per- fect Father’s Day gift for every home handyman. A simple set that goes from 1/8″ to 1/2″ graduated by 32nds to 1/4″ and 16ths to 1/2″ will be plenty, available for about twenty bucks from your Home Depot or Lowe’s store. (I prefer the DeWalt sets.) Why the fuss? You might wonder why I would spend so much energy choosing the right drill- bit, and spending so much money to have at hand an appropriate variety of bits from which to choose. (I bet I have Lots of little bits Circle cutter more than $5,000 worth of drill-bits.) A pipe organ is a musical instrument. square to the drill-bit, but that can be in sets graduated by the quarter-inch, It’s a work of art. It’s a work of liturgi- Drill-press pulleys set on almost high- adjusted if you need to drill a hole at an nestled inside one another like those cal art. It’s a very special creation. But est speed angle. We stand at the drill press, one Russian Babushka dolls. Hole-saws are look inside an organ—any type of or- hand holding the work fi rmly against the relatively easy to handle up to six inches gan—and you see machinery. You see multi-spur bits, but there is a lot of torque table, the other working the handle to in diameter. Bigger than that and they thousands of parts and pieces all hung involved in drilling large holes, and if move the drill-bit into the wood. If you get to be rambunctious. Hole-saws are together to make a whole. Some organs you are bearing down on the thing with have long hair and you’re not careful, great for cutting wind holes in reservoirs look downright industrial inside. That your shoulder to cut through the wood you can get it caught in the pulleys and and windchests. Take a look at this Mc- defi nes a confl ict. How can a ten-ton you run the risk of getting whacked in lose a tuft. If you have loose clothing or, Master-Carr page:
16 THE DIAPASON
Jan 2011 pp. 2-19.indd 16 12/9/10 11:50:55 AM guitar, C instrument, and cello, GIA lighten the mood during Lent while still on the back cover. Also available in two- Music for voices Publications, G-68034, $1.50 (E). focusing on the themes of the season. part and SATB arrangements, the text, The two brief works are “Let Us Re- by the composer, refl ects on Christ as a and organ turn to the Lord” and “May We Have the I Want Jesus to Walk with Me, arr. refuge during diffi cult times. The choral by James McCray Mind of Christ.” Each is three pages in Colin Lett. SSAATTBB unaccom- parts follow similar rhythmic/chordal length, and both have a reprintable part panied, GIA Publications, G-6242, patterns. The accompaniment has fl ow- for the assembly to sing. The refrains are $2.10 (D-). ing arpeggios. Very sensitive music. The season of Lent for everyone, with the choir singing three This traditional African-American verses in each work. The organ music is Spiritual features a soloist (voice clas- Jesus, the Very Thought of Thee, Bless Now, O God, the journey on two staves and very easy. sifi cation not indicated) who sings the Howard Helvey. SATB, piano, and that all your people make, fi rst two verses above the choral back- optional B-fl at clarinet or C instru- The path through noise and silence Two Lenten Motets, Peter Pindar ground. The choral parts are rhythmi- ment, Beckenhorst Press, CU 1005, the way of give and take. The trail is found in desert Stearns. SATB unaccompanied, cally syncopated, often in block chords. $2.10 (M). and winds the mountain round, Paraclete Press, PPM 0099901, The melody has longer sustained notes This long but not diffi cult setting of Then leads beside still waters, $2.10 (M). that contrast with the background. The the famous Bernard of Clairvaux 12th- the road where faith is found. Both are based on Psalms (62/51). music is not diffi cult but will require a century poem is very expressive. The —Sylvia G. Dunstan The music is fl owing, with the second large choir for effective performance; clarinet part is in the choral score, but a setting indicated “chant-like”. While this would be an especially useful work separate transposed part will be needed In a previous column it was noted that there are brief passages of counterpoint, for a concert choir. for performance (CU1005A). It has ex- in 2011 Lent begins on March 9, which the basic style is chordal and individual tended lyric phrases. The keyboard part is much later than usual. Typically, Ash lines are not diffi cult. Each is fi ve pages O Vos Omnes, Blake Henson. SSATB has fl owing arpeggios, usually in triplets. Wednesday is in February; this year Eas- in length. unaccompanied, GIA Publications, There are numerous tempo changes for ter will not occur until April 24, and that G-6183, $1.60 (M). the various phrases. The choral parts, pushes Pentecost Sunday back to June Jesus Walked This Lonesome Valley, This Latin motet is slow and expres- on two staves, have some unison or two- 12. This will have implications for church arr. Larry Shackley. SATB, baritone sive. Its beautiful phrases are punctuated part passages. Highly recommended. choir directors. Many choirs end their solo, piano, and optional B-fl at clari- with momentary dissonances that add year on Pentecost; since directors have net, Hope Publishing Co., G 3317, color to the music. It is especially appro- What Wondrous Love Is This, Mark a diffi cult time keeping the choir loft full $1.60 (M-). priate for Good Friday. Patterson. SATB and keyboard with after Easter, this coming spring will be The clarinet part is not indicated in optional soprano solo, MorningStar an even greater challenge. the choral score, but is available sepa- I Choose You, Deborah Govenor. Music Publishers, MSM-50-3210, Epiphany season will be longer in rately (C 5571P). The accompaniment SAB, keyboard and oboe or C instru- $1.85 (M+). 2011. It begins on January 6, and then has a rhythmic character for the open- ment, Beckenhorst Press, BP1913, The music hints at the well-known extends a full two months until Ash ing baritone solo. The music is fi lled with $1.95 (M-). melody but this is new music set to the Wednesday in March. This gives ample triplets, which add to the somewhat jazzy In this slow, expressive setting, the popular Southern Harmony text. The time for directors to prepare for Lent, character of this spiritual. The choral oboe has a warm obbligato part; the oboe music gets a bit more complicated in and to plan new music for those weeks. parts are on two staves. This setting will plays in 9 of 59 measures, and its part is the loud climactic passage, where divisi Perhaps directors should consider using some popular, upbeat general anthems during the last four Sundays of Epipha- ny, then contrast them with new, slower Lenten works. Lent has a pervading mood of dark- ness and/or sadness as it unfolds toward Olivet Nazarene the most mournful day of the church year, Good Friday. A story such as “The Temptation in the Wilderness” will be a landmark for the 40-day journey as sug- University Dedication Celebration gested in the Dunstan text above. Other common topics that emerge during Lent Friday, 28 January 2011 are a trio of C’s: Commitment, Consola- Bourbonnais, Illinois tion, Compassion. .00 p.m. The character of sadness is emphasized )ourPanuals ranNs in the extraction of “Alleluias” during the season. They are not sung or spoken in The Betty and Kenneth the liturgy until Easter. Through this journey into darkness we are reminded +awNins Centennial Chapel in John, chapter 1, verse 5 that “The light shineth in darkness, and the dark- ness comprehended it not.” Maybe that theme should be explored during Lent; it could be a unifying idea put forth by the choir’s repertoire. So, with the lateness of Lent there is ample time to prepare your choir and congregation with the choosing of new music for the season. For example, re- view the many hymns in your denomi- nation’s hymnal’s Lenten section. There probably are many hymns that have nev- er been sung in the past. Use those for a call to worship sung by the choir, and a clear mood for the service will be quickly established. Those hymns could be sung quietly in unison—it will give a different dimension to the idea of a call to worship without taxing your budget. The reviews this month feature an- thems for Lent; adding a couple of new settings for the choir will help guide the congregation in their journey to- ward the light of Easter. Even Milton reminds us about “the hope of more light.” Let your journey’s walk through the lonesome valley begin with fresh, new original choral music. Dr. Ovid Young Dr. Timothy Nelson As the Deer Longs for the Water- Artist-in Residence and Consultant Professor of Music, University Organist brooks, Michael Bedford. SATB, organ, oboe or C instrument, Augs- burg Fortress, 978-0-8066-9761-1, $1.75 (M). Subtitled “Meditation for Lent,” this anthem is based on Psalm 42, verses 1– 2. The oboe part is included in the score and also appears on the back cover. It is somewhat soloistic and plays through- out the setting. The choral music, on two staves, is primarily chordal with Builders of Fine Pipe Organs to the World a few brief emblematic passages and some divisi areas. They frequently sing unaccompanied with a very calm mood. www.ruffatti.com Highly recommended. 7JB'BDDJPMBUJ t1BEPWB *UBMZ Two Simple Songs for Lent, Marty 5FMFQIPOF tPSHBOT!SVČBUUJDPNt*OUIF6OJUFE4UBUFT Haugen. SATB, assembly, keyboard,
JANUARY, 2011 17
Jan 2011 pp. 2-19.indd 17 12/9/10 11:51:17 AM is used and the harmony has some dis- a shorter version of the movement that the Handelian infl uence is obvious in its lien plays the three-manual, 38-rank sonance. The keyboard part has a good concludes the preceding concerto, here fl owing passagework, although the right- Dobson Opus 73, built in 2000 for St. style and variety yet remains as accom- with only the fi rst pair of eighth notes hand syncopations towards the end are Joseph Abbey, St. Benedict, Louisiana. paniment. Effective music. notated as a Scotch snap. less so (the introduction details a modern Program notes imply that the familiar The third piece is a short one-move- facsimile). This movement is far more compositions were played by Dr. St. Amazing Love! How Can It Be, Lloyd ment Sonatina per Cembalo, which is representative of his known admiration Julien for the dedication of the organ; Larson. SATB and keyboard, Beck- an earlier version of no. 13 in the fourth for Handel than most of the movements hence, the notes in the accompanying enhorst Press, BP 1851, $1.75 (M-). volume in the Bärenreiter edition. Fol- in the 12 manuscript suites/sonatas. booklet chiefl y concern the tonal pal- The tender setting uses three verses of lowing this is an arrangement of the aria Gerald Gifford has provided a most ette used in the performances of the the Charles Wesley text. The choral mu- “Oh cara spene del mio diletto” from Il interesting selection of pieces, several various compositions. Tonal resources sic moves on two staves with the same Floridante, the arranger being unidenti- of which show the “work-in-progress” are adequate for accurate renderings rhythms; tenors are in bass clef. The fi ed. In da capo form, this attractive set- snapshot of a particular time; compari- of diverse pieces, from Clérambault’s keyboard accompaniment has easy solo ting contains several old-fashioned orna- son with the published editions where Basse et Dessus de Trompette to a Hu- areas between the verses. This lovely, ment signs, including sloping lines (i.e., available will be worthwhile. The thor- moresque by Pietro Yon. simple anthem will be useful to most backfalls), wavy lines (i.e., beats), and ough introduction documents the prov- With an instrument located in an ob- church choirs. the sloping line preceding the semicircle enance of the manuscripts consulted and viously beautiful and acoustically live over two horizontal lines (i.e., forefall used for this edition and discusses the setting, works ranging stylistically from and shake). compositional process. Three facsimiles Bach’s Toccata in F Major to the contem- The next piece is a substantial ar- are provided. The comprehensive tex- plative Postlude pour l’offi ce de Complies New Organ Music rangement by Fitzwilliam himself of tual notes amplify many points from the of Jehan Alain—all well played by Mar- the overture and minuet from Samson, introduction and should most certainly cus St. Julien—are gratifying to hear. which contains several differences from be read before playing. This volume in- Very effective contrasts are employed Fitzwilliam Handeliana Volume 2: the printed versions by Walsh (avail- cludes plenty of material that, individual in the lovely Meditation à Ste. Clotilde, George Frideric Handel—unpub- able in a facsimile reprint from Do- titles notwithstanding, works just as suc- Philip James’s tribute to César Franck. lished 18th-century keyboard ar- ver) and Wright; his version, although cessfully on the organ as on the harpsi- During the repetitive opening pedal rangements of his music and unfa- showing improvements on the printed chord. Several pieces will need a careful theme of Bach’s Passacaglia, the pedal miliar solo keyboard works of the ones, still contains passages that are un- approach to fi ngering and ornamenta- balance is occasionally overwhelmed by time composed in Handelian manner, wieldy—particularly for small hands— tion to ensure clarity in performance, the manuals. I would prefer slightly less edited by Gerald Gifford; published but, as seen in volume 1 of this series, but most of these pieces make excellent detachment in the pedal theme, but the by Edition HH, as HH245, Launton the Viscount’s own compositions reveal additions to a recital or, indeed, conclud- many changes of registration fi t the mu- 2010, £14.95; a formidable technical adroitness, not ing voluntaries. As to be expected from sic well. ISMN 979 0708059 95 0, perhaps a surprise in view of his stud- Dr. Gifford, the editing is exemplary and Imaginative performances of Franck’s ISBN 978 1 905779 50 5; available ies with DuPhly. This splendid overture the printing clear; in most pieces the Prelude, Fugue and Variation and Mu- through
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18 THE DIAPASON
Jan 2011 pp. 2-19.indd 18 12/9/10 11:51:36 AM Albert Schweitzer Organ Festival Thirteenth Anniversary David Spicer
t hardly seems possible that thirteen Greenwich, Connecticut. Second place: I years have gone by since we began Dana Steele from Washington, West the Albert Schweitzer Organ Festival! Virginia, student of Todd Wilson. Third We have experienced outstanding ap- place: Brandon Santini from Wey- plicants, who refl ected superb teaching, mouth, Massachusetts, previously stud- outstanding adjudicators, and a remark- ied with David Higgs at Eastman School able and consistent high level of music of Music. making. Beautiful New England weather We are very grateful to Dr. John Weav- gave an idyllic setting for the festival. er for serving as the screening judge for On Friday evening, September 10, the initial recorded examples of these organ- opening concert was held. David Spicer ists and other applicants. played the service/choral portions: We are also grateful to Leigh and Bet- Prayer (Larghetto) from Serenade ty Standish for the $2,000 award for fi rst for Strings, Elgar, transcribed by David prize in the high school division. The Spicer young professional division fi rst prize of Psalm 150, César Franck $3,500 was given by Robert Bausmith Hymn: Christ Is Made the Sure Foun- and Jill Peters-Gee, M.D. Thanks goes to dation (Christ Church), Richard John Gorton and Richard Pilch for pro- Dirksen viding $750 for the David Spicer Hymn Kyrie (from Messe Solennelle, op. 16), Playing Award, which was awarded to Vierne high school division fi nalist Christopher Agnus Dei (Missa Brevis), McNeil Holman. Other prizes and gifts toward Robinson the festival—including the high school He Comes to Us (with text by Albert division second prize of $1,000 and the Back row, left to right: senior minister Deryk Richenburg, Simon Thomas Ja- Schweitzer), Jane Marshall young professional division second prize cobs, Dana Steele, Brandon Santini, Christopher Holman, Donald VerKuilen, Go Ye into All the World, Robert of $1,500—came from Marilyn Austin Janet Yieh, and festival coordinator Linda Henderson; seated, left to right: Wetzler and the Austin family and several indi- Charles Callahan, David Spicer, and Fredrick Hohman (not pictured: David En- Hymn: Let Heaven Rejoice (Rock viduals in the First Church family. We low) (Photo credit: David Gilbert) Harbor), text by Hal M. Helms, tune also thank Dr. Paul Bender for his gift to by Alan MacMillan this festival. the competition: Gregory D’Agostino, David Spicer began as Minister of Music The three judges were each invited Special thanks go to Bon Smith of Frederick Hohman, and Michael Bar- and the Arts at First Church of Christ in to play a selection of their own choos- Austin Organ Service Company of Avon, one. Plans are underway to feature these Wethersfi eld, Connecticut, in 1986. In 1996 ing. One of the original judges, Joyce Connecticut, who was on hand through- organists in the opening concert of the he and Dr. Harold Robles founded the Albert Schweitzer Organ Festival. Spicer is a grad- Jones, was unable to attend. David En- out the Saturday competition to offer festival on Friday evening, September uate of the Curtis Institute of Music, where low agreed to be her replacement. The assistance, should the organ need it, as 9 at 7:30 pm. The ASOF committee is he studied with Dr. Alexander McCurdy, and artists’ playing from the balcony was well as his gracious gift of tuning and hoping to invite six qualifi ed young or- is a graduate of the Eastern Baptist Theologi- projected onto a screen downstairs in maintenance for this festival. Austin Or- ganists to compete in the two divisions cal Seminary. the historic Meetinghouse. Frederick gan Service Company is the regular cu- on Saturday, September 10. Information about the Albert Schweitzer Hohman played the Toccata (from Suite, rator of this instrument, serviced by Alex Our 2010 fi rst-place winners, Christo- Organ Festival and current requirements for op. 5) by Maurice Durufl é. Charles Belair and Michael Tanguay. Our thanks pher Holman and Simon Thomas Jacobs, the competition are available by telephone Callahan played Praeludium in A Mi- to Linda Henderson, festival coordinator will perform in recital on Sunday, June at 860/529-1575 x209, by e-mail at
JANUARY, 2011 19
Jan 2011 pp. 2-19.indd 19 12/9/10 11:51:58 AM Southern Harmony Revisited— in the pew and on the organ bench Charlie W. Steele
signifi cant part of America’s musical A heritage originating in the nine- teenth century is the popular shape-note tunebooks that were an outgrowth of the “singing schools.” These collections, which, in their musical notation, used different shapes of note-heads for each syllable of a solfège system, are antholo- gies of the styles and genres of Ameri- can music of the time, both sacred and secular. Nineteenth-century American shape-note tunebooks serve as sources for an important body of music—shape- note hymn tunes—which has been, and continues to be, assimilated into the late twentieth-century editions of the hymnals of mainline Protestant denominations. The availability and popularity of the shape-note tunes in current hymnals has inspired organ composers to use them as cantus fi rmi for organ chorale pre- ludes and variation settings. As a result, a wealth of organ chorale settings using shape-note hymn melodies has been Figure 2. Shapes of Little and Small. published in the twenty-fi ve years span- Figure 1. Notation system of Tufts. John Tufts, An Introduction to the Singing of William Little and William Small, The ning 1980–2005. Many of these organ Psalm-Tunes, 1723 Easy Instructor, 9 works were composed for use as volun- taries in the worship services of the late lections using the new notation system. twentieth and early twenty-fi rst century During the fi rst half of the eighteenth Christian church; moreover, some of the century, numerous compilers published compositions are important contribu- editions of the shape-note tunebooks. tions to the organ concert literature. George Pullen Jackson, one of the twen- tieth-century pioneers in the research Origins of the shape-note tradition, lists thirty- The shape-note phenomenon traces eight collections published in the four- its origins to the psalm singing of New shape system between 1798 and 1855.4 England. Congregational singing in the Twenty-one of the books Jackson desig- churches of the early eighteenth century nated as works by compilers who lived had, in the opinion of the clergy and mu- in the South. Richard J. Stanislaw’s more sicians of the day, fallen into a deplorable recent research provides evidence of an state. One person, eloquently describ- even larger number of four-shape col- ing the state of congregational singing Figure 3. Four-shape major scale. George Pullen Jackson, White Spirituals in the lections. Stanislaw lists some ninety-fi ve in 1724, said, “The Singing appears to Southern Uplands, 14 tunebooks published in the four-shape be rather a confused Noise, made up system in the United States between of Reading, Squeaking, and Grumbling, system of solfège (fa, sol, la, mi) that had note-head shape. The collection became 1798 and 1859.5 than a decent and orderly part of God’s been imported to America from Eng- so popular that, according to Marion A signifi cant contribution of the worship.”1 In order to improve the state land. Tufts used abbreviations of the Hatchett, thirty-four editions or printings shape-note collections was their function of congregational singing, a form of mu- syllables on the musical staff rather than of The Easy Instructor were published as a repository of American tunes from sical education, the “singing school,” traditional music notation. Tufts’s sys- between 1802 and 1832.3 The shapes, the oral tradition. Though these types of was developed. Its purpose was to teach tem, as it appeared in his book, is shown as developed and notated in Little and tunes had appeared in hymnals or col- congregations the elements of music so in Figure 1. Small’s collection, are shown in Figure lections, such as the United States Sa- the people could sing “by note, instead In 1801, William Little and William 2. Using these four shapes, a major scale cred Harmony (1799) and The Christian of rote.”2 Small compiled what is considered the notated in shape-notes consists of the se- Harmony (1805), the fi rst shape-note One of the earliest books developed fi rst shape-note collection, The Easy In- quence demonstrated in Figure 3. hymnal to incorporate a large number for use in singing schools was John structor. Rather than using conventional For the many Americans who had of oral tradition tunes was John Wyeth’s Tufts’s An Introduction to the Singing notation, the two men devised a system little or no formal musical background or Repository of Sacred Music: Part Second of Psalm Tunes, which appeared in the in which the four syllables—fa, sol, la, education, this new approach to notation (1813).6 Irving Lowens observes that 1720s. Tufts’s book utilized the four-note mi—were each notated with a different made music reading much simpler. The forty-four of the tunes in this collection singers needed to know only the shapes were “folk hymns.”7 The Repository of of the notes; they did not have to deal Sacred Music: Part Second played an with a music reading system in which lo- important role in the dissemination of cating the tonic note depended upon the these tunes. According to information ability to distinguish key signatures. The provided by Lowens, Ananias Davisson, shape-note system did have one major the compiler of the infl uential Kentucky disadvantage—no means was devised to Harmony and the Supplement to Ken- indicate accidentals by using shapes. As tucky Harmony, used fi fteen tunes from many of the tunes used in the collections Wyeth’s Part Second collection. William were diatonic in nature, this disadvan- Walker, in his Southern Harmony, “bor- tage evidently was not a major concern rowed” twenty of these tunes.8 to either the compilers or the singers. Walker’s Southern Harmony Collections A signifi cant source of the shape- The invention of the shape-notes led note tunes found in today’s hymnals to a proliferation of published music col- is Walker’s The Southern Harmony &
20 THE DIAPASON
Jan 2011 pp. 20-23.indd 20 12/9/10 11:52:53 AM Musical Companion (hereafter referred its existence (even as recently as 1991), Table 1. Shape-note Tunes in Hymnals to as Southern Harmony). One of the Southern Harmony has had no additions most popular and successful of the nine- or corrections to its music since the fi - teenth-century shape-note tunebooks, nal version of 1854. As it stands, South- Southern Harmony stands as an impor- ern Harmony is a repository of musical tant “anthology” of the musical styles styles and tastes of nineteenth-century and genres of its day. As Harry Eskew America, particularly of southern and notes, it is probably the fi rst shape-note rural America. Eskew remarks that, “No collection to be compiled in the “Deep wonder Southern Harmony was so popu- South.”9 The legacy and tradition of this lar: the hymns . . . were united with tunes popular collection continues even today which had circulated among the people at the “Big Singing Day” held annually in for years in oral tradition, and they were Benton, Kentucky. furthermore printed in easy-to-read Walker was born on May 6, 1809, shape-notation!”24 in South Carolina, near a small village known as Cross Keys.10 Around the time New England “reforms” he was eighteen years of age, Walker’s As the shape-note tradition moved into family moved to a small community the southern and western states, a mid- called Cedar Springs, near Spartanburg, to-late nineteenth-century movement South Carolina.11 In 1835, Walker mar- emerged in New England to eliminate ried Amy S. Golighty, the sister of Thurza American tunes, as found in shape-note Golighty, the wife of Benjamin Franklin tunebooks, from church hymnals and White, who would become the compiler music collections. New England reform- of The Sacred Harp.12 Not only is 1835 ers, among whom were Lowell Mason the year Walker married Amy, it is the and Thomas Hastings, considered mu- same year he published his fi rst and most sic and hymns of European background popular shape-note collection, Southern and infl uence to be superior to America’s Harmony.13 In addition to Southern Har- “folk-style” music. Hymn tunes and mu- mony, Walker compiled three other col- sic composed in the European style were lections during his lifetime, including the “based on ‘scientifi c’ principles produc- Southern and Western Pocket Harmonist, ing ‘correct’ harmonies.”25 It is ironic The Christian Harmony, and Fruits and that the New England area, whose mu- Flowers.14 Although Walker is consid- sicians gave America its singing schools ered the compiler of Southern Harmony and shape-notes, is the same geographic and his name graces the cover, the work area that led reforms contributing to the was initially a joint project of Walker and demise of shape-note singing and the use his brother-in-law, B. F. White. of these tunes in hymnals. Twentieth-century acceptance melodies in older hymnals, were not After its introduction in 1835, Southern Jackson, in White Spirituals of the Five Protestant denominational hym- within the parameters of the research. Harmony underwent several revisions, Southern Uplands, devotes a chapter nals—Southern Baptist, Episcopal, Lu- The numerical results of the American with the fi nal one being the 1854 edi- to the subject of the disappearance of theran (ELCA), Presbyterian (USA), and tune survey, shown in Table 1, verify the tion.15 During the years of its publication, folk-hymns as denominational hymnals United Methodist—were selected to be thesis that there is a defi nite increase in the collection was obviously popular, as began to emerge in the nineteenth cen- surveyed as to their inclusion of shape- the number of shape-note tunes in the Walker later claimed that 600,000 copies tury. Though the 1889 edition of the note tunes. These particular hymnals current editions of mainline denomina- of it had been sold.16 Methodist Hymnal contained a number were chosen because of the importance tional hymnals compared to the previous Harry Eskew cites several reasons of the tunes, the 1905 edition included each denomination places on hymnals editions. In the Episcopal, Lutheran, why Southern Harmony is a signifi cant only four of what Jackson calls “fasola and hymn singing and because of the and Presbyterian hymnals, the growth shape-note collection: 1) its use as text- popular tunes”—Lenox, Nettleton, reputation each denomination enjoys in the number of tunes is signifi cant. book to learn to read music, 2) its role Mear, and Greenville.26 Jackson’s regarding the quality of their hymnals. Though there is an increase in the num- in continuing early American psalmody, research points out that the Service of The survey included an inspection of ten ber of shape-note tunes in the most re- and 3) its function as a “musical com- Song (1871), a hymnal used by southern hymnals to discern the number of tunes cent hymnal of the Methodist Church, panion for numerous word-only hym- Baptists in more urban areas, embodied that appear to be of shape-note origin. the percentage does not indicate an nals.”17 Eskew also notes that Southern only nine tunes from the “fasola” tradi- African-American spirituals, frequently increase because the hymnal contains a Harmony is “signifi cant as a repository tion.27 Another hymnal used by Baptists designated as American folk tunes or larger number of total hymn tunes. The of melodies from oral tradition” and that in the early twentieth century, Mod- “Walker and other rural-oriented singing ern Hymnal (1926), incorporated only The Fourteenth Annual school teachers/compilers drew from the seventeen of what Jackson refers to as rich oral tradition of the Anglo-American hymns of “specifi c southern fasola mak- folksong to provide melodies for many ing or adoption.”28 hymn texts.”18 Walker, in the preface to Jackson ascertains that the Philadel- Albert Schweitzer the fi rst edition of Southern Harmony in phia publishers, suppliers of hymnals to 1835, states that he had “composed the southern Presbyterian churches, “avoid- parts to a great many good airs (which ed all indigenous songs of the southern Organ Festival I could not fi nd in any publication, nor and western revival.”29 An examination in manuscript), and assigned my name as of Presbyterian hymnals of the late nine- A Weekend in Celebration of Excellence in Organ Music: author.”19 It may be surmised that many teenth century through the early twenti- of these “airs” were popular melodies or eth century certainly underpins Jackson’s A Gala Concert, ORGAN COMPETITION, Services, and Masterclass folk tunes of the day that were passed on observation. The Presbyterian hymnals by oral tradition. Hymnologist Austin C. of 1874, 1895 (revised in 1911), and 1933 High School Division First Prize: $2,000 Lovelace recounts that, “When Walker all contain some hymn tunes—just as to- Other prizes also awarded was going around doing singing schools, day’s hymnals do—common to Southern he always asked if anyone had some good Harmony and other similar collections. tunes. He would then write them down These tunes, however, are primarily ones College/Young Professional First Prize: $3,500 20 and claim them as his own.” with an identifi ed composer—tunes such Through age 26 Other prizes also awarded Sources of texts and tunes are indi- as Azmon, Coronation, and Duke cated for some of the hymns, though of- Street. Based on this author’s exami- This includes an appearance on our 2011-20012 Concert Series ten no source is documented for either. nation of the index of tune names in Glen Wilcox relates that approximately each of these three editions of hymnals, one-fourth of the hymn texts were by Nettleton seems to be the only anon- AUDITION CDS: 2011 JUDGES Isaac Watts.21 Of the 341 tune names in ymous shape-note tune included in Pres- Due on June 6, 2011 the index, Wilcox maintains that about byterian hymnals until the appearance of Gregory 250 of them can be attributed to 110 the 1955 edition of the hymnal.30 D’Agostino composers, with the remaining tunes be- As late in the twentieth century as THE COMPETITION: 22 ing anonymous. For the 1854 edition, 1940, American shape-note tunes held September 9-11, 2011 Walker added 73 tunes to his collection. little respect among some scholars who It is interesting to note that, according to were interested in serious hymnody. Eskew, approximately half of the tunes Henry Wilder Foote, in Three Centuries Walker added in 1854 were “in the style of American Hymnody, spends little time For Information & 23 of the folk hymn.” focusing on the history or importance of Application: Southern Harmony incorporated some the tunes. His writing contains remarks important “fi rsts” regarding several hymn such as, “While in general their effect tunes. The 1835 edition marked the fi rst on American hymnody has been neither First Church time the text “Amazing Grace” and the permanent or valuable . . . the folk hymn of Christ tune New Britain were joined together was suited to revivals and social gather- Frederick in a shape-note collection; the edition of ings like out-of-door camp meetings . . . Hohman 1840 contained the fi rst appearance of and in any case they fall outside the main 250 Main Street the tune Wondrous Love with the text current of American hymnody.”31 As one Wethersfield, CT 06109 Michael Barone “What wondrous love is this;” and the can surmise from Foote’s statements, PAST JUDGES: 1854 edition has one of the early appear- Raymond Glover’s supposition that the Colin Andrews, Diane Meredith Belcher, ances of Dove of Peace. efforts of musicians like Mason created a firstchurch.org/asof Charles Callahan, Benjamin Dobey, David Enlow, The inclusion of the American tunes in standard whose “effects may still be seen Paul Fejko, Janette Fishell, Gerre Hancock, this remarkable shape-note collection has in today’s mainline hymnals” is certainly 860.529.1575 Fredrick Hohman, Paul Jacobs, Wilma Jensen, helped to preserve them for future gen- supported.32 Fortunately, these effects Ext. 209 Marilyn Mason, Katharine Pardee, erations. Unlike its popular counterpart, initiated by the “scientifi c” musicians of Cherry Rhodes, Catherine Rodland, music@firstchurch.org The Sacred Harp, which has undergone the nineteenth century experienced a re- John Rose, John Walker and John Weaver a number of revisions over the years of versal in the late twentieth century.
JANUARY, 2011 21
Jan 2011 pp. 20-23.indd 21 12/9/10 11:54:24 AM Table 2. Walker or Southern Harmony as a Tune Source Table 3. Five Southern Harmony Tunes in Hymnals
God”) has blurred to the point that the new Holtkamp organ at Christ Episcopal two terms are now used interchange- Church, Grosse Pointe Farms, Michi- ably.44 Today, “organ chorale” and “cho- gan, is primarily a concert piece.47 As rale prelude” are generic terms referring the publication of the work predates any to pieces composed in the tradition of inclusion of the tune into a mid-to-late 1966 edition contains only 417 hymn will supply my need”), which everybody the chorale prelude, whether they are twentieth-century denomination hym- tunes, whereas the 1989 edition includes learned from the Virgil Thomson choral based on a chorale, a Protestant hymn nal, one could posit that Barber’s piece 504 tunes. arrangement, later realizing what a great tune, or even a religious ethnic folk song. helped contribute to the popularity of the Because denominational hymnals use congregational text and tune combination They may still serve as introductions to Wondrous Love tune. In his reference this is. Perhaps related to this was the in- various sources for their tunes, some of creased respectability gained by these of- the singing of hymns or chorales. More to the tune’s source for the composition, the shape-note tunes included in hym- ten very simple tunes through their use by often than not, in the late twentieth Barber notes in the score that the tune nals have indications of possible com- signifi cant American composers such as and early twenty-fi rst-century liturgical was “published in the ‘Original Sacred posers. An example is the tune Nettle- Thomson and Aaron Copland.35 setting, a chorale prelude functions as Harp,’ Atlanta, Ga., 1869.”48 The score ton, identifi ed in two hymnals as being service music. It may be performed as a also contains a reproduction of a four- composed by John Wyeth.33 The tune The factors that Music considers sig- prelude, a postlude, as a selection during part harmonization of Wondrous Love, did appear in the 1813 edition of Wyeth’s nifi cant are echoed by others who have the collection of the offering or the serv- probably taken from the 1911 edition of Repository of Sacred Music, Part Sec- been involved in the editorial process of ing of communion, or as music covering The Sacred Harp, as the copy credits the ond, but it originated from the “camp- recent hymnals. Carlton Young, editor movement in other parts of the liturgy. alto part to “S. M. Denson, 1911.”49 meeting repertory of Methodists and of the 1966 and 1989 Methodist hym- The performance of chorale preludes Baptists.”34 Given that the tunes were nals, refers to the 1906 English Hymnal is not limited to liturgical use. Chorale Growth since 1980 sometimes part of an oral tradition be- and the increase in diversity in hymnals preludes occupy an important role as In late twentieth to early twenty-fi rst fore they were notated in hymnals, it is as signifi cant factors in the selection of part of the literature performed on or- century America, the publication of cho- diffi cult for musicologists and historians tunes. Young asserts that “most mid- gan recitals and concerts. A scanning of rale preludes based on shape-note tunes to trace their exact origin. 20th-century mainline USA Protestant the recital programs listed each month has increased signifi cantly. This trend, Among the various shape-note collec- hymnals followed the lead of R.V. Wil- in The Diapason reveals that various during the period from 1980 to 2005, can tions of the nineteenth century, William liams” and “refl ected the work of folklor- works of this genre are included in many be confi rmed by consulting reference Walker’s Southern Harmony serves as ists such as Cecil Sharp.”36 Young also recitals. The works may range from the books that list published organ works an important source of American shape- observes that “The increased number of large settings of J. S. Bach to the jazz- and chorale settings. In a repertoire list note tunes, especially in the more recent USA folk melodies in TUMH ’89 [The infl uenced pieces of Johann Michel. compiled by this author, a total of 238 or- editions of the selected hymnals. In each United Methodist Hymnal] continues For example, of the 20 recital programs gan pieces, based on 46 different tunes denomination, the number of hymn this trend in mainline hymnals, but is listed in the February 2010 issue of The found in Southern Harmony, were docu- tunes attributed to either William Walk- also related to the increased number of Diapason, at least 24 of the total selec- mented. Of the works in the repertoire er or Walker’s Southern Harmony shows Native American, Latino, African-Amer- tions performed appear to be some form list, only 46 (19%) were composed prior a signifi cant increase. The frequency of ican, Asian, and gospel songs.”37 of a chorale prelude.45 to 1980. The signifi cant number of organ their attribution as a source may be ob- Ray Glover, editor of The Hymnal Because the hymnals of the early-to- chorale preludes based on these tunes is served in Table 2. 1982, affi rms that “The inclusion of a mid twentieth century contained very a direct result of the growth in the num- goodly number of American folk tunes few, if any, American shape-note tunes, ber of shape-note tunes appearing in re- Factors in 20th-century in The Hymnal 1982 was, I believe, our it was not until their inclusion into main- cent hymnals. acceptance response to the growing awareness of line hymnals that they became familiar Five shape-note tunes found in Walk- Based on the information and statis- the great, rich repository we have in, to many organists and to the general con- er’s Southern Harmony (1854)—Foun- tics indicated above, it is clear that there largely though not exclusively, Southern cert or church audience. Even though dation (The Christian’s Farewell is a signifi cant increase in the number folk hymnody from the shape-note tra- the tunes were neglected by hymnal in Southern Harmony), Holy Manna, of shape-note tunes included in recent dition.”38 Likewise, Carl Schalk, who ini- committees during the fi rst half of the New Britain, Wondrous Love, and hymnals. This phenomenon prompts one tially served on the editorial board of the twentieth century, some signifi cant organ Dove of Peace—are popular tunes to refl ect on what factors may have led to Lutheran Book of Worship, feels that the settings of American shape-note tunes found in hymnals of the late twentieth the increased presence of these tunes in inclusion of American folk hymn tunes did appear around the middle of the century or, as in the case of Dove of the hymnals of the late twentieth centu- was a way to become more American, century. These settings, however, were Peace, have recently become popu- ry. Communications by this author with much in the same way Vaughan Williams not inspired by the composer’s familiar- lar. The information shown in Table 3 several persons who served on editorial used the English folk song.39 Schalk con- ity with tunes found in a denominational compares the inclusion of these hymn boards of different hymnals help provide siders the American folk tunes a source hymnal; instead, they seem to be the re- tunes between the previous and present some possible answers to this question. that “had not been tapped before” and sult of the composer’s acquaintance with editions of the fi ve selected denomina- David W. Music, a member of the a “looking back to some kind of heri- a shape-note collection, primarily The tional hymnals. editorial board of The Baptist Hymnal tage.”40 The editor of The Presbyterian Sacred Harp. A look at the occurrence of these fi ve (1991), suggests three main factors he Hymnal (1990), LindaJo H. McKim, Twentieth-century American com- popular shape-note tunes as cantus fi rmi believes are responsible for the growth echoes a similar sentiment, observing poser Gardner Read composed a num- for organ chorales helps illustrate the in the number of shape-note hymn tunes that “The tunes really are a part of who ber of organ works, among which are growing use of the tunes by composers incorporated into recent hymnals. Out- we are and for that reason need to be two collections of shape-note hymn tune of organ literature. For example, Jean lining these factors, Music states: included in any collection coming out of settings. Read relied on a copy of The Slater Edson’s book, Organ Preludes: An the Americas today.”41 Marion Hatchett Sacred Harp as the source of the tunes Index to Compositions on Hymn Tunes, The increase in the number of shape- mentions the infl uence of Vaughan Wil- used in his collections. In the scores of Chorales, Plainsong Melodies, Gregori- note tunes is due to a number of factors liams and comments that the inclusion both collections, Read notes that the an Tunes and Carols, published in 1970, including: 1) the bicentennial of the USA of three American folk tunes in the 1906 “preludes are based on authentic old contains a meager listing of published in 1976 with church musicians seeking to honor their country by searching out some English Hymnal made it “respectable” hymn-tunes found in the 1902 edition of organ works based on shape-note tunes. for Americans to use these type of tunes ‘The Sacred Harp,’ a collection of white For the fi ve tunes considered, Edson’s of its native expressions. I think this par- 42 allels the English folk song recovery that in their own hymnals. spirituals and Southern hymns, fi rst pub- index identifi es the following number occurred with the 1906 English Hymnal; lished around 1850.”46 Eight Preludes on of chorale preludes: Foundation – 5; 2) the broadening of the base of congre- The organ chorale prelude Old Southern Tunes, opus 90, was pub- Holy Manna – 1; New Britain – 4; gational song to include a wider diversity The genre of the organ chorale pre- lished in 1952, and the publication of Six Wondrous Love – 5; and Dove of of styles and types than before (including lude is helping to perpetuate the unique Preludes on Old Southern Hymns, opus Peace – 0.50 black spirituals, world hymnody, American body of tunes stored in the nineteenth- 112, followed in 1963. Of the fourteen In 1987, Dennis Schmidt published Indian pieces, Taizé, Iona Community, plainsong, newly-written hymns, etc.); 3) century shape-note tunebooks. The term tunes Read employed in these two nota- the fi rst volume of An Organist’s Guide to in a few cases these melodies have become “chorale” originally referred to the tune ble collections, seven of them are found Resources for “The Hymnal 1982.” Com- familiar outside the church (or at least out- used with a hymn text in the sixteenth- in Southern Harmony. pared to Edson’s book of 1970, Schmidt’s side the hymnal) and have subsequently century German Protestant Church.43 Samuel Barber’s Wondrous Love: number of listings indicates a slight in- been incorporated into them; a good ex- Over time, the distinction between “cho- Variations on a Shape-note Hymn, writ- crease in the quantity of published organ ample is Resignation (“My shepherd rale” and “hymn” (“a song in praise of ten in 1958 for the inaugural recital of the settings using the fi ve tunes. In Schmidt’s
22 THE DIAPASON
Jan 2011 pp. 20-23.indd 22 12/9/10 11:54:47 AM fi rst volume, the number of works cata- in the minds of other American compos- 17. Harry Eskew, “The Signifi cance of Wil- 42. Marion Hatchett, telephone interview loged for each of the selected tunes in- ers and organists. The result has been a liam Walker’s Southern Harmony” (lecture, with author 5 June 2006. cludes: Foundation – 4; Holy Manna profusion of chorale preludes represent- Southern Baptist Theological Seminary, Lou- 43. Don Michael Randel, ed., The New – 4; New Britain – 7; Wondrous Love ing various levels of diffi culty, length, isville, KY, 16 April 1993), 7–11. Harvard Dictionary of Music (Cambridge, – 6; and Dove of Peace – 0.51 quality, and effectiveness. This particular 18. Ibid, 8. Massachusetts: The Belknap Press of Harvard 19. William Walker, The Southern Harmony University Press, 1986), 157. A second volume of Schmidt’s An body of organ literature deserves to be and Musical Companion, with an introduction 44. Randel, 385. Organist’s Guide to Resources for “The both performed and recognized for the by Glenn C. Wilcox (Philadelphia: E. W. Mill- 45. “Organ Recitals,” The Diapason, no. Hymnal 1982” appeared in 1991. Com- continuing role it plays in exposing both er, 1854; reprint, Lexington: The University 1203 (February 2010): 37. pared to the fi rst volume, the second church and concert attendees to the Press of Kentucky, 1987), iii. 46. Gardner Read, “Notes on Music,” volume confi rms a continued increase in music of Southern Harmony and similar 20. Austin C. Lovelace, telephone interview Eight Preludes on Old Southern Hymns, op. the number of organ settings of Ameri- nineteenth-century collections. with author 1 July 2005. 90 (Melville, NY: H. W. Gray Publications, can tunes. For the fi ve tunes, volume two 21. Glen Wilcox, Introduction to The South- 1952). lists the following number of organ set- Summary ern Harmony and Musical Companion by 47. Barbara B. Heyman, Samuel Barber: tings: Foundation – 23; Holy Manna The heritage of American tunes con- William Walker (Philadelphia: E. W. Miller, The Composer and His Music (New York: Ox- – 7; New Britain – 30; Wondrous tained within the shape-note tunebooks 1854; reprint, Lexington: The University ford University Press, 1992), 400–401. For a Love – 15; and Dove of Peace – 0.52 of the nineteenth century, whether Press of Kentucky, 1987), v. detailed analysis of Barber’s Wondrous Love, 22. Ibid, iv. see Larry Lynn Rhoades, “Theme and Varia- The repertoire list of organ composi- they are called shape-note, folk-hymn, 23. Eskew, “Southern Harmony: Its Basic tions in the Twentieth-century Organ Litera- tions based on shape-note tunes from or American folk tunes, represents an Editions,” 142. ture: Analyses of Variations by Alain, Barber, the Southern Harmony, compiled by the important body of music, which, in the 24. Eskew, “Walker: Popular Southern Distler, Durufl é, and Sowerby” (Ph.D. diss., author, substantiates the growth of these past thirty years, has been reclaiming its Hymnist,” 9. Ohio State University, 1973), 86–122. published works between 1980 and 2005. rightful place in American hymnody. In 25. Harry Eskew and Carol A. Pember- 48. Samuel Barber, Wondrous Love: Varia- The number of organ works in the reper- the last quarter of the twentieth century, ton, “Lowell Mason,” Grove Music Online, tions on a Shape-note Hymn (New York: G. toire list using the fi ve selected tunes as the rediscovery of this music prompted
JANUARY, 2011 23
Jan 2011 pp. 20-23.indd 23 12/9/10 11:55:06 AM AGO National Convention Washington, D.C., July 5–8, 2010 Marijim Thoene, Francine Maté, Thomas Marshall
t was sad to see four days of music- gave generously of their time and worked I making in which each performer tirelessly in planning the convention. The invested every fi ber of his or her be- commissioned hymn, Great Voice of God ing into producing sounds that dazzled, (music by Mary Beth Bennett, words by soothed, and transported the listener Shirley Erena Murray), aptly expressed come to an end; however, as the poet the text: “Great voice of God in all your Kenneth Rexroth said, “It is impossible good creation, make us your instruments to live in a constant state of ecstasy!” of blessedness.” It was introduced by a Certainly the four days of the AGO na- brass ensemble and percussion, and the tional convention provided the listener hymn verses were sung in alternatim with with the opportunity to be swept up in the instrumental ensemble. ephemeral and fl eeting beauty that can The Reverend Dr. Thomas H. be recalled as sacred moments in time. Troeger, AGO national chaplain, spoke There were several pre-convention of his own profound love of J. S. Bach, programs that set the stage for the open- and said there are things technology ing program at the National Cathedral, cannot solve—the need for a discerning two of which were the organ recitals heart and a mind to be attuned to the on July 4 at Grace Episcopal Church in spirit of the living God. He concluded Georgetown by Thomas Marshall, who saying: “Every time you make music you Bruce Neswick, hymn festival, National played the complete organ concertos are calling people back to the better spir- City Christian Church (photo: M. Thoene) of J. S. Bach, and at the Basilica of the it—to beauty, wonder and joy.” National Shrine of the Immaculate Con- The commissioned anthem, Exultate He discussed a number of injuries ception by Roland Maria Stangier of iusti by Rihards Dubra, like Michael common to organists and possible treat- Essen, Germany. Thomas Marshall, Bach Festival, Grace Bedford’s anthem, is an exemplar of ment modalities. Some common ail- Episcopal (photo: M. Thoene) text painting. Here the texts of Psalm ments and possible treatment included July 4 33:1–6, 8–12, 18, and 20–20 are exqui- low back and neck problems due to poor, Thomas Marshall July 5 sitely refl ected in multiple resources static posture for long periods of time. In his performance of J.S. Bach’s com- Opening Convocation and textures: an orchestra with solos for He suggested taking frequent breaks plete organ concerti, Thomas Marshall On July 5 at 7:30 am, tour buses pulled chimes, muted trumpets, a counter ten- and avoiding drooping shoulders. To gave us a glimpse of a young Bach, a away from the Marriott Wardman Park or, a children’s choir, full chorus, kettle avoid carpal tunnel syndrome, he ad- brilliant organ virtuoso and composer Hotel, carrying over 2,000 organists and drum, xylophone, and organ. This score vised keeping the wrist in neutral posi- who fi lled his organ concerti with scin- organ music enthusiasts to the opening is a great addition to the repertoire of sa- tion and to never practice for longer than tillating, pyrotechnical dances and lyrical convocation at the National Cathedral, cred music. 30 minutes at a time. If surgical interven- melodies. This pre-convention event was featuring the Washington National The service closed with the joyous and tion is necessary, you should not use your part of the Seventeenth Bach Festival at Cathedral Choir, Cathedral Voices, triumphal hymn, As Newborn Stars Were hands for four weeks following surgery. Grace Episcopal Church in Georgetown, Michael McCarthy, director of music, Stirred to Song, introduced by a brass He suggested Richard Norris’s book on directed by Francine Maté, organist and Scott Dettra, organist, and the Wash- choir, with words by Carl P. Daw, Jr. and the topic, Return to Play, and the web- choirmaster at Grace. Marshall made ington Symphonic Brass with Phil music by John Karl Hirten. The organ site
24 THE DIAPASON
Jan 2011 pp. 24-27.indd 24 12/9/10 11:56:14 AM National Brass Quintet, hymn festival, National City Christian Church (photo: M. Children’s Chorus of Washington directed by Joan Gregoryk, Calvary Baptist Thoene) Church (photo: M. Thoene)
of Psalm 85. The program—music from the Taizé Community, Mendelssohn, an African-American spiritual arranged by Moses Hogan, and Jewish song by Al- lan E. Naplan—was sung with enthusi- asm and from memory. Dr. Gregoryk is obviously a strict taskmaster to present such a polished choir with excellent dic- tion, good blend, and good pitch. She also communicates her joy in the music, which was mirrored in the faces of her singers. Parrotta’s spirited playing of the fi rst movement of J.S. Bach’s Concerto in A Minor, BWV 593, was a perfect ending Al Russell with Ronald Stolk, organist to this program. at the Morning Prayer service, St. Pat- rick Roman Catholic Church (photo: M. Isabelle Demers Thoene) For me, Isabelle Demers’ memorized Ezequiel Menéndez, “Historic Organs in recital was one of the most memorable Argentina” (photo: M. Thoene) terful and thoughtful improvisations on recitals of the convention. St. Patrick’s the antiphons played by Ronald Stolk, Roman Catholic Church was a perfect ment, Argentina was the richest country director of music at St. Patrick, were a venue for her program: Prélude from in the world, and people from all over welcome contrast to the austerity of the First Symphony, op. 36 by Rachel Lau- Europe settled there and brought with reading of the lessons and the intoning rin; Three Psalm Preludes, op. 32, Set 1, Jean-Baptiste Robin, St. John’s Episco- them their culture, which included pipe of the Psalms and Canticles. I wished he No. 2, by Herbert Howells; Symphonic pal Church (photo: M. Thoene) organs from their own countries. The in- had played more. Chorale on “Jesu, meine Freude,” op. ventory of pipe organs in Argentina built 87/2, Introduzione (inferno), Canzone, was stunning and a fi tting Amen to the by famous builders is impressive: there Worship Service for Children Fuga con Corale, by Karg-Elert; Or- festival of readings and hymns of the li- were 39 organs from Italy, one built in The Worship Service for Children, gan Symphony No. 2, op. 20, by Louis turgical year. 1868 by Serassi for the Church of Mon- featuring the Children’s Chorus of Vierne; Scherzo and Toccata from First serrat; 101 organs from Germany; and a Washington directed by Joan Grego- Symphony, op. 36 by Rachel Laurin. De- Jean-Baptiste Robin and Elizabeth Cavaillé-Coll was shipped in 1885 to a ryk, held in the 1860 Calvary Baptist mers made each work her own, investing Blakeslee Jesuit church in El Salvador and moved Church, was choreographed with amaz- herself in the music, from Howells’s qui- In the elegant and historical St. John’s in 1912 to the Basilica Del Santissimo ing precision. Following the organ vol- et lyricism to Karg-Elert’s diabolical roar. of Lafayette Square, Jean-Baptiste Rob- Sacramento in Buenos Aires. untary composed and played by 22-year- Her brilliant technique served always to in, organist of the Royal Chapel in Ver- old Justus Parrotta, the choir of young make the music soar. This gift was espe- sailles Palace, and Elizabeth Blakeslee, July 7 singers (30 girls and four boys) quietly cially apparent in Rachel Laurin’s Toc- harpist in the National Symphony Or- Morning Prayer processed down the two side aisles, and cata. The audience was dazzled by her chestra, performed music by Debussy, Attending Morning Prayer in the large Dr. Gregoryk, without saying a word, magnifi cent performance. Jehan Alain, Robin, and a commissioned reverberant sanctuary of St. Patrick Ro- motioned her choir to begin singing the work by Rachel Laurin with assurance man Catholic Church was a beautiful way canon Dona nobis pacem, then cued July 8 and remarkable virtuosity. The delicacy to start the day. The Psalms were sung each section of the audience to join in Nathan Laube and transparency of Debussy’s Prélude à in by the choir (the Countertop En- singing the canon, which was an effective Nathan Laube opened his recital at the l’après-midi d’un faune transcribed for semble, directed by Chris Dudley) in introit. A portion of the text was repeat- National Presbyterian Church with his harp and organ by Robin were apparent alternatim with the assembly. The mas- ed as an antiphon throughout the singing transcription of Johann Strauss’s Over- in the dry acoustic at St. John’s. Robin performed Alain’s Trois Danses from memory and gave a meticulous render- ing of the score, observing Alain’s fi end- 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ ishly demanding tempi markings. I wish Robin had written more about DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX the “23 refl ecting modes” that he cre- 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV ated and alluded to in his program notes describing his own composition Cercles ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG Réfl échissants (“Refl ecting Circles”). OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV The two movements he played from this work refl ect his unique compositional &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK vocabulary, which in turn hinted at mys- terious shifting wind movements. In her 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ commissioned work, Fantasia for Organ WKHLQVWDOODWLRQ and Harp, op. 52, Rachel Laurin inter- wove the intimate color palettes of the harp and organ with remarkable dexter- 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX ity, especially in the second movement when fl utes 8′, 4′ and 2′ played in dia- PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW logue with the harp. The same balance 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations was present in the third movement in a totally contrasting mood—triumphant FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions chords on the organ vs. powerful chords and fl ourishes on the harp. Solutions for Old Pipe Organs Ezequiel Menéndez Historic Organs in Argentina Ezequiel Menéndez gave an informa- tive and intriguing lecture on “Historic Organs in Argentina: A Hidden Trea- sure” that refl ected his many years of research and study on the subject. He began by stating that in Buenos Aires, within one square mile one can see or- www.rodgersinstruments.com gans from France, Germany, England, and Italy. During the Age of Enlighten-
JANUARY, 2011 25
Jan 2011 pp. 24-27.indd 25 12/9/10 11:56:43 AM Paul Jacobs (photo: M. Thoene)
Juilliard School of Music. St. Anne’s is a lovely church located a few blocks north Nathan Laube congratulated by Freder- Isabelle Demers, Reger lecture/recital, of National Presbyterian Church. Ja- ick Swann after recital at the National St. Paul’s Episcopal Church, Rock cobs’ recital was performed by memory, Presbyterian Church (photo: M. Thoene) Creek Parish (photo: M. Thoene) and was absolutely perfect. The 1999 Létourneau three-manual organ is in Scott Dettra (photo: M. Thoene) ture to Die Fledermaus. Laube’s deftness July 5 the rear gallery. I was sitting close to the at registration was apparent as each sec- Jonathan Biggers gallery in the back of the church, and it were sung in German by the congrega- tion fl owed seamlessly into another. He Jonathan Biggers, who holds the Ed- was relatively easy for me to simply turn tion—the singing by the organists at this is a gifted dramatist, and succeeded in win Link Endowed Professorship in around and watch him. However, there service was marvelous. The service also catching up the audience in the dance. Organ and Harpsichord at Binghamton was a giant screen in the front of the included a fi ne sermon, prepared espe- After thunderous applause he announced University, began his program with Craig church, and by watching the big screen, cially for organists, by St. Paul’s pastor, that the day was his 22nd birthday, and Phillips’s Fantasia on “Sine Nomine” Jacobs was magnifi ed and in full view The Reverend Dr. John Witvliet. we all promptly sang “Happy Birthday.” (2007). This work was commissioned by for the entire audience. The program His performance of Joseph Jongen’s So- the University of Iowa to honor Profes- included the Reger Sonata in D Minor, Opening Concert nata Eroïca pour Grand Orgue, op. 94, sor Delbert Disselhorst’s retirement, and op. 60 (1901), Prelude in F Major (1912) Washington National Cathedral and Charles Tournemire’s L’Orgue Mys- is based on the tune by Ralph Vaughan by Nadia Boulanger, and the Franck Fi- The opening concert of the convention tique, Cycle de Noël, Suite No. 7, op. 55, Williams. Among the many interesting nal, op. 21 (1866). Jacobs was treated to was performed at Washington National also showed him to be a master at regis- sections of the piece are octave “D” leaps a rousing standing ovation at the end of Cathedral by the Cathedral Choral Soci- tration as he moved smoothly from one in the fugue, which refer to Delbert his fl awless performance. ety and members of the National Gal- section to another. Disselhorst. Dr. Biggers ended his per- lery Orchestra conducted by J. Reilly The tour de force of his concert was formance of the work with a brilliantly Bach Vespers at St. Paul’s Luther- Lewis. This program was a continuation of his performance of Maurice Durufl é’s played toccata. an Church J. Reilly Lewis’ 25th anniversary as con- Suite pour Orgue, op. 5. His playing The Passacaglia by Leo Sowerby (from The Washington Bach Consort ductor of the Cathedral Choral Society. was fl awless, inspired, and for want of a the Symphony for Organ, 1930) is simi- The venue for the Bach Vespers at St. The program began with Scott Det- better word, transporting. As an encore lar to Sowerby’s posthumous passacaglia, Paul’s Lutheran in Washington, D.C., tra performing the Toccata Festiva, op. he played Chopin’s Etude in C-sharp which was edited by Ronald Stalford. was perhaps similar to what the setting 36 (1960) by Samuel Barber. Dettra per- Minor, op. 10, no. 4, and met with even The earlier passacaglia from the sym- might have been like in the Thomas- formed this work with excitement and more thunderous applause. phony is less tight than the posthumous kirche during Bach’s tenure in Leipzig. verve as if he had rested and prepared piece. Biggers’ interpretation, however, St. Paul’s, like the Thomaskirche, has all day in order to wow this audience of Isabelle Demers provided a convincing musical continu- lovely stained glass. I thought the light 2,000-plus organists. Max Reger workshop ity in the multi-variation work. illuminating through the stained glass on The second and major work on the Isabelle Demers’ workshop on Max National Presbyterian Church is a this day was very similar to the way the program was Paul Paray’s Mass for the Reger’s Orgelbüchlein was held at St. modern edifi ce that provided a stark stained glass in the Thomaskirche looked 500th Anniversary of the Death of Joan Paul’s Episcopal Church, an elegant, contrast to the Gothic style of Washing- the times I have been fortunate enough of Arc (1931). The acoustics of Wash- isolated chapel in Rock Creek Parish, ton National Cathedral, the site of the to be there. ington National Cathedral provided the surrounded by a cemetery. Ms. Demers opening service just 1½ hours before J. Reilly Lewis, director of the Bach perfect venue for this monumental work. gave an overview of Reger’s chorale pre- Biggers’ recital. The present building Consort, conducted the vespers service. The lyricism of the Kyrie was quite beau- ludes, alluding to those suited for church was designed by Harold E. Wagoner, Lewis has been a Bach icon on the East tiful, and the Cathedral Choral Society’s services and those better suited for con- with the main sanctuary seating 1,260. Coast for many years. His performances superbly blended voices fi lled the glori- certs. She discussed aspects of Reger’s The church’s cornerstone was laid by are always very musical, and his interpre- ous space of the cathedral. Even though life and how events shaped his composi- President Eisenhower on October 14, tation of Bach’s music is impeccable. the cathedral was full to capacity in both tional style, his quirkiness and spiritual- 1967; the fi rst worship service at this site Scott Dettra was the organist for this the morning opening service and the ity. In her handout, she ranked each of took place on September 7, 1969. The service. He serves as organist and as- concert that evening, one could hear a the 52 preludes according to diffi culty organ at National Presbyterian Church sociate director of music at Washington pin drop due to the intensity of listening and listed the timing of each. It was en- is an Aeolian-Skinner, Opus 1456, National Cathedral, as well as assistant that all organists possess, and which we lightening to hear some of Reger’s cho- IV/115, installed in 1970. From 1987 to conductor and keyboard artist of Wash- exhibited on this day. rale preludes played from memory by the present, the organ has been rebuilt ington Bach Consort and the Cathedral Ms. Demers in this reverberant space on and added to by the Di Gennaro-Hart Choral Society. Dettra was organist for July 6 the mechanical action organ II/27 built Organ Company. the opening service at 8:30 am on Mon- David Higgs by Dobson. Biggers’ recital ended with the Reger day, organist for this service, and organist The United States Naval Academy Phantasie und Fuge d-moll, op. 135b. It for the evening concert back at the Na- The recital by David Higgs was fl aw- Marijim Thoene received a DMA in organ was thrilling and brought the full house tional Cathedral. He is an outstanding less, so very musical, and the audience of performance/church music from the Uni- to a rousing standing ovation! Biggers musician, and his ability to seamlessly organists was so breathtakingly attentive, versity of Michigan in 1984. She is an active recitalist and director of music at St. John Lu- repeated this program at 11:30 am on go from the cathedral organ to the Johan as was the case at all of the recitals and theran Church in Dundee, Michigan. Her two July 5. Deblieck continuo organ for his continuo concerts at the convention. This organ CDs, Mystics and Spirits and Wind Song, are part in the Bach cantata at St. Paul’s, up was originally built by the Hutchins Or- available through Raven Recordings. She is a Paul Jacobs to the organ loft at St. Paul’s to play the gan Company in 1908, and rebuilt by the frequent presenter at medieval conferences on Next was a marvelous recital at St. St. Paul’s Schantz three-manual organ, Möller Organ Company of Hagerstown, the topic of the image of the pipe organ in me- Anne’s Catholic Church by Paul Jacobs, and then to the cathedral again that eve- Maryland. Many renovations were made dieval manuscripts. chairman of the organ department at ning, was more than remarkable. this past year, and the organ is currently The St. Michael’s Day Vespers service 268 ranks with two consoles. began with the organ prelude, Toccata in I typically would rather hear Bach F, BWV 540/1 of Bach, played splendidly played on a mechanical action instrument, by Lewis. This was followed by the Bach but Higgs’s playing of the Passacaglia in Kyrie, BWV 233A, and the complete C Minor, BWV 582, was a masterpiece Cantata BWV 130, Herr Gott, dich loben of performance and pure musicality. His alle wir. The Bach Consort, as always, drive and care given to the monumental sang with great exhilaration and musi- work was simply thrilling. The fi nal piece cal conviction. All chorales in the service on the programmed portion of the recit-
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26 THE DIAPASON
Jan 2011 pp. 24-27.indd 26 12/9/10 11:57:36 AM al, Widor’s Symphony VI in G Minor, op. 42 “brought the house down” with the audience’s immediate standing ovation. How could there be more excitement to come? Ah, yes!! The encore, In a Persian Market by Albert Ketèlbey and arranged by Frank Matthews, just swept us off our feet, literally! “Persian Market” was not only “fun” music, but the magnifi cent organ at the Naval Academy Chapel has theatre organ stops. The polite, reserved and attentive organists of all the previ- ous recitals and concerts, became “out of control” with enthusiasm for this piece! All the bells, drums, whistles, and stops were pulled out! The United States Naval Academy Chapel holds 2,000 people, and of the Roland Stangier (photo: M. Thoene) 2,200 attendees at the convention, 2,000 of them attended Higgs’s recital. One of Jeremy Filsell performed all of Vi- the many marks of great organization erne’s symphonies at St. Patrick’s Catho- came at the end of the concert when the lic Church in Washington D.C. on the 2,000 organists were bused back to the church’s 1994 44-rank Lively-Fulcher Diane Meredith Belcher recital, Church of the Ascension and St. Agnes (photo: Brian Marriott in Washington after the con- organ. Although I was back at my job at Sutton) cert. Kudos to Dr. Carol Guglielm for the Library of Congress on Friday, July orchestrating this important, and most 9 and was unable to attend Dr. Filsell’s pieces well knit together in a fi ne and ex- Washington, D.C. chapter is also to be complicated transportation event—there program, this was indeed a monumental citing performance. commended in its presentation of both were 35 buses waiting to pick up 2,000 endeavor. Word from colleagues who pre-convention and post-convention organists after David Higgs’s program! were able to attend was that Filsell, in his The Woodley Ensemble events. Of particular note was the stun- usual style, performed every movement The Woodley Ensemble, under the ning performance by Julie Vidrick Ev- Pre- and post-convention events of every symphony with great splendor. artistic direction of Frank Albinder, ans of all six organ trio sonatas by J. S. Among the numerous pre-conven- Another notable post-convention presented a fi ne and varied program of Bach. For most organists, the inclusion tion events was the fi rst part of the 17th event was a performance by Isabelle De- choral music from many lands, includ- of one or two of these technical master- Annual Bach Festival at Grace Church, mers of her own transcription of Tchai- ing Sweden, Russia, Scotland, Israel, pieces is daunting, let alone ALL of them, Georgetown, of which I am the director. kovsky’s Romeo and Juliet at Capitol Estonia, England, New Zealand, Indo- performed in this instance with technical My colleague and friend, Roland Stang- Hill Methodist Church on July 9. From nesia, and, of course, the United States. mastery. The seventeenth annual Bach ier from Essen, Germany, performed in friends I know who attended, it sounds The ever-growing number of choral en- Festival presented by Grace Episcopal our Bach Festival on July 3, and 23 hours as if I missed another splendid event. sembles, both amateur and professional, Church brings fi ne performances of the later performed a completely different has also given rise to the composition of works of Bach and other related compos- program at the Basilica of the National Francine Maté has lived in Washington, unusual and wonderful music for all to ers to a steadily growing audience each Shrine of the Immaculate Conception. D.C. for 26 years. She has been organist/ experience both as performer and lis- summer after summer, under the direc- Professor Stangier’s recital in the Bach choirmaster and director of the Bach Festival tener alike. The featured work for this tion of the church’s organist/choirmaster, at Grace Episcopal Church in Georgetown, Festival was entitled “Bach and His Washington, D.C. since 1998. concert was by American composer Leo Francine Maté. Q European Colleagues.” Grace Church Nestor—a large-scale anthem for SATB is home to an A. David Moore 1981 • chorus and organ. While mainly for con- Thomas Marshall is instructor of organ and two-manual mechanical action instru- July 5 cert use in its entirety, it would be useful harpsichord at the College of William and Mary in Williamsburg, Virginia, where he also ment. Composers on Stangier’s program Kimberly Marshall to fi nd some selections from this work serves as organist/associate director of music included Pablo Bruna (Spain), Samuel For her recital at St. Columba’s Epis- excerpted for use during the Pentecost at Williamsburg United Methodist Church. Scheidt (Germany), Andreas Kneller copal Church on the fi rst day of the season in churches as well. He holds degrees in organ/harpsichord per- (North Germany), Gaspard Corrette convention, Kimberly Marshall played a formance from James Madison University (France), Giovanni Battista Pergolesi well-selected program for a 1981 Flen- This AGO national convention did an and the University of Michigan. His teachers (Italy), Charles John Stanley (England), trop organ, displaying the well-balanced outstanding job in making a variety of include Carol Teti, Richard McPherson, Mari- and J.S. Bach (Trio Sonata in D Minor). specifi cation. Her unique and outstand- workshops and seminars available. The lyn Mason, and Edward Parmentier. Professor Stangier, as his usual practice, ing knowledge of the remote corners of ended the recital with an improvisation. the literature for the organ produced a Stangier’s program was full of variety recital with great variety and interest. and nuance—he is a very energetic and Dr. Marshall is a treasure among us all INCE 1979, we have musical performer. His performance of for her ability to combine brilliant per- Bach’s trio sonata was full of ornamenta- formance with good scholarship in an in- designed and built over tion that I had never before considered. telligent and informative way. This was a 120 new pipe organs for This made the work fresh and new, even delightful and perhaps surprising recital. S though the works of Bach rarely need clients in Australia, Austria, any new performance ideas. Jason Roberts and Michael Unger New Zealand, England, I presented Professor Stangier with two For some with “fi rst-day-bus-issues” themes on which to improvise that were sometimes associated with these very Canada and the United States. from the concert I had performed at 3 pm large AGO conventions, the change in Our instruments, whether in our festival that afternoon: 1) the “Nun order of both performers and pieces be- komm der Heiden Heiland” chorale tune, ing played was confusing to latecomers tracker or electric action, have and 2) the lilting fl ute melody from the fa- to the recital at Chevy Chase Presbyte- been praised for their rugged mous “Sheep May Safely Graze.” Stangier rian Church. Jason Roberts, 2008 win- construction, comfortable wove these two themes into a tightly knit ner of the AGO National Competition in Opus 116 piece. I only wish we could have a score Organ Improvisation, and Michel Unger, consoles, responsive key of his superb improvisation. However, in 2008 winner of the AGO National Young actions and tonal integrity. today’s world of the instant reproduction Artists Competition in Organ Perfor- of just about anything, it is a nice thought mance, together presented a program New cases, keyboards, to consider that an improvisation can sim- demonstrating the true art of improvis- windchests, reservoirs and ply be as ethereal as Washington, D.C.’s ing, whether from score or indeed on the cherry blossoms. spot. Organ performers are too quick to pipes are all built from raw Professor Stangier performed his ba- defi ne “improvisation” at the organ as materials within our two silica recital on the 172-rank, four-man- the art of totally extemporized composi- ual electro-pneumatic Möller organ. His tion, when much is added to the printed workshops located in Saint- program began with the four Schumann score by the performer who can sense Hyacinthe, Québec. Our team Sketches, opus 56, written in 1846. It the improvisatory nature that CAN be has been in vogue for several years now brought to all music. of experienced builders also for organists to write and perform their restores and rebuilds older own transcriptions of orchestral works. July 6 Particularly popular is Gustav Holst’s Diane Meredith Belcher instruments to make them The Planets, written in 1914. Stangier The recital by Diane Meredith sound and play better than ever. Opus 118 performed his transcription of “Venus, Belcher on the Létourneau organ (2000) the Bringer of Peace” and “Jupiter, at the Church of the Ascension and St. the Bringer of Jollity”—what beauti- Agnes was performed with elegance, ful transcriptions to showcase both the showing great attention to careful and basilica’s organ and Stangier’s playing! tasteful phrase development throughout. LÉTOURNEAU PIPE ORGANS And, not to be forgotten as well, the Her inclusion of a voluntary by English inside of the basilica is breathtakingly composer William Russell (1777–1813) USA Canada beautiful! Following the Holst tran- was refreshing. Her performance of all 1220 L Street NW 16 355, avenue Savoie scriptions were the Fantasie and Fugue six fugues on the name B-A-C-H, op. 60, Suite 100 – Box 200 St-Hyacinthe, Québec in C Minor by Alexander Winterberger of Robert Schumann, gave the audience Washington, DC J2T 3N1 (1834–1914) and the Grand Choeur by a clear impression of the compositional 20005-4018 Tel: 450-774-2698 Zsolt Gardonyi (b. 1946). Stangier end- prowess of this composer, now enjoying Tel: 800-625-PIPE Fax: 450-774-3008 ed the program with another one of his the 200th anniversary of his birth. While Fax: 202-737-1818 [email protected] dynamic improvisations. Tonight he was this music may be a bit too “academic” [email protected] www.letourneauorgans.com given the Ubi Caritas et amor Grego- for the average organ recital audience, rian chant and an Irish folk-song as his this venue gave an “organists only” audi- improvisation themes. ence the opportunity to hear all of these
JANUARY, 2011 27
Jan 2011 pp. 24-27.indd 27 12/9/10 11:58:00 AM Cover feature
Kegg Pipe Organ Builders, Hartville, Ohio Zion Lutheran Church, Wausau, Wisconsin Zion Lutheran Church in Wausau, Wisconsin, has deep roots in Lutheran church music, laying claim to both Paul Bunjes and Carl Schalk in a distin- guished lineage of musical leadership. Though less well known, Viola Bonsa was also a part of that lineage, and we are delighted to give a wink in her direc- tion with the name of the Swell 8′ string. Virginia Giese is the current Kantor and Music Director, and Rev. Steven Gjerde is Pastor. An organ that had served the church well in a previous space was moved to the new building in the 1950s and placed on platforms in the rear gallery that were to be surrounded with appropriate case- work. The layout was tight at best, and the casework never materialized. As the musical understanding and requirements developed and changed over the years, so did the organ. Various revisions and additions were made, sometimes with One of the large tower shades little or no regard for scaling and even less for accessibility for tuning or repair. Choral music has been a longstanding The organ lost its identity and virtually and cherished feature of worship at Zion. choked on itself. In the Lutheran liturgical tradition, choirs Designing a new organ for Zion gave us have often been likened to the company of angels: “Praise him, all his angels, praise an opportunity to exploit some of the ef- him, all his heavenly hosts” (Psalm 148:2). fects of placement. There is no question For this reason, they are typically placed that the focused sound of encased pipe- in a gallery at the back of the nave, where work in direct line of sight to the listener their voices can fall upon the congregation differs substantially from the refl ected like a benediction and raise congregational sound of pipes enclosed in a swell box singing to heights that it cannot reach on its perpendicular to the listener. Yet each of own. This “celestial” role of the choir led to those placements can have distinct advan- our suggestion that the pipe shades feature carvings of the archangels. It gives visible tages. Our often-copied all-electric chest expression to our working theology of mu- design with expansion chambers fi tted to sic, in which the Church joins the heavenly each note allowed us the freedom to lo- hosts in their unending hymn. cate pipes where they needed to be in the tonal strategy, and still arrange them for An additional, deliberately planned greatest ease of tuning. case decoration is brought about by The sounds most often used to lead the refl ection of the large stained glass congregational singing—Great and Posi- window in the highly polished façade tiv—are placed in the front of the cases pipes. This kaleidoscopic effect chang- in direct line of sight to the congregation. es minute by minute, and we found These two Principal choruses are nearly it particularly beautiful in the early equal in volume, but are quite different Kegg organ, Zion Lutheran Church, Wausau, Wisconsin morning winter light during our Janu- in color and weight. Instead of the more ary tonal fi nishing. usual front-to-back or up-and-down re- Kegg consoles are known for their lux- lationship of these two choruses, they urious comfort and ease of use. When- dialog from side to side, complementing ever practicable, they are easily movable each other when used together. on integral casters. At Zion, space in the The sounds most often used to ac- gallery is at a premium and there is really company the choir—Swell and Enclosed only one choice for console location. We Great—sit farther back, with the shades chose to make it stationary, and actually opening toward the choir loft. This place- narrowed our standard geometry slight- ment gives the singers the advantage of ly, without sacrifi cing anything, to make hearing direct sound from the organ, but the new console fi t precisely where the gives the congregation a perspective with previous one had been. the voices distinctly in the foreground. Many parishioners turned out to help The previous organ had the lowest nine unload the moving van and carry all the pipes of the 16′ Open Wood installed in pipes, pieces and parts into the church. the ladder shaft at the very back of the In a scenario familiar to every pipe right organ platform, in what appeared organ installation team, we watched to be a hopelessly buried location. Sur- as their joy in fi nally receiving their prisingly, the room responds very favor- long-awaited new organ slowly faded to ably to bass frequencies generated there, concern, then changed to all-out panic and we followed the cue, successfully in- as every square inch of their spiritual stalling the 16′ Subbass in the matching home was covered with at least one lay- location on the other side. er of organ. By Sunday morning, 90% The Festival Trumpet, with its resona- of those organ parts had been moved at tors and fl ared bells of polished brass, Console (photo credit: Mark Krambs) least twice more, once up into the gal- was originally planned for a location high lery, then up once more into place on on the front corner of the chancel. In a part of worship. As with all of our designs, The tower crowns have discreet poly- the organ platforms. Ten days after the decision made just hours before the or- we aim to have the new organ appear to chrome accents of gold and aqua to co- van pulled up in front of the church, gan left the shop, the church requested have been built with and for the building. ordinate with other decoration in the everything was in place, working, and that it be relocated to the back with the It is deeply satisfying when parishioners roof beams. Decorative bands across the ready for tonal fi nishing. rest of the organ. After some re-engi- tell us that the new organ looks like it has fl at sections are also polychromed and The organ was dedicated during the neering and new chest construction, it always been there. topped with carved crosses. The use of morning liturgy on February 21, 2010, now makes its dramatic statement from Several elements make this case in- exaggerated foot and body lengths in with a concert that afternoon played by the gallery rail. teresting. The four towers on each case, these sections that face the choir lends Dr. David Heller of Trinity University, One might fear that such a mix of di- especially the large corner ones, appear the impression that these pipes are deli- San Antonio, Texas, who also served as rect and refl ected sound would result in to extend weightlessly over the edge of cately scaled, greatly reducing their vi- consultant to the church. chaos in the listener’s ears. Such is not the organ platforms, even though their sual weight in the gallery. As music director, Virginia Giese is the case! The sound in the nave is rich, cantilevered supports are anchored se- The 100 façade pipes all speak, and putting the new organ through its paces, clean and bold—a sound with a depth of curely by the weight of the rest of the are from the Pedal, Great and Positiv both in excellent support of the parish fi eld that no speaker system can begin organ. The effect is subtly enhanced by Principals, Octaves and Choralbass. liturgies, and reaching out to the larger to reproduce. the fact that the bottom of the casework The pipe shades, hand-carved from community through performance oppor- One of the most important goals of the sits 1/8″ above the platform and seems basswood by Spirit Williams of Hocking tunities. An extensive concert series has new organ project was providing a fi tting not to touch it at all. Hills, Ohio, feature Archangels Gabriel, already begun, featuring Kathrine Hand- visual design. After decades of exposure to Our use of CAD software, particularly Michael, Uriel, and Raphael on the two ford, Ken Cowan, Michael Burkhardt, naked organ parts, we wanted to reward in 3D modeling, was of tremendous help large corner towers. The pipe shades on Paul Jacobs, and Chelsea Chen, among the people of Zion with an organ case not only in engineering this much organ the remaining towers depict the tradi- several others. Details of these and other that doesn’t just “clothe the naked,” but into the available space, but also in plan- tional symbols of the twelve Apostles. concerts on Kegg organs can be found at also feeds those who hunger for beauty as ning the many visual aspects. Pastor Steven Gjerde writes:
28 THE DIAPASON
Jan 2011 pp. 28-30.indd 28 12/9/10 11:58:57 AM Large tower shade being carved by Spirit Williams
literature, but for the added variety it can this new instrument is a dream for the provide as a solo stop. The Cromorne, player; everything is where it’s supposed located on both the Great and Positiv to be located—from the order of the divisions, possesses a beautiful, piquant drawknobs and pistons to the location quality that is superb for solo lines. And of the sequencer. This is one of the most fi nally, the reed stop that gathers the user-friendly consoles you will ever fi nd, most attention (both visually and tonally) which further enhances the experience is the Festival Trumpet, mounted on the for the player. rail of the gallery. It goes without saying that the visual As a church musician, I look for fl ex- aspects of this instrument are matched by ibility in an instrument to provide me the aural experience one has in both play- with as many tonal options as possible, ing and listening to the organ out in the particularly in the area of choral accom- room. At the dedication recital, I stated panying. One of the distinctive features to the audience that if I could only work of this instrument is that seven of the with this one single instrument for the rest stops in the Great division are under of my professional life, I would be com- expression, including the 8′ Trumpet. pletely happy. I still stand by that state- The possibilities are endless with re- ment today! Zion Lutheran Church and gard to accompaniment, and this use of the city of Wausau can take great pride in a partially enclosed Great provides the their new instrument, which will lead fu- perfect counterweight to the Positiv di- ture generations in worship and stand as vision, which is unenclosed. a symbol of excellence and craftsmanship As a performer and a church musi- in North Central Wisconsin. cian, I also look for ease in performance —Dr. David A. Heller when I sit down to play a service or a re- Trinity University cital. The layout design of the console of San Antonio, Texas
The case from above ″ We laud Pastor Gjerde and the people (solo, choral, and congregational), giving Zion Lutheran Church POSITIV (2¾ wind) Wausau, Wisconsin 8′ Principal 61 pipes of Zion for making this strong investment the instrument a great sense of breadth 49 ranks, 2,903 pipes 8′ Gedeckt 61 pipes in the enduring importance of sacred without sacrifi cing clarity. Each of the 4′ Octave 61 pipes music in our increasingly secular world, manual divisions has a distinctive Princi- GREAT (4″ wind) 4′ Koppelfl öte 61 pipes and we are grateful for having had this pal chorus with a strong foundation that 16′ Gemshorn 12 pipes+ 2′ Blockfl öte 61 pipes 1 opportunity to practice our art. is balanced by evenly voiced upperwork. 8′ Solo Diapason IV** 1⁄3′ Quinte 61 pipes —Fredrick Bahr Of special note here is the inclusion of 8′ Principal 61 pipes+ III Cymbal 183 pipes 3 ′ 8′ Gemshorn 61 pipes 8′ Cromorne (Gt) a Principal-scale 1 ⁄5 stop on the Great, ′ Kegg Pipe Organ Builders a color that enhances that division’s ple- 8 Rohrfl ute* 61 pipes Tremulant 8′ Harmonic Flute* 49 pipes 8′ Festival Trumpet (7″ wind) 61 pipes Charles Kegg, President* num and is so useful in German music 8′ Dulciana* 61 pipes+ Fredrick Bahr, Tonal Director* of the 17th and 18th centuries. The in- 8′ Unda Maris* 49 pipes+ PEDAL (4″ wind) Philip Brown clusion of an 8′ Principal on the Positiv 4′ Octave 61 pipes 32′ Untersatz (resultant) Michael Carden division is a nod to the builders of 18th- 4′ Sylvan Flute* 61 pipes 16′ Open Wood 19 pipes+ 2 Joyce Harper* century middle Germany and the music 2⁄3′ Twelfth 61 pipes 16′ Principal 32 pipes Philip Laakso of J. S. Bach. Not only is this division a 2′ Fifteenth 61 pipes 16′ Gemshorn (Gt) 3 1⁄5′ Seventeenth 61 pipes 16′ Subbass 32 pipes+ Thomas Mierau* perfect foil to the Great division, it is ′ Bruce Schutrum also one of the few contemporary instru- IV Mixture 244 pipes 16 Bourdon (Sw) 8′ Trumpet* 61 pipes 8′ Octave 12 pipes *members, American Institute of ments I have played in which the Positiv 8′ Cromorne* 61 pipes 8′ Gemshorn (Gt) Organbuilders Principal chorus balances superbly with Tremulant 8′ Subbass 12 pipes+ the Pedal Principal chorus at 16′ – 8′ – 4′ 8′ Festival Trumpet 8′ Bourdon (Sw) From the consultant and artist pitch—and without coupling it to anoth- Zimbelstern (5 handbells) 4′ Choralbass 32 pipes When a church makes the decision er keyboard! (adjustable speed, volume, delay) 2′ Cantus Flute (Gt. Harmonic Flute) to purchase a new organ, it provides a Another glance at the stoplist will * Expressive (4½″ wind) 32′ Harmonics (derived) ** Plays Gt. Principal, Octave, Ped. Princi- 16′ Posaune 32 pipes+ golden opportunity to look at the situa- point out the generous number of fl ute ′ ′ tion from a new perspective. From the stops throughout the entire instrument. pal, Choralbass all at 8 pitch 16 Bassoon (Sw) 8′ Trumpet 12 pipes+ start, this congregation asked all of the Each one has a different character, pro- SWELL (enclosed – 5″ wind) 8′ Festival Trumpet right questions: What are our priorities? viding the player with a wonderful array 16′ Bourdon 12 pipes 4′ Clarion 12 pipes+ What are our expectations for this in- of color at a variety of pitch levels. The 8′ Diapason 61 pipes+ 4′ Cromorne (Gt) strument in our worship services? The fl utes are complemented by two differ- 8′ Bourdon 61 pipes selection of Charles Kegg was a big de- ent sets of strings on the Great and Swell, 8′ Viola d’Bonsa 61 pipes + Retained from previous organ cision for this congregation, which has as well as a Gemshorn at 16′ and 8′—all 8′ Voix Celeste 61 pipes All standard American couplers 4′ Octave 61 pipes a rich history of traditional Lutheran of which can produce some superb ef- ′ worship supported by a superb choral fects in both service repertoire as well as 4 Spitzfl ute 61 pipes Photo credit: Charles Kegg, unless indicat- 4′ Salicet (Viola) 12 pipes ed otherwise program. Rather than continue down a concert literature. 2 2⁄3′ Nazard 61 pipes well-worn trail in tonal design, the deci- The number of reed choices for an 2′ Flute 61 pipes 3 sion was made to follow a slightly dif- instrument of this size is a delight. In 1⁄5′ Tierce 61 pipes Kegg Pipe Organ Builders ferent path—and the end result was an the Swell division, one fi nds the typical IV Plein Jeu 244 pipes 1184 Woodland St., SW instrument that provides a unique bal- work-horse chorus reeds (Trompette 8′, IV Scharf (Plein Jeu) Hartville, OH 44632 ance between “tradition” while embrac- Clairon 4′), but they are complemented 16′ Bassoon 61 pipes ′ ′ 8′ Trompette 61 pipes ing some ideas that were outside the with a Bassoon 16 /Oboe 8 unit that is ′ 330/877-8800 box of neo-classic organ design. of a smooth, darker color that opens up 8 Oboe 12 pipes [email protected] 4′ Clairon 61 pipes One glance at the stoplist will make many possibilities not only for vocal ac- Tremulant www.keggorgan.com apparent the importance both the build- companiment, but for the repertoire as 8′ Vox Humana 61 pipes er and the consultant placed on founda- well. A Vox Humana might be consid- (separate tremulant) tion tone. The rich abundance of 8′ stops ered by some as non-essential or even provides a wide palette of choice for a luxury—but in this case, its inclusion the organist when accompanying voices makes complete sense not only for the
JANUARY, 2011 29
Jan 2011 pp. 28-30.indd 29 12/9/10 11:59:23 AM New Organs
Casa Organaria Mascioni, Azzio (VA), Italy The new organ for the Catholic Cathedral in Tokyo, Japan The cathedral church, the work of well-known architect Kenzo Tanga, was built in 1964 and is acknowledged for its cross-shaped fl oor and its lively concrete structure. Noteworthy are the windows, rising vertically from the ends of the cross arms and continuing as bright bands that mark the top cor- ners of the roof. The size of the build- ing, seating 1,500, and the slanting walls determine the acoustic, which has a dif- ferent degree and volume depending on the listener’s position. While the church was being built, an electronic organ was placed in a second gallery above the main entrance. This placement was too high to allow the organ good sound dif- fusion, and furthermore it prevented the light to spread through the large glass Detail of keyboards window behind it. The request of the client was for a new building the instrument in Italy, while the mechanical-action instrument placed assembly and installation were fi lmed in closer to the assembly and designed to Japan. This led to a two-hour documen- fi t and respect the architectural features tary, broadcast prime-time on NHK. of the cathedral. The new location of the When the instrument was set up in organ in the lower gallery found an im- our assembly hall, we held a weekend pediment in the tribune; this upper gal- open house. This event, published on lery was necessary to the structure of the our website and in local newspapers, was building itself and could not be removed. hugely successful, as we were visited by In order to solve this problem, we de- an unexpectedly large number of inter- cided to divide the organ in three parts; ested parties. each was placed as follows: the Positiv —Andrea Mascioni (Rück) in the foreground in an 8′ case, Mascioni Organi the Great right behind in a 16′ case, with Azzio (VA), Italy the Recitativo on the top, slightly in the Tel. +39.0332.630605 back. Two large openings were made in www.mascioni-organs.com the upper gallery in order to place the Pedal section in the rear. Mascioni Organi The casework follows the architec- Tokyo Cathedral tural lines of the church with great verti- Manual I – Positiv (Rück) cal structures, which are divided in the ′ upper part to allow better light. Rods in 8 Bordone Mascioni Organi, Tokyo Cathedral 8′ Principale polished brass, placed on both sides of 2 2⁄3′ Sesquialtera II the casework, follow the inclination of 2′ Ripieno III the walls and create a special “sail ef- 8′ Cromorno fect.” The weight of this instrument, at Italian stops (Antegnati) least 12 tons, required the gallery to be 8′ Principale Italiano strengthened by adding a further steel 4′ Ottava support structure to the existing fl oor. 2′ Decimaquinta 1 ′ The tonal design, meant to combine 1⁄3 Decimanona 4′ Flauto in VIII° both liturgical and artistic needs, was de- 8′ Voce Umana (dal C3) veloped by Lorenzo Ghielmi. The organ Tremolo of the Cathedral of Tokyo is one of the few instruments in Japan on which music Manual II – Great can be played in a different environment 16′ Principale than in a concert hall; here the sounds 8′ Principale are clear and transparent, meant to re- 4′ Ottava 2 ′ verberate in this church. The Japanese 2⁄3 Quinta 2′ Ottava customer expressly requested Italian 2′ Mistura V characteristics for some stops of the Pos- 2 ⁄3′ Cimbalo III itiv, modeled after the family Antegnati 8′ Flauto a camino (Italian organbuilders, XVIth century). 4′ Flauto a cuspide 2 They wanted a modern, versatile instru- 2⁄3′ Nazardo 3 ment on which an extensive repertoire 1⁄5′ Terza could be played as well as one suited for 8′ Tromba liturgical requirements. Manual III – Recitativo (enclosed) The lightness of the action, in spite of 16′ Bordone the large dimensions of the instrument, 8′ Bordone allows the organist a perfect control of 8′ Viola da Gamba the touch. The slightly unequal tem- 4′ Principale Keydesk perament (fi ve pure fi fths, fi ve fi fths 1/6 4′ Flauto of a comma narrow, two fi fths 1/12 of a 2′ Flauto 8′ Cornetto III–V comma narrow) gives beauty to the over- ′ all sound, allowing the use of all keys. In 2 Ripieno IV 16′ Dulziana order to settle the extended temperature 8′ Tromba and humidity fl uctuations, typical of the 8′ Oboe Japanese weather conditions and known 4′ Clarone to adversely affect the wooden struc- tures, a self-adjusting system for the me- Pedal chanical action was applied to prevent 32′ Subbasso 16′ Contrabasso unwanted movement of the keys. ′ A special free-system was employed 16 Violone 16′ Subbasso to literally “hang” the organ onto a steel 8′ Basso rod running from one side to another of 8′ Bordone the church walls in order to leave the or- 4′ Principale 2 gan free to shake during earthquakes but 2⁄3′ Mistura IV prevent collapsing. 16′ Tromboni Lorenzo Ghielmi played the inau- 8′ Tromba gural concert for an audience of 1,200, 4′ Tromba including representatives of the Italian Mechanical couplers Embassy of Japan, the Apostolic Nuncio, III/II and the archbishop of the city of Tokyo. I/II Japanese National Television (NHK) re- III/Ped corded a program that showed the work II/Ped in progress. On three different occasions, a team of four engineers was fi lmed Manual/pedal compass 58/30 Tokyo Cathedral
30 THE DIAPASON
Jan 2011 pp. 28-30.indd 30 12/9/10 11:59:41 AM Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH David Spicer, with handbells, Super Bell XIX; Pickle Piano & Church Organs This calendar runs from the 15th of the month of First Church of Christ, Wethersfi eld, CT 4 pm NEW YORK issue through the following month. The deadline is Kent Tritle, Renée Anne Louprette, & Nan- Bloomingdale, IL the fi rst of the preceding month (Jan. 1 for Feb. cianne Parrella, works of Alain; Church of St. issue). All events are assumed to be organ recitals Ignatius Loyola, New York, NY 4 pm unless otherwise indicated and are grouped within John Scott; St. Thomas Church Fifth Avenue, each date north-south and east-west. •=AGO chap- New York, NY 5:15 pm Christopher Babcock ter event, • •=RCCO centre event, +=new organ Brink Bush; Washington National Cathedral, dedication, ++= OHS event. Washington, DC 5:15 pm St. Andrew’s by the Sea, Information cannot be accepted unless it speci- Vann Quinn; St. Peter’s Episcopal, Charlotte, fi es artist name, date, location, and hour in writ- NC 4:30 pm, Evensong at 5 pm Hyannis Port ing. Multiple listings should be in chronological order; David Arcus; Duke Chapel, Duke University, please do not send duplicate listings. THE DIAPA- Durham, NC 5 pm St. David’s, South Yarmouth SON regrets that it cannot assume responsibility for Thomas Murray; Trinity Cathedral, Columbia, the accuracy of calendar entries. SC 5 pm •Charleston Chapter AGO, Schumann Opp. 56–60; First (Scots) Presbyterian, Charleston SC 7:30 pm UNITED STATES Gail Archer; Lutheran Church of the Redeem- East of the Mississippi er, Atlanta, GA 7 pm John Bernthal; St. Mary of the Lake Catholic Church, Gary, IN 3 pm 15 JANUARY Chelsea Chen; Olson Chapel, Trinity Interna- James David Christie, masterclass; The tional University, Deerfi eld, IL 3 pm Community Church of Vero Beach, Vero Beach, Richard Hoskins, with Gaudete Brass; St. FL 9:30 am Chrysostom’s, Chicago, IL 2:30 pm Leonard Danek, with St. Anthony Brass Quin- 16 JANUARY tet and Two Rivers Chorale; Shepherd of the Dean W. Billmeyer GAVIN BLACK Motets of Palestrina and Lassus; Corpus Hills Lutheran, Shoreview, MN 4:30 pm Princeton Early Keyboard Center Christi Church, New York, NY 4 pm University of Minnesota Kevin Kwan; St. Thomas Church Fifth Av- 31 JANUARY 732/599-0392 enue, New York, NY 5:15 pm Marilyn Keiser, service playing and impro- Eric Plutz; Grace Church, Newark, NJ 4 pm visation workshop; St. John Presbyterian, New Minneapolis 55455 • [email protected] www.pekc.org Craig Williams; Washington National Cathe- Albany, IN 7 pm dral, Washington, DC 5:15 pm James David Christie, with harp; Faith Lu- 1 FEBRUARY theran, Sarasota, FL 4 pm Jonathan Ryan; Austin Auditorium, Wingate Fred Vipond; Madonna della Strada Chapel, University, Wingate, NC 7:30 pm Byron L. Blackmore THOMAS BROWN Loyola University, Chicago, IL 3 pm UNIVERSITY 2 FEBRUARY Crown of Life Lutheran Church PRESBYTERIAN CHURCH 19 JANUARY Susanna Faust; Camp Hill Presbyterian, Sun City West, Arizona Russell Weismann; St. Luke Catholic Church, Camp Hill, PA 12:15 pm CHAPEL HILL, NORTH CAROLINA McLean, VA 1 pm 623/214-4903 ThomasBrownMusic.com 3 FEBRUARY 20 JANUARY Christa Rakich, harpsichord; First Church, Charles Sherman, harpsichord; First Church, Boston, MA 12:15 pm Boston, MA 12:15 pm Christopher Jennings, with violin; St. James’ Church, New York, NY 3 pm David Chalmers 21 JANUARY The Trinity Choir; Trinity Church, New York, DELBERT DISSELHORST Tom Sheehan; Emmanuel Church, Chester- NY 7:30 pm Concert Organist town, MD 7:30 pm GLORIÆ DEI CANTORES Professor Emeritus 4 FEBRUARY John Scott; Christ Church, Rochester, NY Orleans, MA University of Iowa–Iowa City 22 JANUARY 8 pm Thomas DeWitt; Morrison United Methodist, •David Briggs; Christ Church, Bradenton, FL Leesburg, FL 2 pm 8 pm Huw Lewis, with Grand Rapids Symphony; Cathedral of St. Andrew, Grand Rapids, MI 5 FEBRUARY JAMES DORROH, AAGO, PhD STEVEN EGLER 8 pm Artis Wodehouse, harmonium; Ann Good- Saint Luke’s Episcopal Church Central Michigan University man Recital Hall, Kaufman Center, New York, First Presbyterian Church 23 JANUARY Samford University NY 8 pm Mt. Pleasant, Michigan 48858 Daniel McKinley; Church of the Advent, Bos- Handbell workshop; Concordia University, Me- Birmingham, Alabama ton, MA 4:30 pm, Evensong at 5 pm quon, WI 9 am SOLO Shelly-Egler Evensong; Cathedral of St. John the Divine, Organ Consultant Organ Recitals RECITALS Flute and Organ Duo New York, NY 4 pm 6 FEBRUARY Iris Lan; St. Thomas Church Fifth Avenue, Jehan Alain tribute concert; South Church, New York, NY 5:15 pm New Britain, CT 3 pm Organist / Pianist Lee Dettra; Washington National Cathedral, Choral Evensong; Cathedral of the Incarna- JOHN FENSTERMAKER Washington, DC 5:15 pm tion, Garden City, NY 4 pm Diane Meredith Belcher; Old St. Paul’s Katherine Meloan; Community Church of Michael Gailit Church, Baltimore, MD 7 pm TRINITY-BY-THE-COVE www.gailit.at Douglaston, Douglaston, NY 4 pm offi [email protected] Paul Jacobs; Hayes Barton United Methodist, Gail Archer, Franz Liszt: A Hungarian Rhap- Raleigh, NC 3 pm sody; St. Jean Baptiste, New York, NY 3 pm NAPLES, FLORIDA Konservatorium Wien University Gail Archer; Christ Church, Bradenton, FL Andrew Henderson; Madison Avenue Pres- University of Music, Vienna 4 pm byterian, New York, NY 3 pm Scott Dettra; St. Thomas Church Fifth Av- 24 JANUARY enue, New York, NY 5:15 pm Music Dissepolta; Trinity Lutheran, New York, Bruce Neswick, masterclass; Miller Chapel, JAMES HAMMANN NY 7 pm Princeton Theological Seminary, Princeton, NJ Julia Brueck; Elliott Chapel, Presbyterian 10 am DMA-AAGO Homes, Evanston, IL 1:30 pm Kristian Schneider; Washington National Ca- thedral, Washington, DC 5:15 pm University of New Orleans 25 JANUARY Mark King; St. John’s Episcopal, Hagerstown, Chapel of the Holy Comforter Stephen Tharp, lecture-recital; Brick Presby- MD 7 pm terian, New York, NY 7 pm Ken Cowan; Whitley Auditorium, Elon Univer- sity, Elon, NC 3 pm 26 JANUARY Douglas Cleveland; Wertheim Performing Renaissance choral concert; Church of the As- Arts Center, Florida International University, Mi- ANDREW HENDERSON, DMA cension, New York, NY 8 pm ami, FL 4 pm WILL HEADLEE Evensong; Christ Church Grosse Pointe, 1650 James Street Madison Avenue Presbyterian Church 27 JANUARY Grosse Pointe Farms, MI 4:30 pm New York, NY Sylvia Berry, harpsichord; First Church, Bos- Douglas Reed; First Presbyterian, Evansville, Syracuse, NY 13203-2816 ton, MA 12:15 pm IN 4:30 pm, Evensong at 5 pm (315) 471-8451 www.andrewhenderson.net David Shuler; Church of St. Luke in the Fields, J. Craig Sproat; Concordia University, Me- New York, NY 8 pm quon, WI 3:30 pm Bruce Neswick, hymn festival; St. John’s Anthony & Beard (Ryan Anthony, trumpet Episcopal, Tallahassee, FL 7 pm and Gary Beard, organ); Church of the Holy LORRAINE BRUGH, Ph.D. Spirit, Lake Forest, IL 4 pm 28 JANUARY Aaron Goen; St. Peter’s Episcopal, Charlotte, 7 FEBRUARY Associate Professor NC 8 pm Todd Wilson; National City Christian Church, David Higgs; St. Andrew’s Episcopal Cathe- Washington, DC 7 pm University Organist dral, Jackson, MS 7:30 pm 8 FEBRUARY Valparaiso University 29 JANUARY Anthony Williams; Ransdell Chapel, Camp- Valparaiso, IN Nicole Marane, with narrator and percussion; bellsville University, Campbellsville, KY 8 pm www.valpo.edu Peachtree Road United Methodist, Atlanta, GA 10 am 9 FEBRUARY Choral Evensong; Cathedral of the Incarna- 219-464-5084 30 JANUARY tion, Garden City, NY 4 pm Choral Evensong; All Saints, Worcester, MA Christopher Creaghan; Church of St. Igna- [email protected] 5 pm tius Loyola, New York, NY 7 pm
JANUARY, 2011 31
Jan 2011 pp. 31-35.indd 31 12/9/10 12:01:41 PM Choral concert; Church of St. Ignatius Loyola, Schubert, Mass in G; Basilica of the National MICHELE JOHNS New York, NY 8 pm Shrine of Mary, Queen of the Universe, Orlando, Brian Jones FL 7 pm A.Mus.D 10 FEBRUARY Lynne Davis; All Saints Episcopal, Atlanta, Balint Karosi, harpsichord; First Church, Bos- GA 7:30 pm Organ — Harpsichord Director of Music Emeritus ton, MA 12:15 pm Karen Beaumont; St. John’s on the Lake, Mil- The University of Michigan TRINITY CHURCH Dongho Lee, masterclass; Thomas Recital waukee, WI 7 pm School of Music BOSTON Hall, Carson-Newman College, Jefferson City, TN 7:30 pm 23 FEBRUARY Handel, Israel in Egypt; Carnegie Hall, New 11 FEBRUARY York, NY 8 pm Isabelle Demers; St. Petersburg College, St. KIM R. KASLING JAMES KIBBIE Petersburg, FL 7:30 pm 24 FEBRUARY Dongho Lee; Thomas Recital Hall, Carson- Leon Schelhase, harpsichord; First Church, D.M.A. The University of Michigan Newman College, Jefferson City, TN 7:30 pm Boston, MA 12:15 pm St. John’s University Ann Arbor, MI 48109-2085 Tom Trenney, pipe organ introductory classes Jonathan Ryan; Church of the Holy Family, 734-764-1591 FAX: 734-763-5097 for children; Hiram Christian Church, Hiram, OH, New York, NY 7:30 pm Collegeville, MN 56321 9:30 am, 10:45 am email: [email protected] Tom Trenney, silent fi lm accompaniment; 25 FEBRUARY Bates Hall, Hiram College, Hiram, OH 7 pm Frank Crosio; Cathedral of the Incarnation, God’s Trombones; Cathedral Church of St. Garden City, NY 8 pm Paul, Detroit, MI 7:30 pm Jeremy David Tarrant, Poulenc Concerto; David K. Lamb, D.Mus. Kevin Seal; Chapel of St. Thomas Aquinas, Cathedral Church of St. Paul, Detroit, MI 7:30 University of St. Thomas, St. Paul, MN 8:15 pm pm Director of Music/Organist Cathedral Ringers Handbell Choir; Cathedral First United Methodist Church 12 FEBRUARY Church of the Advent, Birmingham, AL 12:30 ORGAN CONSULTANT Columbus, Indiana Chanson; St. Barnabas Episcopal, Greenwich, pm www.gabrielkney.com 812/372-2851 CT 8 pm •Marilyn Keiser; First Presbyterian, Neenah, Thomas Murray; St. James’ Church, New WI 7:30 pm York, NY 3 pm Nigel Potts, with piano; Christ & St. Stephen’s 26 FEBRUARY Episcopal, New York, NY 5 pm Joan Lippincott; Verizon Hall, The Kimmel David Lowry TENET; St. Ignatius of Antioch Episcopal, New Center, Philadelphia, PA 3 pm York, NY 7 pm Georgia Boy Choir; Peachtree Road United ARTHUR LAMIRANDE THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD +Haig Mardirosian; Sykes Chapel, University Methodist, Atlanta, GA 7:30 pm [email protected] 1512 BLANDING STREET, COLUMBIA, SC 29201 of Tampa, Tampa, FL 7 pm +Craig Cramer; St. Aloysius Catholic Church, DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY Gail Archer; St. Bartholomew’s Episcopal, At- Baton Rouge, LA 7 pm www.youtube.com/watch?v=WTkDk-cX1X4 ROCK HILL, SC 29733 lanta, GA 7 pm Todd Wilson; St. Rose Catholic Church, Per- 27 FEBRUARY rysburg, OH 7 pm Nathan Laube; Mead Chapel, Middlebury Col- lege, Middlebury, VT 3 pm 13 FEBRUARY David Spicer, with Alfred E. White Chorale, Barry Rose, Junior Choristers concert; Grace spirituals; First Church of Christ, Wethersfi eld, James R. Metzler Church, New York, NY 4 pm CT 4 pm Park Congregational Church Paul Weber; St. Thomas Church Fifth Avenue, Renée Anne Louprette; Church of St. Igna- Grand Rapids, Michigan New York, NY 5:15 pm tius Loyola, New York, NY 4 pm Alan Morrison, Bach Clavierübung III; Prince- Colin Lynch; St. Thomas Church Fifth Av- www.youtube.com ton Theological Seminary, Princeton, NJ 4 pm enue, New York, NY 5:15 pm TheCathedralOrganist Jochanan van Driel; Washington National Singing Boys of Pennsylvania; Bordentown Cathedral, Washington, DC 5:15 pm Regional Middle School, Bordentown, NJ 3 pm Gerre Hancock, hymn festival; St. Martin’s Lorenz Maycher; Holy Trinity Lutheran, Lan- Lutheran, Annapolis, MD 4 pm caster, PA 4 pm Christopher Houlihan; St. Paul’s by-the-Sea Karen Christianson; Washington National LEON NELSON Episcopal, Jacksonville, FL 4 pm Cathedral, Washington, DC 5:15 pm A.S.C.A.P. +Haig Mardirosian; Sykes Chapel, University Kyle Ritter; St. Peter’s Episcopal, Charlotte, FELLOW, AMERICAN GUILD OF ORGANISTS University Organist of Tampa, Tampa, FL 2 pm NC 4:30 pm, Evensong at 5 pm North Park University Clive Driskill-Smith; Sandersville United James David Christie; Old First Church, Tal- 345 SADDLE LAKE DRIVE Methodist, Sandersville, GA 2 pm lahassee, FL 3 pm ROSWELL-ATLANTA, GEORGIA 30076 Chicago, Illinois (770) 594-0949 Bryan Anderson, Pat Crowe, Weston Jen- John Scott; First Presbyterian, Gainesville, nings; First Presbyterian, Evansville, IN 4 pm FL 4 pm Raymond & Elizabeth Chenault; Cathedral Raúl Prieto Ramírez; Hyde Park Community Church of the Advent, Birmingham, AL 4 pm United Methodist, Cincinnati, OH 4 pm Bill Aylesworth, John Bryant, Don Mead, Choral concert; St. Peter in Chains Cathedral, DOUGLAS O’NEILL BEDE JAMES PARRY Kirstin Synnestvedt, Chris Urban, & Gary Cincinnati, OH 3 pm Cathedral of the Madeleine Wendt; First Presbyterian, Arlington Heights, IL Choral Evensong; Cathedral Church of St. ALL SAINTS’ CHURCH 4 pm Paul, Detroit, MI 4 pm Salt Lake City, Utah Richard Hoskins, with sopranos, counter- tenor, and viole de gambe; St. Chrysostom’s, [email protected] AS EGAS EVADA 16 FEBRUARY 801/671-8657 L V , N Organized Rhythm (Clive Driskill-Smith, or- Chicago, IL 2:30 pm gan and Joseph Gramley, percussion); Union College Memorial Chapel, Schenectady, NY 28 FEBRUARY 7:30 pm Harry van Wijk; Elliott Chapel, Presbyterian MARILYN MASON Carol Feather Martin; St. Luke Catholic Homes, Evanston, IL 1:30 pm CHAIRMAN, DEPARTMENT OF ORGAN Church, McLean, VA 1 pm UNIVERSITY OF MICHIGAN UNITED STATES 17 FEBRUARY ANN ARBOR West of the Mississippi Jean Rife, harpsichord; First Church, Boston, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it MA 12:15 pm with awesome technique and a thrilling command of its daring writing.” The American Organist, 1980 15 JANUARY 18 FEBRUARY •Gail Archer, masterclass; Cherry Creek Ahreum Han; Emmanuel Church, Chester- Presbyterian, Englewood, CO 9 am town, MD 7:30 pm Barbara MacGregor, with trumpets and tim- 16 JANUARY SYLVIE POIRIER pani; Holy Trinity Lutheran, Akron, OH 8 pm Evensong; St. John’s Cathedral, Denver, CO LARRY PALMER Christopher Young; St. Paul’s Episcopal, In- 3:30 pm dianapolis, IN 7:30 pm Christoph Tietze; Cathedral of St. Mary of the Professor of PHILIP CROZIER Brian Luckner; Cathedral of St. Joseph the Assumption, San Francisco, CA 3:30 pm ORGAN DUO Workman, La Crosse, WI 7:30 pm •Robert Plimpton; St. Gregory’s Episcopal, Harpsichord and Organ Long Beach, CA 4 pm 3355 Queen Mary Road, Apt 424 19 FEBRUARY Craig Cramer; All Souls Episcopal, San Di- Meadows School of the Arts Raúl Prieto Ramírez; Spivey Hall, Morrow, ego, CA 4 pm Montreal, H3V 1A5, P. Quebec GA 3 pm SOUTHERN METHODIST UNIVERSITY Canada 17 JANUARY 20 FEBRUARY Carol Williams; Spreckels Organ Pavilion, (514) 739-8696 Dallas, Texas 75275 Rob Richards, with cartoonist; Merrill Audito- Balboa Park, San Diego, CA 2 pm Fax: (514) 739-4752 rium, Portland City Hall, Portland, ME 2 pm Christopher Marks; Madison Avenue Presby- 18 JANUARY Musical Heritage Society recordings [email protected] terian, New York, NY 3 pm Sarah Hawbecker; Boe Memorial Chapel, St. Sarah Carlson; St. Thomas Church Fifth Av- Olaf College, Northfi eld, MN 7 pm enue, New York, NY 5:15 pm Clive Driskill-Smith; Chevy Chase Presbyte- 20 JANUARY rian, Washington, DC 4 pm Mary Preston, with Dallas Symphony; Meyer- Robert McCormick; Washington National Ca- son Symphony Center, Dallas, TX 8 pm thedral, Washington, DC 5:15 pm A four-inch Professional Card James Moeser; Duke Chapel, Duke Univer- 21 JANUARY sity, Durham, NC 5 pm Mary Preston, with Dallas Symphony; Meyer- in THE DIAPASON Evensong; Christ Church Grosse Pointe, son Symphony Center, Dallas, TX 8 pm Grosse Pointe Farms, MI 4:30 pm The American Boychoir, with Houston Boy- For rates and specifi cations Allison Boccia; Madonna della Strada Cha- choir; Christ the King Lutheran, Houston, TX pel, Loyola University, Chicago, IL 3 pm 7:30 pm contact Jerome Butera James Welch, all-Bach recital; California Poly- 21 FEBRUARY technic University, San Luis Obispo, CA 8 pm 847/391-1045 Minnesota Boychoir; Cathedral of St. Paul, St. Paul, MN 7:30 pm 22 JANUARY [email protected] Mary Preston, with Dallas Symphony; Meyer- 22 FEBRUARY son Symphony Center, Dallas, TX 8 pm Peter Richard Conte; Church of the Resur- James David Christie, masterclass; Califor- rection, New York, NY 8 pm nia State University, Fresno, CA 10 am
32 THE DIAPASON
Jan 2011 pp. 31-35.indd 32 12/9/10 12:02:07 PM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Chelsea Chen; Christ Church, Eureka, CA The American Boychoir, with Albuquerque Boy 7:30 pm Choir; Central United Methodist, Albuquerque, Stephen G. Schaeffer NM 4 pm ROBERT L. 23 JANUARY Brent Hylton; Holsclaw Hall, University of Ari- Recitals – Consultations Steve Gentile & Diana Lee Lucker; Wayzata zona, Tucson, AZ 7 pm Cathedral Church of the Advent SIMPSON Community Church, Wayzata, MN 3 pm Christoph Tietze; Cathedral of St. Mary of the Ken Cowan; Cathedral Basilica of St. Louis, Christ Church Cathedral Assumption, San Francisco, CA 3:30 pm Birmingham, Alabama St. Louis, MO 2:30 pm 1117 Texas Avenue Legend Singers Chorale Ensemble; Second www.AdventBirmingham.org Houston, Texas 77002 Presbyterian, St. Louis, MO 4 pm 31 JANUARY The American Boychoir; First Presbyterian, Ruth Draper; St. James Cathedral, Seattle, Kingwood, TX 4 pm WA 7:30 pm Isabelle Demers; St. Andrew’s Episcopal, Stephen Tappe Amarillo, TX 7 pm 1 FEBRUARY Mary Preston, with Dallas Symphony; Meyer- The American Boychoir, with Tucson Arizona Organist and Director of Music Beal Thomas son Symphony Center, Dallas, TX 2:30 pm Boys Chorus; St. Andrew’s Presbyterian, Tuc- Saint John's Cathedral Baltimore Dong-ill Shin; Broadway Baptist, Fort Worth, son, AZ 7 pm Denver, Colorado TX 4 pm [email protected] Erik Floan, with trumpet; Thomsen Chapel, 2 FEBRUARY www.sjcathedral.org St. Mark’s Cathedral, Seattle, WA 2 pm Candlemas Evensong; All Saints’ Episcopal, Mark Brombaugh & Kathryn Nichols; Christ Las Vegas, NV 7 pm Episcopal, Tacoma, WA 4 pm Christoph Tietze; Cathedral of St. Mary of the RGAN USIC OF THE PANISH AROQUE 4 FEBRUARY O M S B Assumption, San Francisco, CA 3:30 pm Chanticleer; Cathedral Basilica of St. Louis, St. James David Christie; California State Uni- Joe Utterback versity, Fresno, CA 3 pm Louis, MO 8 pm David Troiano Carol Williams; Walt Disney Concert Hall, Los Ensemble Pearl; St. John’s Cathedral, Denver, DMA MAPM COMMISSIONS & CONCERTS Angeles, CA 7:30 pm CO 3:30 pm 586.778.8035 732 . 747 . 5227 [email protected] 24 JANUARY 5 FEBRUARY Ken Cowan, workshop; Cathedral Basilica of Tom Trenney, workshop; Countryside Com- St. Louis, St. Louis, MO 7:30 pm munity Church, Omaha, NE 10:30 am Bálint Karosi; Episcopal Church of the Trans- fi guration, Dallas, TX 7:30 pm 6 FEBRUARY David Wagner The American Boychoir, with Austin Girls’ David Gell, works of Handel; Trinity Episco- DMA Kevin Walters Choir; Episcopal Church of the Resurrection, pal, Santa Barbara, CA 3:30 pm Austin, TX 7 pm Madonna University M.A., F.A.G.O. Carol Williams; Spreckels Organ Pavilion, Livonia, Michigan 7 FEBRUARY Balboa Park, San Diego, CA 2 pm Carol Williams; Spreckels Organ Pavilion, [email protected] Rye, New York 26 JANUARY Balboa Park, San Diego, CA 2 pm The American Boychoir; Howard Payne Uni- versity, Brownwood, TX 5:30 pm 8 FEBRUARY The American Boychoir, with SDG Kids; St. 27 JANUARY Luke’s United Methodist, Midland, TX 7 pm KARL WATSON Cherie Wescott The American Boychoir, with Chorus Abilene Concerts • Masterclasses • Coaching Youth Chorus; St. Paul United Methodist, 10 FEBRUARY SAINT LUKE’S Abilene, TX 7 pm Kristina Langlois; St. Barnabas Lutheran, 405/942-3958 Plymouth, MN 3 pm 28 JANUARY METUCHEN e-mail: [email protected] VocalEssence; Central Lutheran, Minneapolis, 11 FEBRUARY MN 8 pm Angela Kraft Cross; Church of the Incarna- Leonard Danek, with St. Anthony Brass Quin- tion, Santa Rosa, CA 6 pm tet and Two Rivers Chorale; Christ Presbyterian, Edina, MN 7:30 pm James Welch; Aspen Community Church, As- Davis Wortman The American Boychoir; First Presbyterian, pen, CO 7:30 pm RONALD WYATT Canadian, TX 7:30 pm James David Christie; First Presbyterian, 12 FEBRUARY St. James’ Church Trinity Church Santa Fe, NM 5:30 pm Raúl Prieto Ramírez; American Evangelical Galveston Lutheran, Prescott, AZ 4 pm New York 29 JANUARY Christopher Houlihan; Sondheim Center for 13 FEBRUARY the Performing Arts, Fairfi eld, IA 7:30 pm The American Boychoir; Lovers Lane United Carol Williams; Ed Landreth Auditorium, Tex- Methodist, Dallas, TX 4 pm Charles Dodsley Walker, FAGO as Christian University, Fort Worth, TX 7:30 pm Scott Davis; Bates Recital Hall, University of Ken Cowan, lecture; Edythe Bates Old Recital Artist-in-Residence Founder/Conductor Texas, Austin, TX 4 pm Saint Luke’s Parish Canterbury Choral Society Hall, Rice University, Houston, TX 1 pm, recital Isabelle Demers; Gold Canyon United Meth- at 7 pm 1864 Post Road 2 East 90th Street odist, Gold Canyon, AZ 3 pm •Kurt Lueders, lecture on Cavaillé-Coll; Darien, CT 06820 New York, NY 10128 Clint Kraus; Edmonds United Methodist, Ed- Dumke Hall, University of Utah, Salt Lake City, (917) 628-7650 (212) 222-9458 UT 2 pm monds, WA 3 pm •Jesse Eschbach; Tabernacle, Salt Lake City, Jonathan Young; Grace Lutheran, Tacoma, UT 7:30 pm WA 3 pm Mark Brombaugh; Kane Hall, University of William Webber, C.A.G.O. 30 JANUARY Washington, Seattle, WA 3 pm Houston Chamber Choir; South Main Baptist Cherry Rhodes; The Neighborhood Church, Organist/Director, First Christian Church, Danville, KY Church, Houston, TX 4 pm Palos Verdes Estates, CA 4 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
RUDOLF ZUIDERVELD Illinois College, Jacksonville House Organist First Presbyterian Church, The Bushnell Memorial Hartford Springfi eld
Cathedral of St. John Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581, ext. 106
Maxine Thévenot Director of Cathedral Music & Organist
JANUARY, 2011 33
Jan 2011 pp. 31-35.indd 33 12/9/10 12:02:24 PM Alison Luedecke, with Millennia Consort; Dong-ill Shin; Christ United Methodist, Plano, Houston Chamber Choir; The Rothko Chapel, 9 FEBRUARY Torrey Pines Christian Church, San Diego, CA TX 7 pm Houston, TX 8 pm James O’Donnell; St. Botolph without Ald- 5 pm Paul Jacobs, with orchestra; Segerstrom Hall, gate, London, UK 7 pm 21 FEBRUARY Orange County Performing Arts Center, Costa 14 FEBRUARY Carol Williams; Spreckels Organ Pavilion, Mesa, CA 8 pm 13 FEBRUARY Carol Williams; Spreckels Organ Pavilion, Balboa Park, San Diego, CA 2 pm Alexander Ffi nch; Westminster Cathedral, Balboa Park, San Diego, CA 2 pm 26 FEBRUARY London, UK 4:45 pm 24 FEBRUARY Houston Chamber Choir; The Rothko Chapel, 19 FEBRUARY Maury Castro; St. Olaf College, Northfi eld, 15 FEBRUARY Gail Archer, masterclass; St. Olaf Church, MN 8:15 pm Houston, TX 8 pm Robin Jackson & Maureen McAllister; Minneapolis, MN 10 am Paul Jacobs, with orchestra; Segerstrom Hall, Paul Jacobs, with orchestra; Segerstrom Hall, Solihull School, Solihull, West Midlands, UK Bradley Hunter Welch; First United Method- Orange County Performing Arts Center, Costa Orange County Performing Arts Center, Costa ist, Waxahachie, TX 7:30 pm Mesa, CA 8 pm Mesa, CA 8 pm 7:30 pm
20 FEBRUARY 25 FEBRUARY 27 FEBRUARY 20 FEBRUARY Gail Archer; St. Olaf Church, Minneapolis, Clive Driskill-Smith; St. Mark’s Episcopal, St. Ken Cowan; Recital Hall, Texas A&M Interna- Robert Quinney; Westminster Cathedral, MN 7 pm Louis, MO 7:30 pm tional University, Laredo, TX 4 pm London, UK 4:45 pm Collegium Vocale, works of Charpentier; Sec- James O’Donnell; All Saints Episcopal, Fort Robert Bates; St. Philip Presbyterian, Hous- Christopher Houlihan; Westminster United ond Presbyterian, St. Louis, MO 4 pm Worth, TX 7:30 pm ton, TX 6 pm Church, Winnipeg, MB, Canada 2:30 pm Organized Rhythm (Clive Driskill-Smith, or- gan and Joseph Gramley, percussion); Univer- 22 FEBRUARY James O’Donnell; St. Thomas Anglican ORGAN BUILDERS sity of Denver (Hamilton Recital Hall), Denver, Church, St. Catharine’s, ON, Canada 7:30 pm CO 3 pm Bradley Hunter Welch; First Congregational, 27 FEBRUARY Los Angeles, CA 4 pm L. W. BLACKINTON Paul Dean; Westminster Cathedral, London, THE NOACK ORGAN CO., INC. James Welch, works of Bach; Mission Church, and associates, inc. MAIN AND SCHOOL STREETS UK 4:45 pm GEORGETOWN, MA 01833 Santa Clara University, Santa Clara, CA 2 pm www.noackorgan.com 380 FRONT ST. EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America 28 FEBRUARY Mary Preston; Meyerson Symphony Center, Dallas, TX 12:30 pm Organ Recitals martin ott pipe organ company INTERNATIONAL inc. ALEXANDER ANDERSON, Paisley Abbey, Paisley, Scotland, June 16: Dialogue 7408 Somerset Ave. St. Louis, MO 63105 sur les Grands Jeux, Duo sur les Tièrces, 314-504-0366 Phone 16 JANUARY En taille à 4, Fugue à 5, Récit (Pange Lin- 314-569-3879 Fax Martin Baker; Westminster Cathedral, Lon- Martin Ott [email protected] gua), de Grigny; Komm, heiliger Geist, BWV Orgelbaumeister www.ottpipeorgan.com don, UK 4:45 pm 651, An Wasserfl üssen Babylon, BWV 653b, Christ, unser Herr, zum Jordan kam, BWV 19 JANUARY 684, Toccata and Fugue in F, BWV 540, NEW INSTRUMENTS Martin Ellis; Temple Church, London, UK Bach; Le Banquet Celeste, Messiaen; Fan- MAINTENANCE 1:15 pm tasia on the Chorale Ad nos ad salutarem RESTORATIONS Parkey undam, Liszt. 974 AUTUMN DRIVE OrganBuilders 22 JANUARY ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs David Pether, Poulenc, Organ Concerto; BR. BENJAMIN BASILE, C.PP.S., ABR 847-395-1919 Reading Town Hall, Reading, UK 1 pm with David Plebanski, narrator, First F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 Suite 150-285 Fax 770-368-3209 Congregational Church, Michigan City, www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com 23 JANUARY IN, June 30: March Pontifi cale, Gou- Tim Wakerell; Westminster Cathedral, Lon- nod, arr. Schehl; Andante Pastorale, don, UK 4:45 pm Stephens; The Battle of Trenton (A Sonata Dedicated to General Washington), Hewitt; Pipe Organ Craftsmen & Builders 26 JANUARY Intermezzo on an Irish Air, Stanford; Fan- tasy and Fugue in a, BWV 561, Bach. Hupalo GF David Humphreys; Temple Church, London, 1785 Timothy Drive, Unit 4 UK 1:15 pm & San Leandro, CA 94577 JAMES RUSSELL BROWN, Holy Name Repasky Tel: 510 483 6905 Cathedral, July 4: Prelude and Fugue in b, www.hupalorepasky.com 28 JANUARY BWV 544, Schmücke dich, o liebe Seele, BWV Denis Bédard; Holy Rosary Cathedral, Van- 654, Bach; Jesus Christus, unser Heiland, couver, BC, Canada 8 pm Tunder; Annum per Annum, Pärt; America, the Beautiful, Hampton; Toccata and Fugue sound INSPIRATION 30 JANUARY in d/D, op. 59, Reger. Small Choirs Festival; The Drive Methodist Acoustical Design & Testing • Organ Consultation & Church, Ilford, UK 3 pm JEEYOON CHOI, ROBERT GANT, Inspection • Organ Maintenance & Tuning • Sound & Video Jonathan Hope; Westminster Cathedral, Lon- LEE KOHLENBERG, EDWARD NOR- System Design, Evaluation & Training don, UK 4:45 pm MAN, organ, and JULIA HARLOW, harp- sichord, First (Scots) Presbyterian Church, www.riedelassociates.com • (414) 771-8966 3 FEBRUARY email: [email protected] Charleston, SC, June 1: Kyrie, Gott Vater in 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Paul Derrett; Ripon Cathedral, Ripon, UK Ewigkeit, BWV 669, Christe, aller Welt Trost, 1:15 pm BWV 673, Kyrie, Gott heiliger Geist, BWV 671, Dies sind die heiligen zehn Gebot, BWV Advertise in 6 FEBRUARY 678, Wir glauben all an einen Gott, BWV 680, _ Peter Stevens; Westminster Cathedral, Lon- Vater unser im Himmelreich, BWV 682, Aus A. David Moore, Inc. The Diapason don, UK 4:45 pm tiefer Not schrei ich zu dir, BWV 686, Duetto TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
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34 THE DIAPASON
Jan 2011 pp. 31-35.indd 34 12/15/10 9:15:20 AM III, BWV 804, Fuga à 5 con Pedal pro Organo Gloria, Offertoire sur les grands jeux (Messe nage, Watson; Theme and variations, op. 115, Concerto in a, Schmücke dich, o liebe Seele, pleno, BWV 552, 2, Bach. à l’usage ordinaire des Paroisses), Sanctus Bossi; Première Arabesque, Debussy, transcr. Fugue in E-fl at, Bach. (Messe propre pour les couvents), F. Cou- Roques; Toccata-Studio, Esposito. CRAIG CRAMER, Dom, Speyer, Ger- perin; Offertoire in ré majeur, G. Couperin. MARIJIM STOCKTON THOENE, with many, May 30: Introduction, Scherzo und JAY PETERSON, Sinsinawa Mound, vocalist and reader, Olive Drive Church, Ba- Fuge über B-E-A-T-E, Zahnbrecher; Intrada, RACHEL GRAGSON, Grace Episco- Sinsinawa, WI, July 14: Variations on Veni kersfi eld, California, June 17: Suite Médiévale, Tanz, Nachtanz, Tantz, Proportio, Curanta, pal Church, Charleston, SC, June 10: Suite Creator, op. 4, Durufl é; Variations on Jesus, Langlais; Choral I in E, Franck; Luttes (Trois Final, Danz Beurlin, Nachtanz, Tannz ‘Jesu de Deuxième Ton, Clérambault; Naïades Priceless Treasure, Walther; Four Sketches, Dances), Alain; Habakkuk, op. 434, Hovhaness. Du zartes Lämblein’, Proportio, Tantz, Nach- (Pièces de Fantaisie, op. 55, no. 4), Adagio op. 58, Schumann; Kyrie, God Holy Spirit, tanz (Linzer Orgeltabulaturbuch); Wondrous (Troisième Symphonie, op. 28), Carillon de BWV 671, Lord Jesus Christ, Be Present E. RODNEY TRUEBLOOD, CARL L. Love: Variations on a Shape-note Hymn, op. Westminster (Pièces de Fantaisie, op. 55, no. Now, BWV 655, We All Believe in One God, ANDERSON, MARK L. WILLIAMS & 34, Barber; Salutation, Petition and Acclama- 6), Vierne; Alléluias sereins d’une âme qui Creator, BWV 680, Bach; Pastorale, Adagio, NINA S. GREGORY, First Christian Church tion on Salve Regina, Trapp; Air with Varia- desire le ciel, Transports de joie d’une âme Final (Symphony in D, op. 13, no. 2), Widor. (Disciples of Christ), Elizabeth City, NC, July tions (Suite), Sowerby; Zweite Sonate d-moll, devant la gloire du Christ qui est la sienne 18: Now Thank We All Our God, Kellner; op. 60, Reger. (L’Ascension), Messiaen. ERIK REINART, St. James United Church, Rhapsody on American Hymntunes for Organ Montreal, QC, Canada, June 22: Adagio, Alle- Duet, Callahan; Cantilene, Archer; Sonata IV PHILIP CROZIER, St. James United DAVID JENKINS, Shrine of Our Lady of gro (Voluntary No. 2 in G), Walond; Komm, for Flute and Organ, Handel; Toccata on O Church, Montreal, QC, Canada, June 29: Guadalupe, La Crosse, WI, June 13: Batalla heiliger Geist, BWV 651, Allein Gott in der Filii et Filiae, Farnam; Prelude and Fugue in Sketch in C, op. 58, no. 1, Schumann; O Gott, Imperial, Cabanilles; Fantasy in f, KV 594, Höh sei Ehr, BWV 663, Bach; Adagio (3ème E-fl at, Bach; Partita on St. Anne, Manz; Cer- du frommer Gott, BWV 767, Bach; Fugue in Mozart; Ave Maris Stella, de Grigny; Won- Symphonie, op. 28), Vierne; Toccata et fugue emonial March, Williams; The Vesper Bell, Agate; Contemplation, Williams; Toccata, B-fl at, Fugue in D, W.F. Bach; Elfes, op. 7, drous Love, variations on a shape-note hymn, en fa majeur, BWV 540, Bach. no. 11, Bonnet; Pastorale, op. 19, Franck; op. 34, Barber; Toccata, Fugue, and Hymn on Dubois; Variations on Down Ampney for or- gan duet, Wold; The Holy City, arr. Williams. Variations sur ‘Nous chanterons pour toi, Sei- Ave Maris Stella, op. 28, Peeters. CHERRY RHODES, Loyola University, gneur’, Bédard. Chicago, IL, June 20: Pièce héroïque, Franck; JENS KORNDÖRFER, St. James United PAUL WEBER, First United Methodist DOUG DeFOREEST, Church of the 4 piezas para la Misa, Lidón; Adagio and Church, Appleton, WI, June 9: Prelude and Church, Montreal, QC, Canada, June 15: Vol- Fugue in c, K. 546, Mozart, transcr. Guillou; Incarnation, Santa Rosa, CA, June 11: Idyl, untary, Selby; Pièce d’orgue, BWV 572, Bach; Fugue in A, BWV 536, Bach; Variations on Greensleeves (Four Carol Preludes), Adora- Symphonic Poem No. 4, Orpheus, S. 98, Liszt, Mein junges Leben hat ein End, Sweelinck; Pilgerchor (Tannhäuser), Wagner, arr. Liszt; transcr. Guillou; The Primitives, Those Amer- Choral in b, Franck. tion (Four Prayers in Tone), Brigg Fayre (Folk Allegretto (Sonata in e-fl at, op. 65), Parker; Tone Poems for the Organ), Lento (Partita icans, At the Ballet, Everyone Dance (Five on the Easter Chorale ‘Christ ist erstanden’), Carillon, Sowerby; Marche Héroïque, op. 74, Dances), Hampton. THOMAS WEISFLOG, with Wylie Craw- Fanfare (A Trio of Contrasts), Purvis. Lemare; Nocturne, Finale—The Offering ford and James Fackenthal, carillon, Motet (Organ Book III), Albright. SISTER M. ARNOLD STAUDT, OSF, Choir, and University Symphony Orchestra, JOAN DeVEE DIXON, Sinsinawa Mound, with Michaela Galles, OSF, narrator, Sinsin- Rockefeller Memorial Chapel, Chicago, IL, Sinsinawa, WI, July 7: Aria, Have No Fear, MASSIMO NOSETTI, Église Saints- awa Mound, Sinsinawa, WI, June 30: Prelude June 5: Sonatine II for Carillon, van Balkom; Little Flock, O That I Had a Thousand Voices, Anges, Lachine, QC, Canada, April 25: and Fugue in d, Buxtehude; Three Medita- Concerto for Organ, Strings and Timpani in g, Pastorale (Partita on St. Anne), God of Grace, Fanfare, Cook; Passacaille en Do mineur, tions for Organ, Goemanne; Exodus: A Bibli- Poulenc; Ad Sciendam . . ., Ran; Andante Sos- Manz; Short Voluntary, Worgan; Pastorale, C. BWV 582, Bach; Scherzo en Sol mineur, op. cal Sonata, Visser; Rubrics, Locklair; Carillon tenuto (Symphonie Gothique), Widor; Singet Wesley; Voluntary in G, Heron; Aria, Toccata, 49, no. 2, Bossi; Romance (Symphonie No. of Westminster, Vierne. dem Herrn ein neues Leid, BWV 225, Bach; Strejcs; My Favorite Things, Edelweiss, Wed- 4, op. 32), Vierne; Finlandia–Poème Sym- God Is Gone Up, Finzi; Der Fluyten Lust-hof, ding March (The Sound of Music), Rodgers & phonique, op. 26, Sibelius, transcr. Fricker; JARED STELLMACHER, St. Joseph van Eyck; Tu es Petra, Mulet; Gloria, Sanctus, Hammerstein, arr. Dixon; Polka from Zlonice, Canto nostalgico, Matthey; Etude Héroïque, Catholic Church, Appleton, WI, June 10: Benedictus (Mass in g), Vaughan Williams; I Dvorák; Dry Bones, Church in the Wildwood, op. 38, Laurin. Prelude and Fugue in E-fl at, BWV 552, Bach; Was Glad, Parry. Variations on Give Me That Old Time Reli- First Church, Nashua, NH, May 2: Coro- Sonata Eroica, op. 94, Jongen. gion, arr. Dixon; Abide with Me, Diemer. nation March from Le Prophète, Meyerbeer, ANTHONY WILLIAMS, Bethel Method- transcr. Best; Passacaglia in c, BWV 582, PETER SZEIBEL, organ and harpsichord, ist Church, Charleston, SC, June 2: Fantasy CAROLYN SHUSTER FOURNIER, Bach; Saeta no. 4, Torres; Rondo (Flöten-Con- Sinsinawa Mound, Sinsinawa, WI, June 23: and Fugue on ‘My Lord, What a Morning’, Église Saint-Gervais, Paris, France, July 3: cert, op. 55), Rinck; Finlandia —Symphonic Komm, Heiliger Geist, Herre Gott, An Was- Simpson; Prelude on ‘Were You There?’, Sow- Chacone en sol mineur, L. Couperin; Kyrie, Poem, op. 26, Sibelius, transcr. Fricker; Badi- serfl üssen Babylon, French Suite No. 2 in c, erby; Spiritual Suite, Taylor.
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POSITIONS PUBLICATIONS/ PUBLICATIONS/ PUBLICATIONS/ AVAILABLE RECORDINGS RECORDINGS RECORDINGS
Shadyside Presbyterian Church, 5121 Harpsichord Technique: A Guide to Expres- The OHS Catalog is online at www.ohscatalog. The Organ Historical Society has released Westminster Place, Pittsburgh, PA, 15232- sivity, Second Edition, by Nancy Metzger. org. More than 5,000 organ and theatre organ Historic Organs of Indiana, 4 CDs recorded at 2116. Web: www.shadysidepres.org. Director Book, organ, harpsichord CDs at author’s CDs, books, sheet music, DVDs and VHS vid- the OHS National Convention in Central Indiana of Music Ministry, full time, including organist/ website, best prices. www.rcip.com/ eos are listed for browsing and easy ordering. in July, 2007. Nearly 5 hours of music features choir director. A complete job description can musicadulce. Use a link for adding your address to the OHS 31 pipe organs built between 1851–2004, by be found at the above website, then by open- Catalog mailing list. Organ Historical Soci- Aeolian-Skinner, Skinner, Henry Erben, Felge- ing “A Worshipping Community”, then “Music”, ety, Box 26811, Richmond, VA 23261. E-mail: maker, Hook & Hastings, Kilgen, Kimball, and then “Dir. Music Posting”. Résumé, referenc- [email protected]. many more builders. Performers include Ken es, and a brief statement of faith may be sent The OHS Press has released Organbuild- Cowan, Thomas Murray, Bruce Stevens, Carol to [email protected], or to Peter ing Along the Erie and Chenango Canals: Williams, Christopher Young, and others. A 40- Alvinza and George N. Andrews of Utica, Bodnar at the street address above. Refl ections: 1947–1997, The Organ Depart- page booklet with photos and stoplists is includ- New York by OHS Archivist Emeritus, Ste- ment, School of Music, The University of Michi- ed. OHS-07 4-CD set is priced at $34.95 (OHS phen L. Pinel. The Andrews story, spanning gan, edited by Marilyn Mason & Margarete members, $31.95) plus shipping. Visit the OHS nearly 100 years, begins in Waterville, New Service Technician—Berghaus Pipe Organ Thomsen; dedicated to the memory of Albert Online Catalog for this and over 5,000 other or- York in 1834, when Alvinza Andrews began Builders, Bellwood, IL, seeks experienced, reli- Stanley, Earl V. Moore, and Palmer Christian. gan-related books, recordings, and sheet music: building organs. It covers the fi rm’s work in able technician who can tune skillfully, perform Includes an informal history-memoir of the organ www.ohscatalog.org. Utica after 1852 along the Erie Canal, and basic voicing and maintenance, and trouble- department with papers by 12 current and former concludes in Oakland, California, where the shoot problems. Occasional travel, reliable faculty and students; 11 scholarly articles; remi- fi rm relocated in 1886. Included are 53 pho- transportation, and valid driver’s license re- niscences and testimonials by graduates of the PIPE ORGANS quired. E-mail [email protected] or tographs, fi ve tables, lists of the fi rm’s work, department; 12 appendices, and a CD record- fax 708/544-4058; www.berghausorgan.com. and an appendix featuring facsimiles of two FOR SALE ing, “Marilyn Mason in Recital,” recorded at the nineteenth-century promotional catalogs. Visit National Shrine of the Immaculate Conception www.organsociety.org for more information. in Washington, DC. $50 from The University of Compact Rieger 26-rank 2-manual (61), pedal ″ ″ 1 1 ″ PUBLICATIONS/ Michigan, Prof. Marilyn Mason, School of Music, (32). 66 x 88 x 87 ⁄2–90 ⁄2 tall. Contact alison@ millenniaconsort.com, 858/945-5549. RECORDINGS CD Recording, “In memoriam Mark Bux- Ann Arbor, MI 48109-2085. ton (1961–1996).” Recorded at Église Notre- New Year’s Resolution for 2011: Join our Dame de France in Leicester Square, London, 1981 Lauck Residence Organ—2-manual, 3 free e-mail list to receive announcements of between 1987 and 1996. Works of Callahan, Historic Organs of Seattle: A Young Yet Vi- ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe new restorations of great organ music. Also, Widor, Grunewald, Salome, Ropartz, and brant History, the latest release from OHS, is a TC 49. Unifi ed to 19 stops. Expression, tremu- learn Thayer’s Variations on Auld Lang Syne, Boëllmann, along with Buxton’s improvisa- four-disc set recorded at the 2008 OHS national lant, combination action. Natural ash casework: available now at michaelsmusicservice.com; tions. $15 postpaid: Sandy Buxton, 10 Beach- convention, held in the Seattle, Washington 94″ high, 72″ wide, 24″ deep. Movable. Presently 704/567-1066. view Crescent, Toronto ON M4E 2L3 Canada. area. Nearly fi ve hours of music feature historic being restored. $18,000. Lauck Pipe Organ Co. 416/699-5387, FAX 416/964-2492; e-mail organs by Aeolian-Skinner, Casavant, Hook & 269/694-4500; e-mail: [email protected]. [email protected]. Hastings, and Hutchings-Votey, Kilgen, Tallman, Wayne Leupold Editions new publications in- Woodberry, Hinners, Cole & Woodberry, plus in- clude the Clavier-Übung III of the complete Bach struments by Flentrop, C. B. Fisk, and Rosales, Beautiful Dobson tracker organ: Excellent organ works, the Anthology of Eighteenth-Cen- Recordings of chants that will be in the new and Pacifi c Northwest organbuilders Paul Fritts, sound! 12 stops with 8′ Principal. 13′19″ tall. tury Spanish Keyboard Music, and new compo- English-language edition of The Roman Missal Martin Pasi, John Brombaugh, Richard Bond, $236,000. Richard Wanner, Berkeley, California. sitions by Samuel Adler, Chelsea Chen, Carson are on the National Association of Pastoral Mu- and many more! Renowned organists Douglas 510/841-4382. See www.dobsonorgan.com/html/ Cooman, Pamela Decker, Robin Dinda, João sicians (NPM) website. The settings are pro- Cleveland, Julia Brown, J. Melvin Butler, Carol instruments/op62_berkeley.html or www.organ- Wilson Faustini, Calvin Hampton, Dennis Janzer, vided for study purposes in preparation for the Terry, Bruce Stevens, and others are featured clearinghouse.com/instr/detail.php?instr=2396. Bálint Karosi, Rachel Laurin, Austin Lovelace, implementation of the new Missal on the First in live performances on 24 pipe organs built be- Margaret Sandresky, Larry Visser, and many Sunday of Advent, November 27, 2011. Each tween 1871 and 2000. Includes a 36-page book- others. Numerous transcriptions are available, of sung part of the Mass has a recording in MP3 let with photographs and stoplists. $34.95, OHS Three small pipe organs for sale. For works by Joplin, Ravel, and Rossini. For informa- format and a PDF of the text with musical nota- members: $31.95. For more info or to order: more information, please go to our website, tion: 800/765-3196; www.wayneleupold.com. tion.Visit www.npm.org/Chants/index.html. http://OHSCatalog.com/hiorofse.html. www.milnarorgan.com.
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JANUARY, 2011 37
Jan 2011 pp. 36-37.indd 37 12/9/10 12:07:21 PM *=picture +=musical examples 2010 In Review—An Index †=stoplist #=diagrams
Articles, Reports, and Reviews by author (boldface) and subject
Albert Schweitzer Organ Festival. See Spicer. McKinney, David. New Organ Music. Sept 19, Oct 18 Altamura, Italy. See Halsey. Monachino, Paul. Conference XXVII: St. Mary of the Assumption Cathedral, San American Boychoir. See Smith. Francisco, CA. July 25* Ann Arbor Summer Festival. See Byers. Music for Voices and Organ. See McCray. August, Robert. An Old Look at Schumann’s Organ Works. Sept 24–29+# National Choral Conference. See Smith. Bach. See Fiseisky. Nelson, Leon. New Handbell Music. Feb 18, Mar 18, April 18, Oct 18, Nov 19, Bedient Pipe Organ Company. See Taylor. Dec 18 Biery, Marilyn, compiler. A Tribute to Grigg Fountain upon his 90th birthday. July New Handbell Music. See Nelson. 22–24* New Organ Music. See Callahan, Collins, Herman, Kraaz, Kramer, McKinney, ______. Music with vigor, vitality and vision: An exploration of the compositions Young, Zoller. of Harold Stover. April 26–28*+ New Recordings. See Black, Couch, Heaton, Rippl, Speller, Vineer, Wagner. Biser, Larry G. The Art of Teaching: Joan Lippincott at 75. Dec 19* Nolte, John. Organbuilders and research: Another point of view. July 20–21*# Bishop, John. In the wind . . . Jan 12–13*, Feb 12–14*, Mar 12–14, April 13–14, May 13–15, June 13–14*, July 12–14*, Aug 12–14*, Sept 12, 14*, Oct 12–13*, Nov OHS National Convention. See Rippl. 13–14, Dec 12–14 On Teaching. See Black. Black, Gavin. New Recordings. Nov 18–19 Organ building. See Bishop; Nolte; Ruffatti and Angster. ______. On Teaching. Jan 13–15, Feb 14–16+, Mar 14–15, April 14–16, May Organ Historical Society. See Rippl. 15–16, June 15–16, July 15–17*, Aug 14–15+, Sept 15–17+, Oct 14–15, Nov 15– Organ pedagogy. See Black. 17+, Dec 14–16+ Organ Recitals. Jan 34–35, Feb 37, Mar 36–37, April 37, May 36–37, June 37, July 33, Book Reviews. See Bullard, David Palmer, Speller, Wood. Aug 32–33, Sept 37, Oct 33, Nov 37, Dec 36 Bossi Vegezzi. See Halsey. Bulgarian organ music. See Levi. Palmer, David. Book Reviews. Sept 18 Bullard, John M. Book Reviews. Feb 18, Oct 16, Dec 18 Palmer, Larry. Harpsichord News. Aug 10, Nov 12–13* Butera, Jerome. Editor’s Notebook. Jan 3, Feb 3, Mar 3, April 3, May 3, June 3, July ______. The Chopin Bicentennial: Celebrating at the Harpsichord? Feb 23*+ 3, Aug 3, Sept 3, Oct 3, Nov 3, Dec 3 Pasquini. See Collins. Byers, Lisa. Ann Arbor Summer Festival International Organ Series. Nov 20* Poulenc. See Ebrecht. Callahan, James. New Organ Music. June 19 Research. See Ruffatti and Angster. Campbell, Neal. Conversations with Charles Dodsley Walker. Mar 26–29* Rippl, Frank. New Recordings. Aug 16–18 ______. Conversations with Charles Dodsley Walker, Part II. June 24–29* ______. 54th OHS National Convention, July 5–10, 2009, Cleveland, Ohio. Carillon. See Swager. April 19–25* Carols. See Vogt. Ruffatti, Francesco, and Judit Angster. Organbuilders and research: Two points Chopin. See Palmer. of view. Jan 24–27*# Choral music. See McCray. ______. Organbuilders and research: A clarifi cation. Oct 21* Clavierübung III. See Fiseisky. Collins, John. An Overview of the Keyboard Music of Bernardo Pasquini (1637– St. John’s Cathedral, Denver. See Friesen. 1710). Aug 19–23+# St. Mary’s Church, Berlin. See Gailit. ______. Early Organ Composers’ Anniversaries in 2010. April 29 St. Patrick’s Church, New Orleans. See Thoene. ______. New Organ Music. Jan 17–18, Feb 18, Mar 18, May 18 Schumann. See August. Conference of Roman Catholic Cathedral Musicians. See Monachino. Sewanee Conference. See Smedley. Couch, Leon W. III. New Recordings. Dec 16–17 Sims, David. Voice Lessons: An organist’s journey to the other side of the console. Crozier, Philip. Remembering André Marchal Thirty Years Later. Nov 22–25* Aug 24–25*† Smedley, Jane Scharding. Sewanee Church Music Conference July 12–19, 2010. Durufl é. See Ebrecht. Nov 21* Smith, Domecq. A Choral Conference Reinvents Itself: 16th National Choral Con- Early organ composers. See Collins. ference, Princeton, New Jersey, September 24–26, 2009. June 20–21* Ebrecht, Ronald. Poulenc and Durufl é ‘premieres’ in Woolsey Hall at Yale Univer- Solesmes. See Jordan. sity and the Polignac organ. Jan 19–21*† Speller, John. Book Reviews. Jan 16–17, April 16–17, June 18, July 19, Nov 18 Editor’s Notebook. See Butera. ______. New Recordings. Feb 17, Mar 16–17, April 18, May 17–18, June 17, Sept 18–19, Oct 16–17 Fiseisky, Alexander. Clavierübung III of J. S. Bach: Theology in Notes and Num- Spicer, David. Albert Schweitzer Organ Festival Twelfth Anniversary. Mar 19* bers, Part I. Oct 22–25+; Part II, Nov 26–29+; Part III, Dec 27–29+ Stover, Harold. See Biery. Fountain, Grigg. See Biery. Swager, Brian. 2010 Summer Carillon Concert Calendar. June 32–33, July 28–29 Friesen, Michael. W. W. Kimball Op. 7231 Restoration, St. John’s Cathedral, Den- ver. Mar 24–25*† Taylor, Jon. Bedient update: The University of Iowa. Feb 19* Theology in Bach. See Fiseisky. Gailit, Michael. Tales of 1001 Pipes. For Mendelssohn’s organ lessons: The Wagner Thoene, Marijim. A Celebration of Joe Hoppe’s Legacy at St. Patrick’s Church, Organ at St. Mary’s Church, Berlin. Feb 24–29+†# New Orleans. Sept 20–23* Thoene, Marijim, and Lisa Byers. University of Michigan 49th Conference on Halsey, Bill. Three wonderful organs in Le Marche, Italy. Jan 22–23*† Organ Music, October 4–7, 2009. May 23–25* ______. Two Organs by Bossi Vegezzi in Altamura (Bari), Italy. May 20–22*+† Tonal fi nishing. See Sims. ______. 14th International Organ Festival, Toulouse, France. Mar 22–23* Toulouse, France. See Halsey. Heaton, Charles Huddleston. Dear Diary, 1954–1956. May 26–29* Traser, Donald R. Austin Lovelace, March 19, 1919–April 25, 2010: A Remem- ______. New Recordings. Jan 17, Feb 17, Mar 17, April 17–18, May 18, June brance. Oct 19* 17–18, July 17–18, Aug 16, Oct 17 Heaton, Charles Huddleston. See Heaton, Dear Diary. University of Iowa. See Taylor. Herman, David. New Organ Music. July 19, Aug 18 University of Michigan Historic Tour. See Huth. Hoppe, Joe. See Thoene. University of Michigan 49th Conference on Organ Music. See Thoene and Byers. Huth, Timothy. University of Michigan Historic Tour LVI: Spain (Catalonia) and France, July 7–22. Feb 20–22* Vineer, Bill. New Recordings. May 18 Vogt, Sean. The Carol and Its Context in Twentieth-century England. Dec 24–26*+ In the wind . . . . See Bishop. Voicing. See Sims. Italian organs. See Halsey. Wagner, David. New Recordings. April 17 Jordan, James. Abbey of Solesmes Celebrates 100 Years. Oct 20* Wagner organ, St. Mary’s Church, Berlin. See Gailit. Walker, Charles Dodsley. See Campbell. Kimball. See Friesen. Wood, Thomas. Book Reviews. May 16–17 Kraaz, Sarah Mahler. New Organ Music. Jan 18, Mar 18 Kramer, Gale. New Organ Music. May 18–19 Yale University. See Ebrecht. Young, Steven. New Organ Music. Jan 18, Dec 18 Labounsky, Ann. Remembering André Marchal, 1894–1980. Dec 20–23* Le Marche, Italy. See Halsey. Zoller, Jay. Mendelssohn and Me: Playing the complete organ works. Mar 20–21* Letters to the Editor. Jan 3, Feb 3, Mar 3, May 3, July 3, Dec 3 ______. New Organ Music. Feb 18, April 18, May 19, June 18–19, July 18–19, Levi, Sabin. Organ Music by Bulgarian Composers: A New Music Series Now in Aug 18, Sept 19, Oct 17–18, Nov 19, Dec 17–18 Print, Part II. June 22–23+ Lippincott, Joan. See Biser. Looking Back. Jan 12, Feb 12, Mar 12, April 13, May 13, June 12, July 12, Aug 12 Lovelace, Austin. See Traser. Marchal, André. See Crozier, Labounsky. Mendelssohn. See Gailit, Zoller. McCray, James. Music for Voices and Organ. Jan 15–16, Feb 16, Mar 15–16, April 16, May 16, June 16–17, July 17, Aug 15–16, Sept 17–18, Oct 15–16, Nov 17–18, Dec 16
38 THE DIAPASON
Jan 2011 pp. 38-39.indd 38 12/9/10 12:08:03 PM Pipe Organ Competition, Kansas City, Organ Competition, Kansas City, Joseph Co-Cathedral, Burlington, Appointments MO. June 4 MO. June 4. VT. Mar 8 Brunelle, Philip,* honored with “Lo- ______. Wins 2010 Huntsville Organ Vaught, Chelsea,* awarded second cal Legend” award, Minneapolis, MN. Competition, Huntsville, AL. June 6 place, 2010 Arthur Poister Scholar- Artz, III, F. Allen,* to Community April 8 Tarrant, Jeremy David,* celebrated ship Competition in Organ Playing, Congregational Church, Short Hills, Buzard, Stephen,* wins 2010 Arthur fi fteen years on music staff of Cathe- Syracuse, New York. July 3 NJ. Nov 6 Poister Scholarship Competition in dral Church of St. Paul, Detroit, MI. Webber, William,* honored at retire- Biery, James,* to Grosse Pointe Me- Organ Playing, Syracuse, NY. July 3 Feb 8 ment. May 10 morial Church (Presbyterian), Grosse Dalles, Rev. Dr. John A., wins Macal- Tobiassen, Arnfi nn,* wins Carlene Nei- Woolsey, John,* awarded third place, Pointe Farms, MI. Aug 4 ester Plymouth United Church 14th hart International Pipe Organ Compe- 2010 Huntsville Organ Competition, Carabetta, Samuel,* to St. John’s Epis- annual hymn contest, St. Paul, MN. tition, Kansas City, MO. June 4 Huntsville, AL. July 6 copal Church, Georgetown Parish, Aug 4 Tortolano, William,* receives Cross Yankee, Lester D., presented with Washington, DC. June 6 Dobson, Lynn,* named 2010 Out- Pro Ecclesia et Pontefi ce award, St. AGO President’s Award. Nov 6 Ciampa, Leonardo,* to Christ Luther- standing Alumnus, School of Arts and an Church, Natick, MA, and artistic Humanities, Wayne State College, director, MIT chapel organ concert Wayne, NE. June 6 series. Aug 4, 6 Gokelman, William, wins National As- Obituaries Cummings, Laurence,* to artistic di- sociation of Pastoral Musicians Mass rector, Göttingen Handel Festival. setting competition. Oct 6 Aug 6 Grab, Szymon,* wins Elizabeth Elft- Bowlus, Martha M.* Nov 10 Pearson, Kathleen Funk. Sept 10 DuBois, Peter,* to host of With Heart man Organ Competition, San Marino, Clinkscale, Martha Novak.* June 8, 10 Perry, Markwell James. Feb 8 and Voice. Sept 6 CA. June 4 Courter, John.* Aug 8 Peters, John J.* Mar 10 Filsell, Jeremy,* to artist-in-residence, Gustin, Alvin T.,* celebrated 40 years Davidson, David R. Jan 8 Proulx, Richard.* April 11 Washington National Cathedral, as organist, Beth El Hebrew Congre- Davis, John Albert Jr. July 10 Rio, Rosa.* July 10 Washington, DC. April 6 gation, Alexandria, VA. June 6 English, Clyde Neville. Oct 11 Sandresky, Clemens. Mar 10 Held, Karl,* to president of the Ameri- Hicks, James,* celebrates 25th year Fiore-Smith, Anna G. June 10 Sanger, David.* Aug 8, 10 can Boychoir School, Princeton, NJ. of service, The Presbyterian Church, Flowers, Margaret T. “Meg”. Sept 10 Schramm, Lorraine. Feb 8 July 8. Morristown, NJ. Aug 6 Gemoets, Martin Owen. June 10 Shephard, William Louis.* Sept 10 Jean, Martin,* reappointed as director, Jones, Joyce,* honored by American Gillett, Donald M.* June 10 Shoup, Mary. Mar 10 Institute of Sacred Music, Yale Uni- Guild of Organists, Fort Worth, TX. Girten, Sr. Marie Theodore, OP.* Starkjohann, Richard A. Feb 8 versity, New Haven, CT. Mar 6 May 8 Feb 8 Steffen, Sr. Cecil, OP (Edmund). Feb 8 McCarthy, Stephen,* to New England Kauffman, David, wins National As- Goemanne, Noel. May 10 Stone, Caroline B. (Casort). Dec 11 area director, Wicks Organ Company, sociation of Pastoral Musicians Mass Hamilton, Jerald.* Jan 8, 10 Stringham, Phyllis J.* April 11–12 Highland, IL. July 10 setting competition. Oct 6 Haney, John B. May 10 Szonntagh, Eugene. Sept 10 McCormick, Robert,* to St. Paul’s Par- Kehl, Roy,* honored with recital, Harvey, John Wright. May 10 Tibbs, H. Edward.* Dec 11–12 ish, K Street, Washington, DC. Aug 8 Northwestern University, Evanston, Heusinkveld, Frances M. June 10 Turvey, Kenneth Vernon. Aug 10 McNeely, Alan D.,* to sales and ser- IL. Oct 8 Hillert, Richard.* April 11 Walton, Gail.* April 12 vice director, Wicks Organ Company, Kim, JinHee,* wins Elizabeth Elftman Howell, Rev. Richard D.* April 11 Warner, Sally Slade.* Feb 8, 10 Highland, IL. April 6 Organ Competition, San Marino, CA. Howell, Richard Dunn. June 10 Wasson, Jeffrey. Mar 10 Mueller, Thomas,* to First Congre- June 4 Hutton, John “Jack” Jr. July 10 Weaver, William. Nov 10 gational Church, United Church of Labuda, Berghold,* receives third Kehl, Ruth F. Mar 10 Werle, Floyd Edwards.* Oct 11 Christ, Camden, ME. Feb 5 prize, International Organ Competi- Kimble, Walter Daumont. Nov 10 White, Richard Thornton. May 12 Nelson, Leon,* to Southminster Pres- tion Mainz, Dec 6 Linzel, August “Ed”, Jr.* May 12 Whitten, Jerry P. Aug 10 byterian Church, Arlington Heights, Lee, Dongho,* wins National Young Loriod, Yvonne. Feb 8 Wicks, Allan.* April 12 IL. Nov 6 Artists Competition in Organ Perfor- Lovelace, Austin C.* June 10 Wolfersteig, Robert Frederick. Dec 12 Northway, Dennis,* to regional repre- mance. Sept 8 MacGowan, William Bernard. May 12 sentative for service and sales, John- Liegéon, Samuel,* awarded third prize, Paul Buzard Pipe Organ Builders. Leipzig International Organ Improvi- Dec 6 sation Competition. Jan 4 Organ Stoplists O’Donnell, James,* to president of the Lynch, Colin,* wins 2010 First Presby- Royal College of Organists (U.K.). terian Church National Organ Play- Dec 6, 8 ing Competition, Fort Wayne, IN. Andover Lauck Park, Shi-Ae,* to assistant organist, May 6 Peter Griffi n Residence, Harpswell, ME. Karl Schrock Residence, Kalamazoo, Christ Church Cathedral, Lexington, Marle-Ouvrard, Baptiste-Florian,* 2/12*, July 28 MI. 2/5*, Dec 32 KY. Oct 6 wins Leipzig International Organ Im- Pickering, David,* to assistant profes- provisation Competition. Jan 4 Berghaus Lewis & Hitchcock sor of music, Kansas State University, Ohki, Mari,* receives second prize, In- St. Jerome Catholic Parish, Oconomo- Christus Victor Lutheran Church, Balti- Manhattan, KS. Oct 6 ternational Organ Competition Mainz, woc, WI. 3/65*, Nov 1, 30–31 more, MD. 2/5*, Sept 32 Quinn, Iain,* to Director of Music and Dec 6 College Tutor, College of St. Hild and Ostermann, Jared,* receives second Bigelow Marceau St. Bede, Durham University, UK. prize, Fifth Miami International Or- St. Paul Lutheran Church (ELCA), Dav- Trinity Parish Episcopal Church, Seattle, May 8 gan Competition, Miami, FL. June 3 enport, IA. 2/42*, Aug 28 WA. 3/56*, Aug 1, 26–27 Sheridan, John,* to interim director of Park, Song Yi, awarded second place, music and organist, Christ Episcopal 2010 First Presbyterian Church Na- Buzard Nichols & Simpson Church, New Brunswick. NJ. Oct 6 tional Organ Playing Competition, Hayes Barton United Methodist Church, First Presbyterian Church, Birmingham, Sisley, Todd, to acting editor and ad- Fort Wayne, IN. May 6 Raleigh, NC. 3/52*, Dec 1, 30–31 MI. 4/64*, Oct 28 vertising manager of The American Payne, Rev. Dr. Pamela, receives hon- Renovation of Rieger, Maxwell Street Moorings Presbyterian Church, Naples, Organist. Jan 8 orable mention, Macalester Plymouth Presbyterian Church, Lexington, KY. FL. 3/63*, June 32 Stoltzfus Berton, Peter,* to St. John’s United Church 14th annual hymn 2/30*, Dec 1, 30–31 West Side Presbyterian Church, Ridge- Episcopal Church, West Hartford, contest, St. Paul, MN. Aug 4 wood, NJ. 3/59*, May 32 CT. Oct 6 Pogorzelski, Ronald G., presented Fabry Symons, Craig Scott,* to First Congre- with AGO President’s Award. Nov 6 First Presbyterian Church, Lincoln, IL. Parkey gational Church, Old Greenwich, CT. Potter, Bronwyn,* honored at retire- 2/17*, Jan 30 First Presbyterian Church, Gainesville, Oct 6, 8 ment after 63 years as organist and GA. 3/41*, Mar 1, 30–31 Trautman, Mark,* to St. Paul’s Church, choir director, Greensboro United Glück Englewood, NJ. Oct 8 Church of Christ, Greensboro, VT. Park Avenue United Methodist Church, Richards, Fowkes Wachner, Julian,* to Trinity Wall Street, Aug 8 New York, NY. 3/42*, June 1, 30–31 The Episcopal Church of the Trans- New York, NY. Sept 6 Roberts, Clayton,* receives third prize, fi guration, Dallas, TX. 3/47*, Sept 1, Weaver, James M.,* to executive direc- Fifth Miami International Organ Goulding & Wood 30–31 tor, Organ Historical Society. Dec 8 Competition, Miami, FL. June 3 First United Methodist Church, Rocky Romeri, John and Karen,* awarded Mount, NC. 3/58*, 1/12, Feb 1, Rieger Avis Blewett Award by St. Louis AGO 30–31 Cathedral Church of St. Peter, Regens- chapter. Aug 8 burg, Germany. 4/109*, Jan 1, 28–29 Scoggin, Robert,* honored by Mayo Juget-Sinclair Honors and Clinic and for artistic and cultural Musée de l’Amérique française, Québec Salmen achievement, Rochester, MN. April 10 City, QC, Canada. 1/14*, Nov 32 United Church of Christ-Congregation- Competitions Scott, Dorothy,* honored at retirement al, Yankton, SD. 3/46*, July 1, 26–27 following 67 years of service, Merid- Kegg First Congregational Church, Boulder, Baglivi, Anthony, honored at retire- ian Street United Methodist Church, Christ Episcopal Church, Eureka, CA. CO. 3/51*, July 27 ment with establishment of scholar- Indianapolis, IN. April 10 3/32*, Feb 32 ship. Jan 6 Simpson, Robert,* receives title of Church of St. Gabriel the Archangel, Schlueter Barberino, Stefano,* awarded second Canon for Music, Christ Church Ca- Saddle River, NJ. 3/31*, April 1, New York Avenue Presbyterian Church, prize, Leipzig International Organ thedral, Houston, TX. Mar 8 30–31 Washington, DC. 3/62*, May 1, 30–31 Improvisation Competition. Jan 4 ______. Receives 2010 Chorus Baskeyfi eld, David,* wins Fifth Miami America Michael Korn Founders Knight/Rosales Schoenstein International Organ Competition, Mi- Award for Development of the Profes- Christ the King Lutheran Church, Wal- TMI – The Episcopal School of Texas, ami, FL. June 3 sional Choral Art. Sept 8 nut, CA. 2/12*, Sept 32 San Antonio, TX. 2/20*, Oct 1, 26–27 Baumgartner, Balthasar,* wins fi rst Smith, Gregory Michael,* wins fourth prize, International Organ Competi- annual Anthem Competition, First Konzelman Wicks tion Mainz, Dec 6 Baptist Church, Worcester, MA. May 6 St. Francis Episcopal Church, Stamford, Bethel Lutheran Church, Rochester, Benda, Jacob,* awarded second place, Swann, Frederick, presented with CT. 2/24*, Jan 30 MN. 3/59*, May 32 2010 Huntsville Organ Competition, AGO Edward A. Hansen Leadership Larchmont Avenue Presbyterian Church, Huntsville, AL. July 6 Award. Nov 6 Larchmont, NY. 3/49*, Mar 32 Zamberlan Bideler, Nicholas,* awarded third Tan, Aaron,* awarded second place, Christ, Prince of Peace Parish, Ford City, place, Carlene Neihart International Carlene Neihart International Pipe PA. 2/36*, Dec 32
JANUARY, 2011 39
Jan 2011 pp. 38-39.indd 39 12/9/10 12:08:21 PM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011
The Choir of Saint Thomas Church, NYC John Scott, Director Available 2012
*=European artists available 2010-2011 and 2011-2012 Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young