THE DIAPASON FEBRUARY, 2008
First Presbyterian Church Lexington, Kentucky Cover feature on pages 30–31
Feb 08 Cover - adjusted.indd 1 1/10/08 9:37:50 AM The acclaimed young English organist William Whitehead is Organ Professor at Trinity College of Music and Music director at St. Mary’s Church, Bourne Street, both in London. Previous posi- tions included seven years teaching at the Royal Academy of Music in London, service on the music staff of Westminster Abbey and later of Rochester Cathedral, and assisting John Eliot Gardiner with the famed Monteverdi Choir. “Whitehead’s compelling He won À rst prize at the playing represents Odense International advocacy of a high Organ Competition in Denmark in 2004, order.” and holds many other (BBC Music Magazine) awards and honors. He has performed in South “Whitehead plays Africa, France, Denmark Russia, Scotland, as well with clarity and au- as extensively in Eng- thority...rhythmically land at major venues and incisive playing.” festivals including those (MusicWeb International) in LitchÀ eld, Chelten- ham, and Hampstead and Highgate. “England seems to have a knack of de- He is a graduate of Uni- versity College, Oxford, veloping young or- where he was Organ ganists who become Scholar, and of the Royal quickly proÀ cient in Academy of Music, with a further gradu- the French literature. ate degree from King’s I hope to hear more College London. Organ from this excellent teachers have included Dame Gillian Weir, Naji talent.” Hakim, David Sanger, David Hill, James (American Record Guide) O’Donnell, and David Titterington.
His seventh compact disc release, “Dances of Life and Death” on the Chandos label, won Five Stars from the magazine BBC Music, the Diapason Découverte award in France, and was his À rst entirely solo recording. His next solo CD was released by Herald late in 2007 and coincided with a feature article on the organist in the interna- tional journal Choir & Organ. striking innovative rhythms, dance, and The good news is that a comprehen- theatrics. Often during my tenure as sive organ is fi nally in place at Trinity THE DIAPASON editor in chief to the forerunner of The Wall Street, and according to the distin- A Scranton Gillette Publication American Organist (MUSIC/The AGO guished director of music, Dr. Burdick, Ninety-ninth Year: No. 2, Whole No. 1179 FEBRUARY, 2008 Magazine), I would attend concerts and “it’s the only perfect answer for a church services at both the cathedral as well as of our design and execution. It is musi- Established in 1909 ISSN 0012-2378 Trinity Parish, especially aware of the cal, organist-friendly, and of great inter- An International Monthly Devoted to the Organ, organ profi le at Trinity with its obvious est to our growing community.” the Harpsichord, Carillon, and Church Music limitations in design, placement, and less From the caverns of Manhattan’s fi - than satisfactory acoustics. nancial district in lower Manhattan, the Rick Tripodi would have us believe Trinity soundscape rises up in glory with that this organ is a “magnifi cent, historic, its magnifi cent, historic, virtual, double CONTENTS Editor & Publisher JEROME BUTERA [email protected] one-of-a-kind” formerly in the hands organ, a solid achievement for Marshall FEATURES 847/391-1045 of a “consummate musician” and pres- & Ogletree, in collaboration with the ently “in real jeopardy under the cur- towering brilliance and monumental A conversation with James Kibbie rent musical director, who has a degree leadership of Owen Burdick, Ph.D., by Joyce Johnson Robinson 21 Associate Editor JOYCE ROBINSON in electronic music.” The reality is that Trinity’s energetic, enterprising, and in- [email protected] the original instrument—as cited by the genious organist and director of music OHS 52nd Annual National Convention 847/391-1044 administration and consultants—with its for these past seventeen years. July 11–17, 2007, Central Indiana drastic reconfi gurations over the years, Peter J. Basch by Frank Rippl 24 Contributing Editors LARRY PALMER can no longer be considered an Aeolian- Hoboken, New Jersey Skinner organ! NEWS & DEPARTMENTS Harpsichord A published appraisal of the former AIO convention Letters to the Editor 3 JAMES MCCRAY instrument follows: It was with great delight to have read Here & There 3, 4, 5, 6, 8, 10 Choral Music 1) It does not deliver the musical per- the December installment of John Bish- Nunc Dimittis 6 formance of an instrument half its size. op’s “In the wind . . . ” BRIAN SWAGER Carillon News by Brian Swager 12 2) It lacks variety and tonal color in Having been to several AIO conven- Carillon both solo and accompanimental stops. tions over the years (my fi rst one was Harpsichord News by Larry Palmer 12 3) Diapason and reed choruses are in- in 1980), the one this year in Philadel- In the wind . . . by John Bishop 14 HERBERT L. HUESTIS OrganNet Forum adequate. phia was truly magical, one of the best On Teaching by Gavin Black 15 Osiris Organ Archive 4) At soft and medium volume levels I ever attended. For those 263 of us (at- www.mdi.ca/hhuestis/osiris the tone is generally bland; at high power tendance count was mentioned at one REVIEWS e-mail: [email protected] the tone is harsh and unbalanced. point during the convention) we not only Music for Voices and Organ 16 5) It lacks the most basic qualities of came away with a great learning experi- a good Anglican church organ: a warm, ence, but an opportunity to hear some Book Reviews 17 Prepress Operations DAN SOLTIS rich, noble ensemble undergirded by a instruments that one might not get to New Recordings 18 solid, deep bass. hear under the circumstances that we New Organ Music 19 6) The pipework is badly out of regu- had (such as the private concert at the THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt lation. Wanamaker’s store). NEW ORGANS 32 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. 7) Out of 105 stops, only 21 would be Personally, I always come away from Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 good enough to include in a new organ. the conventions and workshops of the CALENDAR 33 MSG RLY. E-mail:
Wesley recording to install such an instrument, when the I was pleased and gratifi ed to read the church could have had its Aeolian-Skin- Here & There recent review of my recording of organ ner restored and reconfi gured in any way works by Samuel Wesley (The Diapason, the current music director wished. Mr. October 2007, pp. 19–20). With the goal Tripodi is also quite correct when he re- The Cathedral of St. Philip, Atlanta, series: February 10, Paul Jacobs; March of giving credit where it’s due, may I men- minds us that the current music direc- Georgia, continues its music series: Feb- 2, St. Lorenz Wind Ensemble; April 25, tion one small correction? The reviewer tor will not be there forever, and pipe ruary 3, Christopher Harrell; 2/10, Leon Alleluia! Ringers; May 1–5, 2nd annual suggests that the program notes were organs generally last far longer than the W. Couch, III; 2/17, Marko Petricic; Bach Week; 5/1, Ascension Day Bach written by me. In fact, these are the work humans who play them, or should if they 2/24, David Brock; March 2, Albert Ahl- Vespers. For information: 989/652-6141; of Francis Routh, noted London-based are properly cared for. strom; 3/9, Atlanta Flute Ensemble; 3/16
FEBRUARY, 2008 3
Feb 08 pp. 2-20.indd 3 1/10/08 8:42:06 AM St. Paul, Minnesota. The program will fo- 20, Gail Archer, all Messiaen. For infor- cus on the music of Duke Ellington. For mation: 212/744-2080 x114. information:
4 THE DIAPASON
Feb 08 pp. 2-20.indd 4 1/10/08 8:42:30 AM as director of music and lecturer in litur- the Liturgy and Music of the Church.” clinician for numerous educational enti- gical music at Seabury-Western Theo- He did summer post-doctoral conduct- ties, including the Episcopal Diocese of logical Seminary from 1991 to 2004. He ing studies with Wilhelm Ehmann and California’s summer Youth Choir Camp, has been a regular guest conductor for Helmuth Rilling. Since 1996 Finster has the Evergreen Conference in Colorado, Ars Musica Chicago and has taught an- been an annual visiting fellow at St. Vlad- the Three-Choir Festival in Fort Worth, nual master classes in Gregorian Chant imir’s Orthodox Theological Seminary the Diocese of Texas Youth Choir Fes- and Renaissance and Baroque perfor- in Crestwood, New York, where he has tival, and the National Pastoral Musi- mance styles. pursued research in the liturgical theol- cians Association Conference, and was Finster began piano instruction at ogy, spirituality, and music of the Eastern a member of the Episcopal Church’s the age of fi ve, and organ at fourteen. Orthodox Church, particularly the tradi- Standing Commission on Church Music He graduated in 1961 from Occidental tions of the Russian Church. 1974–1976. He is a life member of Phi College in Los Angeles. His early organ Finster has held organist and choirmas- Mu Alpha Sinfonia Music Fraternity, an study was with Robert Pritchard and the ter positions in Episcopal, United Meth- honorary trustee of the Ruth and Clar- late Clarence Mader. Undergraduate odist, Presbyterian, and Roman Catholic ence Mader Memorial Scholarship choral study was with the late Howard S. churches in California, New York, Colo- Fund, and has been an active member Swan. Under a three-year NDEA IV fel- rado, Texas, and Illinois. The major ven- of the Association of Anglican Musicians Robert M. Finster lowship at the Eastman School of Music, ues served include a six-year tenure at and the American Guild of Organists. He Finster majored in church music, study- St. John’s Episcopal Cathedral, Denver, has served or serves on the boards of the sory capacity as director of church music ing organ with David Craighead, church and nine years at St. Luke’s Episcopal American Guild of Organists, the Royal at St. Paul’s Parish, Riverside, Illinois. In music history with the late M. Alfred Church, San Antonio. In 1976 he founded School of Church Music in America January, Finster and his wife Mary Lew Bichsel, and conducting with the late A. the Texas Bach Choir in San Antonio. The (Midwest Chapter), four Episcopal dioc- moved to San Antonio, Texas, where he Clyde Roller. He received his Master of choir of 48 professional and semi-profes- esan music and liturgy commissions, the accepted an appointment as part-time Music degree in 1963, and his DMA in sional singers toured central Europe in advisory committee for the Leadership organist and choirmaster of St. Francis church music in 1969. 1985 and again in 1990, and produced a Program for Musicians in the Episcopal by the Lake Episcopal Church in Can- In 1968 Finster was the recipient recording of the Rachmaninoff All-Night Diocese of Chicago, and the board of Ars yon Lake, Texas. of the Presiding Bishop’s Award of the Vigil (Vespers) in 1987. Musica Chicago. He is an editorial assis- While in Evanston, Finster also served Episcopal Church: “Fully qualifi ed in Finster has served as musical director- tant for Psalm Journal (“PSALM,” Pan-
thth ConcertArtistCooperative 20ANNIVERSARY
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Shin-Ae Chun Maurice Clerc Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Organist/Harpsichordist/ Interpreter/Improviser/ Recording Artist Organ Faculty and Chair Recording Artist Recording Artist Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Director of Music and Organist Titular Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Redeemer Lutheran Church St. Benigne’s Cathedral East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Clair Shores, Michigan Faculty School of Music Director, International Organ Festival St. Maria della Speranza National Conservatory Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy Dijon, France
Leon Couch Laura Ellis Faythe Freese Johan Hermans Michael Kaminski Organist/Lecturer Organist Organist/Lecturer Organist / Lecturer / Organist College Organist Associate Professor of Associate Professor of Organ Recording Artist Director of Music Ministries Assistant Professor of Organ Organ and Carillon School of Music Conservatory of Music Saint Francis Xavier Church and Music Theory University of Florida University of Alabama St. Quintinus Cathedral Brooklyn College Faculty Converse College Gainesville, Florida Tuscaloosa, Alabama Organ Concert Series St. Francis College Faculty Spartanburg, South Carolina Civic Organist Brooklyn, New York Hasselt, Belgium
Angela Kraft Cross William Kuhlman Tong-Soon Kwak David K. Lamb Maija Lehtonen Organist/Pianist/Composer/ Organist Organist Organist/Choral Conductor/ Organist/Pianist/ Recording Artist Professor of Music Emeritus Professor of Organ Oratorio Accompanist Recording Artist Organist Luther College College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Congregational Church Decorah, Iowa Yonsei University First United Methodist Church Oulu Polytechnic San Mateo, California Artistic Director Columbus, Indiana Organ and Violin Torch International Organ Academy with Manfred Grasbeck Seoul, Korea Helsinki, Finland
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
FEBRUARY, 2008 5
Feb 08 pp. 2-20.indd 5 1/10/08 8:42:57 AM Orthodox Society for the Advancement history, design and care of the organ at of Liturgical Music). Saint-Ouen. Numerous photos are in- cluded in the booklet along with notes In anticipation of the 100th anniver- by Stephen Tharp and an essay by Joe sary of the birth of Olivier Messiaen, the Vitacco on the week the JAV team spent organ studio of the University of Texas at in the town of Rouen. For information: Austin, under the direction of Drs. Ju-
Aaron David Miller
Scott Lamlein tin, Minnesota, on February 24, with the John Scott composer at the organ. United Methodist Church, Worcester, First Presbyterian Church of Lock- John Scott is featured on a new re- Massachusetts, the program includes port, New York, has commissioned a cording, On a Sunday Afternoon, Vol- works by Kodály (Organoedia ad missam new anthem based on Maltbie Babcock’s ume 7, on the JAV label. Recorded live lectam), Bach, Brahms, Shearing, Du- familiar poem, “This Is My Father’s during a recital at Washington National Christopher Houlihan rufl é (Veni creator), and Innes. Lamlein World.” Pastor Babcock was minister Cathedral on June 25, 2006, the pro- is director of music ministries at Wes- of First Presbyterian Church in the late gram includes works by Wagner, Handel, Christopher Houlihan is featured on ley UMC and is represented by Ingras- 19th century. The anthem, My Father’s Bach, Mozart, Harvey, Reger, Jongen, a new recording, Louis Vierne: Second sia Artist Management. For information: World, will be premiered this spring. A Wammes, and Vierne. For information: Symphony for Organ, on the Towerhill la-
6 THE DIAPASON
Feb 08 pp. 2-20.indd 6 1/10/08 8:43:24 AM www.ioti.com VirtuosoPIPE ORGAN CONTROL SYSTEM 877 462 4684
In 1938, the Basilica In 2007, the of St. Peter and Paul Basilica chose the in Lewiston, Maine Virtuoso Pipe Organ chose Casavant. Control System. drals and churches. In 2004, she made H. Wiley Hitchcock, musicologist, a gift of a new Holtkamp organ for the author, teacher, editor and scholar of cathedral. Dr. Cambon was interviewed American as well as baroque music, died by Marijim Thoene for The Diapason December 5 at the age of 84. In 1971 (“Her Best Friends Were Archbishops— he founded the Institute for Studies in An interview with Elise Cambon, organ- American Music at Brooklyn College ist of New Orleans’ St. Louis Cathedral of the City of New York, and in 1986 for 62 years,” October 2004). he edited, with Stanley Sadie, the New Grove Dictionary of American Music. Anita Jeanne Shifl ett Graves died He retired from CUNY in 1993 as a Dis- September 16, 2007, at age 86. Born tinguished Professor, but maintained a September 20, 1920, in Lincoln, Illinois, consulting relationship with ISAM until she attended Macalester College in St. the end. Paul, Minnesota, and earned a master’s Born on September 28, 1923, in De- degree in music at Northwestern Univer- troit, Michigan, Hitchcock earned his sity. She had worked as a church organist, B.A. in 1944 from Dartmouth College choir director and funeral home organist, and served in the military during WW and taught at Drake University and San II. After the war he studied music with Jose State University. A funeral service Nadia Boulanger at the Conservatoire was held at Campbell United Methodist Américan and at the University of Michi- W. G. Marigold Church in Campbell, California. gan, from which he earned his Ph.D. in 1954. His dissertation was on the sacred installation of a new organ by Randall Lübeck,” Dec 1969; Kay Wood Haley died July 10, 2007, music of Marc-Antoine Charpentier. Dyer in 1991. He retired as professor “A visit to Preetz, Germany,” April at age 90 in Fairhope, Alabama. Born He started teaching in 1950 at Michi- emeritus of German in 1991, and moved 1971; March 26, 1917, in Sumner, Illinois, gan and in 1961 moved to Hunter Col- to Urbana, Illinois. “Some interesting organs in Sweden,” she began playing for church services in lege in New York. A decade later he went Dr. Marigold received his musical May 1971; Flora, Alabama, at age 14. She attended to Brooklyn College and became found- training in piano, organ, and voice at the “Organs and organ music of South Stephens College in Columbia, Mis- ing director of ISAM. In his honor, the Royal Conservatory of Music in Toronto, Germany,” Oct 1974; souri, and then transferred to the East- ISAM is to be renamed the Hitchcock and in Munich. He served as organist at “Organs in Braunschweig: some prob- man School of Music, where she studied Institute for Studies in American Music. churches in Toronto, at First Method- lems of organ placement,” Aug 1982; with Harold Gleason and graduated in In addition to his work on Grove, Hitch- ist Church in Charlottesville, Virginia, “18th-century organs in Kloster Muri, 1938. From 1939–1983, Mrs. Haley was cock edited numerous publications. His where he gave an annual series of recit- Switzerland,” Feb 1986; organist at Judson College in Marion, Al- last book, Charles Ives: 129 Songs (Mu- als, and churches in Columbus, Ohio. He “Organ and church music activity in abama, and at First Baptist, First Presby- sic of the United States of America), was was heard in radio organ recitals broad- Munich during the European Year of terian, and St. Paul’s Episcopal churches, published by A-R Editions in 2004. cast by station WOSU in Columbus, and Music,” Aug 1986; all in Selma, Alabama. She helped found played on the annual Bach recital at St. “A variety of recent German organs,” the Selma Choral Society and the Selma Everett W. Leonard died June 9, Andrew’s Lutheran Church in Cham- April 1989; Civic Chorus, and helped lead the Ala- 2007, in Katy, Texas, at age 96. Born paign, Illinois. “Dyer organ for Union College, Bar- bama Church Music Workshop. March 4, 1911, in Franklin, New Hamp- Professor Marigold was an interna- bourville, KY,” Dec 1991. shire, he began piano lessons at age nine tionally known scholar of German Ba- (Dr. Marigold continued to write re- Gerald W. Herman Sr. died August and organ lessons in high school. He roque literature and music, and author views to within weeks of his death. THE 25, 2007 at age 81 in Gainesville, Florida. worked for 40 years for the U.S. Postal of fi ve books, countless articles in schol- DIAPASON will publish these reviews post- Born November 9, 1925, he began his Service in Washington, DC. In addition, arly journals (including The Diapason, humously.—Ed.) 61-year organist career on April 28, 1946, he served as organist at Central Presby- Musical Opinion, and The Organ), hun- at Rockville United Brethren Church in terian Church and Mount Olivet Meth- dreds of reviews of German literature Johnette Eakin Schuller died Sep- Harrisburg, Pennsylvania, and played for odist Church, both in Arlington, Virginia, for Germanic Notes and Reviews, and tember 21, 2007, at age 66 in Brewster, several other churches in the area. A job and at the Episcopal Church of the Good countless reviews of recordings and Massachusetts. She earned degrees from transfer with Nationwide Insurance in Shepherd, Punta Gorda, Florida, and at books for The Diapason. He was a the College of Wooster, Ohio, and the 1979 brought him to Gainesville, Florida, the Lutheran Church of the Cross, Port recipient of many research grants for Eastman School of Music. She and her where he served as organist at Kanapaha Charlotte, Florida. A longtime member study and research in Germany. husband, Rodney D. Schuller, served Presbyterian Church and then at Beth- of the AGO, he served as dean of the Dr. Marigold is survived by his wife for 31 years as ministers of sacred music lehem Presbyterian Church in Archer, District of Columbia chapter. Constance Young Marigold, whom he and organists at the Reformed Church of Florida. He is survived by his wife of 61 married on August 22, 1953. A Requiem Bronxville, New York. Johnette Schul- years, Charlotte, a daughter, and a son. W. Gordon Marigold, longtime au- Eucharist was celebrated on December ler also held positions at Andrew Price thor and reviewer for The Diapason, 1 at the Chapel of St. John the Divine in Memorial United Methodist Church in Theodore C. Herzel died Septem- died November 25, 2007, in Urbana, Il- Champaign, Illinois. Linda Buzard, parish Nashville, Tennessee; the Presbyterian ber 28, 2007, in York, Pennsylvania. Born linois. Born May 24, 1926, in Toronto, organist and choirmaster, provided music Church in Bound Brook, New Jersey; the October 10, 1927, in Conshohocken, he earned a B.A. and Ph.D. from the by Bach, Purcell, Byrd, and Willan, along Post Chapel in Fort George G. Meade, Pennsylvania, he held church positions in University of Toronto, and earned an with hymns Lobe den Herren, Aus- Maryland; and Calvary Lutheran Church Lynchburg, Virginia, and Detroit, Michi- M.A. from Ohio State University. He tria, Slane, and Darwall’s 148th. in Verona, New Jersey. gan, and served as organist-director of also studied in Munich, Germany. Dr. In addition to numerous reviews of music for 28 years at First Presbyterian Marigold taught German at the Univer- new recordings and books, Dr. Mari- Church, York, Pennsylvania, retiring in sity of Western Ontario, Trinity College gold’s Diapason bibliography includes: 1988. He earned a bachelor’s degree at Schools, the University of Virginia, and “Max Drischner and his organ writ- Here & There Westminster Choir College and a mas- at Union College in Barbourville, Ken- ings: a neglected modern,” Oct 1955; ter’s at the Eastman School of Music. He tucky. At Union College, he was a de- “Austrian church music experiences was an active member of the York AGO partment head, division chairman, and extensive revival,” May 1956; Bärenreiter announces the release chapter and the Matinee Music Club. college organist, and he supervised the “The organs at the Marienkirche at of Choralvorspiele des 19. Jahrhunderts; Band IV: Alphabetische Liederanfänge M–Z (BA 8455). 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8 THE DIAPASON
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10 THE DIAPASON
Feb 08 pp. 2-20.indd 10 1/10/08 8:44:52 AM
enormous discography. From the 1950s study she amassed an impressive collec- until his death, he released sometimes tion of autograph letters by Bizet and Carillon News four or fi ve albums a year. . . . Norman other members of his circle. On pages 13 by Brian Swager Granz, his infl uential manager and pro- and 14 she tells of Bizet’s early keyboard ducer, helped Mr. Peterson realize [his] training. success, setting loose a fl ow of records on One of his fi rst teachers was his uncle, New world-standard console in his own Verve and Pablo labels.” François Dalsarte (born 1811), who Victoria, British Columbia One of the more unusual of these Pab- taught voice at the Conservatoire. This Rosemary Laing, carillonneur of the lo records was made in Los Angeles on was in 1846 and 1847, when Bizet was Netherlands Centennial Carillon in Vic- January 26, 1976: with guitarist Joe Pass, eight and nine years old and thus too toria, British Columbia, sends news of Peterson played music from George young for admittance there. At their the installation of a new playing console. Gershwin’s Porgy and Bess in instrumen- home he shared lessons with Dalsarte’s The donor who underwrote the proj- tal arrangements for acoustic guitar and children, Bizet’s cousins. For their les- ect wished for the most part to remain CLAVICHORD. The digital re-release sons they used Dalsarte’s favorite instru- anonymous and chose August 1, 2007, of this rare duo [Original Jazz Classics ment, a harpsichord that had belonged to for the dedication ceremony and inaugu- OJCCD-829-2] was brought to my atten- Hortense de Beauharnais (1783–1837), ral recital in honor of his wife’s birthday. tion by friend Linda Raney, the director wife of King Louis Napoleon of Holland It came as a complete surprise to her, of music at First Presbyterian Church, and mother of Napoleon III [of France]. and she was moved to tears as the crowd Santa Fe, NM, who had received it as a Curtis is sometimes vague about her belted out a rousing chorus of “Happy gift from a retired Episcopal priest. sources, but I gather she found her in- Birthday” accompanied by the carillon. Not the least of the joys of this disc formation on Dalsarte in a book by his She had been told that she was attend- comes from reading the original liner student Angélique Arnaud (François ing just another museum function. It was notes by Benny Green, who relates “The Dalsarte, Paris, 1882). Victoria’s best-kept secret. The Netherlands Centennial Carillon, genesis of this album is wildly improbable, Jean-Jacques Eigeldinger, on page Several dignitaries were on hand, Victoria, British Columbia, Canada even by jazz standards. In the late summer 184 of his Chopin: Pianist and Teacher along with invited guests, the family of of 1975 Oscar Peterson talked on BBC- (translated from the French, Cambridge Carillonneur Emeritus Herman Bergink, 100th anniversary in 1967 and in recog- TV with a succession of guests whose only University Press, 1986), mentions a harp- patrons of the Royal British Columbia nition of Canada’s role in the liberation common denominator was their commit- sichord performance at a private concert Museum, and a handful of the original of the Netherlands during World War II. ment, either as amateurs or profession- in Paris on 25 December 1852. A group Dutch donors who had made the Neth- The tower stands 90 feet high, and the als, writers or performers, to problems of of Bach fugues was played on an early erlands Centennial Carillon a reality in carillon is composed of 62 bells cast by keyboard technique. One of these guests 18th-century harpsichord by one of Cho- the late sixties. The media was out in full the Petit & Fritsen Royal Bellfoundry in was Edward Heath, one-time Prime Min- pin’s students, the Norwegian Thomas force, and the carillon was featured in all Aarle-Rixtel, the Netherlands. The origi- ister of Great Britain, . . . [who] turned up Dyke Acland Tellefsen (1823–1874), this types of coverage, from live CBC radio nal 49 bells were installed in 1968, and with an instrument called the clavichord, being just over three years after Chopin’s interviews, to an article in The Globe 13 bells were added in 1971. The tower . . . an instrument that presents intrigu- death. Eigeldinger gives as his source & Mail, a national newspaper. A lavish is located on Victoria’s Inner Harbour, in ing enigmas, the most challenging of all the Revue et gazette musicale de Paris, catered reception followed the outdoor front of the Royal BC Museum and Pro- being its dulcet tonal quality which defi es 1852–1853, page 447.” ceremony and carillon recital on a lovely vincial Archives. the resources of sound recording engi- summer’s afternoon in Victoria, a gentle neers; there are times when music played Historic Harpsichordists in Hungary, breeze blowing off the water, the scent of Send items for “Carillon News” to Dr. on this instrument seems less like an act Italy, and the Czech Republic fl owers in the air. Brian Swager, c/o The Diapason, 3030 of premeditated artistic execution than a Robert Tifft (Dallas), long fascinated But for Rosemary Laing, the story be- W. Salt Creek Lane, Suite 201, Arlington musical enchantment of silence.” by the recordings of Hungarian revival gan in the dead of winter, when she was Heights, IL 60005-5025;
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12 THE DIAPASON
Feb 08 pp. 2-20.indd 12 1/10/08 8:45:24 AM You’re invited to our new home
...that is, our new home page. We’ll be launching our redesigned and improved www.rodgersinstruments.com website on February 1, 2008, with the addition of new worship resources, organ forum discussions and more. We invite you to visit us online to hear the spectacular sound of Rodgers.
Rodgers Instruments LLC A Member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 • fax 503.681.0444 Email: [email protected] On the Web: www.rodgersinstruments.com of collecting scrounging, horse trading, way to deal with the matter, and remem- fertile imagination. For example, why Jason’s wife Ruth was a classmate of and begging, I believe I have assembled bering it reminds of a happy conversa- can’t we solder together two metal cones former AGO president Roberta Bit- all of [Valenti’s] Domenico Scarlatti that tion with a distinguished fellow musi- (wide-end to wide-end) and then solder good. She was a church organist most of was ever commercially released by [the cian. Ave Albert, et vale. Q that to a narrow tapered tube to form a her life and she often held keys for Ja- company]: 359 sonatas in all.” reed resonator—the English Horn, voila! son when he was tuning. The McKowns David recently sent me eleven copied Comments or news items for these Sid claimed that he made the fi rst. were members of Centre Methodist compact discs of these exciting, intensely pages are always welcome. Please ad- Sid was 99 years old when he died, Church in Malden, Massachusetts, musical performances. It has been a tre- dress them to Dr. Larry Palmer, Division and it’s safe to say he was a little nutty. where they lived—Ruth was organist mendous “labor of love” on Dave’s part of Music, Southern Methodist University, Maybe he spent too much time alone there for some time. In 1972 the church to assemble and digitize such an exten- Dallas, TX 75275;
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14 THE DIAPASON
Feb 08 pp. 2-20.indd 14 1/10/08 8:45:51 AM and what they meant. We travel great lodic interest so that most students will Example 1 distances to hear music played on the fi nd them at least not too boring. instruments and in the acoustics known However, it is certainly true that the by the composers. (I’ve written before sooner a student can begin working with about how Widor’s “Toccata” doesn’t pedal material that is musically reward- sound the same at the First Congrega- ing, the more satisfying the experience tional Church—you name the town—as of working on pedal playing will be, and, Example 2 it does in Saint-Sulpice.) for most students, the sooner real results Ten years ago, I restored a beautiful will fl ow. The autonomy in thinking about organ built in 1868 by E. & G. G. Hook technical and logistic aspects of pedal of Boston. It was informative to fi nd the playing that a student gains by approach- pencil marks of the original builder— ing the early stages of study as outlined in they had very hard pencil leads, and they the three previous columns should enable almost always enjoy. The piece begins 15, introduced at fi rst with the notes of got them very sharp—as they gave insight that student to fi gure out how to prac- as shown in Example 1 and continues arrival being adjacent to the note just into how precisely they worked. It was tice any existing pedal part systematically for 18 measures in unbroken sixteenth played by the other foot. The point is sometimes hard to see their marks under enough to use it as the next step in learn- notes. After that it switches to eighths, that, viewed through the lens of “one modern workshop lighting—I wondered ing to play the pedals. It doesn’t matter then a mix of eighths and sixteenths. All foot at a time,” the exercise introduces how they did it without fl uorescent tubes whether such a pedal part was written as of the sixteenth-note passages are writ- intervals carefully and systematically. (In overhead. During this restoration proj- an exercise, as a pedal solo, or as part of a ten in such a way that the two feet are fact, an even more detailed analysis re- ect, the organ was 129 years old. bigger texture. It also doesn’t matter how clearly meant to alternate. Each foot veals subtleties such as fi rst introducing easy or hard—how “beginner” or “ad- thus moves at the pace of an eighth note. a new interval with the note of arrival be- Keep the flame alive vanced”—it is, as long as it is approached During eighth-note passages one foot ing an easy-to-fi nd fl at and then extend- Shortly before he died, Marcel Du- in a manner that is a logical extension of often, though not always, plays two or ing it to a harder-to-fi nd natural.) pré wrote down a lot of his personal the way that the earlier exercises were ap- more notes in a row. There is no place The eighth-note pattern that begins in and musical memories in a simple book proached—and as long as it is practiced in the piece where one foot has to move measure 19 (see Example 2) invites the entitled Recollections, published by Bel- enough, and practiced carefully enough. any faster than the speed of an eighth left foot to take on the challenge of a de- win-Mills. In the author’s preface, Du- This column is devoted primarily to ex- note. For the fi rst several measures, each scending major seventh, but also offers pré writes that he had for years ignored amples of this process. foot is asked to move almost entirely by the opportunity to practice it over and requests that he write his memoirs, but The piece known as Bach’s Pedalex- step or over the interval of a third. The over, ten times in a row! The right foot that on the occasion of his eighty-fourth ercitium, BWV 598, is a 33-measure in- left foot is fi rst asked to move over the is given intrinsically easier intervals, but birthday he received so many encourage- complete pedal solo, probably written as interval of a fourth going from measure less chance to repeat them. (Obviously ments that he acquiesced. It’s a simple an exercise, and probably written by J. S. three to measure four, and then again go- one can and should repeat, i.e., practice, small book, a quick and delightful read, Bach. (The sources are sketchy and not ing from measure six to measure seven. the whole thing, but I think that it is in- and today there are two copies available entirely clear.) In any case, it is an exer- The fi rst larger intervals than that—a teresting that the composer has built in at Amazon.com. Dupré tells stories of cise that follows an interesting technical major seventh, then an augmented oc- repetitions of the harder material.) encounters with Saint-Saëns, Fauré, and path, and it is a catchy piece that people tave (!)—occur in measures 11 through The last several measures are the most Guilmant, among others, and of course a great deal about his teacher and advo- cate, Charles-Marie Widor. While these are no more than the jotted-down mem- ories of an old man, they are of immense historical value to us. Here’s my confession. During all the time I spent with Sidney Eaton and Jason McKown, I never wrote anything down. I remember they each had special phras- es they liked to use, and particular stories they told over and over. I remember that Sid liked eating peaches, particularly be- cause he once offered me one that was so rotten I couldn’t imagine eating it. While I know I ate dozens of workday lunches with Jason, I can’t remember anything about what he liked to eat, or what he might have said about what Mr. Skin- ner liked to eat. I should have a couple notebooks full of direct recollections of Mr. Skinner and I don’t. That could have fi lled a whole lot of monthly columns. I hope that this confession in writing will spur me to take advantage of the next time I realize I’m with someone who forms a meaningful link to the past. And I hope you will not miss opportuni- ties as I have. Are you close to a former teacher who’s a generation older than you? I bet that teacher has memories of his teacher, of the installation of an im- portant organ, of an earlier generation’s opinions about musical matters. Give a gift to those who follow you. Get it writ- ten down. Or get it on tape. There are any number of pocket-sized recording gadgets available now. Invite the maître to lunch, turn on the machine, and reap an historical document that will excite and inspire future generations.
On Teaching by Gavin Black
Pedal playing, part IV: real music As stated in earlier columns, I am con- vinced that everyone works better when working on something that is of interest to them and, as much as possible, fun. Part of the point of the approach to pedal learning that I have outlined in the last three columns is to make every step of the process seem natural and comfort- able, and also engrossing. The latter is achieved in part by allowing the student to grapple with—and indeed make deci- sions about—issues of posture, leg posi- tion, foot position, and so on. (Any task is likely to be more interesting if it in- volves thinking and making judgments rather than just implementing things that someone else tells you to do.) At the same time, the exercises that I have suggested are meant to have enough me-
FEBRUARY, 2008 15
Feb 08 pp. 2-20.indd 15 1/10/08 8:46:08 AM Example 3 Example 4 Music for Voices and Organ by James McCray mixed, both rhythmically and as to inter- vals, and are also the most diffi cult, so An early Easter that the whole piece is set up almost as a graded course in pedal playing. Mea- The Christian church has designated sures 27 and 28, for example, contain foot should play which note. (In these ex- what he found easier or more natural as Sunday in various ways. It is the day of resurrection, when the boundaries of time elements of three earlier sections of the amples, those choices are not very compli- a way of dealing with the logistics of play- and space were shattered by Christ’s rising piece, and the most diverse collection of cated—almost obvious.) Second, the stu- ing the notes. (Widor was 88 years old from the dead. Each Sunday (therefore) is (one foot at a time) intervals yet. dent should practice each foot separately, when he made this recording, and it is a little Easter. A new element is introduced very near as slowly as necessary to make it seem often speculated that his age may have —Paul Westermeyer the end with the passage in Example 3 easy. This should be done without looking caused him to play the piece more slowly The Church Musician (pedaling by GB). With the pedaling that at the feet, using the approach to moni- than he would actually have wanted it I have suggested, this is a remarkably toring and correcting wrong notes that played. His tempo in the recording is As mentioned in last month’s column, smooth-feeling exercise in passing one has been outlined in the last few months’ approximately 94 quarter notes per min- Easter in 2008 bursts forth on March 23; foot over the other. columns. Each foot should be practiced ute. There is no reason to think that his thus, an early Easter is fi lled with chal- The pedal solos near the beginning more than the student or teacher thinks age would have caused him to change his lenges for the church choir director. The of Bach’s Toccata and Fugue in F Major, is necessary. If the part for each foot is pedaling choices or his articulation). rehearsals for Palm Sunday/Holy Week BWV 540, are well designed to use as practiced enough that it really becomes With this column I will leave pedal and the exit of choir members after Eas- pedal exercises. The right foot moves by second nature, then the act of putting the playing for a while. Next month’s column ter both arrive sooner than usual. the following number of steps in the fi rst two feet together, which is of course the will be about the teaching of registra- Here in the north, our Easter lilies few measures of the fi rst solo, beginning next step, will be smooth, easy, and natu- tion. I will return to pedal playing in a may be adorned with a late snow! By the at measure 55: ral, like ripe fruit falling from the tree. later column, in particular to discuss heel time you read this column, choir direc- 1-3-2-1-3-2-1-3-2-1-3-2-1-2-3-1-2-3- This is the most sound, solid way to learn playing in great detail, with thoughts tors should have chosen and distributed 1-3-5-1-4-5-1-4-5-1-3-4- a given piece or passage, and it is, most about when in the process of learning to the music, hired the extra instrumen- (where 1 means a repeated note, 2 especially, the best way to use a given pas- introduce heel playing, about its history talists, and begun rehearsals for Holy moving one step, 3 moving two steps, sage as a stepping stone towards mastery and its implications for interpretation, Week. Writing this on the fi rst week of etc.) of the pedal keyboard. and with beginning heel exercises. December to meet publication deadlines The pattern for the left foot in the The famous Widor Toccata is another A special note: Following up on Paul gives this author a cold chill. same measures is: example of a pedal line that seems al- Jordan’s three fascinating articles about Some church choirs fi nd their year 3-4-1-4-5-1-2-3-1-3-4-1-2-1-1-2-1-1- most to have been written to demon- Helmut Walcha, which recently ap- book-ended by a September Rally Sun- 2-2-1-2-1-1-2-1-1-2-3-5- strate the advantages of considering the peared in The Diapason, I have posted day and Pentecost. So this early Easter That is, both feet move primarily over feet separately in learning pedal lines. on the Princeton Early Keyboard Center results in a very early Pentecost, which very short intervals. Incidentally, the in- When the pedal enters in measure 9, website a rare and interesting record- adds to the dilemma of retaining a full terval pattern for both feet together— the interval between the fi rst two notes ing made in late 1927. The Choir of St. choir of singers. The year tends to wind that is, what the listener hears—for this is two octaves. The interval sequence for Thomas Leipzig performs the Bach mo- down quickly after Easter for volunteer passage is: the fi rst several notes of the pedal line is tet excerpt Dir, Dir Jehovah under the singers, so Easter’s March arrival results 2-2-4-6-3-2-2-2-5-7-3-2-2-2-3-5-3-2- as follows: direction of Karl Straube. The recording in a Pentecost date of May 11. Histori- 2-2-4-6-3-2-2-2-3-4-4-2-2-2-3-4-4-2-2- 15-14-14-13-13-14-14-15-15 begins with a brief improvised chorale cally, the 50 days of Easter constitute the 2-3-5-6-2-2-2-3-6-6-2-2-2-3-6-6-2-2-2- However, the sequence for the right prelude played by Walcha, who was 19 oldest season of the church year, corre- 3-5-6 foot is all 2’s, and for the left foot it is all years old and still a student at the time. sponding to the Jewish “feast of Pente- There are plenty of 2’s and 3’s, but 1’s. This same situation, or something like This is of course by far the earliest re- cost [Shavuot], which is the holy feast many larger intervals as well. it, prevails for most of the piece. When corded example of his playing, and one of seven weeks, from the Feast of the Another pedal passage in which look- the main theme appears in octaves in of the very few recordings of his impro- Unleavened Bread to the Feast of First ing at each foot by itself simplifi es things measure 50, it draws our attention to the visation. You can hear it by following the Fruits.” Directors should anticipate the quite a lot is this excerpt from the Bux- close relationship between the practice link at
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16 THE DIAPASON
Feb 08 pp. 2-20.indd 16 1/10/08 8:46:29 AM ing Pope Gregory I. In 586 Gregory was lishers Ltd (London), distributed is about 3–4 pages in length. The music tinues fi rst with the instruments dou- appointed abbot of the monastery of by Theodore Presser (512-00536), is mostly in a block-chord, syllabic style, bling the voices and fi nally in a bold ver- St. Andrew’s in Rome. The traditional $9.50 (M+). and set on two staves for the choir. There sion with the congregation joining the story is that he happened to see some “Alleluia” is the only text used in are four verses to the same music for two choir. The work closes with loud staccato beautiful Angle children put up for this contemporary, challenging setting. of the settings. The brass quintet requires eruptions of “Alleluia.” sale as slaves in Rome’s market. Struck Full voice ranges, divisi for the women, three trumpets and two trombones; they by their appearance, he asked what na- and changing meters with syncopated provide a simple accompaniment for the Christ, by Whose Death the Church tion they come from, and was told they rhythms make this a work for solid choirs. voices. The music is not diffi cult, will be on Earth Was Born, Nancy Galbraith. were Angles. “Non Angli, sed angeli (not Written as a concert piece, the music is suitable for most church choirs, and is a SATB and organ, Subito Music, 492- Angles, but angels),” said Gregory. In- very exciting, yet often has the women bargain for the cost. 00069, $1.75 (M-). spired by the sight of the Angle children, and men singing in parallel sixths. The organ part usually doubles the Gregory received permission to lead a An Easter Song of Praise, arr. A. Ste- voices. Except for one brief contrapuntal mission to England. The party had not The Lord of Victory, George Freder- ven Taranto. Unison/two-part and passage, the choir sings in homophonic gone far when Gregory was halted by ick Handel (1685–1759), arr. by Walter piano, Choristers Guild, CGA1115, chords and rhythms throughout. Easy a sign: a locust dropped onto the Bible Ehret. SATB and keyboard, Abingdon $1.85 (E). music with an interesting text. he was reading. “Locusta!” he exclaimed Press, 0687007356, $1.85 (M-). This happy German folk song’s melo- (locusta means remain in your place). This is an arrangement of the fi nal dy has been set to new words by the ar- He returned to Rome instead of leading chorus of Handel’s Resurrection Ora- ranger. Designed for children’s voices, that mission, and, thus, was soon elected torio, with the keyboard part a faithful the three verses are in unison with an op- Book Reviews Pope. Gregory I is, of course, the saint reduction of the chamber orchestra ac- tional second voice for the middle verse. who helped establish what came to be companiment. The music is easy and in Easy, diatonic music that will be useful known as Gregorian chant. Today’s choir da capo structure, with the middle sec- for those churches wanting to present a Heinrich Scheidemann’s Keyboard directors need to fi nd ways of having tion at a slower tempo. The choir sings children’s choir for Easter. Music—Transmission, Style and their singers “remain in their place” in throughout, sometimes with the women’s Chronology, by Pieter Dirksen. this early Easter year, and they too will sections singing alone. A very functional Easter Proclamation, arr. Eugene Ashgate Publishing Company 2007, be rewarded. Happy Easter, readers. Easter anthem. Butler. SATB and keyboard with op- $99.95;
Hail Thee, Festival Day, Joseph Wil- BOODY cox Jenkins. SATB, congregation, brass quartet, timpani, and organ, MorningStar Music Publishers, MSM-20-72, full score and parts, $25.00 (includes reproducible pages for the choir) (M-). Here is a work that has all the Easter bravura that choirs want, yet is very easy for the singers. The full score and parts include reproducible pages for the choir and for the congregation, so it is a real bargain. There are textual versions for Easter, Ascension, and Pentecost, mak- ing it even more useful and frugal. The music is based on the tune “Salve Festa Dies” by Vaughan Williams, which is included in various hymnals (Lutheran, Methodist, and Presbyterian). The brass and organ have signifi cant passages, in- cluding a long instrumental introduc- tion. There are four verses and each is followed by a refrain. The fi nal refrain moves into four parts; it is the only sec- tion that is not unison for the singers. The work closes with block chords of Amen and Alleluia. Here is a work that is very easy for everyone to sing, yet has ex- citing music for the instrumentalists, and also brings in the congregation. Highly recommended for choirs of all sizes! The Future of Church Music Christ Is the World’s Redeemer, John Ferguson. SATB, brass quartet, or- is in These Fingers gan, and congregation, GIA Publica- tions, Inc., G-6665, $1.60 (M). Based on the traditional Irish melody Share a 10 year-old’s sense of wonder as she first touches an organ’s keys! Delight “Moville,” this setting has four verses, in a 12 year-old’s steady concentration, as he learns the pedals. Watch a 14 year old two in unison. The brass music is easy and often provides brief interludes. The mature before your eyes during his first recital! choir has some brief divisi and moments of unaccompanied singing in the third verse. Brass parts are available separately Young people are forever changed when they play the pipe organ! Join APOBA in (G-6665INST, $12.00). A reproducible supporting AGO outreach programs to the next generation of organists! page for the congregation in included on the back cover; the congregation sings in unison on the second and fourth verses. The modal folk-melody is easy to sing. To receive information about pipe organs
Help Roll the Stone Away, Sten Half- and recognized pipe organ builders varson. SATB unaccompanied, Al- A write or call toll free 1-800-473-5270 liance Publications, Inc., AP-1540, P $1.10 (E). or on the web @ www.apoba.com There are three verses with refrain in O Associated Pipe Organ Builders of America this four-page setting, which has a feel- B ing of a spiritual. The music is syllabic, A P.O. Box 155 • Chicago Ridge, Illinois 60415 chordal, and very easy, moving primarily in half and whole notes throughout. & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT
Alleluia, Diana Burrell. SATB divisi NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP unaccompanied, United Music Pub-
FEBRUARY, 2008 17
Feb 08 pp. 2-20.indd 17 1/10/08 8:46:49 AM pupil of Sweelinck and perhaps the most reed stops. A schematic overview of the Trocadéro. A more suitable instrument station of the cross, “Jesus is stripped important predecessor of Buxtehude in manual interplay in Jesus Christus unser could hardly be found than the one that of his clothes,” again departs somewhat North Germany—along with analysis of Heiland offers much to consider regard- is used for this recording—the Cavaillé- from the emphasis of Claudel’s poem, his music, style and the instruments he ing the relative importance of the differ- Coll organ at St. Sulpice, Paris, where which is entitled “Jesus’ garments are di- would have known and played. ent manuals, and can be used as a guide Marcel Dupré himself was titulaire for vided,” and mentions the rending of the After details of the source sigla used for other chorale-based settings. nearly 40 years. veil of the Temple. The restless mood of and a catalogue of Scheidemann’s works, Each chapter is fully annotated, with The fi rst station of the cross, “Jesus is the ninth meditation is continued in a the book is divided into three parts, the notes here placed conveniently at the condemned to death,” was doubtless in- movement that emphasizes the violence fi rst of which, containing six chapters, bottom of the page to which they relate. spired by the opening of Claudel’s fi rst of the action. This leads to the eleventh discusses in great detail the several There are three appendices, the fi rst meditation, which at once identifi es the station, symbolizing “The nailing of Je- sources where his surviving works are to offering a tentative chronological clas- crucifi xion of Jesus theologically as being sus to the cross.” The feeling in this very be found, with cross references and copi- sifi cation of Scheidemann’s works. The on a cosmic plane: “It is done. We have short movement is less of violence than ous comments on the provenance of the second is a map of northern Germany of passed judgment on God, and we have of desolation, “God is no longer with us!” sources, nearly all of which are contem- the time that shows the tentative origins condemned him to death.” The somber as Claudel proclaims. The gentle, mysti- porary to him. Divided into early, mid- of the MSS and the musicians associated mood of the opening Maestoso quickly cal feeling of this movement emphasizes dle-period and late, these include metic- with them, as well as other places of rel- gives way to a brilliant and dramatic Agi- the way in which “God hangs from four ulously detailed accounts of the contents evance to Scheidemann. Also given are tato. The somber mood returns in the nails.” The gentleness then gives way, in of the MSS in Wolfenbüttel, Berlin, Zel- dates of the organists’ posts in the towns second meditation, “Jesus is given his the twelfth station, “Jesus dies on the lerfeld, Lüneburg, Pelplin and the sever- in question. The third appendix contains cross,” and the agitated feeling in turn cross,” to great drama, emphasized in al Clavierbuch anthologies that contain fragments of two works by Scheidemann gives way to a foreboding Lento, pesante. enormous crashing chords on full organ, works attributable to Scheidemann, in- preserved in the Zellertal MS that un- The fervent feeling of the movement pointing, as Claudel’s poems puts it, to cluding an account of the history of their fortunately are not known from other captures Claudel’s yearning for “the cross “the cross as a dazzling sign of God’s glo- scribes and owners. A useful summary of sources; they include the incipits to six that I have long desired” with a passion ry.” For both Claudel and Dupré what is dated pieces is included. verses of O Lux beata Trinitas and three “consummated this day in Paradise.” important about Christ’s death is that it The second part discusses the rep- verses of the Te Deum. The third station, “Jesus falls for the represents a victory over the powers of ertoire in detail, including the possible An extensive bibliography is followed fi rst time,” begins with a slow constant darkness, and for them Jesus’s death is a chronology of the works, with six chapters by a comprehensive index of Scheide- beat similar to a funeral march, inspired moment of excitement. each treating an individual genre and the mann’s works, the chorales and Latin by the opening words of Claudel’s third For the thirteenth station, Claudel fi nal chapter charting Scheidemann’s de- chants and intabulations in alphabetic meditation, “March away!” The march has “Jesus is taken down from the cross,” velopment as a composer. There is much order, the Magnifi cats, praeambula and becomes ever more unrelenting and whereas Dupré emphasizes the presence interesting information on the models dances by key. The book is well illus- insistent as the piece progresses until it of Mary, adding “and laid in Mary’s bo- on which Scheidemann based some of trated throughout, with the well-known reaches a climax on full organ and then som,” an idea that is central to Claudel’s his own compositions, such as Bull’s Gal- engraving of the subject by Fleisch- dies away into the distance. meditation, although omitted from its liard in D minor, which provided the berger having pride of place; there are The character changes dramatically title. The organ takes on a meditative impetus for Scheidemann’s own galliard numerous photos of original MSS as well with the fourth station, “Jesus meets his mood since “the Passion is over, but the in the same key; also discussed is his use as of the Catharinenkirche organ. Also mother.” This is an attractive Andante compassion continues,” as Mary dresses of similar fi guration in different pieces in of great value are the plentiful tables of cantabile on the strings with a solo on the the body with myrrh. The movement different genres (as, for example, the gal- contents of various MSS. Flûte harmonique, and it provides com- builds up to a brilliant climax that in- liard already mentioned and one of the With nothing printed in his lifetime, fort and relief from the somber mood of cludes some very fi ne virtuosic playing Magnifi cat settings). The pieces in each much of Scheidemann’s work has prob- what has gone before. Its wistful char- before dropping down into silence once genre are placed in context of similar ably been lost over the centuries, and acter seems in some ways prophetic of more. The fi nal fourteenth station, “The works by Scheidemann’s contemporaries some pieces may well have been misat- the sorrows of World War I as Claudel in body of Jesus is laid in the tomb,” has and predecessors, as well as pointing tributed in various MSS and additionally his poem addresses himself to mothers a cheerful, ebullient opening, before a out some of the features taken over by by modern editors (in particular Dirksen who have lost their fi rst and only child. more gentle mystical mood returns as the his pupil Reincken and by Buxtehude. cites two chorale fantasias from the Pelp- This is a thought that was probably very body of Jesus waits quietly in the tomb in The toccata, fantasia and secular varia- lin MS that Beckmann has published un- much in Dupré’s mind, composing the preparation for the Resurrection. tions are given extensive treatment, but der the name of Tunder), but this splen- work as he did in the years following Possessing as it does a profoundly the greatest attention is paid to the cho- did book gives the most comprehensive the Great War. In the fi fth station, “Si- theological nature, Le Chemin de la rale variation style, the central genre of information about the surviving works mon of Cyrene helps Jesus to carry his Croix is unique among Marcel Dupré’s Sweelinck’s North German pupils, and to and their sources, and also makes deeply cross,” the warmer feeling of the previ- organ compositions, and in many ways Scheidemann’s individual development insightful comments about the infl uenc- ous movement is maintained, although its character is closer to the deeply theo- of the chorale fantasias and Magnifi cat es on his work and the change in compo- with a feeling of movement and pressing logical approach of his former student cycles. The long-neglected examples of sitional techniques in the course of the ahead as Simon enables Christ’s journey Olivier Messiaen than to Dupré’s other intabulations are given due importance, 17th century. It will be essential reading to Calvary to continue. Claudel’s poem works. Stephen Tharp’s performance of the skill to improvise such still being a for all with an interest in performing the universalizes this by speaking of the way it on this compact disc is brilliant, and requirement in Hamburg in 1655. North German keyboard repertoire and that God’s help sometimes comes to us I thoroughly recommend it. Because of The third part contains special stud- is most highly recommended. at times when we feel we can continue its deeply theological nature, Le Chemin ies, including an in-depth appraisal of —John Collins no more by our own efforts. In the sixth de la Croix is not an easy work to under- the Düben tablature. Of great value Sussex, England station, Dupré has changed Claudel’s stand, and in attempting to grasp the is the discussion on the fi ngerings pre- title for the meditation: Claudel has meaning it is helpful to relate the music served in the sources, including the fi rst “St. Veronica wipes the face of Jesus,” to Claudel’s original poetic meditations. publication of the instructions for both whereas Dupré has changed this to “A If I have one criticism it is that the notes hands preserved in a MS now in Brus- New Recordings woman wipes the face of Jesus.” In doing accompanying this recording fail to do sels. These instructions are typical of so Dupré emphasizes the universality of this in any signifi cant degree. For that the Sweelinck school, concentrating Christ’s death even more than the origi- reason, in reviewing this compact disc I primarily on paired fi ngering, but also Dupré: The Stations of the Cross, nal poem does. The warmth of the fourth have gone to some pains to try to relate using continuous use of 4–1 in the LH Opus 29. Stephen Tharp, organist. and fi fth stations is continued although a Marcel Dupré’s music to the theology of ascending. A differentiation between Recorded on the Cavaillé-Coll organ sense of foreboding begins to creep back Claudel’s poem. two types of trill is important for perfor- at Saint-Sulpice, Paris, France. JAV in the form of some rather dark-sound- —John L. Speller mance, as is the fi ngering for consecutive Recordings JAV 161; ing pedal notes before the piece ends St. Louis, Missouri thirds and sixths. Another MS contains
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18 THE DIAPASON
Feb 08 pp. 2-20.indd 18 1/10/08 8:47:09 AM 73 minutes, 37 seconds, respectively. the Tomkins When David Heard. I can- the Prelude and Fugue in A Minor, the for example, Dream Steps, a dance suite Kerll (1627–1693) was active chiefl y not imagine this is the case if one were fugue being given a very brisk and perky for fl ute, viola and harp, is “ . . . to be in Munich and Vienna. His best-known hearing the group in person. tempo, and the Trio Sonata in C Major. danced, especially in small spaces, such compositions are certainly the Capriccio The second half of the disc is taken The trio sonata receives a sparkling and as art galleries,” according to the com- sopra il Cucu and the impressive Passaca- up with performances of standard reper- clear performance, although the manual poser. Don’t miss this wonderful and glia. Billeter studied in Zürich, Basel, and toire, such as S. Wesley’s elegant Blessed registration in the Largo movement suf- imaginative music. Vienna, where he was a student of Anton Be the God and Father and Stainer’s fers from too similar stops, rendering it —Charles Huddleston Heaton Heiller. He is a church organist in Zürich, How Beautiful Upon the Mountains, a a bit unclear. New York gets only one Pittsburgh, Pennsylvania where he also teaches at the university brief and lovely choral gem. Mr. Reid piece, but it’s a biggie: the Passacaglia and the Hochschule für Musik. He is plays the “Toccata” from Whitlock’s and Fugue in C Minor. It is good that the widely known as a recording artist and re- Plymouth Suite to conclude. I cannot selection of repertoire is not chronologi- citalist. Anyone performing Kerll’s works help but think that you ought to hear this cal, but obviously was chosen to please, New Organ Music has a pretty free hand in choosing both group in person. as it certainly does. tempi and registrations. While the tempi are in most cases determined, within lim- Paul Jacobs Plays Bach. Rudolph Dan Locklair Chamber Music. Vari- Dennis Johnson, Communion and its, by the music itself, the performer can von Beckerath organs in St. Paul ous combinations of fl ute, cello, Advent Medleys. Harold Flammer, choose registrations. Billeter brings an as- Cathedral, Pittsburgh; St. Michael’s piano, clarinet, violin, viola, percus- Inc., HF-5157, $6.50. tonishing array of varied and stylistically Church in New York City; and the sion, harp, organ; two CDs, Albany These pieces are divided into two appropriate registrations, which are given Dwight Memorial Chapel at Yale Records, Troy 701/2; sections: Communion Medley and Ad- in the accompanying notes. All this, to- University. JAV Recording #145;
My Spirit Rejoices. Christ Church Ca- thedral (Indianapolis) Choir of Men and Boys; Frederick Burgomaster, organist/choirmaster; Alistair Reid, assistant. Recorded in the Chapel of St. John the Divine, Champaign, Il- linois. Gothic Records, Inc. G 49115;
FEBRUARY, 2008 19
Feb 08 pp. 2-20.indd 19 1/10/08 8:47:31 AM This collection consists of the follow- a two-manual instrument. The diffi culty Marilyn Mason, has added her thoughts black keys in the pedal culminating with ing titles: Elegy, Passacaglia, Deep river, level is moderate. and ideas about the registration to those a three-note C major chord—can im- For all the Saints, I know of a sleep in —David A. Gell provided by Albright himself. Borborygm mediately bring to mind Hector Olivera Jesus’ name, Oh, what their joy and their Santa Barbara, California was commissioned by the American Guild (and Michael Lorimer), to whom it is glory must be, and Ubi caritas. A tune of Organists and premiered at the 2002 dedicated. This dance bristles with vir- index is included on the fi nal page. The national convention in Philadelphia. tuoso footwork and rhythmic energy. Its compositions in this collection follow a Samuel Adler: Wind Songs. Wayne Le- Pamela Decker’s 2004 Passacaglia on colorfully belligerent sounds are pro- romantic style and are of moderate dif- upold Editions, WL600066, $16.25. BACH is dedicated to Faythe Freese. duced by its strident harmonic language fi culty. They are quite accessible to vari- The fi rst four notes of the four-measure and registration choices. The “Pas de ous levels of players and should hold lis- William Albright: Flights of Fancy theme heard fi rst in the pedal are those deux” in memory of Leonard Raver and teners’ interest. A two-manual organ will (Ballet for Organ). C. F. Peters Cor- that spell the name BACH (namely, B- George Cree begins with the right hand provide the tonal resources required for poration, No. 67560, $35.00. fl at, A, C, B-natural). The subsequent playing four individual short notes on these pieces. notes are derived from this shape and the Cornet, while the left hand sustains William Bolcom: Borborygm. Hal are manipulated in various ways to cre- each note on a soft stop, thus producing Raymond H. Haan, Be Present Leonard, HL00220145, $12.95. ate a tightly knit theme that serves as a harmony. This effect is used through- Now—Five Hymn Meditations for the basis for this composition. The use out the piece along with glissando- Organ. MorningStar, MSM-10-566, Pamela Decker: Passacaglia on of accelerating note values is one tech- like chords and clusters. The tempo is $15.50. BACH. Wayne Leupold Editions, nique found in passacaglias to create marked ‘Lacrimoso’. The fi fth dance, The fi ve meditations in this collection WL710003, $25.00. larger sections and forward motion— “Ragtime Lullabye” to Karen McFar- are useful to church organists for service such a technique is used here. There lane, is a distinct change in mood. It is playing, and are moderately easy. The Naji Hakim: Salve Regina. Schott, are two variations in quarter notes, two sophisticated, charming and too inter- hymn tunes are clearly and completely ED9818. $12.95. in eighth notes, and two with mixed esting to use as a sleeping aid. “Shim- presented and consist of the following: eighth and sixteenth notes, at which my,” for Philip Brunelle, with its roving Beach Spring, Herr Jesus Christ, dich zu Naji Hakim’s Salve Regina was point there is a retreat to quarter notes. pedal line, has quite a bouncy charac- uns wend, Pleading Savior, Resignation, premiered by the composer in Lieb- Then there are two variations with six- ter. ‘Quasi “Hammond” solo, electric!’ and Seelenbrautigam. A two-manual or- frauenmünster, Ingolstadt, Germany, teenth notes culminating in a chorale- along with ‘swing’ are the directions for gan will accommodate these selections. on August 1, 2004. It is a meditative like quarter-note passage followed by a the sound and performance of its main work that quotes the plainsong in its free pedal solo in which both feet are melodic line. Covering a wide dynamic Raymond H. Haan, Four Quiet Hymn entirety. There is an introduction of frequently playing at the same time. range, “Hymn,” in memory of Albright’s Settings. MorningStar, MSM-10-804, three measures that is repeated and While the previous sixteenth-note mother, is written in half and whole $8.00. expanded at the end. In conclusion passage introduced thematic canons, notes, making the page look very white, This collection offers four quiet hymn there is a short melismatic cadenza and a rhythmic diminution of the theme referencing early notation. It is to be preludes and harmonizations, includ- a coda. The sound is typically French. serves as the subject of a fugal passage. played innocently, like a choir. The “Alla ing one with an instrumental descant. The Gambe is used for the accompani- The following variations pick up from Marcia—The A.G.O. Fight Song” amus- There are actually eight short settings, ment in the left hand and pedal, while the sixteenth-note speed and increase es with many references—Sousa being because of the four alternate harmoniza- the fl ute soars above with the melody. it to thirty-seconds, ultimately conclud- the most prominent—and with perfor- tions. The hymns in this collection are: The style of writing reminds one the ing with a “French toccata” variation. mance directions such as ‘Slow descent “Come, ye disconsolate,” “Abide with us, music of Dom Paul Benoit, but it is Passacaglias frequently manipulate into “Fight Song Hell”’ or ‘(Obligatory our Savior,” “The Lord is my Shepherd,” more sophisticated. texture as a method of variation. Here, citation of Movement I)’. After a long and “Holy God, we praise your name.” Hakim’s Salve Regina is the only work too, such manipulation takes place. introduction, the fi ght song arrives with The hymn tunes are Consolation, Chris- discussed here that could be performed The harmonic language is mildly dis- the text “A.O.K. I’m A.G.O.” Of course tus, der ist mein Leben, Crimond, and as part of a church service. The other sonant. This dissonance is usually a re- the repetition has the obligatory piccolo Grosser Gott. These pieces are moder- works are all concert pieces, secular in sult of the shape and logic of the contra- counter melody. ately easy to play making them accessible their concepts and mostly intended as puntal melodic lines. A curious notation The registration suggestions are gen- to most performers. A two-manual organ performance showpieces. They are writ- feature is that the fi rst section up to the erally clear, although there are some will provide the tonal requirements for ten for a large organ. One can imagine pedal solo contains many phrase marks, puzzles with regard to the pedal. For these hymn settings. the Hill Auditorium organ in Ann Arbor while there are no such markings from example, is the very fi rst entrance of the in the back of the minds of Albright, Bol- the fugal variation to the end. The reg- pedal to be played on the same registra- Edward L. Good, arr., O for a Thou- com and Decker. istration indications are quite specifi c. tion as the manual, or by a separate 8′ sand Tongues to Sing—Ten favorite Borborygm comes from the Latin bor- While this piece would be most effective or with a 16′ stop? Other puzzling places hymn settings for organ. H. W. Gray borygmus—a rumbling of the bowels. on a large organ, it can clearly work well can be explained if it might be presumed (Warner Bros. Publications), GB The music leaves little doubt about its on a more modest-size instrument. that the pedal always needs a 16′ stop 0108, $9.95. relationship to this title. It is fragmentary William Albright’s suite Flights of unless otherwise directed. Herein is a wide variety of forms of in nature and will require some effort Fancy: Ballet for Organ combines a Samuel Adler’s Wind Songs is in four hymn-related pieces—two chorale pre- by a performer to shape it into a well- wide variety of dances and styles in movements. “The Wind at Peace” con- ludes, three postludes, one toccata, one concatenated whole. This fragmentary its eight delightful movements. Each sists of a beautifully sculpted melody set of variations, and two other pieces. nature is a result of its origin. When Wil- dance is dedicated to one or two people, with a minimal amount of accompani- The hymn tunes represented are Hy- liam Albright died, Bolcom wanted to and the pairing of the dance, style and ment. “Spun Upon a Whirling Star” is frydol, Lonesome Valley, Rendez à write a memorial piece for his friend and person is most interesting. The “Curtain toccata-like with fi guration in the hands Dieu, a Shaker hymn, and a Ukrainian colleague. This piece is primarily a result Raiser,” dedicated to Fred and Louise and the melody in the feet. Unlike most carol (The Carol of the Bells). Edward of Bolcom writing connective tissues be- for their wedding, presents F major toccatas, this ends softly. “Secrets Lost in L. Good is a graduate of Pittsburg State tween the many sketches that Albright as the primary key of the entire work. the Wind” has an atmospheric beginning University in Kansas; currently he serves had created. “Valse Triste,” in memory of Gretchen and end with a louder middle section as director of music and organist at the According to Bolcom, he would have Finney, is rather melancholy in mood whose harmonic language is frequent- First Christian Church, and is manager preferred the printed edition to ac- with a harmonic language located some- ly polychordal. “Smile, O Voluptuous of a local music store, both in Pittsburg. knowledge the composer(s) as: William where between Mussorgsky and Gersh- Cool-Breath’d Earth” is characterized Five of the pieces need a three-manual Albright/William Bolcom.* A third col- win. The “Tango Fantastico,” with its by rhythmic irregularity and energy. Its organ, the other fi ve can be played on league at the University of Michigan, opening gesture—a glissando on the central section is a fugato whose theme gives a nod to Hindemith. Each of these movements has a remarkable arc or thread that stretches from the beginning to end, which makes this music seem inevitable. The writing is idiomatic for both manuals and pedal. Loyola University While the music itself may suggest the use of certain kinds of sounds, the com- Madonna della Strada Chapel poser has given very little evidence as to how he thinks it should sound. It is fairly clear that FF would probably indicate that Goulding & Wood is pleased most of the stops of the organ should be used. And the use of PP might indicate a to announce the signing of a single 8′ fl ute stop, although this might be contract for a new organ presuming too much. While it is true that the use of dynamics can in some circum- (Opus 47 III•69) for the rear stances provide a suffi cient amount of in- formation about registration and sound, gallery of this historically using only dynamics can be less than significant chapel on the helpful, especially when there is no ex- tensively studied history of performance university’s Lakeshore practice. A performer of this music will Campus. Installation is sched- need to be an imaginative registrant. All fi ve of these works will certainly uled for Fall of 2008. For more be enjoyed by a wide range of audiences and should be frequently programmed information, please visit our and performed. The performance dif- website. fi culties are no greater than many other works that consistently show up on re- cital programs. —James Callahan Professor Emeritus University of St. Thomas 823 Massachusetts Avenue • Indianapolis, Indiana 46204 St. Paul, Minnesota 800.814.9690 • www.gouldingandwood.com *Author’s conversation with William Bol- com 4/23/07.
20 THE DIAPASON
Feb 08 pp. 2-20.indd 20 1/10/08 8:48:03 AM A conversation with James Kibbie Joyce Johnson Robinson
ames Kibbie is perhaps best known Jthrough his position as professor of organ at the University of Michigan, where he has served on the organ fac- ulty since 1981. Also quite active as a performer and clinician, Kibbie is at present involved in a project to record all of J. S. Bach’s organ works, with the recordings to be made available, free of charge, through Internet distribu- tion rather than CDs (see www.block- mrecords.org). A portent of this is Kibbie’s own website (www-personal. umich.edu/~jkibbie/), where the pro- fessor has presented a yearly “Christ- mas card” of a downloadable perfor- mance, recorded on the Létourneau instrument at his home. We talked with James Kibbie during a visit he made in May 2007 to Northwestern University in Evanston, Illinois to present a recital and masterclass. James Kibbie ca. 1960 Joyce Robinson: Let’s begin by ask- ing how you got “the bug.” James Kibbie: I’m from Iowa! A lot of organists are from Iowa, and the way I got interested in the organ was the way In Hill Auditorium at the University of Michigan, 1997 that every single organist does, by hear- ing it played in church. It is a really valu- able thing for churches to allow young musicians access to the organ. That was the case in the congregation where I grew up, and I think that experience is what creates organists. JR: Did you come from a musical home? Were your parents musi- cians? Did they encourage your mu- sical studies? JK: My mother was a pianist, and I begged her to teach me to play. She was a school teacher, and she knew kids pretty well. She was smart enough not to try to force me to practice. Instead, the At Holy Family Church, Fort Worth, 1976 rule was that either I practiced regularly, or I had to give up completely and never touch the piano. That was enough mo- tivation (sometimes just barely). My fa- ther was also a teacher, and he believed fervently that young people should pur- sue their own dreams and goals, wherev- er that led them. He always encouraged me, though I think it was a surprise to him to have a musician for a son. JR: I notice you are wearing a POE shirt! In 1987 at the Schnitger in Norden JK: This is from Sioux Falls, South Dakota, a couple of years ago. I am so two master teachers, who are very differ- to the Communist authorities, and he hot on this idea of pipe organ encoun- ent as musicians and as people, but they got in trouble, because he was a known ters! They have been enormously suc- were both so kind to me. And it turned opponent of the Communist regime, so cessful. I’ve taught at a number of them out later that they were both exactly the it was certainly easier for him after the with somewhat different formats, and it right teacher for me at that particular fall of Communism. He had earned a turns out that any format for the POE time in my development. doctorate at the Carolinian University in works, because if you just bring young Prague, but the Communist government people together with the organ, the in- JR: You went on to win some com- had prevented it being awarded. Finally, At 1980 Chartres competition strument sells itself. petitions—the Grand Prix de Char- in 1990, when Communism ended, the tres and the Prague competition. university could offi cially award him the I prepare my students when I can’t fore- JR: AGO statistics don’t show college You had recorded and played music doctorate that he earned over 40 years see exactly all of the ways they’re going enrollments going up. By now POEs of Czech composers—Ropek, for ex- earlier. It’s remarkable! to need to change and adapt profession- should have had an effect, but they ample—was that an outgrowth of the ally? The answer must be to return to don’t seem to be increasing enroll- competition? JR: You’ve been at the University of core values—to teach the commitment ment in organ programs. JK: This was in 1979, at the height of Michigan now for over a quarter of to excellence. If I can communicate to JK: We’re doing well with enrollment the Cold War, so it was a very different a century! students that there’s one standard of at the University of Michigan. Not just in place than the Czech Republic is now. JK: That’s right, 26 years. I love it! I music-making for everything that we numbers, but in terms of quality—phe- After the winner’s recital at Dvoɟak Hall get up most mornings looking forward to do—our best effort—that is the thing nomenally gifted students, particularly in Prague, JiƤí Ropek came up and in- most of the things I’m going to do that that will serve them well no matter how undergrads. We routinely see now on troduced himself and invited me to have day. I realize that’s a gift that not every- the fi eld changes. résumés from students who are applying dinner with him and his family. He was one has. If I’m coaching how you play an or- that they have as high school students professor of composition at the Prague nament in Bach, or how you achieve a attended at least one, many times more Conservatory and also organist at St. JR: Over the course of over a quarter legato line in Franck, I’m not just deal- than one, POE. We defi nitely see the James Church, which is a historic church of a century you must have noticed ing with that repertoire, I’m modeling results—not just in numbers, but in the in the Old Town section of Prague. That some changes, both in the program for the student this attention to detail level of preparation for students. started a long, warm friendship. In fact, and in the students. and integration of all of the elements of one of the pieces I’m playing tonight is JK: There have been big changes in performance that they’re going to have JR: That’s reassuring. Now where did his variations on Victimae Paschali—he the fi eld of church music, and all of us to rely on to create music in ways that I you get your bachelor’s degree? gave me a copy of the score to those vari- are either working as church musicians, might not be able to imagine right now. JK: What at that time was called North ations at that fi rst dinner, and said that or teaching students who will work as Texas State University. It’s now the Uni- he hoped maybe I would learn them and church musicians, so it’s central to ev- JR: Do you talk with your students versity of North Texas. I got bachelor’s perform them, and I have performed erything that we do. I don’t think anyone about the job situation in church and master’s there, with Donald Willing. them many times over the years. He of us could have foreseen all of the ways music? passed away in 2005. that church music has changed over the JK: Yes, and without apology, we po- JR: And then you went on to Michi- During the fi rst years that I knew him, past 25 years. That means we can’t fore- sition our students to compete for the gan, and you studied with Marilyn we corresponded—though not too often, see how it’s going to change in the next jobs at the top end. There the situa- Mason—who’s now your colleague! because he said if he received too many 25 years. tion is quite favorable—salary, working JK: Yes. I was really lucky—I had those letters from the West, it was a red fl ag I’ve been thinking about this—how do conditions, the artistic content of the
FEBRUARY, 2008 21
Feb 08 pp. 21-23.indd 21 1/10/08 8:48:57 AM jobs—can be very satisfying. Where our so necessary. You know that the costs of piece the way I do, but who creates that profession is really struggling is in the education are far beyond many families’ sense of certainty. part-time positions, particularly in some ability to pay, and church musicians don’t communities where there is not a tradi- have the potential for large income after JR: Some performers maintain that tion of paying well for church musicians. graduation the way some other fi elds do, Bach, for instance, should be played Those aren’t the kind of jobs necessarily so we have to have scholarship funding in a certain way. that our graduates from the University of for our students. It’s essential. JK: Anybody who knows the nature of Michigan apply for, but they’re the jobs the historic record has to acknowledge that the majority of our professional col- JR: That’s quite a tribute. It was your that there is so much we don’t know. The leagues nationally are holding. students who set that up. answer to so many of these questions JK: They did, and it was done at the is—we don’t know. If anyone pretends to JR: Have any of your prior students conclusion of the complete Bach works know how Bach played the organ, they’re been in touch with you and commu- series that I played in 2000. It was an- deluding themselves. We have to be in- nicated that a church job they were nounced at the fi nal concert of that Bach tellectually honest enough to be able to in was starting to go in the “happy- series. They “passed the hat” at that con- say the words “I don’t know.” clappy” direction? cert, and then one of my alums, Dr. Ed- JK: Oh my, yes, sure! (laughter) But if ward Maki-Schramm, led the fund-rais- JR: Bach was such a musician and nothing else, we can take Johann Sebas- ing, and it’s done very well since. so knowledgeable about the organ; tian Bach as our model—if things don’t if he had the instruments and tech- go well in a church job, you look for an- JR: As musicology evolves there’s al- nology we have today, would he have James Kibbie in 1982 other one, but you don’t quit the present ways something new in performance used them? job until you fi nd the new job fi rst, which practice. Do you keep integrating JK: He might have written very dif- is what he did! this with your teaching? ferent music. All of these people—Bach, JK: I do, and particularly for older Buxtehude, Franck, Dan Locklair—are JR: Can you discuss the imbalance of music—Bach and Buxtehude—there are using the materials that they have at hand today’s high level of talent, yet fewer so many questions that all of us have that to create great music: the kind of organs, college teaching positions and fewer must be answered just to play the piece. the way people play the organ, the abili- upper-rank positions for church mu- That’s what I concentrate on—the practi- ties of the musicians they’re working with. sicians? cal performance-based decision-making And because they’re geniuses, they use JK: I recall something that I heard that performers must face. I have gradu- that raw material to create great musical about the American jurist Daniel Web- ally come to understand that some of works. So then if, after the work is creat- ster. When he was a young man, he ap- those questions—for example, in Bach’s ed, I depart from that, I introduce anach- parently wanted to become a lawyer. He time—had a precise answer. Whether or ronisms—the word means “out of time,” went to his father and said, “I’m inter- not I can discover it after more than 250 something that doesn’t belong to the time ested in the law as a profession, but it’s years is another question. Some of those of the composition—I weaken it. very crowded. I’m not sure about the job questions never had a single answer. Even though it’s true that Bach might prospects.” His father said, “Remem- There was a range of possibilities open have used different sorts of organ effects ber—there’s always room at the top.” I’ve to the performer, and the individual per- that weren’t available to him then, the told that story to my students countless former was expected to make personal fact is that not having had them, he wrote times. The answer for them is that they choices from that range of what was pos- music that doesn’t need them. Actually, In 1990, back(stage) in the USSR have to position themselves in terms of sible or appropriate. by introducing them, we’re weakening their abilities and their résumé and their That’s what resulted in a unique per- the musical content of what he provided preparation to compete at the top. sonal performance, which is so vital to us. Our generation’s contribution to the all music, especially Baroque music. understanding of performance practice JR: How has your teaching changed Performing Bach or Buxtehude is more has been that the music sounds best if over the last 25 years? Do you use of a partnership between the composer you hear it approximately in the context different method books now? and the performer than is true of music of how the composer conceived it. With- JK: The longer I’ve taught, the more of some later generations. I have increas- in that, as I said, there’s so much that we comfortable I’ve become communicat- ingly moved in teaching to encouraging don’t know. ing my own point of view. That’s what students to identify what that range of Our generation hasn’t grappled with students come to their teacher for, and possibilities, historically, is, and to make what may be the central question: if I can ultimately it’s all the teacher has to of- their own choices within that range to create a 100% authentic performance, if fer. I’ve used several method books suc- create a performance that might be I could play the organ exactly as it exist- cessfully, but I keep coming back to The very different from my conception of a ed, the instrument that Bach knew, in ex- Organist’s Manual (love the pun) by work—or someone else’s—but still faith- actly the acoustics, and play every detail Roger Davis. It has a superb selection of ful to the intent of the composer. of the performance exactly as Bach did repertoire and just the right amount of it, my audience would be listening to it technical exercises and explanations. If JR: Do you have an overall philoso- with 21st-century ears, not 18th-century New Year’s Eve 1991, in the USSR students balk at the price, I explain how phy of performance practice? ears. As a result, it’s a radically different expensive it would be to buy all of the JK: What I value most in music per- piece of music. JR: You have a Létourneau instru- repertoire separately. formance is the sense of certainty—a We have not begun to address that ment. When I was a freshman organ ma- compelling performance, a convincing limit on authenticity, and I think it’s JK: In my house—I’m so proud of jor, I assumed I’d study the “canon” of performance: “This is the way it goes!” probably the next generation that’s going it. We have another Létourneau at the great organ music. Most organ students Dr. Karl Schrock, one of my doctoral to have to grapple with that. Our gen- University of Michigan. My colleague still expect that today, but there has to students years ago, said to me, “I think eration seems not to have been willing to Michele Johns recently led a project to be room in our canon for great, noble the most authentic performance is a con- think about that. relocate that organ to a newly created music by living composers, including vincing performance.” I have decided small concert hall that’s a joint project of women, and music from many cultures that what creates that sense of being JR: One of the current trends in or- the School of Music, Theatre & Dance and traditions—African-American com- so convincing is not just making effec- gan building is in the direction of and the School of Public Health. It will posers, for example. tive decisions about all of the issues of larger scales and higher wind pres- be the focus of an ongoing series of performance—registration, tempo, or- sures—we’ve moved away from the chamber music concerts and will also JR: At the University of Michigan namentation, articulation, nuance—but Orgelbewegung and now we’re in an- be used for teaching and practice. The there is a scholarship fund estab- that intuitive ability of some perform- other direction. Is this a fad? room is great—cabaret seating, a cater- lished in your name. How’s that ers to integrate all of their choices into a JK: The best organ builders may draw ing kitchen, and even a rose garden. going? single vision of the music. inspiration from various historic periods, JK: It’s going very well! It’s endowed That’s what I concentrate on in teach- but they invariably build instruments JR: Let’s talk about the instruments permanently, so we award it in perpe- ing. When I judge competitions, I think that are of their own time and their own at the University of Michigan. tuity every year. It’s one of a number of that’s what I respond to—not necessar- place, and that refl ect the personality of JK: Our students typically have some named scholarships that we have and it is ily looking for somebody who plays the that builder. The artistic direction of the of their lessons on the big four-manual particular builder doesn’t come essen- E. M. Skinner/Aeolian-Skinner organ in tially from historic models; you can learn Hill Auditorium, some lessons on our North Meets South from E. M. Skinner or Arp Schnitger or Fisk in the style of Gottfried Silbermann, whomever, but the fi nest builders must and some lessons on one of the two studio Buxtehude and the North German School gradually develop their artistic personali- organs. We also have the Létourneau or- ty. I am not as interested in historic mod- gan in its beautiful new hall, and we have Keyboard Music of Domenico Scarlatti eling as I am in the quality mechanically a number of tracker and electric-action and tonally of the instruments, judged by practice organs. All are pipe organs, of An Early Keyboard Conference contemporary standards. course. That’s what students expect, and Honoring Two Significant Recent Anniversaries 2008 Annual Meeting of the Midwestern Historical Keyboard Society (MHKS) University of Iowa, Iowa City. IA USA – May 21-24, 2008 Papers, Lectures, and Concerts Exhibits of Harpsichords, Clavichords, Fortepianos For Registration Information, contact: David Kelzenberg
22 THE DIAPASON
Feb 08 pp. 21-23.indd 22 1/10/08 8:49:21 AM right now, but I’ve already decided that my reward in 2009, when I fi nish all of the Bach recordings, is going to be par- ticularly to go back to the organ works of Franck. It’s been several years since I’ve performed Grande pièce symphonique, for example. I’ve performed all of the Franck works, but I’m looking forward to going back to them as a sort of reward for fi nishing the Bach project. JR: Do you have any favorite instru- ments that you like to play, besides your own? JK: Instruments that belong to the time and place where they were built, not instruments that try to do everything, but instruments that do one thing, or one slice of the pie, particularly well. If you have a beautiful instrument, it lends its beauty and its integrity to anything that you play on it. Silbermann never thought of his organs playing anything other than At the Alain organ in 1991 contemporary music—music of 18th- century Germany—and yet churches with Silbermann organs have very multi- faceted musical programs, and the organ is central to that music program now in the 21st century as much as it was in the 18th, in ways that Silbermann couldn’t imagine. Because the instrument is so beautiful and so well built, it becomes fl exible over time. JR: Do you have an overall hopeful view of the organ world, especially in our culture? Ours is a culture of mediocrity, feeding off the bottom. How do we who feed off more lofty things deal with this? JK: I’m enormously optimistic. The level of organ performance right now in this country is the highest that it’s been, James Kibbie at the Létourneau organ in his home I think anywhere, historically. The stu- dents, particularly the undergraduate over three years to make the recordings, ing not only the organ, but the pieces students that we’re getting at the Univer- plus the expenses connected with the that would go with the organ and go with sity of Michigan, are some of the fi nest In Dresden, 2007 website. I puzzled a long time over how him and what he wanted to do. I think it’s talents that we’ve ever had. The quality it could be possible. Then Dr. Barbara one of the great Bach recordings. of organ building is as high as it’s ever Sloat came to see me. I hadn’t met her been in this country; there are new pipe before, but she explained she wanted JR: What will you tackle next after organs being built all the time, including to do something to honor her husband your Bach project on the Internet? some really signifi cant instruments in Barry, who was nearing the end of his JK: Bach is enough to think about high-visibility venues. I am not worried! life. He had attended all 18 recitals in the complete Bach series I had given at the University of Michigan in 2000. She The Second Decade wanted particularly to recognize Barry’s interest in the organ and in Bach, and Albert Schweitzer Organ Festival she offered a very generous donation toward my Bach recording project. The A Weekend in Celebration of Excellence in Organ Music: University of Michigan has provided the A Gala Concert, ORGAN COMPETITION, Services, and Masterclass Shoe endorsement remainder of the funding. It’s a three-year project to record the only a pipe organ allows for performance complete organ works of Bach on his- High School Division Panel of Judges of the repertoire to the standards we re- toric 18th-century organs in Germany. quire. We also have access to some fi ne As the recordings are made and mas- Provided by Ahlborn-Galanti Organs, First Prize: $2,000 Other prizes awarded organs in local churches—Ann Arbor is a tered, they’re put on this website (www. great “organ town.” blockmrecordings.com), sponsored by the University of Michigan, so that they College/Young Professional* JR: Did you choose a Létourneau for can just be downloaded free by anybody, yourself because of the one at the anywhere in the world. university? First Prize: $3,500 Other prizes awarded JK: Yes, and because I had worked JR: Your project is recording Bach Marilyn as consultant on a number of projects on historic instruments. What were This includes an appearance on Mason where Létourneau had been the build- the criteria you used for choosing in- er chosen, and I developed a particular struments to record on? our 2008-2009 Concert Series fondness and respect for his instruments. JK: There’s no single “Bach organ,” When I got this house organ in 2000, I because he wrote for such different *Through age 26 wanted to make a little recording—sort instruments over the course of his life, of like a baby picture, you know, the from the North German organs he proud parent!—so I recorded a partita knew in his youth to the late Baroque AUDITION TAPES/CDS: Hugo Distler had written for his own organs of his Leipzig years. I haven’t house organ and put it on my website as tried to make my recordings an an- Due on June 1, 2008 Gerre a free download at Christmas time. That thology of historic organs. I’ve chosen Hancock began what’s now an annual tradition. a limited number of instruments, so I THE COMPETITION: can deal with each instrument in detail. JR: Your Christmas card! The 2007 recordings are on three Sil- September 5-7, 2008 JK: Yes! And I tracked the month- bermann organs, the one-manual and by-month downloads for those various two-manual instruments in Rötha, and recordings, and where the requests for the magnifi cent three-manual organ in For Information & downloads were coming from. It’s phe- the Dresden Kathedrale. About seven Application: nomenal, the number of people that hours of repertoire on these organs is Frederick month after month download these little now posted on the website. First Church of Christ Hohman house organ recordings—from Romania, China, western Europe, South Africa— JR: Robert Clark recorded on the 250 Main Street all over the world! That’s what alerted me organ at Naumburg. Is that one of Wethersfield, CT 06109 to the importance of this fi eld of Inter- the instruments? PAST JUDGES: Colin Andrews, net downloads, and it’s one of the things JK: No, instead I’m using two Trost Diane Meredith Belcher, Benjamin that made me decide to release the Bach organs next year that have a similar late- Doby, Paul Fejko, Janette Fishell, www.firstchurch.org/asof recordings as free Internet downloads Baroque character, in Waltershausen Paul Jacobs, Marilyn Mason, rather than as commercial CDs. and Grossengottern. But I love that re- cording of Robert Clark! I think the per- 860.529.1575 Ex. 209 Katharine Pardee, Cherry Rhodes, JR: Do you have a grant for the Bach former, the repertoire and the organ all Catherine Rodland, John Rose, recordings? match perfectly. He must have thought a [email protected] John Walker and John Weaver JK: It’s very expensive, about $60,000 long time in putting it together—select-
FEBRUARY, 2008 23
Feb 08 pp. 21-23.indd 23 1/10/08 8:49:42 AM OHS 52nd Annual National Convention July 11–17, 2007, Central Indiana Frank Rippl
hen an organist thinks of Indi- Johnson opened with Bach’s Fantasy ana, many things come to mind: and Fugue in C Minor, BWV 537. She Wthe long history of fi ne organ gently unfolded the Fantasy on the teaching at Indiana University; the fa- beautiful Principal stops, and used the mous Fort Wayne Competition; the large fi ne plenum on the Fugue. We next Schlicker/Dobson organ in the Chapel at heard the organ’s Cornet in Buxtehu- Valparaiso University; the three modern de’s chorale prelude on Ein feste Burg tracker organs in Christ Church Episco- ist unser Gott. Then came the second pal Cathedral in Indianapolis; plus two movement of Pamela Decker’s Río aba- new organs at Goshen College (Taylor jo Río (1999), “Diferencias,” showing & Boody) and at Notre Dame University us the strings and what I think was the (Fritts); and the list goes on. Krumhorn. This is gorgeous music that So it was with that abundance of I highly recommend. riches in mind that the Organ Historical The hymn was the rousing Torah Society gathered at the Sheraton Hotel Song, introduced on the fi ne Trum- in Indianapolis for its 52nd annual con- pet stop. Ms. Johnson closed her pro- vention to seek out the historical roots of gram with a superb performance of such a strong heritage and affection for Mendelssohn’s Sonata in F Minor. The the pipe organ. It was a “Hoosier Holi- audience gave loud and sustained ap- Thomas Sanborn, 1892, Old Centrum, day” on the banks of the Wabash with a plause to this talented performer! Fol- Indianapolis wealth of music, organs, beautiful ven- lowing a tasty boxed lunch from Wolf- ues, corn and soybean fi elds, and gra- gang Puck, we had the opportunity to The afternoon’s last concert was at Old cious hospitality! tour the Indiana Museum of Art and its Centrum, formerly the Central Avenue Aeolian-Skinner, 1968, Second Presby- extensive collection. Methodist Episcopal Church, a grand old terian, Indianapolis 1892 auditorium plan building. It ceased being a church in 2000, and is called to- we all silently enjoyed the serene beauty day The Old Centrum. Sixteen nonprofi t of the gorgeous Tiffany window rising organizations are housed there or offer in front of us into the bright clear sun- services there. The organ stands front shine during Petricic’s beautiful playing. and center behind the altar table. This An OHS tradition is to sing a hymn or had been the home church of Senator song at each concert facing the organ. So Richard Lugar. Thaddeus B. Reynolds, we rose, turned round and were bathed Indiana organbuilder, did restoration in the pastel light of the high clerestory work on this historic 1892 instrument windows as we sang Lobe den Herren and discovered that it was built by 19th- to Petricic’s masterful accompaniment. century Indiana organbuilder Thomas Then Soliloquy by David Conte gave Prentice Sanborn & Son. There being us a good tour of this fi ne organ, while no proper identifi cation on the organ a video projection of the performer pro- case, Reynolds ceremoniously attached vided a helpful visual image. Petricic is a Sanborn nameplate to the organ case a brilliant player with a great sense of before the concert began. Sanborn had color. He next played Petr Eben’s “Moto studied with the Hook brothers. This ostinato” from Nedėlní hudba, and then organ shows that infl uence with its bold, ended his recital with the Prélude et powerful and rich tone. fugue sur le nom d’Alain, op. 7, by Mau- Our recitalist, Charles Manning, rice Durufl é. It was electrifying. I hope A. B. Felgemaker, 1905, Bethel A. M. E. began with Louis Couperin’s Chaconne Reynolds Associates, 2001, Broadway we can have him do a full evening recital Church, Indianapolis in G Minor demonstrating the organ’s United Methodist, Indianapolis some year! full plenum. By way of contrast, he fol- OHS favorite MaryAnn Crugher lowed with Brahms’s Schmücke dich on This year’s pre-convention event was Balduf gave the fi rst recital of the after- a perfectly lovely fl ute that sang out with a festive concert at Broadway United noon, playing the 1905 Felgemaker organ uncommon sweetness. He followed with Methodist Church in Indianapolis with (2m, 16rks) at Bethel A. M. E. Church in the always-welcome Berceuse of Louis the Broadway Festival Chorus and Or- Indianapolis. Steven Schnurr, chair of Vierne, a haunting evocative work. We chestra led by Jack L. Fox, minister of the Historic Organ Citations Committee, then took a leap into the late 20th cen- music at the church, and organist Chris- presented the church with an OHS cita- tury with a piece by Arvo Pärt, Trivium topher Schroeder, who presided over tion in recognition of the historic merit of for Organ: II (1988). I always love to the 2001 Reynolds Associates Inc. organ. their organ. The altar table stands at the hear new music on an old instrument. The evening began with Mr. Schroe- center of a long wall of this rectangular- Quality organ building is a timeless art. der’s fi ne arrangement of the hymn O shaped room, and the organ is in a balco- I’ve become a big fan of Pärt’s music and God Beyond All Praising, sung to the ny above the altar. MaryAnn began with was so glad to hear this piece. The old tune thaxted by Gustav Holst (from: “Allegro Agitato” from Fifteen Inven- organ held its own against the mighty The Planets—“Jupiter”). The church is tions, op. 1, by Joseph Callaerts (1838– blast of OHS hymn singing with the a very attractive English Gothic building 1901), and followed with Offertoire by hymn Praise, My Soul, the King of Heav- completed in 1927 with a high ceiling Theodore Dubois. She was then joined en (Lauda Anima). Manning ended his and resonant acoustics. The combined by her daughter, Sara Balduf Adams, concert with Intrada in E-fl at Major by forces performed Rheinberger’s Mass soprano, in fi ve beautiful early art songs Grayston Ives, b. 1948. He played very in C Major, op. 169, and Widor’s Sym- by Alban Berg. We heard several combi- well for us, and gave us an interesting phonie pour orgue et orchestre, op. 42. nations of the softer sounds of the organ and varied program! The choir and orchestra were adequate as MaryAnn demonstrated her strong to the task and Fox led with sure com- accompaniment skills. Sara has a lovely mand. The music is lovely, and it was a voice, and it was a treat to hear some- real treat to hear it live. Mr. Schroeder thing besides just the organ at one of our played the many fast passages of the recitals. Next up was Arietta by Horatio Widor with great confi dence. Parker. I love Felgemaker fl utes: their Holtkamp, 1987, Christian Theological sweet, round, ringing quality is unique. Thursday, July 12 Seminary, Indianapolis Next, in Frederick Newell Shackley’s The actual start of the convention was Prelude in F, the variety of registrations Thursday July 12 with an ambitious pro- Our next concert was on the famous gave us a good aural tour of the organ. gram by Marko Petricic, who teaches 1987 Holtkamp tracker organ (3m, 44rks) MaryAnn ended with a charming March organ at the University of Indianapo- at Sweeney Chapel of the Christian by John S. Camp, which she played in lis. The venue was the elegant Second Theological Seminary in Indianapolis. memory of a recently departed friend Presbyterian Church, founded in 1838 We were to have heard Marilyn Keiser, who was to have played a duet with her in Indianapolis. The present building, of Indiana University and the consultant on this recital. completed in 1959 in French Gothic for this instrument. She, sadly, had been Stepping outside we had the chance style complete with an intricate fl èche, in an automobile accident ten days ear- to admire Indianapolis’s beautiful Ve- has very fi ne windows including, above lier, and while not seriously injured, was netian-style canal that fl ows past this the altar, a Tiffany window brought from unable to play. Edie Johnson, organist church and through downtown. It must Wm. H. Clarke & Co., 1876, Roberts Park their previous building showing the As- at the chapel, fi lled in with an interesting be seen to be truly appreciated—gon- United Methodist, Indianapolis cension of Christ. The organ is a large and well-played program. The visually dolas and all! We next paid a visit to 4-manual, 80-rank Aeolian-Skinner from stunning chapel, designed by Edward the shop of organbuilders Goulding & The afternoon ended with the only 1968, renovated in 2002 by the Schantz Barnes, was completed in 1987. It is es- Wood, who gave us an opportunity to lecture of the convention, Michael D. Organ Company. sentially a concrete cube with fi ve sec- view a large Aeolian-Skinner they were Friesen on 19th-century Indiana or- Petricic began with the second move- onds of reverberation when empty, and in the process of rebuilding for East ganbuilders William Horatio Clarke and ment of Messiaen’s L’Ascension, “Allélu- 2.8 seconds when full. The organ rises Liberty Presbyterian Church in Pitts- Thomas P. Sanborn, held at Roberts Park ias sereins.” The effect was pure magic as along the wall to the right of the altar. burgh—a fascinating operation. United Methodist Church. This was a
24 THE DIAPASON
Feb 08 pp. 24-29.indd 24 1/10/08 8:50:33 AM perfect example of Friesen’s detailed re- search complete with photographs of the two men’s boyhood homes, early shops, and the ways in which they connected with the organ building world in the Midwest of the late 19th century. In ad- dition to Michael’s fi ne commentary, we had the added pleasure of gazing upon a glorious black walnut organ case built by W. H. Clarke topped by two carved angels blowing on horns. The instrument was rebuilt by E. M. Skinner and then by Reuter, but the Clarke case remains.
Louis H. Van Dinter, 1893, St. Charles Lancashire-Marshall, 1901 / Holloway, Borromeo, Peru 1959, First Presbyterian, Frankfort
Bach’s French Suite No. 5 in G Major, tor of music at St. Mary Catholic Church BWV 816, which worked quite well on in Des Plaines, Illinois, performed for us this organ as a demonstration. Kirner is on the 1959 E. H. Holloway Corporation a very fi ne player. Her sure and nimble rebuild of a 1901 Lancashire-Marshall fi ngers carried us along in the fi nal Gigue opus 131: 3m, 36rks. It now has electric such that one wanted to dance! Her fi - key and stop action. She played several nal selection on this historic instrument character studies from the early 20th was the Passacaglia from Rheinberger’s century beginning with “Sunrise” from A Sonata 8 in E Minor, op. 132, which she Pastoral Suite (1913) by Clifford Demar- played with effortless expertise! est, which built up a healthy crescendo. Then Bells in the Distance by Camil Van Hulse, which featured the chimes. (If W. W. Kimball, 1931, North United you have chimes on your organ, this is Methodist, Indianapolis Erben (?), 1845, St. Patrick’s, Lagro not a bad piece.) Next came The Trag- edy of a Tin Soldier by Gordon Balch tion—two hours through the beautiful Nevin, which induced many a smile with countryside of Indiana to our fi rst stop: its melodramatic four movements. I love the sweet little town of Lagro, and St. these old gems. When she fi nished, she Patrick’s Church, dedicated in 1873. stepped away from the console drying Today it exists as an oratory, or place of her “tears” with a white hanky. Follow- prayer, as it lost its status as a parish in ing that was a chorale prelude on What a 1997. Mass is celebrated once a month Friend We Have in Jesus by Van Denman by a priest from a nearby town. Thompson, which featured the lovely The organ is a beauty, believed to be Doppel Flute in an obbligato section an Erben from 1845. The 1m, 5-stop and the Clarinet in the tenor at the end. organ with pull-down pedal was in two Nice sounds all around! The hymn that other Indiana churches before it arrived followed was, of course, “What a friend.” at St. Patrick’s between 1884–1888. It Gifford had the tenors sing the soprano was restored by Hal Gober of Elora, On- part and the sopranos sing the tenor line tario, Canada, in 2004. It was one of my in their own range. It was a nice touch Gallery organ, Holloway, 1965 / Reynolds favorite organs at the convention! and just the thing to keep us on our toes Associates, 2004, North United Methodist, Our recitalist was Gregory Crowell, Carl Barckhoff, 1883, St. James at the end of a long day. Indianapolis director of publications for the OHS, Lutheran, Logansport Gifford closed her very entertaining and university organist of Grand Valley concert with two movements from Ed- The big evening event was a concert State University in Allendale, Michigan, On we went to Logansport, Indiana, ward Shippen Barnes’s Symphony No. by Carol Williams, civic organist and who played a sprightly program for us to hear the 1883 Barckhoff organ at St. 2: III. Intermezzo, and V. Final. The Fi- artistic director of the Spreckels Organ on this tiny organ. One could easily dis- James Lutheran Church. The church nal used several devices Vierne used in Society, Balboa Park, San Diego—the cern his pedigree: Heiller students Yuko was dedicated in 1868, but was largely the famous Final to his First Symphony. fi rst female ever to hold that position or Hayashi, Bernard and Mireille Lagacé, destroyed by fi re in 1883. It was rebuilt It was a real rouser, and she played it any other similar position in the country. and Harald Vogel. His playing was clear, that same year along with the new Barck- straight, giving it integrity. It was held at North United Methodist clean and very musical. He opened with hoff organ. Various things were done to Church, Indianapolis, on the church’s Handel’s Overture to Ottone. We then it over the years as the result of water large 4m Kimball organ from 1931, en- heard the lovely 8′ Principal play a Vol- damage. John-Paul Buzard Pipe Organ larged and rebuilt by E. H. Holloway untarie from My Ladye Neville’s Booke, Builders restored it to its original con- Corp., Reynolds Associates, and Gould- by William Byrd. A charming 4′ fl ute was dition as much as possible, adding an ing & Wood. There are many beautiful used for Krebs’s Praeludium: Jesu, meine 8′ Great Trumpet, which had been pre- and ravishing sounds on this big organ, Freude. Other small pieces followed, giv- pared for but never added. Buzard cop- most of which is at the front of the church ing us a fi ne tour. We sang the hymn Hail ied a Barckhoff Trumpet from an organ in chambers on opposing sides of the al- Glorious St. Patrick to the tune Hemy. in Lancaster, Pennsylvania. The 2m, 23- tar area, and Dr. Williams made good use Three little Mozart pieces followed stop organ stands in the rear gallery. of them. I’m sure most of us showed up including Adagio for Glass Harmonica, Following a mayoral proclamation by that night expecting to be entertained, K. 356, which again featured the ex- the mayor of Logansport, and a peal of and we certainly were. She presented traordinary fl utes on this organ. Crowell the three tower bells, we heard a fi ne a varied program that included Louis closed with C. P. E. Bach’s Organ Sonata recital by organist John Gouwens, or- Marchand, Purcell, and a very romantic in F Major, Wq 70, 3. I loved this organ. ganist and carillonneur of the Culver interpretation of Bach’s Fantasia in c, The pride the people who worship at St. Academies. He began with Allegretto Lefébure-Wély, Rachmaninoff (!), and Patrick’s have in their organ and lovely grazioso by Frank Bridge, demonstrating Mozart Changes by Zsolt Gárdonyi, with church was evident at every turn. We a range of sounds from mf to pp—lovely sections that sounded like Hammond then had the treat of a tasty hog roast at quality to those sounds! He next played organ jazz. She also played her own ar- the nearby Methodist church. Pachelbel’s Chaconne in D Minor start- Goulding & Wood, 1999, St. Luke’s rangement of Roller Coaster. The hymn Our buses then took us to Peru, In- ing on the Dulciana and building from United Methodist, Indianapolis was Amazing Grace, which she played diana (hometown of Cole Porter!) and there. He continued with Three Chorale from an arrangement by George Shear- the wedding cake-like Catholic Church Improvisations by Karg-Elert—nice Following dinner at our hotel, we ing. The fi nal selection was her arrange- of St. Charles Borromeo (1863) and its pieces. I especially enjoyed hearing the bused to the relatively nearby St. Luke’s ment of Sabre Dance by Aram Khachatu- commanding 183-foot steeple, for an very beautiful 8′ Oboe & Bassoon with United Methodist Church for our grand rian. Williams has good rapport with the outstanding recital by the young and tremolo. The hymn was “A mighty for- evening recital by Thomas Murray, audience and I’m sure her audiences at very talented Karen Schneider Kirn- tress”—the last verse was sung a cappel- university organist and professor of mu- Balboa Park are very entertained as we er, assistant organist for the Basilica of la, which was fun for us! There followed sic at Yale University. He of course is were. However, her playing that night the Sacred Heart at the University of the only improvisation of the conven- widely known as a concert organist and had a number of rhythmic instabilities Notre Dame. The organ is an 1893 Louis tion—on Ein’ feste Burg. We fi nally recording artist specializing in the Ro- that lessened the impact of what she had H. Van Dinter with 2m and 19rks, and got to hear the new Buzard Trumpet, mantic repertoire and his own astonish- hoped to present. The organ has a thrill- was given an OHS Historic Merit plaque but only coupled to the Pedal. The im- ing orchestral transcriptions. St. Luke’s is ing set of horizontal fanfare trumpets in before the program began. provisation started with strong sounds, a huge new church with a narthex bigger the rear gallery, and she fell prey to the Kirner began with the stately Proces- and then drifted nicely into quietness at than most of the churches we would visit temptation of using them too often. An- sional by César Franck, and then played the end. I had hoped to hear more of the at this convention. The choir room alone other case of less is more. Praeambulum Festivum, op. 64, by Sig- Trumpet, but Gouwens may have wished seats 130 people. The organ is a large frid Karg-Elert, another fi ne demonstra- only to show the Barckhoff bits. 4m, 80rk Goulding & Wood from 1999. Friday, July 13 tion. Next up was Liszt’s arrangement The fi nal recital of the afternoon was Murray began with his own transcrip- This very lucky Friday the 13th saw us of Arcadelt’s Ave Maria, which took me in Frankfort at the First Presbyterian tion of a piano work by Mendelssohn: take our longest bus ride of the conven- back to my youth. It was followed by Church (est. 1831). Mary Gifford, direc- Prelude and Fugue in E Minor (no opus
FEBRUARY, 2008 25
Feb 08 pp. 24-29.indd 25 1/10/08 8:51:00 AM no., 1841). We all marveled at Murray’s ny cases on either side of the altar area, seamless transitions between keyboards “plus,” in the immortal words of Madame and effective use of the expression ped- Arnfeldt, “a tiny Titian” (!) that hangs als. The work has a fascinating fugue sub- in the back of this remarkable church. ject that begins with a descending major The 1906 Hook organ comprises three 7th. Next we heard Summer Sketches, manuals and 66 stops. It was rebuilt by op. 73, by Edwin H. Lemare: “Dawn,” the Henry Pilcher company in 1937, and “The Bee,” “The Cuckoo,” “Twilight,” in 1958 the Wicks company did further and “Evening”—charming pieces. Mur- work. Most of what remains is Hook, ray used all the resources of this large however. It has my favorite stop name of organ to lift these pieces off the page. I the convention, however, that would ap- especially enjoyed the bee buzzing away pear to have been added by Wicks to the on the Vox Humana! The Great, Swell, pedal: “Voce de Tomba” a 32′ resultant Choir and Pedal divisions are spread (“Voice of the Tomb”). out horizontally across the front of the Bruce Stevens, a longtime favorite church, while the Antiphonal is on the of OHS conventions, was our recital- side wall to the left of the congregation. ist. He began with a brief chorale pre- High overhead, and I do mean high (!), lude by Max Reger, Ach bleib mit deiner is the very powerful Trompette en Cha- Gnade, op. 135a, no. 1, which was also made, which is available on all manuals. the hymn that followed, after which we The surround sound was magic with heard another setting, this one by Karg- birds and bees twittering and buzzing Elert, which featured the celestes and away all over the place. the beautiful Clarinet stop, now named Murray then played one of Seth Bing- Krumhorn. Stevens always plays with ham’s most famous pieces, Roulade. It Hook & Hastings, 1895, Acton United M. P. Möller, 1898, Zion Lutheran, East the musical line carefully in mind, fi n- does indeed roll over the place, and this Methodist, Indianapolis Germantown gers and toes. The composer, the music was a masterful performance. Between and the instrument all shine through numbers, he spoke to the audience in fi ne sampling of what can be done with Diapason—nice sounds; I’m a real him, and not the other way around. I a direct, humorous, and engaging man- eleven good ranks! The program closed sucker for Doppel Flutes! Then came highly recommend his recording on the ner. He crowned the fi rst half with Liszt’s with Postludium in C by Helmut Walcha, a chorale prelude by Parry on the tune large Hook organ in St. Mary’s Church, Prelude and Fugue on B-A-C-H, with all a former teacher of Mr. Schilling’s. Martyrdom, for which he managed the New Haven, Connecticut! He thanked of his spectacular skill of orchestration, buildup of sounds nicely! the women of the church who carefully pacing, musical architecture, color and The hymn was Valet will ich dir dusted and polished all the tall gorgeous nuance in full play! The organ was ablaze geben (“All Glory Laud and Honor”). and elaborate casework—no small feat! with drama! The hymn preceding the in- We sang the fi rst two verses in German The next selection was Buxtehude’s: termission was, I blush to admit, new to (When in Germantown . . . ). There fol- (“Jig”), BuxWV 174, in which the strong me: Ken Naylor’s marvelous setting (Coe lowed three chorale preludes on that pulse was tossed to and fro with ease and Fen) of John Mason’s hymn How shall I tune by Drischner, Guilmant, and Reger. style. Then came a perfectly splendid sing that majesty. Murray accompanied The Aeoline stop on the Swell was espe- performance of Bach’s great Prelude and it in grand Anglican style. After intermis- cially nice—barely a whisper it seemed. Fugue in B Minor, BWV 544, in which sion we returned to our seats to hear him The Manz Chorale Improvisation on his Anton Heiller pedigree showed play an astonishing piece by Jean Ber- “Wie schön leuchtet der Morgenstern” through with every note! Then we visited veiller (1904–1976), Mouvement, which used the 4′ Harmonic Flute in the hands with the fl utes of this organ in Mozart’s has a virtuoso pedal part punctuated by with the Great 15th coupled to the Ped- Adagio and Allegro in F Minor, K. 594, syncopated rhythms in the hands. After al, producing a very agreeable sound. in which he displayed a marvelous poetic working up all that steam, it then ends His fi nal selection was Bach’s well known delicacy. His fi nal selection was the great rather gently. Fugue in G (“a la Gigue”). In spite of a Sonata 7 in F Minor, op. 127, by Josef Murray closed his recital with the Suite, few dead notes, he was able to give us Rheinberger. It was a fi rst-rate perfor- op. 5, by Maurice Durufl é. The very fi ne a fi ne, controlled and cheerful perfor- mance with broad and spacious sounds. Goulding & Wood organ was a good mance of this tricky work. After a delicious and bountiful dinner match for his program and style of play- David Kevin Lamb performed for us at Guy Welliver’s Smorgasbord in Hag- ing. The Prelude was replete with dark A. B. Felgemaker op. 908, Trinity at St. Paul’s Episcopal Church in Rich- erstown, Indiana, we returned to India- foreboding sounds, while the Sicilienne Presbyterian, Rushville mond, Indiana. We completely fi lled napolis for a most entertaining event: a was all fl owing liquid grace that poured this smallish church, which has a Tiffany theatre organ concert! It was held in the out of this fi ne and colorful pipe organ. Our bright green buses took us to style window that I liked. The organ is a Warren Center for the Performing Arts, The formidable Toccata was played with Rushville and Trinity Presbyterian 1966 Holloway, Opus 12, 3m, 31rks, E-P which is part of Warren Central High pure fi re and splendid energy. Thomas Church located in a very attractive neigh- action. Ernest White was working with School. The organ came from the huge Murray’s approach to the organ is like borhood of 19th-century brick Italianate Holloway, and this organ bears his im- 3200-seat Indiana Theatre; it has 3m, that of a composer or conductor leading houses. Yun Kyong Kim demonstrated print at the time (heavy on the top, light 17rks on 19″ of wind pressure, and a 15- an orchestra. Melodic lines come in and another great Felgemaker organ: Opus on the bottom). horsepower blower! I feel a real affi nity out and are given uncommon shadings 908, 2m, 10rks. The church is a charm- Dr. Lamb began with Guilmant’s for Barton organs as they were made in and nuance. Whenever I hear him play, I ing old Akron-plan building with large, Marche Réligieuse in F, op. 15, no. 2. Oshkosh, Wisconsin, just 15 miles from am reminded that he gets to preside over colorful windows. This sweet, mint-con- The bright mixtures were a bit of an au- where I live. the huge, magnifi cent E. M. Skinner or- dition Felgemaker still has its original ral shock after a day of more restrained Our soloist on this fi ne instrument was gan in Woolsey Hall at Yale. I wonder leathers. Kim began her recital with the sounds. He moved next to four pieces young Mark Herman, who at age 19 is to what degree that instrument informs organ’s gentle sounds playing Vierne’s by Denis Bédard. First was Andantino well known in ATOS circles. He gave us his playing when he is on the road. What “Méditation” from Trois improvisations (1993), parts of which reminded me of a wonderful evening of music from “The does his inner ear hear? His playing pour grand orgue (1929), which she Vierne’s Berceuse. It is a surprisingly Great American Song Book”: Gershwin, takes us on journeys fi lled with wonder played very well with great sensitivity. tonal work that Lamb played quite nice- Cole Porter, and the like. He plays with and astonishment! The hymn was We Thank you, Lord of ly. Next were Variations on Sine Nomine an infectious, enthusiastic style and has Heaven (Shining Day). It was followed (1998), which, among other things, fea- a fi ne understanding of jazz harmonies. Saturday, July 14 by Sarabanda con Partite, BWV 990, tured a lovely Gemshorn Celeste. The I especially liked his version of Cole Another bright sunny morning took us parts 1, 2, 3, 6, 7, 10, and 12, by J. S. next Bédard pieces were “Ode” (2001) Porter’s My Heart Belongs to Daddy. to Acton, Indiana, not far from Indianap- Bach. I especially enjoyed her use of the and “Grand Jeu” from Suite du premier It was saucy and sassy—full of humor olis, to Acton United Methodist Church 4′ Harmonic Flute. Yun Kyong Kim per- ton (1993), all in a neo-romantic style punctuated by the kettledrums and the and Robert Schilling’s demonstration forms with great élan. that worked quite well on this organ, huge English Post Horn. He also played of a relocated 1895 Hook & Hastings She followed that with a piece I’d not which is spread horizontally, wall to wall pieces he wrote that displayed that same organ, 2m, 11rks, Opus 1671. It came heard in years and was sure I’d never across the rear balcony. It is quite a loud playfulness, charm and humor. from Fletcher United Methodist Church hear again: Indiana composer Joseph sound. The hymn was O Praise Ye the Herman possess a great color sense— in Indianapolis after that church closed. Clokey’s “Jagged Peaks in the Starlight” Lord (Laudate Dominum) in an ar- using all the resources of this very elegant The Acton church is a simple modern from Mountain Sketches. But times have rangement by Michael Burkhardt. instrument mounted in chambers on ei- structure along the highway. This organ changed and what was once corny, darn Lamb closed with an old favorite of ther side of the auditorium, the console has its original stenciling and looked right it, sounded rather pretty! Perhaps it was mine, Dubois’ Grand choeur in B-fl at. rose out of the pit on the orchestra lift. at home in its new surroundings. The the Felgemaker’s warm Dulciana that He seemed to use full organ a bit more Lighting effects were used with color- church had banners and pulpit hangings got to me! This led us to Horatio Park- than necessary. Organists would do well, ful projections on the chambers. His “If that matched the colors of the pipes. The er’s Festival Prelude, op. 66, no. 1. The sometimes, to parcel out those fff sounds I Loved You” from Carousel was drop- organ has a bold, room-fi lling sound that Diapasons had their day to shine sur- more conservatively. Otherwise they lose dead gorgeous: lush colors and harmo- Schilling used very well. Its commanding rounding a middle section on the fl ute their effectiveness. nies that belied his youth. Throughout presence at the front of the church al- stops. But she saved a fun surprise for A short stroll down the street in Rich- the evening, he was witty and engaging lows it to speak clearly into the nave. last. Indiana native Wendell Willkie ran mond took us to Reid Memorial United in his remarks. He ended with a riotous Schilling had played the rededication his 1940 election campaign for president Presbyterian Church. As we made the performance of Roller Coaster. We were recital on this organ after it was moved from Rushville, Indiana. So, led by the two and a half block trek, we were treat- happy folk as we fi led out to our buses. to Acton, so he was quite familiar with organ, we sang his campaign song: “We ed to Reid’s tower chimes playing a se- it. He opened with Brahms’s Mein Jesu, Want Willkie.” It was loads of fun and a ries of hymn tunes. And that was just the Sunday, July 15 der du mich, op. 122, no. 1. It was very real period piece. start of the treasures to be found here. We were given a blessed free morn- well played and allowed us to hear many After a fi ne fried chicken luncheon, The building is a very attractive Gothic ing. Many people chose to worship at shadings of color. The hymn was by we continued on down the road to structure made of Indiana limestone. some the churches we’d visited. I slept Charles Wesley: And Can It Be That I East Germantown and Zion Lutheran We entered a large stone porch with two in and enjoyed my pleasant room, with Should Gain (Sagina). His next piece Church, where longtime OHSer Karl mighty gothic arches and a mosaic tile newspaper and coffee, and Sunday talk was S. S. Wesley’s An Air Composed for Moyer demonstrated an 1898 M. P. fl oor. The interior was fi lled with light shows: an indulgence I can never en- Holsworthy Church Bells, which dem- Möller tracker, Opus 188, 2m, 16rks. It from 62 Tiffany windows. The somewhat joy back home—church musician that onstrated the lovely Stopped Diapason stands in the front of the church on the fan-vaulted white ceiling gave a won- I am. A fi ne luncheon was served at the with tremolo. He then played Theme, right side. He opened with a Beethoven derful lightness to the space, which was hotel, followed by the annual meeting Arabesques [7 variations] and Fughetta Scherzo (no opus no.), using the Doppel dominated by the gorgeous Hook organ of the OHS. by Van Denman Thompson, giving us a Flute with echoes on the swell Stopped standing in two matching, solid mahoga- At 2:10 pm we boarded our buses
26 THE DIAPASON
Feb 08 pp. 24-29.indd 26 1/10/08 8:51:29 AM J. S. Bach. It was an afternoon of inde- scribable beauty and stimulation for all the senses! We then enjoyed a free evening in downtown Indianapolis. Many of us ganged up to fi nd some of the many fi ne eating establishments in that most attrac- tive city, and had a grand time talking of what we had just heard! Monday, July 16 Monday morning our buses took us to the First Presbyterian Church, Franklin, Indiana, where we attended a hymn-sing. The Akron-style building has large side windows through which the morning light poured in. They helped enhance the title of the service: “Christ, the Light of the World: Yesterday, To- day, and Forever.” It was led by organ- ist Robert Hobby, director of music at Trinity English Lutheran Church, Fort Wayne, Indiana, and Rev. Robert A. Schilling, AAGO, a distinguished cler- gyman and organist who performed at this convention in Acton, Indiana. The J. W. Steere & Son, 1912 / Goulding & nicely designed service featured refl ec- Wood, 1988, First Presbyterian, Franklin tions, hymns and organ voluntaries all focusing on God’s light. The refl ections Christ, to hear Daniel Jay McKinley, were well chosen, and the hymns were who had been organist at this church all beloved tunes and texts. Mr. Hobby from 1978–1998, but who now is organ- played with a fi ne energetic style but was ist/choirmaster of Christ Church, Ham- often louder than necessary—I believe it ilton and Wenham, Hamilton, Massa- was Tom Murray who, at his own recital, chusetts. The building was designed by referred to that kind of hymn playing as Eliel Saarinen, and ground was broken being in “attack mode.” We OHSers love in 1940. The tapestry that hangs to the to sing hymns and are pretty loud. When right of the altar that Saarinen designed WE are drowned out, then the organ was woven by his wife, Loja. It is thought is too loud. The organ is a 1912 Steere, to be the largest tapestry with a reli- 3m 38rks, rebuilt in 1988 by Goulding & gious theme woven in the United States. Hook & Hastings, 1906 / Pilcher, 1937 / Wicks, 1958, Reid Memorial United Wood. Rev. Schilling delivered the non- Lighting fi xtures and some of the liturgi- Presbyterian, Richmond scriptural readings, tracing the concept cal furnishings were designed by Charles of light as it is manifested throughout the Eames and Eliel’s son, Eero Saarinen. and went to the rather spectacular 1929 sunny Sunday afternoon. church year. Hobby played several of his One could easily discern how this build- R.C. church of St. Joan of Arc, a grand The only other musical event of the day own compositions, which I thought were ing, essentially a long rectangular box, Italianate building made of Indiana was a glorious one: Choral Evensong sung very effective. His improvisation teacher has infl uenced mid 20th-century church limestone. It is striking for its 140-foot by the Christ Church Cathedral (Episco- was the legendary Paul Manz. architecture all across America. campanile and a 90-feet wide portico pal) Choir of Men and Boys. Many of us We then drove down to Columbus, The organ was built by Aeolian-Skin- with fi ve huge arches. The monumental would have liked to have heard them in Indiana, a city renowned for its stunning ner (4m, 80rks) as their opus 993. It interior has a fl at ceiling. The side aisles their home setting, but the cathedral was collection of buildings designed by some would be the last, large A/S completed are separated from the nave by 22 single- having renovation work done. Therefore of the fi nest architects of the 20th cen- before WWII shut down organ building piece stone Corinthian columns that sup- we did not get to hear any of the fi ne or- tury. Our concert was at the First (Tab- in America. There were problems and port the clerestory windows. Six marble gans they have there. However, all was ernacle) Christian Church, Disciples of some criticism of the instrument as being columns support the baldacchino over not lost because they relocated the event the altar. Mosaics abound, especially St. to the Church of St. John the Evangelist Joan of Arc in the baldacchino, and St. a few blocks away. St. John’s is the oldest Mary and St. Joseph above their respec- Roman Catholic parish in Indianapolis tive side altars. (founded in 1837), and their building The OHS Catalog The organ, a 1929 Kilgen, Opus 4367, boasts very fi ne acoustics. The organ is 3m, 33 stops, sits in a balcony to the left a hybrid of sorts. It started out as a 1894 SHEET MUSIC ¡ BOOKS ¡ RECORDINGS side of the altar, and speaks through a J. G. Pfeffer & Son with a Gothic case NEWLY RE-ISSUED! carved wooden screen. It enjoys a sump- standing 26 feet high in the rear gallery. tuous acoustic! Basic repairs were made (Anyone who had the good fortune to be Cochereau La Legende over the years and the Great Tuba was at the Iowa convention back in the 1980s Re-issued from famous recordings made by Phillips, this CD indeed changed to a Trumpet, but otherwise it is will remember those wonderful Pfeffer captures the legendary facility at improvisation which was Cochereau’s. as it was in 1929. organs we heard.) In 1923 a hailstorm Beginning with a four movement symphony, the recording continues with Rosalind Mohnsen, director of music damaged the organ and rose window. thirteen improvisations on Vespers verses proving not only mastery of and organist at Immaculate Conception The Wicks company rebuilt the old or- varied forms, but also the colors of the organ of Notre-Dame as it was in Church in Malden/Medford, Massachu- gan in 1935 retaining many of the old 1964. A bolero, improvised with percussion in 1973 and based on a theme setts, and another OHS favorite, played a Pfeffer pipes and adding four new ranks. of Charles Racquet, who was organist of Notre-Dame from 1618-1664, very fi ne concert. Organ, acoustics, play- Goulding & Wood rebuilt the Wicks or- is also included. Improvised and recorded in a single take, the piece is a magnificent chromatic arc of sound. A transcription of the Boléro by son er, and program all fi t together perfectly. gan as its opus 14 in 1989, retaining eight Jean-Marc Cochereau is available [EC-116]. Symphonie en Improvisation; She began with the great “Choral varié” old ranks and the case. It now has 2m, Treize Improvisations sur des Versets de Vêpres; Boléro Improvisé sur un theme de Charles Racquet from Durufl é’s Prélude, adagio et cho- 36rks of pipes plus nine digital ranks. ral varié sur le thème du “Veni creator,” Choirmaster Frederick Burgomas- SOCD237 $14.98 to OHS Members, $16.98 to others op. 4, which swept over us like a warm ter led the men and boys with all that Jean Langlais: A Centenary blanket. Her own arrangement of Saint- marvelously understated yet dynamic George C. Baker performs works of his teacher at St.-Sernin de Toulouse. Saëns’ “O Salutaris” from his Messe, op. style of the English Cathedral choir. With obvious admiration for the great variety of moods, themes and colors 4, was next, with the huge Doppel Flute All was in exquisite taste and control. found in the works of Langlais, George Baker records works “from simple gurgling away beneath the melody on The literature was fi rst-rate: Stanford, to complex, from softest to loudest, from slow to fast, from monophonic the Vox Humana, Stopped Diapason and Near, Josquin Desprez, Gibbons, Stain- to homophonic to polyphonic,” including two less well-known works Flute with tremolo. It was a wonderful er, Bruckner, Sowerby, Grayston Ives, Langlais dedicated to Baker. The 1889 Cavaillé-Coll organ at St.-Sernin effect. It was followed by the “Prelude” and Jonathan Dove. The Preces and was a favorite of the composer and was carefully chosen by Baker as from Charpentier’s Te Deum and her own Responses were by Philip Moore. The the venue for this recording. The fine result shows Baker’s dedication to arrangement of Verdi’s “Marcia funebre” Magnifi cat and Nunc Dimittis were by his teacher’s work. Prélude grégorien*; Tiento; Chant de paix; Thème et from his opera Giovanna d’Arco (Joan of Herbert Howells (St. John’s Service). variations; Prélude au Kyrie; Incantation pour un jour Saint; Plainte; Mors Arc), a nod to this parish and its glori- The choir was very well prepared and et Resurrectio, Op. 5, No. 1; Ave Maria, Ave Maris Stella Op. 5, No. 2; Hymne ous building. The piece is quite good and sang with clarity, conviction, and all the d’actions de graces (Te deum) Op. 5, No. 3; Méditation sur les jeux de fonds; Jésus, mon sauveur béni*; Mon very idiomatic for the organ. appropriate drama and color. Organist âme cherche une fin paisible; L’Annonciation; La Nativité; Les Rameaux *Dedicated to George Baker The hymn she chose was also ap- David Sinden provided masterful ac- SOCD240 $14.98 to OHS Members, $16.98 to others propriate for the setting, The Maid of companiment for the choir—shading IN STOCK FOR IMMEDIATE SHIPMENT! France, with Visioned Eyes (Noël Pro- all the crevices, plumbing the depths, 5,000 vençal), which came out of the old St. and exalting the peaks. The hymn sing- NOW CHOOSE FROM OVER TITLES! Gregory Hymnal. Nice touch, Rosalind! ing in that exceptional space was among Order online: http://www.ohscatalog.org There followed a Krebs Trio, which nice- our best. My only complaint was that UPS shipping to U.S. addresses, which we recommend, is $7.75 for your entire order. ly featured the Choir Corno di Bassetto. at times the organ and the men slightly Library rate shipping is $4.50 for your entire order. Shipping outside U.S. is $4.50, plus the Next came a quiet bit of whimsy: Indiana overpowered the boys. But, it being cost of air postage, charged to your VISA or MasterCard. composer Joseph Clokey’s “The Wind in summer, I expect that the boys may not the Chimney” from Fireside Fancies, op. have been able to gather their full num- 29, a charming display of the soft sides ber. Kudos to those young men who gave Organ Historical Society of this organ. She closed her exception- of their summer time in order that we P. O. Box 26811 t Richmond, VA 23261 al recital with “Canticle of the Sun” by might have such an inspiring, spiritual, Open Monday-Friday 9:30am - 5:00pm ET Richard Purvis from his Saint Francis and musically uplifting experience. Mr. Telephone (804)353-9226 Suite. The warm and powerful sounds of Sinden sent us out with his postlude: E-mail: [email protected] this fi ne organ were a joy to listen to on a Kyrie, Gott, heiliger Geist, BWV 671 by
FEBRUARY, 2008 27
Feb 08 pp. 24-29.indd 27 1/10/08 8:51:48 AM too shrill, so it was softened a bit, but by The Oboe with tremolo was sweet and shine and took up benches in a huge park It has a commanding position on a plat- 1969 it had deteriorated and was in need sentimental, accompanied by the Dul- across the street and listened to a concert form behind and about eight feet above of an updated electrical system. To the ciana, which had a warm presence. The played for us on the cathedral’s 63-bell the altar, and has a fi ne North German rescue in 1980 came Goulding & Wood, third variation featured some brilliant carillon housed in the 212-foot central tonal palette. The handsome stop knobs who had done some tonal improve- pedal solos. Hearty congratulations to tower. The carillon was cast by the Taylor are of brass. ments on the instrument in the 1970s. It Michael Rathke, organbuilder of Greens Bell Foundry, Loughborough, England. Our soloist was Carla Edwards, pro- sounds quite grand today, and is admired Fork, Indiana, for his superb job in re- The concert was expertly played for us fessor of organ and associate dean of the throughout Indiana—a blending of the storing this fi ne instrument. by John Gouwens, whom we had heard School of Music at DePauw University best of English, German and American in an organ recital on Friday—a man of in Greencastle, Indiana. She began with organ building. many talents, he. His program included Brahms’s Praeludium in G Major. It was A projected image allowed us to watch Pealing Fire by Libby Larsen, Impromptu well played and, among other things, Mr. McKinley play, as he was not vis- by Léon Henry, Stephen Foster’s Beauti- gave us a good hearing of the elegantly ible to us. The organ is in the front of ful Dreamer, a piano piece, Charmes by voiced 8′ Principal. The mixtures are the church with the pipes in a chamber Federico Mompou, which Gouwens tran- quite good. I especially enjoyed the ped- to the left of the altar. The acoustics are scribed, and his own Sicilienne ronde. It al’s full-length, deep-throated 16′ Trom- excellent. He opened with Wagner’s Pre- was a very agreeable change of pace for bone. She next gave us Daniel Pinkham’s lude to Die Meistersinger von Nürnberg, us to sit in that beautiful park, which is Variations on Wondrous Love, followed a marvelous and entertaining exploration an urban mall, containing numerous huge by Gerald Near’s A Triptych of Fugues. of this large and colorful instrument. It monuments to honor war dead. If you’ve The second fugue, marked “Slowly, ex- was brilliantly played, inspiring awe! Fol- never been to Indianapolis, I highly rec- pressively,” nicely demonstrated the lowing was a series of 16th-century danc- ommend a visit! rich, full fl utes of this fi ne organ. The es by Tielman Susato and Pierre Phalèse. We then entered the cathedral, pass- hymn was another Wesley hymn, Praise The fi rst showed us the fi ne chorus reeds, ing through one stunning room after an- the Lord Who Reigns Above (Amster- while the second used the various 8′ prin- other, fi nally making our way to the large dam). We sounded grand singing in the cipals ending with the chimes (!). Flutes, ballroom where we enjoyed a bountiful resonant acoustics of this attractive wor- salicional, harp, soft reeds, even strings buffet. We then went upstairs to the ship space. were used. Not correct stylistically, but 1300-seat auditorium, where we heard a fun to hear. Fine sounds all around. great recital by Martin Ellis playing the Bach’s great Fantasy and Fugue in G glorious 1929 Skinner organ (5m, 71rks), Minor, BWV 542, came next. I felt that Opus 696. The auditorium is a step back the louder portions of the fantasy seemed in time to an opulent world of deep reds a bit hurried, but he made it work. The and a forest of dark and gleaming walnut. fugue was well played with lots of dash Huge carved angels act as brackets sup- and energy. The hymn, O God who porting the ceiling. The seating is horse- brought the light to birth, by Timothy Wm. Schuelke, 1899 / Wicks, 1940, shoe shaped around a platform that leads Dudley-Smith (b. 1926), was commis- Sacred Heart Church, Indianapolis to a stage. The organ console is placed in sioned for this church in memory of an and among the seats at the opposite side infant daughter of choir members (hus- We then headed east to Indianapolis of the room from the stage. The pipes band and wife), and was sung to Sussex and Sacred Heart Church for a recital are all in the ceiling and speak through Carol. It was quite touching. by Tom Nichols, music director at St. a grille. There are Antiphonal and Stage McKinley closed his program with John the Evangelist Catholic Church in divisions in a separate locations. Origi- Franck’s Grande pièce symphonique, Indianapolis (where we attended Choral nally the organ had a four-manual con- op. 17. He made the most out of this Evensong the night before). The 19th- sole. The Reisner company provided a church’s generous acoustics. In the fi fth century gothic church is a feast for the new fi ve-manual console in 1969. The section (Andante) he used all the string eyes, with a nave and two side aisles. sound is powerful and has an amazing stops to great effect. It was a fi rst-rate There are fi ve beautifully carved altars presence in the room. performance of this diffi cult-to-hold- across the front, a communion rail and Ellis opened with the hymn God of together piece. The church’s elegant a pulpit complete with winding staircase, Grace and God of Glory (Cwm Rhond- simplicity is almost startling. It should and elaborate canopy. Imagine our sur- da), which was followed by a grandiose August Prante & Sons, 1899, Western be a place of pilgrimage for anyone in- prise when we read our atlas carefully arrangement by Richard Ellsasser of a Yearly Meetinghouse, Plainfield terested in church architecture and in and learned that the interior had been Frescobaldi Introduction and Toccata. fi ne organs. destroyed by fi re on April 27, 2001, and Bach’s Toccata in F Major, BWV 540, The next stop was a unique experi- After lunch our caravan of buses took had been completely restored to its for- worked surprisingly well on this very ence for most of us: a visit to a Quaker us west to the outskirts of Bloomington mer appearance! Amazing dedication of orchestral organ. He followed that with Yearly Meetinghouse. Upon entering we and a large A-frame church, St. Mark’s numerous artisans, and a wisely chosen Seven Sketches of Utrillo by Robert Heb- were immediately struck by the peaceful United Methodist Church, to hear the diocesan insurance policy, plus a great ble, in which we could hear many of the simplicity of the place. Smooth wooden very talented Christopher Young, as- deal of love and dedication of the parish- beautiful solo stops on this huge instru- fl oors and pews stretched out along the sistant professor of music at Indiana ioners made it possible. The organ was ment as it evokes Parisian scenes. Next width of this rectangular structure with University School of Music in Bloom- built in 1899 by Milwaukee, Wisconsin’s up was his own arrangement of Manuel simple tables at the front. On the left ington. He performed on the church’s William Schuelke, Opus 146. It was also de Falla’s Ritual Fire Dance; coming out side stood an attractive 1899 August 1883 Thomas Sanborn organ, 2m, 14rks, worked on by Pilcher and Wicks. The the ceiling as it was made the colors and Prante organ, 2m, 16rks, which had been which came from the Lockerbie Central fi re destroyed all but seven ranks, and rhythms very intoxicating. Mr. Ellis is a relocated by the Organ Clearing House United Methodist Church of Indianapo- caused partial destruction of a few oth- very youthful, energetic performer, who in 1999 from the former Assumption of lis. St. Mark’s is its fourth home. Inter- ers. Wicks has rebuilt the instrument is organist and assistant director of mu- the Blessed Virgin Mary Church in Indi- estingly enough, it is owned by the UI salvaging what they could. The sound in sic for North United Methodist Church anapolis. It was restored and installed by School of Music and placed in St. Mark’s that resonant acoustic is very good. in Indianapolis. Goulding & Wood. The case has honey- with the agreement that it is to be shared Nichols began with the hymn The After intermission we again heard colored wood and the façade pipes are in by the church and the university students King of Love My Shepherd Is (St. Co- Vierne’s Berceuse, a piece I never tire shades of cream and maroon. and faculty. The Convention Atlas states lumba), which soared and rang through of hearing, followed by Ellis’s arrange- William Aylesworth, distinguished that the organ “is believed to be the only this gorgeous church with its wall-to-wall ment of Louis Adler’s novelty tune High organist from Chicago, and longtime virtually tonally and mechanically intact terrazzo fl oor. He then played two move- Hat. He played it in pure theatre organ OHSer, was the performer. We began example of this builder.” It is a beauty, ments from Dupré’s Fifteen Pieces for style, which was delightfully refreshing. with the singing of My Country, ’tis of sitting all shiny and buffed to the right Organ Founded on Antiphons, op. 18, His talented fi ngers and musicianship Thee, but from then on all the music was side of the altar and pulpit. nos. 5 and 7. That was followed by the G- ruled the day! He also played a piece by by Chicago composers. His fi rst selection This concert was unique in its use of vi- major Prelude from “Bach’s” Eight Little Indiana composer Janet Louise Mauzi was by Robert John Lind (b. 1940), Fest- sual media. As we entered, a PowerPoint Preludes and Fugues. Eight little gems! entitled Momento. As it happened, the ludium in C, a fi ne contrapuntal piece. presentation was giving information and Next came a great demo of the fl utes composer (b. 1916) was present at this The next pieces, also by Lind, were a photos about the organ’s restoration and in Dan Locklair’s beautiful “Silence may recital. The ever gallant Mr. Ellis paid smart set of variations on Nun danket installation. When the concert began the be kept” from Rubrics, which he played tribute to her. The work was a sweet-cup- alle Gott, newly composed for Mr. Ayles- presentation went further, showing us with great sensitivity. Then came an old of-tea sort of piece—utterly beguiling. worth to use at this concert. pictures of each composer and the reg- favorite of mine, Cantilène by Gabriel Ellis closed with Elgar’s famous Pomp Next came a sweet and gentle piece, istration being used—changing as the Pierné. The Cornopean and Doppel and Circumstance in D Major, which In Summer by Charles Albert Stebbins performer changed them. It was a really Flute were quite wonderful, as were the he tore into with bold, muscular energy, (1874–1958). After a pp beginning, it helpful and riveting feature! lush strings. Emma Lou Diemer’s setting performing it with great style, spacious- grew into a larger, expansive sound, Dr. Young played very well, opening of the Battle Hymn of the Republic gave ness and nobility. His encore was the late coming back down to an Oboe solo with S. S. Wesley’s “Choral Song” from us another chance to enjoy the strings Welsh composer William Mathias’s Re- with tremolo and to the softest sounds Three Pieces for a Chamber Organ. It was and Doppel Flute. Nichols performed his cessional—a strong and lively piece that again. Meditation by Rosseter G. Cole followed with a Horatio Parker Scherzo, own set of variations on the tune Slane made a nice aperitif. It was an altogether (1866–1952) was one of those dreamy, and then two Hoosier composers: Ned (Make Us True Servants) that was quite thrilling concert—a perfect ending to a wandering little pieces that I found to Rorem’s There Is a Spirit That Delights a good piece. His fi nal selection was by long but pleasant day. be charming. He closed this program of to Do No Evil . . . and William Albright’s Matthew Dickerson, a lively, dance-like good music unknown to most of us with charming “The Flues Blues” from The setting of Lasst uns erfreuen that Tuesday, July 17 another Cole piece, A Song of Gratitude, King of Instruments. The Albright piece showed the organ well. As we left we en- The convention, on its fi nal day, was a joyous work. We were then served was played with clever winks, nudges joyed looking again at the twin 165-foot joined by the fi rst rainfall we’d seen all cookies and lemonade at which time we and wit. The hymn by William Albrecht, steeples of this venerable building. week. It was most welcome as grass ev- could enjoy the beauty of the grounds Father, We Thank Thee (Albrecht), But the day was not done. More won- erywhere was going dormant from lack with large, lush, well-shaped trees. It was was very effectively played, with loads of ders awaited us at one of Indianapolis’s of rain. Our fi rst stop was Calvary United a refreshing pause for all of us. sonority. Next up was Vierne’s virtuosic most magnifi cent buildings: the Scottish Methodist Church in Brownsburg, In- After lunch at DePauw University in “Impromptu” from Pièces de fantaisie, Rite Cathedral, an immense Gothic struc- diana, a suburban area of Indianapolis. Greencastle, we gathered at St. Andrew’s 3rd suite, op. 55, which he tossed off ture built with Indiana limestone and The congregation was begun in 1828, Episcopal Church, a small building with with great ease, grace and élan. The looking, for all the world, like Riverside but the building we entered was built in a lively acoustic, that is adjacent to the Oboe blended very well as a chorus Church in New York City. It is believed to 2006. From their previous building, they campus. Kirby Koriath performed on reed. He closed his stimulating concert be the largest building in the world dedi- brought with them their organ built by the 2002 Zamberlan organ (2m, 23rk), with Dudley Buck’s Variations for Organ cated to Freemasonry. We stepped out Charles Ruggles in 1994: three manuals, Opus 1. Mr. Koriath is coordinator of on Foster’s Melody “Old Folks at Home.” of the buses into the late afternoon sun- although the Rückpositif is prepared for. graduate programs and professor of or-
28 THE DIAPASON
Feb 08 pp. 24-29.indd 28 1/10/08 8:52:08 AM gan, church music and harpsichord at a climactic forte then pulling back for the Ball State University, Muncie, Indiana. violin entrance. The Kimball’s gorgeous The organ stands in a rear balcony in a tone embraced the violin and all of us. It modern case. Nearly all the pipework is a marvelous instrument. was vintage pipework obtained from the For the next item on the program, Organ Clearing House. Some of the old Ken came out alone to play Vierne’s Naï- pipes came from the 1870 E. & G. G. ades. But, before he could start he had Hook Opus 555 built for the Methodist to fetch his wife who he had “engaged as Episcopal Church of Jamaica Plain, Mas- a page turner.” They came back out and sachusetts, and from a ca. 1855 George she had her violin bow in hand because Stevens or Stevens & Jewett organ. she could not reach all the way across the Koriath began with Simon Preston’s wide pages on the wide music rack. She Alleluyas. It was clear that this is not a demonstrated her technique much to shy organ and a bit on the strong side the merriment of all of us. Naïades, a dif- for such a small room. Next he played fi cult work, was played effortlessly. Cow- Pachelbel’s Wie schön leuchtet der Mor- an closed with his arrangement of Franz genstern in which we heard the beautiful Liszt’s Mephisto Waltz No. 1. Needless Stopped Diapason (Hook) with the can- to say it was utterly fantastic! I’ve heard tus in the Pedal on the Hautboy. Then him play many times and each time I more Pachelbel, his Toccata in D Minor. come away wondering how he could ever The loudness of this organ was particu- “top this,” and every time he manages to larly apparent in this piece and the hymn do it! We leapt to our feet amid shouts Es sungen drei Engel, a carol I fondly of “Bravo!” He came back and gave us remember from my study of Orff-Schul- a charming bonbon of an encore, Gigue werk many years ago. He ended with a W. W. Kimball, 1933/Reynolds Associates, by Bossi. three-movement work on the hymn we 1999, Zion Evangelical UCC, Indianapolis It was a stunning end to a convention had just sung: Orgelkonzert über die that was well run, on time, gracious, and Weise “Es sungen drei Engel” by Hans is a master colorist, but he had a sur- friendly. Many of us come each year, Friedrich Micheelsen (1902–1973). I en- prise for us when suddenly we heard a fi nding that it is always a pleasure to be joyed the second movement’s use of the Aeolian-Skinner, 1935, Wabash College, real violin begin to play from within the among our own kind—people who love fl ute stops. Mr. Koriath played very well, Crawfordsville organ chamber. It was soon joined by a the organ, instruments old and new. and I enjoyed the pieces he chose. More trio of women’s voices. The magical ef- People who love history, love to get a variety and restraint in dynamics would gave our singing much resonance. The fect was enchanting. When it was over, feel for a particular area of the country have left a better impression. console, rebuilt by Goulding & Wood, he brought out the trio, and the violinist, and to learn about how pipe organs, and Our next event was back on the De- was moved front and center on the stage. Lisa Shihoten, whom he introduced as the buildings in which they stand, are a Pauw campus in a large room on the The pipes are in chambers on either side his wife. We cheered. Before intermis- part of the fabric of communities large second fl oor of the oldest building on of the stage. The auditorium’s walls are sion, Ken and his wife played a great vio- and small. Being fans of architecture campus, Meharry Hall. The rectangular lined with portraits of past presidents. lin/organ duet, Chaconne in G Minor for plays a key role as does curiosity about room has a horseshoe balcony. Large Schnurr continued with Mendelssohn’s Violin and Organ by Tommaso Antonio local cuisine. On the bus rides, we like portraits of past presidents line the walls Sonata in B-fl at Major, op. 65, no. 4, Vitali (1663–1745) in an arrangement by to sit with different people each time above and below the balcony. The organ which he played with great energy. He Leopold Auer. This is a very good piece we board. It is fascinating to discover was at the rear in the balcony—an Aeo- generously shared the program with his and Mr. Cowan gave it the full romantic all their backgrounds. We fi nd profes- lian-Skinner that was originally built as student, Micah Raebel, who will be a orchestral treatment. Ms. Shihoten is a sors, cathedral organists, parish organ- an antiphonal division for a large Kimball senior at Kankakee Valley High School, superb player who brought great passion ists, organ builders, organ historians, and and was probably one of the last instru- Wheatfi eld, Indiana. Micah performed to the music. some who don’t play at all, but just like to ments Aeolian-Skinner built before the the second and third movements of the Following intermission, Mr. Cowan listen to organ music. With 25 concerts Second World War. All the pipework for Mendelssohn with great clarity—a tal- and Ms. Shihoten returned for two more one certainly has an opportunity for that! the 2m, 13rk instrument was exposed. ented young man, he! He used the Oboe pieces together: Caprice for Violin and We come from all over the world to ex- The organist was Kristi Koriath stop to great effect. Dr. Schnurr played Organ by Naji Hakim, and the second perience the American organ. There is (wife of Kirby Koriath whom we had the fi nal movement. movement of Violin Concerto in D Mi- much to be proud of here, and it was on just heard!), organist at Grace Episcopal Next up was Indiana composer Jo- nor, op. 47, by Jan Sables. The Hakim fi ne display in the long history of superb Church in Muncie, Indiana. She began seph Clokey’s Jagged Peaks in the Star- piece was commissioned by the AGO, organs in the Central Indiana region at her program with a Partita on “Auf, auf, light, which sounded very well on this and Cowan described it as being “light this summer’s convention. Bravo to the mein Herz, mit Freuden” by Flor Peeters, organ—the Clarinet is a dream of pu- hearted.” It is that in spades, sounding committee and to the Organ Historical in which we could hear the fi ne voicing rity. That was followed by another In- like an audience of laughing people. Society! Q of this Aeolian-Skinner: it was clear, re- diana composer, H. Leroy Baumgartner In places it reminded me of Puccini’s fi ned, and never forced. Next we heard a (1891–1969), with his Prelude and Fugue Gianni Schicchi, with the occasional Frank Rippl is a graduate of Lawrence fi ne performance of Vierne’s “Scherzet- on the Tune “Laudes Domine,” op. 42, Cuban or Latin American rhythm. The University Conservatory of Music, where to” from 24 Pièces en style libre, op. 31, no. 7. Dr. Schnurr and young Mr. Raebel organ part seems not for the faint of he studied with Miriam Clapp Duncan and Wolfgang Rübsam. He is co-founder which worked very well on this attractive sat down together on the bench for a heart, but it sure sounds like fun. The of The Appleton Boychoir, coordinator of little organ. 4-hand, 4-foot piece by Gustav Merkel music sparkles. I don’t think the audi- the Lunchtime Organ Recital Series in the Ms. Koriath introduced our hymn Ein’ (1827–1885), Sonata in D Minor, op. 30: ence stopped smiling once from begin- Appleton, Wisconsin area, and has been or- feste Burg ist unser Gott (rhyth- Allegro moderato. This is a good duet if ning to end. The Sibelius movement was ganist/choirmaster at All Saints’ Episcopal mic) with a chorale prelude by Buxte- you are looking for such a thing. They quite a contrast—all warm and low in the Church in Appleton since 1971. hude. Verse three was an organ solo: a played it very well. A fi ne and interesting violin with luscious string tone in a bit chorale prelude by Jan Bender that used recital with which to end the afternoon! more movement supporting, building to Photo credit: William T. Van Pelt a 4′ reed in the Pedal. On verse four we Back in Indianapolis, we all looked joined her, but her accompaniment did forward to dinner at The Rathskeller, a not work so well as it had in the other great old building that looked like a Ger- verses. I’m not sure what happened, but man Rathaus, with an interior decked out we never got back on track. Hymns are in all things Germanic. The food, served funny things. Next came a Bach chorale buffet style, was very good, but alas, none Fratelli Ruffatti invests its time and money prelude, Mit Fried’ und Freud’ ich fahr’ of it was German! Nevertheless, no one dahin, BWV 616, which was very enjoy- went away hungry. We then walked two in research to make a better pipe organ. able. She closed with a lively reading of blocks, passing a huge Shriner temple, to Bach’s Prelude in G Major, BWV 541. Zion Evangelical UCC Church for the We left with happy faces—not the easi- closing recital of the convention by Ken est thing to summon up on the last day. Cowan on the church’s 1933, 4m, 63rk We’ve been working for years with noted institutions in We then bused to Wabash College in Kimball, with an antiphonal division Crawfordsville, one of the few remaining added by Casavant in 1955. The organ Italy and Germany, inventing and testing new ideas for all-male undergraduate colleges in the stands in a chamber to the left side of country (850 students), to hear the 3m the front of the church, speaking into the making better and more ef¿ cient pipe organs. Aeolian-Skinner organ in the college’s church at an angle. Renovated by Reyn- chapel. Our soloist was the tireless Ste- olds Associates in 1999, it is quite a beau- phen Schnurr, director of music for tiful-sounding instrument and a favorite Considering that your new pipe organ is St. Paul Catholic Church, Valparaiso, of Indianapolis area organists. one of the biggest investments you’ll ever make, Indiana, secretary of the OHS National It is diffi cult to fi nd enough adjectives Council, and chair of the Historic Or- to describe Ken Cowan’s playing. He is what does that mean to you? gan Citations Committee, and who, with simply one of the best anywhere! He Dennis Northway, is author/publisher of began with Mendelssohn’s Sonata in F the book Pipe Organs of Chicago. As if Minor, op. 65, no. 1. I especially enjoyed that weren’t enough, Dr. Schnurr also the soft whispering sounds of the sweet wrote all the convention venue histo- Erzähler and Swell strings. In the third ries for the 300-page Organ Atlas 2007, movement he used the fi ne Clarinet, which is an extraordinary and invaluable and the fi nal movement moved along resource. Oh, and he is an excellent or- with great momentum with its arpeggios ganist and teacher! and chromatic passages. The hymn was He opened with the hymn Love Di- All Things Bright and Beautiful (Royal vine, All Loves Excelling (Beecher) Oak), which bubbled along merrily un- Your international investment ¿ rm. because of Henry Beecher’s connec- der his care. He spoke before each piece tions to this chapel. The chapel is in he played; his charming, boyish man- New England Meeting House style with ner belied the blazing musicianship that horseshoe balcony and clear Palladian streams out of the pipes at every turn. www.ruff atti.com Via Facciolati, 166 • 35127 Padua, Italy organs@ruff atti.com windows. The colors blue and white pre- His next piece was Fugue, Canzone, Telephone (39-049) 750-666 Telefax (39-049) 850-483 In the U.S. 330-867-4370 dominate. The barrel-vaulted ceiling and Epilog by Karg-Elert. Now, Cowan
FEBRUARY, 2008 29
Feb 08 pp. 24-29.indd 29 1/10/08 8:52:27 AM Cover feature
John-Paul Buzard Pipe Organ April 29, 2007, when the organ and the Builders, Champaign, Illinois beautifully refurbished sanctuary—com- First Presbyterian Church, plete with improved acoustics—were Lexington, Kentucky dedicated in a unique festival of psalms, hymns and spiritual songs that included From the organ builder hymn-singing, choral music and organ Organ projects take a long time. In music (both solo and with brass) impres- the case of this undertaking, it can per- sively performed by John D. Schwandt. haps be said that this project has taken In one nicely orchestrated and well-at- 110 years! It was in 1897 that the W. W. tended event, the organ was put through Kimball Co. of Chicago installed a two- its paces in all of its varied functions, and manual and pedal tubular pneumatic came through with fl ying colors. Its Kim- action pipe organ in First Presbyterian ball antecedents were clearly present in Church. In 1936, Kimball revisited their the warm foundations, lush strings and then 40-year old instrument, converting colorful solo stops, now all well-regu- the action to electropneumatic action lated again. Buzard’s new mixtures dove- and making some minor tonal changes. tailed seamlessly into the well-balanced Subsequent alterations and repairs, not choruses and the powerful new Tromba up to the quality of the original work, led rank proved a successful “climax” stop. to the decision to pursue a comprehen- Musicians, clergy, architect, consultants sive rebuilding. and builders alike came away happy It was in May 2004 that Buzard Pipe with what had been accomplished. But Organ Builders fi rst inspected the organ of greatest importance will be the far- and met with the church’s organ commit- reaching effects of a more welcoming tee. Our enthusiasm for the project and sanctuary and a well-crafted and versa- approach to the particular requirements tile organ for the church’s future worship of the project were a good fi t with the and outreach. church’s desires, and after jointly refi n- —Barbara Owen ing our vision a contract was signed on organ consultant June 6, 2005 for a complete rebuilding of the church’s pipe organ. The organ was From the director of music and arts removed to the Buzard factory in Febru- The consideration of a major renova- ary 2006, with re-installation beginning tion—or replacement—of the pipe or- just about a year later and taking about gan proved to be the impetus for exam- two months on site. ining other areas of concern in the 1874 This project is not a restoration. Many sanctuary—issues of acoustics, chancel changes had already been made to the design, lighting, structural integrity and instrument over its fi rst 100 years, and aging HVAC systems. Much like the although the organ made some nice maintenance history of the organ, each of sounds, it could not provide the full tonal these areas had received varying degrees palette that is desired for what this instru- of attention and improvement during the ment is called upon to do. In addition, past century, but none of the improve- the mechanical systems of the organ were ments had been made in the context of a neither in good condition nor adaptable comprehensive plan. to the tonal changes being made. With the identifi cation of such a po- The new wind system retains and tentially comprehensive restoration supplements the original Kimball res- Buzard organ, First Presbyterian Church, Lexington, Kentucky, Easter 2007 project to the organ and sanctuary, a ervoirs and tremolos, with new wooden long range planning team (LRPT) was wind trunks throughout the organ. A console were now rapidly deteriorat- on a new option, that of retaining and re- formed with the charge to thoroughly completely new console and switching ing, resulting in dead notes, loose pedal spectfully treating the Kimball pipework, investigate the needs of the sanctuary system have been crafted, incorporating keys, and an erratic combination action. possibly with a few carefully integrated and organ in the context of the overall preparations for future installation of an Examination of the interior revealed ob- new stops, but replacing all of the me- ministry of the congregation. The LRPT Antiphonal division in the gallery (the lo- solete windchests, a patchwork electrical chanical components with new, except- enlisted the services of two consultants cation of the church’s fi rst pipe organ). system with components ranging from ing perhaps the console shell and a few who would prove to be crucial to the di- New electric pull-down slider and pal- the 1936 electrifi cation to recent solid- reservoirs. The hoped-for result would rection of the project: Terry Byrd Eason, let windchests have been constructed state, a replacement (and slow) swell be a reliable and essentially new organ liturgical design consultant; and Barbara for the straight manual stops, and new shade motor, inoperative top-note pedal with a “vintage” sound. Owen, organ consultant. electropneumatic action windchests extensions, leaky windlines patched with The committee’s eventual choice of the Ms. Owen visited the church in March, have been constructed for the unit stops. duct tape, recently recovered reservoirs Buzard fi rm was based not only on their 2004 and spent a day examining all as- A new building frame and structure has and winkers, and evidence of some re- favorable impressions of the quality of the pects of the organ. The LRPT was reluc- been constructed behind the original leathering of primaries. fi rm’s work, but also on the builder’s will- tant to completely replace the instrument casework, with new enclosures incorpo- Even visually, the organ had been ingness to make the most of the Kimball since it was installed during the same gen- rating the Kimball shutter frames. changed, the casework darkened, and pipework in a tonal design that also in- eral period of construction as the church’s Twenty-fi ve stops of Kimball pipework the display pipes (along with much of cluded some additions to expand the over- sanctuary. Furthermore, the warm Kim- have been retained, supplemented with the rest of the church interior) painted all usefulness of the organ in the church’s ball sounds were valued by both the 11 ranks of new pipework. All of the ex- a dull off-white to match the sanctuary’s very active and vital music program. church’s members and music staff. Given isting pipes have been carefully repaired then rather drab interior. Tonally, there Because the organ project was to be Ms. Owen’s high estimation of the integ- and revoiced, and all the new pipes were had been a few substitutions, along with integrated into a larger plan of renovat- rity of the existing Kimball pipes, it was custom scaled and built for this project various additions and extensions on off- ing and redecorating the church interior decided that the church would seek a under the watchful eyes (and ears) of the set chests, most of them done at differ- under the direction of Terry Byrd Eason, builder who would agree to build a new Buzard Company’s tonal director, Brian ent times and by different people. The making more space for the choir was mechanical instrument, and who would K. Davis, with all tonal fi nishing com- original Kimball pipework was, however, strongly recommended by all involved combine the best of the existing Kimball pleted on site by Mr. Davis and Mr. Bu- reasonably intact and in good condition, and was included in this plan. Once a pipe work with certain ranks of new pipes zard. The visible façade pipes, contain- although generally in poor tonal regula- builder had been chosen, he and the in a tonal scheme that would broaden the ing basses of the 16′ and 8′ Diapasons, tion and tune, some stops showing evi- architect worked together on renovat- tonal palette and provide more timbral have been brilliantly decorated using the dence of less than successful revoicing ing the organ chamber and certain other cohesiveness in the instrument. original patterning. attempts. Yet despite the gradual disin- details. Eventually it was discovered that At Ms. Owen’s recommendation, pro- The organ is now in as-new condition, tegration of the organ’s original integrity, Kimball’s display pipes had originally posals and bids for the rebuilding project ready to sound forth in its second centu- this pipework, with all its defects, still been colorfully stenciled, and, with the were solicited and received from fi ve re- ry with both bold new voices and sounds gave a strong and admirable impression enthusiastic agreement of all involved, gional organ builders. In turn, trips were that echo from its past. Everything old is of the original rich Kimball sound. restoration of this element was added made to Atlanta, Cincinnati and India- new again! The committee had been wrestling to the project and executed by Kristin napolis to listen to representative work of —Keith Williams and David Brown with various approaches, from possible Farmer, one of the most highly respected each builder who submitted a proposal. Buzard Pipe Organ Builders restoration to more patchwork repairs practitioners of this rather arcane art- Under the continued (and always impar- Service Department and additions to total replacement. Af- form. Along with the restoration of the tial) guidance of Barbara Owen, we nar- ter discussion with this very motivated pulpit furniture to its original fi nish and rowed the fi eld to two builders. A larger From the organ consultant committee, a more attractive option a warmer and more historically authentic organ committee was formed to visit rep- In March 2004, I was invited by the di- emerged. Because of all the changes and color scheme, the stenciled pipes have resentative rebuilding work of our two rector of music and arts, Marlon Hurst, additions, restoration as an authentic added considerably to the visual interest fi nal candidates. After hearing the tonal to advise the organ committee of the Kimball was really out of the question. of the room. work of John-Paul Buzard, the commit- First Presbyterian Church with regard More patchwork could be dismissed on Throughout the three years of the or- tee unanimously agreed that it was Mr. to their organ. On visiting the church, the basis of the dubious results it had gan project, the committee and I were Buzard’s work and proposal that best I found a rather decrepit instrument, achieved in the past. An entirely new or- in regular communication as questions matched the goals stated by the LRPT. originally built in 1897 by the noted gan was an option, but the most costly arose and some minor changes were con- In February 2006, the organ was sent Kimball fi rm, which had subsequently one. And then there was the matter of all sidered. Indeed, I will have to say that to the Buzard shop. In the year follow- been repaired, patched, altered and of that excellent Kimball pipework with Marlon Hurst and his committee com- ing, the church underwent a restoration added to on several occasions by vari- its distinctive character, which all of us prised one of the most conscientiously that included a complete redesign of the ous people. Kimball had electrifi ed the agreed that we liked. Since the faults of dedicated groups that I have ever worked chancel and choir areas, the replacement action (originally tubular) and replaced the organ as it stood were primarily me- with. That their dedication paid off abun- of the church’s HVAC systems—includ- the console in 1936, but both action and chanical, we eventually agreed to focus dantly was demonstrated on Sunday, ing the re-routing of the HVAC ductwork
30 THE DIAPASON
Feb 08 pp. 30-32.indd 30 1/10/08 8:53:15 AM ing pattern was discovered—and it was nearly completely covered by stenciled found intact to such a degree that its res- designs, and hand painting was required toration was made possible. in some areas. Careful consideration was given to the After nine weeks of painting (I saw color choices so that they would be con- the sunrise many days), the pipes were sonant with the overall color scheme in fi nished and ready to go home to Lex- the sanctuary. It was further decided that ington. They now stand proudly in their a large wooden cross, designed by Terry home and will once again play for at least Byrd Eason, would be commissioned to one hundred years. hang in front of the façade pipes. My thanks to Terry Byrd Eason for his After all of the planning and careful expert help and to David Brown of Bu- consideration that led to the selection of zard Organ Builders who did the tracings a builder had been completed, we could of the original designs. only rest in the faith that we had been —Kristin Farmer thorough in our process and that we had made the right choice in John-Paul John-Paul Buzard Pipe Organ Builders First Presbyterian Church, Lexington, Buzard. When John-Paul completed Kentucky his work on the organ in April 2007, it 28 straight stops, 35 ranks was confi rmed that we had chosen well. (with preparation for 7-stop, 9-rank An- His respect for the pre-existing voicing tiphonal division) found in the Kimball pipes guided his approach to the voicing of the entire in- GREAT (Manual II) Underlined stops enclosed strument. Now, the old pipework blends ″ with the new in a seamless way that is at 4 wind pressure 12 stops, 15 ranks once identifi ably Kimball, while being 16′ Double Open Diapason* (façade 7–30; skillfully broadened beyond the con- 1–6 from Bourdon) straints of late 19th-century American 8′ First Open Diapason* (façade 1–15) tonal philosophies. 8′ Second Open Diapason* (from 16′) The end result of the project is that 8′ Viola da Gamba we have preserved the best of what we 8′ Doppel Flute* 8′ Dulciana* had inherited from our predecessors and ′ have provided for those who worship in 8Unda Maris* 4′ Principal* this place now and in the years to come 4′ Flute d’Amour* an instrument that is capable of accom- 2 2⁄3′ Twelfth panying a wide variety of choral and 2′ Fifteenth* congregational song, and on which can Mixture IV be faithfully played the broad spectrum 8′ Trumpet* of historic and modern organ repertoire. 8′ Trombas (from Pedal) Soli Deo Gloria. Tremulant —Marlon Hurst, director of music Chimes (25 notes, old tubes, new action) Great to Great 4-UO and arts Enclosed Great to Great 16-UO-4 Tina Wagoner, organist Swell to Great 16′, 8′, 4′ Dr. Ben Arnold, Sara Holroyd, Jack Antiphonal to Great 8′ Lansill, Renée Smith, organ committee ANTIPHONAL (Manual I) Regarding the restoration of the (in balcony, preparation in con- Old meets new: the enclosed portion of the Great stenciled façade sole & switching) The exciting call from Terry Byrd Ea- 7 stops, 9 ranks 8′ English Open Diapason son (liturgical design consultant for the 8′ Melodia First Presbyterian Church, Lexington 8′ Flûte à Bibéron project) came in early January 2007. He 4′ Principal explained that he was working with a 4′ Suabe Flute church that had an 1897 Kimball façade, Mixture III which needed to be re-stenciled with its 8′ Corno di Bassetto original patterns. The façade had been 8′ Trombas (from Pedal) painted over several times, but was now Antiphonal Unison Off Great to Antiphonal 8′, 4′ thoroughly stripped down to the bare Enclosed Great to Antiph. 16′, 8′, 4′ zinc. He assured me that the Kimball Swell to Antiphonal 16′, 8′, 4′ designs were all on the pipes, etched into Cymbalstern (toe piston) the zinc. Not being one who is afraid of a challenge, I took on the job. SWELL (Manual III) Old meets new: new wood trunks to The pipes arrived via an 18-wheel Enclosed, 4″ wind pressure original Kimball reservoir 12 stops, 16 ranks tractor-trailer—all 41 of them! My mind ′ Old meets new: the Pedal 16′ Open could only think, “where am I going to 16 Lieblich Gedeckt* Diapason basses behind the Trombone 8′ Violin Diapason* put all these pipes?” And they were huge. 8′ Stopped Diapason* Eventually we got them all stored away. 8′ Salicional* The process began with just looking 8′ Voix Celeste* (GG) at the pipes. I wanted to recreate the 4′ Principal* façade accurately, but having no idea of 4′ Harmonic Flute the original, I was hesitant to just dig in 2′ Flautina* immediately. So I “looked” at the pipes Sesquialtera II* for two weeks. I laid the pipes from each Mixture IV 8′ Cornopean fl at side by side, and walked past them 8′ Oboe* several times a day. Finally, I began to Swell to Swell 16-UO-4 comprehend the original layouts and re- Antiphonal to Swell 8′ lationships of designs—from one pipe to another and from one fl at to another. PEDAL I traced the designs, drew them on Trombone enclosed paper, and then cut stencils. Some sten- 4″ wind pressure cils were 51″ long and 15″ wide! When 4 stops, 4 ranks 32′ Bourdon (ext, 1–12 digital) the stencils were ready to use, the pipes, 32′ Lieblich Gedeckt (ext, 1–12 digital) one by one, were primed and sanded to a 16′ First Open Diapason* smooth fi nish. A scale stick was made for 16′ Second Open Diapason* (Gt) each of the pipes so the designs would be 16′ Bourdon* placed back in the exact original position. 16′ Lieblich Gedeckt (Sw) Colors for the pipes were selected by 8′ Principal* 8′ Bass Flute* (ext, 12 new pipes) Terry Byrd Eason to match the walls and ′ interior colors of the sanctuary, leaving 8Bourdon (ext) 8′ Gedeckt Flute (Sw) Stuart Weber and David Brown the exact disposition of the colors to my 8′ Violoncello* assemble the façade Pedal cantus chest under the Swell discretion. Luckily, in working with the 4′ Choral Bass* pipes I did fi nd indications of the original 4′ Open Flute (ext Bdn, 24 new pipes) for both effi ciency and acoustic purpos- prayer, choral singing and “the playing of colors hidden in nooks and crannies of the 16′ Trombone es—a complete scaffolding of the sanctu- the merry organ.” pipes. Bright red and green were found, 8′ Trombas (ext) ary to repair and replace sagging plaster At some point in the mid-20th centu- telling me that we were in keeping with 4′ Clarion (ext) 16′ Antiphonal Gedeckt (ext) in the drop-vaulted ceiling, the addition ry, the organ façade pipes (a functioning the original spirit of the façade design. ′ of new lighting and sound/recording sys- 16′ Open Diapason) had been painted First the body of each pipe was paint- 16 Antiphonal Bassoon (ext) Great to Pedal 8′, 4′ tems and, most important to the organ over to match the color of the sanctu- ed with fi ve different colors and banded Enclosed Great to Pedal 8′, 4′ project, the replacement of wall-to-wall ary walls. There was some photographic with 24-carat gold. Second, the stencils Swell to Pedal 8′, 4′ carpeting in the chancel and nave with evidence from the early 20th century were applied, some applied by pouncing Antiphonal to Pedal 8′ an oak hardwood surface. The combina- that the façade had originally been sten- with a stencil brush while others were tion of plaster repair and the installation ciled, though the details of the pattern gold leafed. These leafed designs had to An asterisk (*) denotes pipework retained of a hardwood fl oor in the choir, chancel were not discernible from the quality be traced on the pipes with a pencil, and from the existing organ and restored for the and nave created an acoustic space that of the extant photographs. As the paint the gold size was applied with an artist’s new tonal context. is now resonant and warm—an ideal en- was being stripped from the pipes, the brush. The mouths of all the pipes were vironment for congregational song and “shadow” of the original ornate stencil- gold leafed. The bodies of the pipes were Photo credit: John-Paul Buzard
FEBRUARY, 2008 31
Feb 08 pp. 30-32.indd 31 1/10/08 8:53:37 AM New Organs
cel with an extension tone chute over an enclosed, adding to the versatility and entry hall. The chamber speaks not di- dynamic range of the organ. rectly into the chancel, but into the side The large wood Pedal pipes are aisle. It was a tonal prison cell. Given the stacked horizontally on the roof of the need for strict historical preservation of organ. This allows the manual divisions the building, there was no opportunity a more spacious layout and puts the bass to create space for a large free-standing pipes in a favorable position for a direct instrument or a new chamber. line of sight projection into the church. The client’s request was for an Anglo- Of the fi nished result, Stuart Forster, American symphonic-style organ to lead the director of music and organist, said: and support their modern Anglican ser- “It is necessary to document what a plea- vices. Obviously, the architecture and the sure it is to play, and to listen to, this or- nature of the parish called for tone of no- gan. The splendor of its individual voices bility and refi nement. Getting the sound (note the variety of fl utes!), the cohesion out of the chamber, without it sounding and clarity of its choruses, the many ef- harsh and forced, was the problem. fects and, of course, its colossal variety of Certain design principles produce expression in timbre and dynamics unite successful enchambered sounds. These to create a musical instrument surpassing include stoplists emphasizing bright, every hope of the committees, parishio- colorful diapason tones, strings and ners, donors, musicians, observers and open fl utes, with the main power of the visitors involved in this organ’s creation ensemble dominated by chorus reeds and service.” rather than high mixtures. High pitches —William Vaughan do not travel well around corners! An GREAT acoustically dry room reacts well to tone ′ that is smooth, warm and rich. It helps to 16 Gamba 8′ First Open Diapason make up for the lack of resonance. Ad- 8′ Second Open Diapason equate wind pressure to provide inten- 8′ Harmonic Flute sity and projection of tone—not loud- 8′ Gamba ness—is vital. Pipe scaling and voicing 8′ Gamba Celeste (TC) must be bold. Finally, the organ must be 8′ Bourdon laid out so that the sound gets out of the 4′ Principal chamber through a large, fully opening 4′ Bourdon 2 ′ shade front. 2⁄3 Twelfth 2′ Fifteenth To ensure the success of the new or- 3 1⁄5′ Seventeenth gan, major renovation work was accom- 1 1⁄3′ Mixture III–IV plished in the existing organ chamber 8′ Trumpet (Choir) and blower room. The largest and most 8′ Clarinet (Choir) important division in the organ, the 8′ Tuba (Choir) Swell, was placed along the entire front Chimes (Walker) section of the chamber, parallel to the Cymbelstern front wall of the chancel. The main Swell SWELL windchests are placed in the full-height 16′ Lieblich Bourdon area of the chamber, with the double 8′ Open Diapason enclosed Inner Swell behind this. The 8′ Stopped Diapason double expression system of the Swell 8′ Echo Gamba makes available a very broad dynamic 8′ Vox Angelica range without changing stops. It is pos- 4′ Gemshorn 4′ Harmonic Flute sible to add just a touch of reed tone ′ (so little that the youngest soloist would 2 Flageolet 8′ Oboe not be overpowered), to hush the Flute Tremulant Celestes to less than a whisper, and to Stops Under Double Expression harness the 32′ reed so that it may ac- 8′ Flauto Dolce Schoenstein & Co., Organ Build- side chamber with poor tone openings; company even gentle string-toned stops; 8′ Flute Celeste (TC) ers, San Francisco, California an historic church that could not be and yet its batteries enable the organist 4′ Flauto Dolce Christ Church Episcopal, changed; and a hard act to follow—Aeo- to achieve enormous power when nec- 4′ Flute Celeste 2′ Mixture III–V Cambridge, Massachusetts lian-Skinner. (The organ to be replaced essary. Such tools for subtle beauty and ′ Schoenstein & Co., Benicia, Califor- was the Aeolian-Skinner where E. Power precise control elevate the value of the 16 Contra Fagotto 8′ Cornopean nia, were honored to be invited by one Biggs had served as organist and which organ in accompanying a service. 4′ Clarion of the nation’s oldest and most famous had been featured on Aeolian-Skinner’s The Great and Choir divisions are 8′ Vox Humana parishes to propose a new organ, but recording, Studies in Organ Tone.) located at fl oor level parallel to the side the situation gave us pause: a very dry The organ chamber is located in an aisle and partially below the case impost CHOIR acoustic; a convoluted, L-shaped, deep, addition off of the right side of the chan- level. All but two of the Great stops are 16′ Dulciana 8′ Open Diapason (Great) 8′ Concert Flute 8′ Lieblich Gedeckt 8′ Dulciana 8′ Unda-Maris (TC) 4′ Fugara 4′ Forest Flute 2 2⁄3′ Nazard 2′ Harmonic Piccolo 3 1⁄5′ Tierce (TC) 8′ Trumpet 8′ English Horn 8′ Clarinet Tremulant Tremulant B Variable 8′ Tuba 8′ Tuben (III) Harp (Walker) Celesta (Walker) PEDAL 32′ Sub Bass 16′ Open Wood 16′ Sub Bass 16′ Gamba (Great) 16′ Dulciana (Choir) 16′ Lieblich Gedeckt (Swell) 8′ Principal 8′ Flute (Great) 8′ Stopped Diapason (Swell) 8′ Dulciana (Choir) 4′ Fifteenth 4′ Flute (Great) 32′ Contra Fagotto (Swell) 16′ Ophicleide (Choir) 16′ Contra Fagotto (Swell) 8′ Tuba (Choir) 8′ Trumpet (Choir) 4′ Tuba (Choir) 4′ Trumpet (Choir)
32 THE DIAPASON
Feb 08 pp. 30-32.indd 32 1/10/08 8:53:54 AM Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH Carol & James Hawkinson; Christ Church, Pickle Piano & Church Organs Bradenton, FL 12:15 pm NEW YORK This calendar runs from the 15th of the Bloomingdale, IL month of issue through the following month. Choral Evensong; Cathedral of St. Philip, At- The deadline is the first of the preceding lanta, GA 5:45 pm month (Jan. 1 for Feb. issue). All events are assumed to be organ recitals unless other- 22 FEBRUARY Christopher Babcock wise indicated and are grouped within each Karel Paukert; Christ Church Cathedral, Hart- WILLIAM AYLESWORTH date north-south and east-west. •=AGO chap- ford, CT 8 pm ter event, • •=RCCO centre event, +=new or- Gary Garletts; Holy Trinity Lutheran, Lancast- St. Andrew’s by the Sea, gan dedication, ++= OHS event. er, PA 12:30 pm D. M. Nathan Laube; Emmanuel Church, Chester- Hyannis Port Information cannot be accepted unless it town, MD 8 pm specifies artist name, date, location, and EVANSTON, ILLINOIS John Scott; St. John’s Cathedral, Jackson- St. David’s, South Yarmouth hour in writing. Multiple listings should be in ville, FL 7:30 pm chronological order; please do not send du- Judy Diekhoff & Marci Dickinson; First Pres- plicate listings. THE DIAPASON regrets that byterian, Jeffersonville, IN 12 noon it cannot assume responsibility for the accu- David Lamb; Fourth Presbyterian, Chicago, racy of calendar entries. IL 12 noon
23 FEBRUARY UNITED STATES Peter Planyavsky, masterclass; St. Peter’s East of the Mississippi by-the-Sea Episcopal, Bay Shore, NY 10 am •Joyce Jones, “Pedals, Pipes & Pizza” work- 15 FEBRUARY shop; Wilson College, Chambersburg, PA 10 am Yuko Hayashi; Old West Church, Boston, MA Craig Cramer, with South Bend Symphony; 8 pm Morris Performing Arts Center, South Bend, IN ensemble amarcord; Central Baptist, Hartford, 8 pm CT 7:45 pm La Crosse Chamber Chorale, All-Night Vigil; Dean W. Billmeyer Todd Davis; Holy Trinity Lutheran, Lancaster, Mary of the Angels Chapel, St. Rose Convent, PA 12:30 pm La Crosse, WI 7:30 pm University of Minnesota Craig Williams; Holy Trinity Lutheran, Akron, OH 8 pm 24 FEBRUARY Janet Hamilton; Our Lady of Perpetual Help Edward Broms, with trumpet; Holy Name Par- Minneapolis 55455 • [email protected] Catholic Church, New Albany, IN 12 noon ish, West Roxbury, MA 4 pm Douglas Major; St. John’s Episcopal, 16 FEBRUARY Gloucester, MA 4 pm ensemble amarcord, workshop; Connecticut Adrian Lucas; All Saints, Worcester, MA 5 pm Convention Center, Hartford, CT 11 am Peter Planyavsky; St. Peter’s by-the-Sea THOMAS BROWN David Chalmers The American Boychoir, with St. Paul’s Choris- Episcopal, Bay Shore, NY 6 pm ters; St. Paul’s Episcopal, Alexandria, VA 7 pm Johannes Unger; St. Ignatius Loyola, New UNIVERSITY Concert Organist York, NY 4 pm PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES 17 FEBRUARY James Bobb & Rick Erickson; Holy Trinity CHAPEL HILL, NORTH CAROLINA Orleans, MA Henry Lowe; All Saints, Worcester, MA 5 pm Lutheran, New York, NY 5 pm Choral concert; First Church, Wethersfield, CT Patrick Hawkins; St. Thomas Church Fifth 4 pm Avenue, New York, NY 5:15 pm Affabre Concinui; St. James’s Episcopal, West John Burkhalter & Gavin Black; Christ Hartford, CT 7:30 pm Church, New Brunswick, NJ 6:30 pm, following STEVEN EGLER David Pickering; St. Thomas Church Fifth Av- 6 pm Vespers ELBERT ISSELHORST Central Michigan University enue, New York, NY 5:15 pm Joyce Jones; Wilson College, Chambersburg, D D Clyde Holloway; Church of St. Mary the Vir- PA 3 pm First Presbyterian Church A. MUS. D. gin, New York, NY 8 pm Stefan Engels; First Presbyterian, West Mt. Pleasant, Michigan 48858 Stefan Engels; Miller Chapel, Princeton Theo- Chester, PA 4 pm UNIVERSITY OF IOWA SOLO Shelly-Egler logical Seminary, Princeton, NJ 7:30 pm Scott Montgomery; Heinz Chapel, University RECITALS Flute and Organ Duo Eric Plutz; Christ Church, New Brunswick, NJ of Pittsburgh, Pittsburgh, PA 4 pm 6:30 pm, following 6 pm Vespers Master Singers of Virginia; St. Luke Catholic Marilyn Keiser; Washington National Cathe- Church, McLean, VA 4 pm dral, Washington, DC 5 pm Jonathan Moyer; Cathedral of Mary Our ELLEN KURTZ The American Boychoir, with Misericordia Queen, Baltimore, MD 5:30 pm JOHN FENSTERMAKER University Choir; St. Nicholas Roman Catholic David Brock; Cathedral of St. Philip, Atlanta, Church, Wilkes-Barre, PA 7 pm GA 3:15 pm TRINITY-BY-THE-COVE FUNK John Scott; Duke University Chapel, Durham, Choral Evensong; Cathedral of St. Philip, At- M.Mus., A.A.G.O. NC 5 pm lanta, GA 4 pm Concord, California Janette Fishell; St. James Parish, Wilming- Tom Trenney, silent film accompaniment; Hi- NAPLES, FLORIDA ton, NC 5 pm ram College, Hiram, OH 3 pm Paul Jacobs; First Presbyterian, Naples, FL Tom Trenney; United Methodist Church, 4 pm Painesville, OH 7:30 pm Organist / Pianist Atlanta Baroque Orchestra; Peachtree Road ensemble amarcord; Secrest Auditorium, CHRISTOPHER United Methodist, Atlanta, GA 3 pm Zanesville, OH 3 pm Marko Petricic; Cathedral of St. Philip, At- Choral Evensong for Lent; Cathedral Church Michael Gailit lanta, GA 3:15 pm of the Advent, Birmingham, AL 4 pm [email protected] GARVEN Choral Evensong; Cathedral of St. Philip, At- Affabre Concinui; Church of the Holy Spirit, http://www.gailit.at Organist & Music Director lanta, GA 4 pm Lake Forest, IL 4 pm St. Augustine’s Church Church of the Good Samaritan Daniel Pinkham Memorial Concert; Church of Diane Meredith Belcher; Rammelkamp Cha- Conservatory / University (Vienna) Paoli, Pennsylvania the Covenant, Cleveland, OH 3 pm pel, Illinois College, Jacksonville, IL 4 pm ensemble amarcord; Wright State University, La Crosse Chamber Chorale, All-Night Vigil; Dayton, OH 7:30 pm Mary of the Angels Chapel, St. Rose Convent, Adrian Lucas; Park Congregational, Grand La Crosse, WI 3 pm John M. Gearhart III Rapids, MI 4 pm Robert Glasgow Music of the Baroque; First United Methodist, 25 FEBRUARY B.A., M.Mus. Evanston, IL 7:30 pm Bruce Barber; Elliott Chapel, Presbyterian St. John the Divine (Episcopal) Professor Emeritus William Aylesworth, John Bryant, Christine Homes, Evanston, IL 1:30 pm Kraemer, Merlin Lehman, Leon Nelson, Kirst- 2450 River Oaks Blvd. The University of Michigan in Synnestvedt & Chris Urban; First Presbyte- 26 FEBRUARY Houston, TX 77019 Ann Arbor rian, Arlington Heights, IL 4 pm Donald Armitage; St. Paul’s Episcopal, Win- Lizz Kjos, with handbells, electronic tape; St. ston-Salem, NC 7 pm Paul’s Lutheran, La Crosse, WI 3 pm Jonathan Tuuk; Park Congregational, Grand VocalEssence; Ordway Center for the Per- Rapids, MI 12:15 pm forming Arts, St. Paul, MN 4 pm Kirsten Uhlenberg; Church of St. Louis, King Antone Godding JAMES HAMMANN of France, St. Paul, MN 12:35 pm DMA-AAGO 18 FEBRUARY Nichols Hills Roberta Gary, workshop; Old West Church, 27 FEBRUARY University of New Orleans Boston, MA 9:30 am Edward Broms; Cathedral Church of St. Paul, United Methodist Church •Tom Trenney, improvisation masterclass; Boston, MA 12:15 pm Oklahoma City Chapel of the Holy Comforter Immanuel Lutheran, Grand Rapids, MI 7 pm David Hughes; Cathedral Basilica of the Sa- Music of the Baroque; Harris Theater, Chi- cred Heart, Newark, NJ 12 noon cago, IL 7:30 pm Charles Huddleston Heaton; East Liberty Presbyterian, Pittsburgh PA 12 noon LORRAINE BRUGH, Ph.D. 19 FEBRUARY Olivier Vernet; Oberlin Conservatory of Mu- A two-inch ensemble amarcord; Episcopal Church of the sic, Oberlin, OH 8 pm Ascension, Knoxville, TN 7:30 pm High Ground Men’s Chorus; Central Presbyte- Associate Professor Professional Card Velda Graham; Church of St. Louis, King of rian, Terre Haute, IN 3:30 pm University Organist France, St. Paul, MN 12:35 pm Lisa Lohmeyer; St. Peter’s Lutheran, Colum- in The Diapason bus, IN 11:45 am Valparaiso University 20 FEBRUARY Mark Davidson; Cathedral of St. John the Frederick Teardo; Cathedral Basilica of the Evangelist, Milwaukee, WI 12:15 pm Valparaiso, IN For information on rates and Sacred Heart, Newark, NJ 12 noon www.valpo.edu specifi cations, contact: John Matthews, Jr.; Grace Lutheran, Colum- 28 FEBRUARY bus, IN 12 noon St. Luke’s Choir, with period instrument or- Jerome Butera chestra; Church of St. Luke in the Fields, New 219-464-5084 [email protected] 21 FEBRUARY York, NY 8 pm [email protected] Johannes Unger; Williamsburg Presbyterian, Janette Fishell & Colin Andrews; St. Paul’s 847/391-1045 Williamsburg, VA 7:30 pm Episcopal, Greenville, NC 8 pm
FEBRUARY, 2008 33
Feb 08 pp. 33-37.indd 33 1/10/08 8:55:24 AM Robert Reeves; Christ Church, Bradenton, FL Tallis Scholars; Rockefeller Chapel, Chicago, 12:15 pm IL 8 pm WILL HEADLEE Harry H. Huber Cj Sambach, school INformances; St. Domi- D. Mus. nic Roman Catholic Church, Mobile, AL 9:30, 11 8 MARCH 1650 James Street am, 1 pm Bach, St. Matthew Passion; Holy Trinity Lu- Kansas Wesleyan University, Emeritus Cj Sambach, pipe organ INformance; Dauphin theran, New York, NY 7 pm Syracuse, NY 13203-2816 University Methodist Church Way United Methodist, Mobile, AL 6:30 pm (315) 471-8451 9 MARCH SALINA, KANSAS 29 FEBRUARY David Chalmers; St. Anthony of Padua, New Roger Kurtz; Holy Trinity Lutheran, Lancaster, Bedford, MA 3 pm PA 12:30 pm David Kazimir; Ascension Memorial Episco- MICHELE JOHNS Affabre Concinui; Church of the Good Shep- pal, Ipswich, MA 4:30 pm Brian Jones herd, Jacksonville, FL 8 pm Daniel Stipe; All Saints, Worcester, MA 5 pm A.Mus.D Olivier Vernet; First Wayne Street United Bach, St. Matthew Passion; Holy Trinity Lu- Director of Music Emeritus Methodist, Fort Wayne, IN 7:30 pm theran, New York, NY 3 pm Organ — Harpsichord David Lamb; St. Mary’s Catholic Church, New Brian Harlow & Christopher Jennings; St. The University of Michigan TRINITY CHURCH Albany, IN 12 noon Thomas Fifth Avenue, New York, NY 5:15 pm School of Music OSTON Jack Grebb; Christ Church, New Brunswick, B 1 MARCH NJ 6:30 pm, following 6 pm Vespers Solemn Evensong; St. Paul’s, Doylestown, PA Singing Boys of Pennsylvania; Dunmore Unit- 5 pm ed Methodist, Dunmore, PA 2 pm Stephen Hamilton, church music workshop; Nathan Laube; Holy Trinity Lutheran, Lan- KIM R. KASLING JAMES KIBBIE Court Street United Methodist, Lynchburg, VA caster, PA 4 pm 10:30 am Frederick Swann; Washington National Ca- D.M.A. The University of Michigan Kimberly Marshall, masterclass; Christ thedral, Washington, DC 5 pm St. John’s Univeristy Ann Arbor, MI 48109-2085 Church, Bradenton, FL 9 am Lenten concert; Church of St. John the Evan- 734-764-1591 FAX: 734-763-5097 Todd Wilson, with Dayton Philharmonic; Ma- gelist, Severna Park, MD 7 pm Collegeville, MN 56321 sonic Temple, Dayton, OH 8 pm Thomas Murray; Whitley Auditorium, Elon email: [email protected] University, Elon, NC 3 pm 2 MARCH Hector Olivera; Curtis Peterson Auditorium, Heinrich Christensen, with brass; King’s Lecanto, FL 3 pm Chapel, Boston, MA 5 pm Paul Jacobs; Rollins College, Winter Park, FL David K. Lamb, D.Mus. Scott Lamlein; Wesley United Methodist, 3 pm Richard Litterst Worcester, MA 12:15 pm Carol Williams; Atlanta First United Method- Director of Music/Organist Choral Evensong; All Saints, Worcester, MA ist, Atlanta, GA 3 pm First United Methodist Church First Church of Christ, Scientist 5 pm Atlanta Flute Ensemble; Cathedral of St. Phil- Columbus, Indiana Marjorie & William Ness; St. Matthew’s Unit- ip, Atlanta, GA 3:15 pm 812/372-2851 Rockford, Illinois ed Methodist, Acton, MA 4 pm Choral Evensong; Cathedral of St. Philip, At- Choral concert; Woolsey Hall, Yale University, lanta, GA 4 pm New Haven, CT 3 pm Karel Paukert, organ and harpsichord, with Stainer, The Crucifixion; Church of St. Vincent cello; St. Paul’s Episcopal, Cleveland Heights, Ferrer, New York, NY 3 pm OH 3:30 pm BETTY LOUISE LUMBY Choral Evensong; Grace Church, New York, Scott Montgomery; St. Mark’s Lutheran, David Lowry NY 4 pm Evansville, IN 3 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Bach Vespers; Holy Trinity Lutheran, New Cj Sambach; First Presbyterian, Columbus, 1512 BLANDING STREET, COLUMBIA, SC 29201 York, NY 5 pm IN 11 am INformance, 3 pm recital DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO Brennan Szafron; St. Thomas Fifth Avenue, Wesley Roberts; Church of the Holy Spirit, Louisville, KY 3 pm ROCK HILL, SC 29733 New York, NY 5:15 pm MONTEVALLO, AL 35115 David Higgs; West Side Presbyterian, Ridge- Todd Wilson; First Presbyterian, Bristol, TN wood, NJ 4 pm 3 pm The American Boychoir; First Presbyterian, Haddonfield, NJ 4 pm 10 MARCH Evensong; Christ Church, New Brunswick, NJ Hector Olivera; Central State Community Col- 6:30 pm lege, Ocala, FL 7 pm James R. Metzler Ken Cowan; Bomberger Hall, Ursinus Col- Marilyn Keiser, improvisation workshop; Rob- lege, Collegeville, PA 4 pm erts Park United Methodist, Indianapolis, IN 7:30 PARK CONGREGATIONAL CHURCH Nathan Laube; Bryn Mawr Presbyterian, Bryn pm GRAND RAPIDS, MICHIGAN Mawr, PA 4 pm Stephen Hamilton; Holy Trinity Lutheran, 11 MARCH Lynchburg, VA 4 pm Ray Cornils, with Portland Ballet, works of Thomas Baugh; Christ Church Episcopal, Bach; Portland City Hall, Portland, ME 7:30 pm Roanoke, VA 4 pm Theresienmesse & Schöpfungsmesse; Trinity Kimberly Marshall; Christ Church, Braden- Wall Street, New York, NY 7:30 pm William H. Murray ton, FL 4 pm Choral concert; Annett Recital Hall, Center for A.S.C.A.P. Albert Ahlstrom; Cathedral of St. Philip, At- the Arts, University of Wisconsin, La Crosse, WI FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. lanta, GA 3:15 pm 4 pm Lessons & Carols for Lent; Cathedral of St. Chris Ganza; Church of St. Louis, King of 345 SADDLE LAKE DRIVE Philip, Atlanta, GA 4 pm France, St. Paul, MN 12:35 pm ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas (770) 594-0949 Todd Wilson, with Dayton Philharmonic; Ma- sonic Temple, Dayton, OH 3 pm 12 MARCH Jean-Baptiste Robin; Central United Method- Nancianne Parrella; Church of St. Ignatius ist, Lansing, MI 4 pm Loyola, New York, NY 7 pm MARILYN MASON St. Lorenz Wind Ensemble; St. Lorenz Luther- Choral concert, with orchestra; Church of St. CHAIRMAN, DEPARTMENT OF ORGAN an, Frankenmuth, MI 4 pm Ignatius Loyola, New York, NY 8 pm UNIVERSITY OF MICHIGAN Michael Dirk; Trinity United Methodist, New Andrew Kotylo; Cathedral Basilica of the Sa- ANN ARBOR Albany, IN 4 pm cred Heart, Newark, NJ 12 noon Jeffery Shaw; Morrison United Methodist, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Zvonimir Nagy; Glenview Community Church, Glenview, IL 4 pm Leesburg, FL 12 noon with awesome technique and a thrilling command of its daring writing.” Affabre Concinui; Trinity Evangelical Lutheran, John Simpson; Sandy Hook United Method- The American Organist, 1980 Peoria, IL 7:30 pm ist, Columbus, IN 12 noon •Louise Temte, with chorus; Our Savior’s Lu- theran, La Crosse, WI 3 pm 13 MARCH University of Minnesota Choirs; Cathedral of Roger Roszell; Christ Church, Bradenton, FL Mary Mozelle St. Paul, St. Paul, MN 2:30 pm 12:15 pm LARRY PALMER Wesley Roberts; Campbellsville University, Associate Organist 3 MARCH Campbellsville, KY 8 pm Professor of Alamire; Harkness Chapel, Case Western Re- The National serve University, Cleveland, OH 7:30 pm 14 MARCH Presbyterian Church Harpsichord and Organ Mary Preston; Cincinnati Museum Center, Brian Jones; St. Andrew’s, Wellesley, MA Washington, DC Cincinnati, OH 7:30 pm 7:30 pm Meadows School of the Arts Peter Brown, with violin; Holy Trinity Luther- 703.898.9609 4 MARCH an, Lancaster, PA 12:30 pm SOUTHERN METHODIST UNIVERSITY Affabre Concinui; St. Simons Presbyterian, St. S. Wayne Foster; Parish Church of St. Hel- www.PipeOrganPro.com Simons Island, GA 8 pm ena, Beaufort, SC 12 noon Dallas, Texas 75275 The Gough Duo; St. Paul’s Episcopal, Au- Todd Wilson; Mees Hall, Capital University, “The Sights and Sounds gusta, GA 12 pm Columbus, OH 7:30 pm of the Pipe Organ” Michael Dirk; First United Methodist, Colum- Joseph Galema; Holy Trinity Lutheran, Akron, Musical Heritage Society recordings bus, IN 8 pm OH 8 pm Judith Miller; Trinity United Methodist, New 5 MARCH Albany, IN 12 noon Preston Dibble; Cathedral Basilica of the Sa- cred Heart, Newark, NJ 12 noon 15 MARCH Arthur LaMirande Ed Bruenjes; Asbury United Methodist, Co- Patrick Allen, Dupré, Symphonie-Passion; LaMirande must be complimented upon investi- lumbus, IN 12 noon Grace Church, New York, NY 4 pm gating music that few of his fellow organists have Choral concert, with orchestra; Bryn Mawr had the foresight to examine and to bring before the 6 MARCH Presbyterian, Bryn Mawr, PA 7:30 pm public.—American Record Guide William Holt; Christ Church, Bradenton, FL Northwest Choral Society; Edison Park Lu- 12:15 pm theran, Chicago, IL 7:30 pm L’organiste traversa son programme entier avec une authorité, une solidité technique et une fraîcheur 7 MARCH 16 MARCH de registration qui, loin de faiblir en fi n d’exercice, Olivier Vernet; Trinity College, Hartford, CT Choral Evensong; Grace Church, New York, accompagnèrent les deux rappels d’ailleurs accordé 7:30 pm NY 4 pm sans la moindre hésitation.—La Presse, Montréal Ross Ellison; Holy Trinity Lutheran, Lancast- Bach, Cantata 182; Holy Trinity Lutheran, New er, PA 12:30 pm York, NY 5 pm 461 Fort Washington Avenue, Suite 33 Paul Jacobs; Church of the Redeemer, Sara- Palm Sunday Vespers; Christ Church, New New York, NY 10033 sota, FL 7:30 pm Brunswick, NJ 6:30 pm 212/928-1050 [email protected] Gary Pope; Old Capitol United Methodist, Co- Ken Cowan; Emmanuel Church, Chester- rydon, IN 12 noon town, MD 4 pm
34 THE DIAPASON
Feb 08 pp. 33-37.indd 34 1/10/08 8:55:46 AM Choral Evensong; Cathedral of St. Philip, At- Edward Broms & Peter Krasinski, Organ lanta, GA 4 pm Symphony; Holy Name Parish, West Roxbury, Aaron David Miller, A Mass for Passion Sun- MA 7:30 pm LEON NELSON day; Monroe Street United Methodist, Toledo, University of Montevallo Concert Choir; Cathedral DOUGLAS REED OH 7 pm Church of the Advent, Birmingham, AL 12:30 pm FIRST PRESBYTERIAN CHURCH North Shore Choral Society, with orches- ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE tra, Poulenc, Gloria; Pick-Staiger Concert Hall, 29 MARCH NORTH PARK UNIVERSITY Evanston, IL 2:30 pm Edward Broms & Peter Krasinski, Organ EVANSVILLE, INDIANA Chris Urban, with piano; First Presbyterian, Symphony; Holy Name Parish, West Roxbury, CHICAGO, IL 60625 Arlington Heights, IL 4 pm MA 7:30 pm Sue Walby; First Presbyterian, La Crosse, WI Calmus Ensemble Leipzig; Marquand Chapel, 3 pm Yale University, New Haven, CT 8 pm John Weaver; Proclamation Presbyterian, Stephen G. Schaeffer ROBERT L. 17 MARCH Bryn Mawr, PA 7 pm D.M.A. Bach, Jesu, meine Freude, BWV 227; Grace Ken Cowan; Cabell Hall Auditorium, Univer- Church, New York, NY 7 pm sity of Virginia, Charlottesville, VA 8 pm The Cathedral Church SIMPSON of the Advent Christ Church Cathedral 18 MARCH 30 MARCH 1117 Texas Avenue Bach, Ich ruf zu dir, Herr Jesu Christ, BWV Cj Sambach; Wesley United Methodist, Birmingham, Alabama 35203 Houston, Texas 77002 227; Grace Church, New York, NY 7 pm Worchester, MA 2 pm Paul Jacobs; St. John’s Episcopal, Water- 19 MARCH bury, CT 4 pm Office of Tenebrae; St. Peter in Chains Cathe- Alan Morrison; St. Paul’s on the Green, Nor- Stephen Tappe dral, Cincinnati, OH 7:30 pm walk, CT 4 pm Ed Bruenjes, James Guyer, David Lamb, Anthony & Beard; First United Methodist, Organist and Director of Music Joe Utterback Lisa Lohmeyer, John Matthews, & John Schenectady, NY 3 pm Saint John's Cathedral COMMISSIONS & CONCERTS Simpson; First Christian Church, Columbus, IN Choral Evensong; Grace Church, New York, Denver, Colorado 12 noon NY 4 pm 732 . 747 . 5227 Bach, Cantata 67; Holy Trinity Lutheran, New www.sjcathedral.org 20 MARCH York, NY 5 pm Joan Lippincott; Peristyle Theater, Toledo, Oliver Brett; St. Thomas Fifth Avenue, New OH 8 pm York, NY 5:15 pm Stainer, The Crucifixion; First United Method- The American Boychoir and Alumni Chorus; David Wagner ist, Columbus, IN 7 pm Richardson Auditorium, Princeton, NJ 3 pm Marcia Van Oyen DMA Choral concert; Christ Church, New Bruns- 21 MARCH wick, NJ 6:30 pm, following 6 pm Vespers First United Methodist Church, Madonna University Lessons & Carols for Good Friday; All Saints, Tom Trenney; Allegheny College, Meadville, Plymouth, Michigan Livonia, Michigan Worcester, MA 7:30 pm PA 3 pm Rutter, Requiem; First Church of Christ, Bells in Motion Handbell Ensemble; Shadyside mvanoyen.com [email protected] Wethersfield, CT 7 pm Presbyterian, Pittsburgh, PA 4 pm Fauré, Requiem; Church of the Holy Trinity Thierry Escaich; St. Paul’s, Doylestown, PA (Episcopal), New York, NY 12 noon 4 pm Erickson, St. John Passion; Holy Trinity Lu- Jeremy Filsell; National Shrine of the Immac- A Professional Card in theran, New York, NY 12 noon ulate Conception, Washington, DC 7 pm The Diapason Bryn Mawr Chamber Singers, with strings; Wayne Wold; Coffman Chapel, Hood College, Kevin Walters Bryn Mawr Presbyterian, Bryn Mawr, PA 8 pm Frederick, MD 3 pm For rates and digital specifi cations, Robert Parris; Christ Church Episcopal, Ma- Robert Parkins; Duke University Chapel, Dur- M.A., F.A.G.O. contact Jerome Butera con, GA 12 noon ham, NC 5 pm 847/391-1045 Bach, St. John Passion; First Presbyterian, Gillian Weir; First Presbyterian, Gainesville, Rye, New York [email protected] Birmingham, MI 7:30 pm FL 4 pm Thomas Weisflog; Rockefeller Chapel, Chi- Atlanta Baroque Orchestra; Peachtree Road cago, IL 8 pm United Methodist, Atlanta, GA 3 pm Clayton State Chorale; Cathedral of St. Philip, 23 MARCH Atlanta, GA 3:15 pm Cherie Wescott Frederick Teardo; St. Thomas Fifth Avenue, Choral Evensong; Cathedral of St. Philip, At- KARL WATSON New York, NY 2:30 pm lanta, GA 4 pm Concerts • Masterclasses • Coaching Patrick Allen; Grace Church, New York, NY Clive Driskill-Smith; First Congregational, 4 pm Columbus, OH 4 pm STATEN ISLAND 405/942-3958 Bach, Easter Oratorio; Holy Trinity Lutheran, Richard Steinbach & Howard Helvey, piano; e-mail: [email protected] New York, NY 5 pm Church of the Holy Spirit, Lake Forest, IL 4 pm Bach, St. Matthew Passion; First United Meth- 24 MARCH odist, Evanston, IL 7:30 pm Stephen Alltop; Elliott Chapel, Presbyterian Homes, Evanston, IL 1:30 pm 31 MARCH Davis Wortman The American Boychoir; First Church of Christ, RONALD WYATT 25 MARCH Congregational, Farmington, CT 7 pm Jean Krinke; Church of St. Louis, King of Bach, St. Matthew Passion; Harris Theater, St. James’ Church Trinity Church France, St. Paul, MN 12:35 pm Chicago, IL 7:30 pm New York Galveston 26 MARCH Stephen Powers; Cathedral Basilica of the UNITED STATES Sacred Heart, Newark, NJ 12 noon West of the Mississippi Charles Dodsley Walker, FAGO 28 MARCH 17 FEBRUARY Cj Sambach, school INformances; Wesley Unit- Bach, Cantata 18; Christ the King Lutheran, Artist-in-Residence Founder/Conductor ed Methodist, Worchester, MA 10:30 am, 1 pm Houston, TX 5 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 ORGAN DUO F #0805 - In the Spotlight…we’ve circled the globe to bring 3355 Queen Mary Road, Apt 424 E you this collection of concert performances featuring the pipe Montreal, H3V 1A5, P. Quebec B organ in solo, in ensemble, with piano, and with choir. Canada R #0806 - The Spirit of Youth…these talented musicians, all (514) 739-8696 U in their twenties, demonstrate again that the future of the pipe Fax: (514) 739-4752 Iain Quinn Maxine Thevenot organ is in good hands. Director of Cathedral Associate Organist- A [email protected] Music & Organist Choir Director R #0807 - The English Concerto…history accords the Y ‘invention’ of the organ concerto to Handel, whose example inspired many more composers in his adopted homeland. DAVID SPICER 2 First Church of Christ #0808 - A Musical Menagerie…birds and bees, squirrels Wethersfi eld, Connecticut Carol Williams 0 and wolves bring a smile as we listen to the sounds of this 0 fanciful bestiary. 8 San Diego Civic Organist
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
FEBRUARY, 2008 35
Feb 08 pp. 33-37.indd 35 1/10/08 8:56:06 AM Paul Keith; Bates Recital Hall, University of Stephen Tharp; Neighborhood Church, Palos 7 MARCH Hymn Sing; Trinity Episcopal, Santa Barbara, Texas, Austin, TX 3 pm Verdes Estates, CA 3 pm John Friesen, organ demonstration concert; CA 3:30 pm Byron Blackmore; American Lutheran Paul Jacobs; St. Mark Evangelical Lutheran, St. Paul United Methodist, Lincoln, NE 12:10 Church, Sun City, AZ 3:30 pm Anchorage, AK 4 pm pm 31 MARCH Yoon-Mi Lim; Knox Presbyterian, Santa •Douglas Cleveland; Pinnacle Presbyterian, The Chenaults; Hendrix College, Conway, Rosa, CA 5 pm 25 FEBRUARY Scottsdale, AZ 7:30 pm AR 7:30 pm Choral festival; Cathedral of Our Lady, Los An- Mary Preston; Meyerson Symphony Center, Choral Evensong; All Saints’ Episcopal, Bev- geles, CA 7 pm Dallas, TX 12:30 pm erly Hills, CA 7:30 pm Affabre Concinui; St. Timothy Lutheran, Hous- INTERNATIONAL 18 FEBRUARY ton, TX 7 pm 8 MARCH Gerre Hancock; St. Andrew’s Episcopal, Am- James David Christie, masterclass; Trinity 16 FEBRUARY arillo, TX 7 pm 26 FEBRUARY Lutheran, Lynnwood, WA 10 am Affabre Concinui; Hi-Way Pentecostal Church, Alison Luedecke, with Millennia Consort; Bradley Hunter Welch; St. Olaf College, Barrie, ON, Canada 8 pm First Congregational, Berkeley, CA 4 pm Northfield, MN 7:30 pm 9 MARCH David Pickering; Community of Christ Audito- 19 FEBRUARY 19 FEBRUARY 27 FEBRUARY rium, Independence, MO 3 pm Stephanie Burgoyne & William Vandertuin; Gerre Hancock, lecture; St. Andrew’s Episco- Scott Raab; Cathedral Church of St. John, S. Wayne Foster; Moody Memorial First Unit- St. Paul’s Cathedral, London, ON, Canada 12 pal, Amarillo, TX 9 am Albuquerque, NM 12:30 pm ed Methodist, Galveston, TX 4 pm noon Gary Quamme; Pinnacle Presbyterian, Las Cantantes; St. John’s United Methodist, 20 FEBRUARY Scottsdale, AZ 11:30 am Albuquerque, NM 2 pm 20 FEBRUARY Iain Quinn; Cathedral Church of St. John, Al- Ken Cowan; Sunnyside Seventh-day Adven- David Titterington; Southbank Centre, Lon- buquerque, NM 12:30 pm 28 FEBRUARY tist, Portland, OR 8 pm don, UK Affabre Concinui; Bishop Union High School David Pickering; Libby Gardner Concert Hall, James David Christie; Trinity Lutheran, Auditorium, Bishop, CA 7:30 pm University of Utah, Salt Lake City, UT 7:30 pm Lynnwood, WA 7 pm 21 FEBRUARY Rupert & Rachel Gough; Grace Cathedral, San John Belcher; St. Martin’s, Dorking, UK 1 22 FEBRUARY 29 FEBRUARY Francisco, CA 4 pm, following 3 pm Evensong pm Jan Kraybill, masterclass; Shaw Center Audi- David Heller; First Plymouth Congregational, Choral Evensong; St. Francis Episcopal, San Stephanie Burgoyne & William Vandertuin; torium, Graceland University, Lamoni, IA 4 pm Englewood, CA 7:30 pm Francisco, CA 5:30 pm St. Mark’s Anglican, Brantford, ON, Canada Stefan Engels; Ed Landreth Auditorium, Tex- Angela Kraft Cross; St. Mark’s Episcopal, 12:15 pm as Christian University, Fort Worth, TX 7:30 pm 1 MARCH Berkeley, CA 6:10 pm, following 5:30 pm Even- Thomas Joyce; St. Mark’s Cathedral, Seattle, David Heller, masterclass; First Plymouth song 22 FEBRUARY WA 7:30 pm Congregational, Englewood, CA 9 am Christoph Bull, silent film accompaniment; Olivier Latry; Southbank Centre, London, UK Affabre Concinui; St. Mark’s Episcopal, Med- Royce Hall, UCLA, Los Angeles, CA 2 pm Rachel Laurin; Holy Rosary Cathedral, Van- ford, OR 8 pm 2 MARCH Melvin Butler; Bridges Hall of Music, Pomona couver, BC, Canada 8 pm La Follia Austin; Christ the King Lutheran, College, Claremont, CA 3 pm 23 FEBRUARY Houston, TX 5 pm Lenten Evensong; All Saints Episcopal, Pasa- 23 FEBRUARY Jan Kraybill; Shaw Center Auditorium, Grace- Choral Evensong; Cathedral Church of St. dena, CA 5 pm David Sanger; St. Peter’s, St. Albans, UK land University, Lamoni, IA 7:30 pm John, Albuquerque, NM 4 pm Bach birthday concert; Trinity Episcopal, San- 5:30 pm Choral concert; Cathedral of the Madeleine, ta Barbara, CA 3:30 pm 24 FEBRUARY Salt Lake City, UT 8 pm 24 FEBRUARY VocalEssence; Hopkins High School Audito- Christoph Tietze; Grace Cathedral, San 12 MARCH Andreas Strobelt; Kirche “Zur frohen rium, Hopkins, MN 4 pm Francisco, CA 4 pm, following 3 pm Evensong Maxine Thevenot; Cathedral Church of St. Botschaft,” Berlin Karlshorst, Germany 5 pm Elizabeth & Raymond Chenault; Cathedral •Wittenberg University Choir; Newport Harbor John, Albuquerque, NM 12:30 pm Gillian Weir, with the William Byrd Singers; Marilyn Hylton Basilica of St. Louis, St. Louis, MO 2:30 pm Lutheran, Newport Beach, CA 3 pm ; Pinnacle Presbyterian, Royal Northern College of Music, Manchester, Scottsdale, AZ 11:30 am James David Christie, masterclass; School of Choral concert, with orchestra; St. Alban’s, UK 7:30 pm Music Organ Hall, Arizona State University, Tem- Westwood, CA 4 pm Sylvie Poirier & Philip Crozier; Eglise Saint 14 MARCH pe, AZ 10:30 am masterclass, recital 7:30 pm Anges, Lachine, Montreal, QC, Canada 3 pm Las Cantantes; Keller Hall, University of New Peter Westerbrink; Grace Lutheran, Tacoma, 4 MARCH Olivier Vernet; Westminster United Church, Mexico, Albuquerque, NM 7:30 pm WA 3 pm Craig Cramer; Shrove Memorial Chapel, Col- Winnipeg, MB, Canada 2:30 pm Choral Meditation; All Saints Episcopal, Bev- California Baroque Ensemble; Cathedral of orado College, Colorado Springs, CO 7:30 pm erly Hills, CA 7:30 pm St. Mary of the Assumption, San Francisco, CA 27 FEBRUARY 3:30 pm 5 MARCH Hatsumi Miura, with trumpet and oboe; Mi- 15 MARCH Jeffrey Smith; Grace Cathedral, San Fran- Cathedral Chamber Choir; Cathedral Church nato Mirai Concert Hall, Yokohama, Japan 12:10 Paul Woodring; Cal Poly Foundation for the cisco, CA 4 pm, following 3 pm Evensong of St. John, Albuquerque, NM 12:30 pm pm Performing Arts Center, San Luis Obispo, CA Frederick Swann Craig Westendorf; Pinnacle Presbyterian, Darius Battiwalla; Temple Church, London, , with orchestra; St. Marga- 8 pm ret’s Episcopal, Palm Desert, CA 4 pm Scottsdale, AZ 11:30 am UK 1:15 pm Steven Grahl, with New London Chamber 16 MARCH Choir; St. Marylebone Parish Church, London, Bach, St. Matthew Passion; Christ the King UK 7 pm martin ott pipe Lutheran, Houston, TX 5 pm Christopher Marks; Lagerquist Hall, Pacific organ Lutheran University, Tacoma, WA 3 pm 29 FEBRUARY company Matthew Larkin; Christ Church Cathedral, M. L. BIGELOW & Co. inc. 17 MARCH Vancouver, BC, Canada 7:30 pm ORGAN BUILDERS J. Melvin Butler, Dupré, Stations of the Cross; 1353 Baur Boulevard St. Mark’s Cathedral, Seattle, WA 7:30 pm 1 MARCH (801) 756-5777 St. Louis, Missouri 63132 Oliver Brett; King’s College Chapel, Cam- 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 Alan Jones & Jeffrey Smith; Grace Cathe- dral, San Francisco, CA 6 pm bridge, UK 6:30 pm 18 MARCH 4 MARCH Bach, St. Matthew Passion; Christ the King Olivier Vernet; St. Matthew’s United Church, Parkey Lutheran, Houston, TX 7 pm Halifax, NS, Canada 7:30 pm OrganBuilders 21 MARCH 5 MARCH Distinguished Pipe Organs Bach, St. Matthew Passion; Christ the King Robert Quinney; Temple Church, London, 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Lutheran, Houston, TX 3 pm UK 1:15 pm Suite 150-285 Fax 770-368-3209 Maxine Thevenot, Messiaen, Les Corps glo- Duluth, Georgia 30096 www.parkeyorgans.com rieux; Cathedral Church of St. John, Albuquer- 6 MARCH que, NM 8:45 pm Martin Ellis; St. Martin’s, Dorking, UK 1 pm Roger Sayer NEW INSTRUMENTS sound INSPIRATION ; St. Matthew’s Westminster, MAINTENANCE 27 MARCH London, UK 1:05 pm RESTORATIONS Acoustical Design & Testing • Organ Consultation & Jeremy Bruns; First Presbyterian, Midland, 7 MARCH Inspection • Organ Maintenance & Tuning • Sound & Video TX 7:30 pm 974 AUTUMN DRIVE Christopher Moore; Parish Church of SS. System Design, Evaluation & Training ANTIOCH, ILLINOIS 60002 30 MARCH Peter and Paul, Godalming, UK 1 pm ABR 847-395-1919 F INCY PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 Pavel Cerny; Christ the King Lutheran, Hous- email: [email protected] ton, TX 5 pm 12 MARCH www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Scott Montgomery; Holsclaw Recital Hall, Andrew Sampson; Reading Town Hall, University of Arizona, Tucson, AZ 7 pm Reading, UK 1 pm Roger Sherman, with viola; St. Mark’s Cathe- Peter Wright; Temple Church, London, UK Hupalo & Repasky dral, Seattle, WA 2 pm 1:15 pm _ Pipe Organs Leonard Danek; First Baptist, Seattle, WA 3 pm 16 MARCH 1785 Timothy Dr. Unit 4 Ian Tracey; Grace Cathedral, San Francisco, Nigel Ogden; Alexandra Palace, London, UK San Leandro, Calif. 94577-2313 CA 4 pm, following 3 pm Evensong 2:30 pm 510 483 6905 www.hupalorepasky.com A. David Moore, Inc. 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36 THE DIAPASON
Feb 08 pp. 33-37.indd 36 1/10/08 8:56:27 AM 19 MARCH MICHAEL GAILIT, Cathedral, Brus- founded on old Irish Church Melodies, Alle- en Mode Phrygien, Alain; Pastorale, Milhaud; Yuko Sakiyama; Minato Mirai Concert Hall, sels, Belgium, September 4, and Lausanne, gro, Stanford; Fantaisie-Improvisation sur le Sonata V in D, op. 65, no. 5, Mendelssohn; Yokohama, Japan 12:10 pm Cathedral, September 28: Prelude in D, Ave Maris Stella, Tournemire; Allegro (Sym- Sketch in D-fl at, Schumann; Prelude and James Vivian; Temple Church, London, UK BuxWV 139, Buxtehude; Magnifi cat du pre- phonie No. 6), Widor. Fugue in C, BWV 531, Bach; Finale–Andante 1:15 pm mier ton, Corrette; Variations on a theme by (Concerto VI in g), Handel. Steven Grahl; St. Marylebone Parish Church, Paganini, Thalben-Ball; Symphony IV in g, JEANNINE JORDAN, Mt. Angel Ab- London, UK 7 pm op. 32, Vierne. bey, St. Benedict, OR, July 26: Concerto in a, J. RICHARD SZEREMANY, with Randall BWV 593, Bach; Prelude in D, C.P.E. Bach; K. Bush, piano, East Liberty Presbyterian 21 MARCH DAVID A. GELL, Trinity Episcopal Fugue in D, W.F. Bach; Prelude and Fugue in Church, Pittsburgh, PA, October 14: Introduc- Alexander Baboschkin, with soprano; Kirche Church, Santa Barbara, CA, October 21: Pas- D, BWV 532, Bach. tion and Toccata in G, Walond; Andante Can- “Zur frohen Botschaft,” Berlin Karlshorst, Ger- toral Song, Pasticcio (Organ Book), Chant de tabile (Symphony IV), Widor; Scherzo (Sym- many 5 pm Paix, Chant Héroïque, Dans une douce joie DEREK NICKELS, Glenview Communi- phony II), Carillon de Westminster, Vierne; Telemann, Lukas-Passion; Stadthalle, Bad (Neuf Pièces), Cantilène, Dialogue sur les ty Church, Glenview, IL, November 4: Pièce Largo, Presto (Concerto in f), Bach; Carillon, Hersfelder, Germany 7 pm Mixtures (Suite Brève), Prelude on Corona- Héroïque, Franck; Passacaglia in d, BuxWV Sowerby; Roulade, Bingham; Prelude on Iam tion, There Is a Fountain Filled with Blood, 161, Buxtehude; Wer nur den lieben Gott lässt sol recedit igneus, Simonds; Sweet Sixteenths, 22 MARCH On Jordan’s Stormy Banks I Stand, Suite walten, BWV 647, Ach bleib bei uns, Herr Je- Albright; Sonata on the 94th Psalm, Reubke. Christoph Bergner, harpsichord; J. S. Bach- Médiévale, Langlais. sus Christ, BWV 649, Kommst du nun, Jesu, Haus, Bad Hersfelder, Germany 4:30 pm, 7 pm vom Himmel herunter, BWV 650, Bach; Ein MAXINE THÉVENOT, Westminster Ab- STEVE GENTILE, House of Hope Pres- feste Burg (Cantata 80), Bach, arr. Nickels; bey, London, UK, August 12: Symphonie III, 23 MARCH byterian Church, St. Paul, MN, September Moderato cantabile (Symphonie VIII), Widor; op. 28, Vierne. Bach, Osterkantaten; J. S. Bach-Haus, Bad 30: March in F, op. 46, no. 5, Guilmant; O Roulade, op. 9, no. 3, Bingham; Requiescat in Hersfelder, Germany 7 pm Gott du frommer Gott, Bach; Ecologue and pace, H. 159, Sowerby; Final (Première Sym- STEPHEN THARP, Kaiser-Wilhelm- Fugue in A-fl at, Sonata Brève, Sanders; Pièce phonie), Langlais. Gedächtnis-Kirche, Berlin-Charlottenburg, 28 MARCH d’orgue, Chavet; Magnifi cat Primi Toni, Bux- Germany, July 29: Toccata Labyrinth, Briggs; Rupert Lang, with brass; Christ Church Ca- tehude; O Sacrum Convivium, Messiaen, arr. MASSIMO NOSETTI, with Ercole Cer- Ave Maria, Consolamini, Prélude et Fugue en thedral, Vancouver, BC, Canada 7:30 pm Bauzin; Scherzo-Cats, Langlais; Variations on etta, trumpet, Cattedrale, Aosta, Italy, Au- Ut majeur, op. 13, Demessieux; Allegro deciso Sakura (Cherry Blossoms), Nosetti. gust 11: Thème et Variations sur le Psaume (Évocation, op. 37), Dupré; Ave Maria, Ave 29 MARCH 149 Chantez à Dieu chanson nouvelle, Cel- Maris Stella (Trois Paraphrases Grégoriennes, Anne Page; St. Saviour’s Church, St. Albans, GUIDO GRAUMANN, Irvington Pres- lier; Prelude No. 2 (Three Preludes), Starer; op. 5), Langlais; Te Deum, Hakim. UK 5:30 pm byterian Church, Irvington-on-Hudson, NY, Allegretto, op. 92, no. 3, Bossi; Okna (Win- November 18: Toccata and Fugue in F, BWV dows—after Marc Chagall), Eben; Introduc- MARIJIM THOENE, with Audrey Boyle, 540, Das alte Jahr vergangen ist, BWV 614, tion, Passacaglia and Fugue in b, Willan; Le St. Paul’s Episcopal Church, Bakersfi eld, CA, Vater unser im Himmelreich, BWV 682, Pre- Chant d’Echallot, Saglietti. October 7: Fantasy in G, Bach; Mary of Grac- Organ Recitals lude and Fugue in d, BWV 539, Meine Seele es, Quilling; Ave Maris Stella, Tournemire, erhebt den Herren, BWV 648, Allein Gott ANDREW SCANLON, Cathédrale Notre- arr. Durufl é; Cantilena for Flute and Organ, in der Höh sei Ehr, BWV 662, Prelude and Dame, Paris, France, November 11: Incanta- Bourland; Concerto in a, BWV 593, Bach. Fugue in b, BWV 544, Bach. tion pour un jour saint, Langlais; Choral No. PHILIP CROZIER, Kath. Pfarrkirche St. 3 en la mineur, Franck; Prélude et fugue en si ANITA EGGERT WERLING, First Pres- Wolfgang, Munich, Germany, July 11: Air, Ga- RICHARD BARRICK HOSKINS, St. Si- mineur, BWV 544, Bach; Prélude XX, Leguay; byterian Church, Macomb, IL, November 2: votte, Wesley; Passacaglia in d, BuxWV 161, mon’s Episcopal Church, Arlington Heights, Final (Symphonie I), Vierne. Praeludium in g, BuxWV 149, Ich ruf zu dir, Fugue in G, BuxWV 175, Buxtehude; Chant IL, November 18: Plein Jeu, Récit de Chrom- Herr Jesu Christ, BuxWV 196, Ein feste Burg de Paix (Neuf Pièces), Langlais; Petite pièce, horne, Dialogue, Elévation: Tierce en Taille, CARL C. SCHWARTZ, Temple Emanuel, ist unser Gott, BuxWV 184, Buxtehude; Cho- JA 33, Alain; A Trumpet Minuet, Hollins; Al- Offertoire sur les Grand Jeux (Messe pour les Greensboro, NC, November 4: Canzona, Trio ral No. 2 in b, Franck; Prelude and Fugue in legretto, Folk Tune, Scherzo (Five Short Piec- Couvents), Couperin; Carillon, Sowerby; Nun and Allegro, Rossi; Passacaglia in d, BuxWV G, BWV 541, Bach; Ich ruf zu dir, Herr Jesu es), Whitlock; Prelude in C, Bairstow; Psalm danket alle Gott, Von Gott will ich nicht las- 161, Buxtehude; Voluntary VI in F, Stanley; Christ, Ein feste Burg ist unser Gott, Was Prelude (op. 32, no. 2), Howells; Prelude and sen, Ach bleib bei uns, Herr Jesu Christ, Allein Psalm Prelude (Psalm 37, Verse 11), Howells; Gott tut, das ist wohlgetan, Sei Lob und Ehr Fugue in G, op. 37, no. 2, Mendelssohn; An- Gott in der Höh sei Ehr, Bach; Choral varié Festival Prelude on Kol Nidre, Berlinski; Has- dem höchsten Gut, Walcha; Suite Médiévale dantino, Bédard; Gaudeamus, Campbell. sur le Veni Creator, Durufl é; Two Preludes sidic Interlude (Six Pieces), Fromm; Ballade (en forme de Messe basse), Langlais.
Advertise in THE DIAPASON For information on rates and digital specifications contact Jerome Butera Dia_1ColumnInchAd.ai 4/5/05 10:13:38 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
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CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classified Advertising section of THE DIAPASON for the following issue(s): Regular classified advertising is single ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December paragraph “want ad” style. First line only of each ad in bold face type. Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER Display classified advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the Ad Copy ______advertisement. ______Regular Classified, per word $ .95 Regular Classified minimum 19.00 ______Display Classified, per word 1.25 Display Classified minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classified advertising must be accompanied by payment in full ______for the month(s) specified. Orders will be accepted for one, two, three, four, five, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to designate Name ______Phone ______appropriate classification to advertisements, and to reject the insertion of advertising Address ______Total Enclosed ______deemed inappropriate to this magazine. City/State ______Zip ______E-mail ______
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Feb 08 pp. 33-37.indd 37 1/10/08 8:56:47 AM Classified Advertising Rates Classified Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
Goulding & Wood, Inc., of Indianapolis, is Great organ music from the past is avail- Aging of Organ Leather by Harley Pilting- Continuo organ, 8′, 4′, 2′, 8′ principal seeking a service technician for immediate em- able again: American, Romantic, transcrip- srud tells how to test and select organ leath- c1–3 playable at A-440 or A-415; portable. ployment. A minimum of three years prior ex- tions, even decadent! Ketèlbey, Buck, Thay- ers for longevity of 60 years or more. Treats $39,000. A. David Moore Inc., telephone: perience is required. Starting salary well above er, Hollins, and many more. Original size, other aspects of leather production and the 802/457-3914. industry standards. The successful applicant highest quality. michaelsmusicservice.com; history of testing for longevity. New 48-page will have general knowledge of various action 704/567-1066. edition in 1994, $9.95 + $4 shipping for en- designs, extensive tuning background, and tire order (within USA). Order online at www. W. Zimmer & Sons 2-manual organ; 11 strong interpersonal skills. Voicing skills a plus. ohscatalog.org. ranks unified to 21 stops. Principal, Gedackt, Please submit résumés or requests for more in- The OHS Catalog is online at www.ohscatalog. Sesquialter, Mixture III, Rohrflöte, Gemshorn, formation to: 823 Massachusetts Avenue, India- org. More than 4,000 organ and theatre organ CDs, 16′ Fagott, 16′ Subbass. Built 1987, case- napolis, IN 46204. Fax: 317/637-5236, e-mail: books, sheet music, DVDs and VHS videos are Classified ads must be prepaid and may work with hand-carved pipe shades. South- [email protected], web: www. listed for browsing and easy ordering. Use a link for be ordered for 1, 2, 3, 4, 5, or 6 months. For ern Michigan. Photos and stoplist available. gouldingandwood.com. adding your address to the OHS Catalog mailing list. information, contact associate editor Joyce 951/452-0339. Organ Historical Society, Box 26811, Richmond, VA Robinson, 847/391-1044, e-mail jrobinson@ 23261 E-mail: [email protected]. sgcmail.com. MISCELLANEOUS Van Daalen 19-rank tracker organ. $50,000 or best offer. Contact for stoplist. Gary Thorn, Historic Organ Surveys on CD: recorded during Send recital programs to THE DIAPASON, 3030 W. 507/288-6430, [email protected]. national conventions of the Organ Historical So- Salt Creek Lane, Suite 201, Arlington Heights, IL ciety. Each set includes photographs, stoplists, 60005. Estey Organ Museum Organ Tour: April 1927 Moller pipe organ—electropneumatic 22–May 2, 2008. SW Germany, Lich- and histories. As many organists as organs and repertoire from the usual to the unknown, Arne action, four manuals, drawknob console, 28 tenstein, NE Switzerland. Georg Stein- ranks. Available for removal Immediately. Buyer meyer, guide. Limited openings (group to Zundel, often in exceptional performances on Request a free sample issue of THE DIAPASON beautiful organs. Each set includes many hymns for a student, friend, or colleague. Write to the to remove. Make offer. Currently in use. Contact size: 14). Telephone: 802/254-4280; fax: Salem United Church of Christ, 435 South 9th 802/257-1855. sung by 200–400 musicians. Historic Organs of Editor, THE DIAPASON, 3030 W. Salt Creek Lane, Louisville (western Kentucky/eastern Indiana) Suite 201, Arlington Heights, IL 60005; or e-mail: St, Quincy, IL 62301, 217/222-0601, office@ 32 organs on 4 CDs, $29.95. Historic Organs of [email protected]. salemquincy.org. Maine 39 organs on 4 CDs, $29.95. Historic Or- gans of Baltimore 30 organs on 4 CDs, $29.95. PUBLICATIONS/ Historic Organs of Milwaukee 25 organs in Wis- 1976 Schantz—19 ranks, 2 manuals and pedal. RECORDINGS consin on 2 CDs, $19.98. Historic Organs of New PIANOFORTE Pristine condition; playable. Asking $185,000 + Orleans 17 organs in the Bayous to Natchez on FOR SALE cost of removal. For details contact Pastor Judy 2 CDs, $19.98. Historic Organs of San Francisco Anderson at [email protected]. Reflections: 1947-1997 , The Organ Depart- 20 organs on 2 CDs, $19.98. Add $4 shipping Brown and Allen/Boston square grand piano- ment, School of Music, The University of Michi- in U. S. per entire order from OHS, Box 26811, gan, edited by Marilyn Mason & Margarete forte. 73 keys. Very good condition. Best offer. Atlantic City Pipe Organ Co.—2-manual, 8- Richmond, VA 23261, by telephone with Visa or Nelson, 847/367-5102 or 312/304-5287. Thomsen; dedicated to the memory of Albert MasterCard 804/353-9226; FAX 804/353-9266. stop, 10-rank 1976 Joseph Chaplin tracker in Stanley, Earl V. Moore, and Palmer Christian. good playable condition. $8000. Check website Includes an informal history-memoir of the organ for pictures, specs. http://mywebpages.comcast. department with papers by 12 current and former CD Recording, “In memoriam Mark Buxton PIPE ORGANS net/acorgan. 609/641-9422. faculty and students; 11 scholarly articles; remi- (1961-1996).” Recorded at Église Notre-Dame niscences and testimonials by graduates of the de France in Leicester Square, London, between FOR SALE department; 12 appendices, and a CD record- 1987 and 1996. Works of Callahan, Widor, Be sure to check your listing in The Dia- ing, “Marilyn Mason in Recital,” recorded at the Grunewald, Salome, Ropartz, and Boëllmann, Three-rank tracker organ, 1975 Hendrickson. pason 2008 Resource Directory. To update National Shrine of the Immaculate Conception along with Buxton’s improvisations. $15 post- Two manuals and pedal, solid red oak cabine- information at www.TheDiapason.com, in Washington, DC. $50 from The University of paid: Sandy Buxton, 10 Beachview Crescent, To- try, excellent condition, $20,000. Located in ZIP click on Supplier Login, then follow the Michigan, Prof. Marilyn Mason, School of Music, ronto ON M4E 2L3 Canada. 416/699-5387, FAX 54650. Telephone 608/779-5857, or wtemte@ appropriate prompts. Ann Arbor, MI 48109-2085. 416/964-2492; e-mail [email protected]. msn.com. glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
THE ORGAN COMPANY
1220 Timberedge Road Lawrence, Kansas 66049 (785) 843-2622 www.reuterorgan.com
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PIPE ORGANS REED ORGANS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Casavant pipe organ for sale. View www. Mason and Hamlin, three manual and pedal. Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- casavantorganforsale.com. 706/453-0980. $3,500, including blower. Rare. A.D. Moore Inc., livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic 802/457-3914. organs.com. action. Removal and installation service avail- able. Full warranty. Skinner, Casavant and 1960s Walcker (German) 14-rank tracker Kimball specialty. Spencer Organ Company, organ. Open toe voicing on 2″ wind pressure. Mason and Hamlin reed organ, 10 stops plus The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation Reverse console built into case. Footprint is 6′ forte stop and octave coupler, with bench. Excel- organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, wide by 11′6″ deep (including console and pedal lent condition. Best offer. Nelson, 847/367-5102 and tonal work. Finest materials, expert work- www.spencerorgan.com. stops), 9′10″ tall. All encased with 4′ Principal or 312/304-5287. manship. K.E.M. Pipe Organ Builders, Austin, façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- TX. 800/792-8180. quialtera, II–III Mixture. Manual II—8′ Gemshorn, RELEATHERING: also Pipe Organ Re- 4′ Rohrflote, 2′ Principal, 1-1/3′ Quinte. Pedal— MISCELLANEOUS building, Repair and Maintenance Service 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and Highest quality organ control systems since in New England area. Years of experience, in use regularly. Asking $28,000. For recordings FOR SALE 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, and pictures contact [email protected]. action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- Wood pipes. Missing pipes made to match. are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail Damaged pipes in any condition repaired. Over pricing, custom software to meet all of your [email protected]. 1999 Morel & Associates organ. Two manual 25 years experience. Filip Cerny, 814/342-0975. requirements. For more information call Westa- and pedal, 17 stops, 20 ranks. Originally built for cott Organ Systems, 215/353-0286, or e-mail a chamber installation, organ has a handsome [email protected]. Austin actions recovered. Over 30 years colonial-style case front. Excellent condition. Vintage consoles, pipes, relays, magnets experience. Units thoroughly tested and fully Brochure and demonstration CD available. Call and numerous miscellaneous parts. Let us know guaranteed. Please call or e-mail for quotes. 303/355-3852, or e-mail [email protected]. what you are looking for. E-mail orgnbldr@com- Columbia Organ Leathers sells the finest leathers available for organ use. We sell pre- Technical assistance available. Foley-Baker, cat.com (not comcast), phone 215/353-0286 or Inc., 42 N. River Road, Tolland, CT 06084. 215/788-3423. punched pouches and pre-assembled pouches, and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. A college in Nashville closed its music program [email protected]. in 1988 and is offering two practice organs for vices. Call today for a catalogue. 800/423-7003 sale (a 2-manual and pedal Schlicker—SOLD, Laptops, Pocket PCs and Tuning Software— or e-mail: [email protected]. and a 2-manual and pedal Zimmer and Sons). tune harpsichords and pianos. Herb Huestis, New classified advertising rates went into Contact Milnar Organ Co. 615/274-6440 or www. 1502–1574 Gulf Road, Point Roberts, WA 98281. effect January 1, 2008. See page 37 for milnarorgan.com for details. Phone 604/946-3952, e-mail: [email protected]. Need help with your re-leathering information. Computer tuning software is sensitive to 1/10 project? All pneumatics including cent, much greater than dial tuners. Over 100 Austin. Over 45 years experience Bedient “Lincoln” practice organ, Opus 62, programmable temperaments. Check it out on (on the job assistance available). If your company was not listed in THE DIA- 1999. Manual I: Rohrflute 8, Manual II: Gedackt www.tunelab-world.com. Pocket PC Ipaq 3650 615/274-6400. PASON 2008 Resource Directory, be sure to be 8, Pedal: pull-down from II. Mechanical action. with shareware tuning software, $150, includes ′ part of the 2009 issue! Visit our website, www. Fits under 8 ceiling. White oak case. Located stand, power supply and shipping. 8x10x2 small TheDiapason.com, and from the upper left col- near New Haven, CT. $30,000. merema@sbc- Toshiba laptop used for shop tuning: $200 in- umn select Supplier Login. For information, global.net; 203/481-8139. cluding shipping. Requires external microphone ALL REPLIES contact Joyce Robinson, 847/391-1044, e-mail: which is included. Spreadsheets of historical TO BOX NUMBERS [email protected]. tunings showing both aural and electronic tun- ELECTRONIC ORGANS ing data, $18 including shipping. Improve your that appear tuning skills! FOR SALE without an address Postal regulations require that mail should be sent to: to THE DIAPASON include a suite num- Allen Renaissance R-350. 3-manual, 71 voices, THE DIAPASON 2008 Resource Directory ber to assure delivery. Please send playback, MIDI, 16 memory levels, 7 alternate was mailed to all subscribers with the January THE DIAPASON all correspondence to: THE DIAPASON, tunings, and many extras. Excellent condition. 8 2008 issue. Additional copies are available at 3030 W. Salt Creek Lane, Suite 201 cabinet speakers. 2 quad amplifiers, 485 watts a cost of $5.00 postpaid. Contact the editor, 3030 W. Salt Creek Lane, Suite 201, each. Only 4 years old. $55,000. 703/356-0670 Jerome Butera, at 847/391-1045, jbutera@ Arlington Heights, IL 60005 Arlington Heights, IL 60005. or [email protected]. sgcmail.com.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC Charles W. McManis NEW INSTRUMENTS REBUILDS - ADDITIONS “Three Generations at Organ Building” In Memoriam TUNING & SERVICE 1070 N.E. 48th Court CHARLOTTE, NORTH CAROLINA 28218 FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of first issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
FEBRUARY, 2008 39
Feb 08 pp. 38-39.indd 39 1/10/08 8:58:01 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 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* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2008 -2009
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Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
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John Weaver Gillian Weir* Todd Wilson Christopher Young