THE DIAPASON NOVEMBER 2012

First Lutheran Church Sioux Falls, South Dakota Cover feature on pages 30–32 Critical praise for Christopher Houlihan’s summer performances of Louis Vierne’s six organ symphonies

“The gifted young organist Christopher Houlihan phrased with ƃexibility and clarity through the works’ knottiest chromatic wanderings… his playing had a glamorous sheen appropriate to Vierne’s music.” (The New York Times)

“Dazzling performances displaying a virtuoso’s technical prowess, an architect’s grasp of structure and a torch singer’s ability to convey emotions.” (The Wall Street Journal)

“Houlihan’s ‘Vierne 2012’ is a major surprise of the summer, a true revelation… Concentrated and unsentimental, Houlihan ended the cycle with an unnervingly honest and direct performance, astonishing for so young a performer. The Houli Fans can give themselves high Ƃves. They’ve helped launch a major career.” (The Los Angeles Times)

“Houlihan showed great virtuosity as well as ingenuity in his use of registrations and contrasting colors…Played with great expressive restraint and elegance… a virtuosic reading…The surprisingly large audience gave the gifted young WWW.CONCERTARTISTS.COM organist a roaring and well-deserved [email protected] standing ovation.” (Chicago Classical Review) E N V
D E R K
C R H O I Y C A “This ambitious program of all six Vierne W G E O N SIX SYMPHONIES
SIX CITIES
symphonies will long be remembered,
VIERNE2012 I am sure, as one of New York’s all-time

great organ recitals. Bravo to Christopher
CHRISTOPHER HOULIHAN
L O S S A Houlihan for taking on such a massive L A L N A G D project, and for carrying it off with E L
E S A L
M O N T R E so much intelligence, artistry, and communicative power.” WWW.VIERNE2012.COM (The Diapason) for complete press coverage THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Third Year: No. 11, In this issue Whole No. 1236 With this issue, The Diapason launches its newly designed NOVEMBER 2012 all-color format, and welcomes designer Dan Solits to its staff. Established in 1909 Dan has been involved with The Diapason for many years, Jerome Butera ISSN 0012-2378 serving earlier as head of pre-press operations. It’s great to have 847/391-1045; [email protected] Dan’s graphic talents expanding the scope and enhancing the www.TheDiapason.com An International Monthly Devoted to the Organ, look of The Diapason. the Harpsichord, Carillon, and Church Music Among the offerings in this issue of The Diapason, Jane to our regular departments of news, reviews, new organs, an Scharding Smedley reports on the Sewanee Church Music international calendar, organ recital programs, and more. Conference that took place in July; Jan-Piet Knijff provides CONTENTS a translation of his interview with Gustav Leonhardt, which 2013 Resource Directory was fi rst published in Het Orgel in 2000; Mark J. Merrill dis- If your company is already listed in the 2012 Directory, please FEATURES cusses the design of the early Iberian organ; and Larry Palmer take a moment to check the information. To update, contact Crazy about Organs Gustav Leonhardt at 72 highlights unusual harpsichord music. The cover feature is Joyce Robinson at 847/391-1044 or [email protected]. by Jan-Piet Knijff 20 Schoenstein & Co.’s project at First Lutheran Church in Sioux Sewanee Church Music Conference Falls, South Dakota. Digital edition July 9–15, 2012 John Bishop devotes his column “In the wind . . .” to the his- We continue to explore the option of a digital edition of The by Jane Scharding Smedley 23 tory of evolving technology of the pipe organ, from Ctesibius to Diapason. An e-mail piece was sent out last month, with a link The Early Iberian Organ Cavaillé-Coll, Ernest Skinner, and beyond, with references to to a sample digital edition. Subscribers would have the option Design and Disposition by Mark J. Merrill 24 da Vinci, Copernicus, Columbus, Gutenberg and others. Gavin of choosing the print edition, digital edition, or both. Let me Black offers part two of his organ method, an introduction to know if this would interest you. There will also be a special Gathering Peascods for the Old Gray Mare Some Unusual Harpsichord Music Before the pipe organ, with terms and defi nitions. This is in addition reduced student rate for the digital edition. Q Aliénor by Larry Palmer 27

NEWS & DEPARTMENTS Editor’s Notebook 3 Letters to the Editor Letters to the Editor 3 Appointments 4 Organs in Lithuania it is unlikely that he would have had the subcontracted for a replacement piece Here & There 4, 6, 8, 10, 11 It was intriguing to read the article by technological profi ciency to engineer a of center paneling, or the church could Nunc Dimittis 10, 11 Bill Halsey on organs in Vilnius, Lithu- detached mechanical console.” He raises have engaged a woodworking fi rm to do In the wind . . . by John Bishop 12 ania (The Diapason, August 2012), and the second point in different wording in so, which would have looked like it was On Teaching by Gavin Black 14 to learn that he had once been organist the next paragraph as well. While no opus original. Such quality of materials and REVIEWS and cantor at a Polish parish in New York list of Sanborn’s fi rm has yet been discov- workmanship from the nineteenth cen- Music for Voices and Organ 15 City—at St. John Cantius. ered, such that we know the number of tury was certainly still available in urban Book Reviews 16 In the early 1970s, I served as organist instruments that were constructed, and centers in the 1920s. If the author thinks New Recordings 18 of the one and only Lithuanian parish only two instruments by him have thus far that Seeburg-Smith was incapable of New Organ Music 18 in New York City: Our Lady of Vilnius, been known to be extant, that certainly making such a panel, he apparently did New Handbell Music 19 located in Lower Manhattan, adjacent does not translate to “limited accomplish- not consider this alternative. Fourth, without belaboring the point NEW ORGANS 32 to the Holland Tunnel entrance. The ment.” Sanborn (1823–1903) built organs church edifi ce was noted for the fi ne under his own name in Indianapolis concerning the author’s continuing CALENDAR 33 murals painted by a Lithuanian-Ameri- from about 1882 to 1901, about twenty conjectures about what the original ORGAN RECITALS 37 can artist. It was the last Roman Catholic years, after having worked for William H. action of the instrument was, the organ CLASSIFIED ADVERTISING 38 parish in New York to offer Mass in Latin Clarke & Company, organbuilders, also is nevertheless clearly documented as according to the traditional Tridentine in Indianapolis, since 1874, as shop fore- having had mechanical key action and liturgy (under what authority, I was man. He had trained with and worked for tubular-pneumatic pedal action, which THE never cognizant). Hymns and homily E. & G. G. Hook, later E. & G. G. Hook was a common combination in Ameri- DIAPASON NOVEMBER 2012 were in Lithuanian. & Hastings, organbuilders in Boston, for can organbuilding by the 1890s, and The (Catholic) wife of (Jewish) Irving many years (he was already 51 years of used in organs of all sizes. The primary Berlin was known to attend on occasion, age when he moved to Indiana). So hav- reason for the use of tubular-pneumatic presumably because of the Latin Mass, ing started off with a false premise, the action in pedal divisions, as opposed to which she evidently preferred to the author then makes an unjustifi ed con- mechanical action, was not to lighten new-fangled vernacular liturgy—and clusion about Sanborn’s technical skills. the playing touch, but rather arose due

First Lutheran Church Sioux Falls, South Dakota Cover feature on pages 30–32 arrived in style in her chauffeured He was certainly capable of engineering to the fact that pedal trackers usually ran Rolls-Royce! a detached mechanical console, given underneath reservoirs, and were thereby COVER In later years, a Portuguese con- his background. diffi cult to replace if they broke, or to Schoenstein & Co., Benicia, California; First tingent—having moved into the Second, in trying to rationalize what allow more fl exibility in the location and Lutheran Church, Sioux Falls, South Dakota 30 area—began worshipping there. That, the original construction of the organ layout of pedal chests in instruments due however, occurred after I had moved might have been, he states that “the to the inherent size of pedal divisions. on. The church was closed several years façade paneling in the apron seems to Projecting keydesks also commonly ago, on orders of the then Archbishop be original,” in effect arguing along with mixed tracker and tubular-pneumatic Editor & Publisher JEROME BUTERA of New York, Cardinal Edward Egan, other assumptions about the paneling action, so the Sanborn represented quite [email protected] against the wishes of the parishioners, that this constitutes evidence against conventional organbuilding for its time. 847/391-1045 who—although they no longer lived in a keydesk en fenêtre. The surviving The author states that tubular-pneumatic Associate Editor JOYCE ROBINSON the neighborhood—still commuted duti- photograph of the organ as originally action “remained in use for a very short [email protected] fully each week for Sunday Mass. So far, installed clearly shows that the project- period.” In fact, such action came into 847/391-1044 efforts to re-open the church have been ing keydesk was centered at the base of use in the 1870s and was employed by Contributing Editors LARRY PALMER unsuccessful, but the edifi ce is still extant. the case. While it is not clear enough to many builders in one way or another to Harpsichord Arthur LaMirande show manual and stopjamb details, it is about the 1920s, especially in England, New York, New York easy to extrapolate from the half-round or a span of about fi fty years. JAMES MCCRAY Choral Music choir seating separated by a railing above Fifth, it is also very likely that San- Thomas Sanborn the chancel fl oor where the clergy chairs born used his own patented form of BRIAN SWAGER It is necessary to object to a few state- are positioned, and the depth of space pneumatic-assist for the manual chests Carillon ments in the article on the Sanborn organ that would accordingly have been avail- (he held two organ patents). Although JOHN BISHOP project by Goulding & Wood published in able, that the keydesk could only have the Seeburg-Smith work removed this In the wind . . . the August 2012 issue of The Diapason. been projecting at most, and was not element, that fi rm did not obliterate the The author makes certain unfounded detached. Projecting keydesks were very physical evidence that assists were uti- GAVIN BLACK On Teaching assumptions and gross generalizations common in American organbuilding by lized. This is further confi rmation of the that result in demeaning and unfairly the 1890s; they were usually built into fact that the manual action was tracker, Reviewers John M. Bullard mis-characterizing the work of Thomas the base of an instrument at the center. because such assists would not have been Jonathan B. Hall Sanborn, the original organbuilder. Third, Seeburg-Smith, the fi rm that used with tubular-pneumatic action. The John Collins First, he states that as “Sanborn was a electrifi ed the organ in 1921 and pro- author’s statement that “unfortunately, Leon Nelson local builder of limited accomplishment, vided a new separate console, could have ³ page 4

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 3 Letters to the Editor Here & There

³ page 3 violin or the piano is as wrong-headed as the restoration project yielded no evi- a number of other organ theorists’ ideas dence in the organ that either proves or from previous centuries. disproves the original actuating mecha- Woolley’s expectation that the pipe nism” is simply not true. organ be more cost-effective by incor- All of this is clearly spelled out in articles porating ever more sophisticated elec- in the Organ Atlas 2007, published by the tronic technology springs again from Organ Historical Society for its annual his mistaken belief about the organ’s national convention held in Indianapolis expressive nature. “Better value for the that year, both on the church building, then money?” Has he played or heard any of known as “Old Centrum,” and in my essay the great concert hall organs he so easily on the history of organbuilding in Indiana criticizes? On what would he rather have in the nineteenth century. Since Gould- people spend their money? ing & Wood employees were involved He and others in the organ world, with the convention, they surely know of whose negative view of the instrument this resource. Ignoring it has allowed this spawns ever more bizarre attempts to article to give the wrong impression of the attract attention to themselves and their origins and characteristics of the instru- experiments, rather than to the music, VJan Kraybill VFrederick Teardo ment. And while the instrument and its need to re-examine their basic beliefs new console now looks beautiful, and it is about the musical nature of the organ and a cause for celebration that this instrument its important place in Western culture. Appointments studied composition with Ronan Mail- has been revived after having languished A fundamental element missing from VJan Kraybill has been selected as lard, organ with Jean-Pierre Imbert in in poor condition for so many years, it Woolley’s editorial is the wind and its role organ conservator for the Julia Irene Alpes d’Huez, and studied improvisation would not be appropriate to call it a “res- not only in creating musical tone but also Kauffman Casavant Organ in Kansas under Jacques Taddei. In 2004, Penin toration” or a “refurbishing.” It has been in providing a soul to the instrument. If City. The 102-rank instrument, built by was appointed co-organiste titulaire with further altered in its latest reincarnation, there was ever a time when our society Casavant Frères and completed in early Jacques Taddei, and choirmaster of the and is effectively now a “rebuild.” needed more connection with reality and 2012, is the centerpiece of Helzberg Basilica Sainte Clotilde in Paris. Michael D. Friesen spirituality—epitomized in the pneuma Hall in the Kauffman Center for the Denver, Colorado (wind/spirit) of the pipe organ—it is now. Performing Arts. Don E. Saliers has been appointed If Woolley truly believes his mistaken The conservator is the lead caretaker chaplain for the American Guild of The 49-note TC string celeste notion about the expressive defi ciencies of the organ. In this role Dr. Kraybill will Organists. Saliers is the Wm. R. Can- Almsot every stoplist I have seen in of the organ, perhaps he should apply work closely with Kauffman Center staff non Distinguished Professor of Theol- The Diapason for many years shows his active imagination to pursuits other and Casavant to facilitate the use of the ogy and Worship (Emeritus) at Emory 49-note TC string celestes. I fail to than trying to improve it, an instrument instrument in performances, and ensure University’s Candler School of Theology. understand why string celestes continue with its own unique, built-in expressive proper preservation and maintenance He holds degrees from Ohio Wesleyan to be included as 49-pipe stops. It infuri- potential. Growing awareness of the of the organ, and coordinate with artists University, Yale Divinity School, and ates me to see organbuilders adhering to true character of the pipe organ and its and production personnel. Cambridge University. He taught at the this ridiculous thinking. Back in 1985, I iconic role in the cultural life of America, Since 1998, Kraybill has served as Yale Divinity School before joining the worked with M. P. Möller only sixty miles Europe, the Far East, and on around the Principal Organist at the international faculty at Emory in 1974. For the past 33 from my church to design the organ for globe speaks for itself. headquarters of the Community of Christ years he has been organist/choirmaster the new sanctuary at Oakdale Emory Douglas Reed (formerly RLDS) denomination in Inde- at Emory University’s Cannon Chapel. United Methodist Church in Olney. Do University Organist pendence, Missouri, home to the 113-rank He is the author of 15 books and more any organbuilders out there have any Professor Emeritus of Music Aeolian-Skinner Auditorium Organ (1959) than 100 essays and book chapters. clue to what a 61-note viola celeste can University of Evansville and the Temple’s 102-rank Casavant organ do in the pedal when coupled from the (1993). She will continue in those duties. VFrederick Teardo has been swell? Having those 12 additional pipes Franz Liszt: Kraybill has performed in many venues in appointed director of music and organist provides a warmth of sound in the pedal A Hungarian Rhapsody the U.S., Canada, Germany, Great Britain, at the Cathedral Church of the Advent, for more quiet pieces. Even old E. M. It is a pleasure to inform readers that Poland, Russia, South Korea, and Tahiti, Birmingham, Alabama, effective Novem- Skinner knew that. I can understand a there are detailed program notes in the has appeared at regional and national ber 1. He succeeds Stephen G. Schaef- 49-note fl ute celeste, as I have that in the booklet insert of my recent CD, Franz conventions of the AGO, and has been fer, who retired in August after a 25-year choir, but come on folks. Get out there Liszt: A Hungarian Rhapsody,” which featured on Kansas Public Radio and on tenure. Prior to this appointment, Dr. and rethink things. There is absolutely was reviewed by David Wagner in the American Public Media’s nationally broad- Teardo served fi rst as assistant organist no excuse whatsoever for a TC 49-note August 2012 issue of The Diapason. cast program Pipedreams. and subsequently as associate organist at string celeste in any organ....period! Interested readers may also fi nd the In 2010, Kraybill earned the certifi ca- St. Thomas Church Fifth Avenue in New Ray Brubacher specifi cations for both the Gress-Miles tion of Fellow of the American Guild of York City, where he worked with John Olney, Maryland organ and Paul Fritts organ at Vassar Organists (FAGO). She has served in Scott and the renowned Choir of Men College by visiting the music department many elected offi ces in the AGO, most and Boys for over six years. Expressive or inexpressive homepage and clicking on “Organs” on recently as Councillor for Region VI, and Teardo received the Doctor of Musi- Isn’t it time that the entire Organ the right-hand menu. In fall 2012, I serve is the executive assistant for the guild’s cal Arts degree from the Yale School of World gave up completely the notion as college organist at Vassar College, 2018 national convention to be held Music and Institute of Sacred Music, that the pipe organ is not really good where there are 15 students registered in Kansas City. Kraybill is also on the as well as the Master of Musical Arts enough to have a place in the larger in the organ program, and also serve as executive committee of the Hymn Soci- and Master of Music degrees. At Yale, Musical World? Alan Woolley’s lengthy director of music at Barnard College, ety in the United States and Canada, and he studied organ with Thomas Murray letter (September, 2012) springs from Columbia University, where I teach full- serves on the board of directors of the and harpsichord with Richard Rephann. an erroneous belief that “the organ is time. Thank you so much for your inter- Master Teacher Institute for the Arts. During his time at Yale, he held the inherently inexpressive.” Inexpressive est in the organ music of Franz Liszt. For information: www.jankraybill.com. post of Yale University Chapel Organist of what? To demand from the organ a Gail Archer Performances involving the Julia and later served as assistant organist at musical vocabulary matching that of the New York, NY Irene Kauffman Casavant are being Trinity Episcopal Church on the Green planned for the 2012–13 season. Solo in New Haven, Connecticut. Teardo artists include Richard Elliott, October received his Bachelor of Music degree 24; Cameron Carpenter, November 4; with highest honors from the Eastman Jan Kraybill, January 16; Caroline Robin- School of Music in Rochester, New son, April 10; Tom Trenney, May 8; and York, where he studied organ with David Chelsea Chen, May 20. For information: Higgs. His other teachers have included www.kauffmancenter.org. Stephen Roberts and Haskell Thomson; he has also studied improvisation with Olivier Penin has been named titu- William Porter and Jeffrey Brillhart. lar organist at Sainte-Clotilde in Paris, In frequent demand as a soloist, Fred- following the death of Jacques Taddei erick Teardo has performed at promi- in August. Born in 1981, Olivier Penin nent venues. His solo recording is avail- began piano study at age fi ve, and a year able from JAV Recordings and features later entered the ‘maitrise’ of Caen, a works of Bach, Boyvin, and DeGrigny on school combining academic and musi- the historic 1741 J. A. Silbermann organ cal education. He began organ study in of St. Thomas Church in Strasbourg, 1994 under Jean-Baptiste Fourest and France. He has also been a featured per- continued study with Daniel Martin, former at regional and national conven- who also taught him harmony. From tions of the AGO and OHS, on American 1996 to 2006, he studied under David Public Media’s Pipedreams, BBC Radio Christmas-Hudson. He obtained a fi rst 3 and three CD recordings with the St. prize and prix de perfectionnement at Thomas Choir. the conservatories of Hauts de Seine, ³ page 6

4 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Paul Cienniwa Adjunct Organ Professor Organist/Conductor/Lecturer Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Concert Harpsichordist Indiana University Montevideo, Uruguay Battipaglia, Italy Paris, France Ann Arbor, Michigan Boston, Massachusetts

Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Milwaukee, Wisconsin Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama

Johan Hermans Tobias Horn Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Tong-Soon Kwak Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer Professor of Organ Hasselt, Belgium Stuttgart, Germany Brooklyn, New York Ripon College San Mateo, California Yonsei University, Korea

David K. Lamb Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Organist/Conductor Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Columbus, Indiana New York City SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois

Anna Myeong David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Brennan Szafron Organist/Lecturer Organist/Lecturer Harpsichord & Organ Organist Organist/Lecturer Organist/Harpsichordist University of Kansas Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Spartanburg, South Carolina

Timothy Tikker Michael Unger Elke Voelker Eugeniusz Wawrzyniak Jeffrey Cohan Duo Majoya Organist/Composer/Improviser Organist/Harpsichordist Organist/Musicologist Organist Concert Flutist Organ/Piano/Harpsichord Kalamazoo College, Michigan Rochester, New York Mannheim, Germany Charleroi, Belgium Seattle, Washington U of Alberta, King's UC www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director David Lamb, Assistant Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 a non-traditional representation celebrating its 25th year of operation Here & There

³ page 4 series: November 4, Choral Evensong; Friday Tenebrae. For information: www. 11/17, Peggy Kelley Reinburg, organ and crescentonline.org. Events piano works of Jehan Alain. For informa- The Houston Chamber Choir con- tion: www.stjohnshagerstown.org. First Methodist Church, Ocala, tinues its 17th season: Bach and All That Florida, presents its 2012–13 music Jazz, November 2, Lone Star College, Trinity Episcopal Church, Santa series: November 11, Marion Civic The Woodlands, 11/3, St. Philip Presby- Barbara, California, continues its music Chorale; December 2, Central Florida terian Church; For Unto Us, December series: November 4, David Gell; Decem- Master Choir; February 10, Praise Band; 8, Church of St. John the Divine; Christ- ber 2, Kevin Rose; 12/9, Emma Lou April 28, Central Florida Master Choir; mas at the Villa, 12/15 and 16, Chapel of Diemer; 12/14, Christmas carol sing- May 5, Marion Civic Chorale. For infor- the Villa de Matel; What Sweeter Music: along and wassail party; 12/16, David mation: www.fumcocala.org. The British A Cappella Tradition, March Gell; 12/23, Mahlon Balderston. For 2, St. John the Divine, 3/3, St. Thomas information: www.trinitysb.org. Rosary Cathedral, Toledo, Ohio, Episcopal Church, College Station; continues its music series: November 13, Mozart’s Great Mass in C Minor, K. 427, Peachtree Road United Methodist Douglas Bruce; December 2, Lessons May 18, St. John the Divine. For infor- Church, Atlanta, Georgia, continues its & Carols; February 10, Vox Choralis; mation: www.houstonchamberchoir.org. music series: November 4, Sarah Haw- March 10, Toledo Symphony Orchestra; becker, followed by Evensong; 11/18, 3/27, Tenebrae; May 6, World Organ St. Thomas Church Fifth Avenue, Atlanta Singers; December 9, Christmas Day Concert, 850th anniversary of Notre New York, continues its series of organ concert; 12/14 and 12/15, Georgia Boy Dame Cathedral, Paris. For information: recitals, Sundays at 5:15 pm: Novem- Choir; 12/16, Lessons & Carols; January 419/244-9575; www.rosarycathedral.org. ber 4, Phillip Kloeckner; 11/11, Stefan 26, Prokofi ev, Peter and the Wolf. For Tannenberg organ, Old Salem Kießling; 11/18, Anne Laver; 11/25, information: www.prumc.org. First Presbyterian Church, Arling- Angela Kraft Cross; December 2, Benja- ton Heights, Illinois, continues its music Old Salem Museums & min Sheen; 12/9, Christian Haigh; 12/16, Park Congregational Church, series: November 14, Christopher Urban, Gardens, Winston-Salem, North William Wisnom; January 13, Tom Bell; Grand Rapids, Michigan, continues its with pianist Chuck Beech; December 9, Carolina, continues the series of 1/20, John Richardson; 1/27, Harry van fall concert series on Tuesdays at 12:15 Christmas concert; January 13, Alliance recitals on its Tannenberg organ: Wijk. For information: pm: November 6, Douglas Bruce; 11/20, Brass; February 10, 28th annual Organ December 5, Susan Foster; 12/12, www.saintthomaschurch.org. Helen Hawley; December 18, Carol Fest. For information: www.fpcah.org. Tim Olsen; 12/19, Joseph O’Berry; McNally and Phyllis Miner, organ and 12/26, John Coble. For informa- Grace Church, New York City, harp. For information: 616/459-3203 First Baptist Church, Worcester, tion: 336/779-6146; continues its music series: November 4, x24; www.parkchurchgr.org. Massachusetts, presents a gala brass [email protected]. Choral Evensong; December 2, Advent and organ concert on November 16 at Lessons & Carols; 12/12, community Camp Hill Presbyterian Church, 7:30 pm. The program features organist carol sing; 12/16, Britten, A Ceremony Camp Hill, Pennsylvania, continues its William Ness and the Worcester Poly- Crispian Steele-Perkins, trumpets; May of Carols; 12/24, Festival of Nine Les- music series: November 7, Thomas Clark- technic Institute Brass and Percussion 2, Robert Quinney. For information: sons & Carols. For information: Jones; December 5, Michael Shoemaker; Ensemble, and is the closing event of the www.readingarts.com. www.gracechurchnyc.org. 12/9, Advent Lessons & Carols; 12/24, church’s 200th anniversary celebration. Lessons & Carols; February 6, Helen For information: fbc-worc.org. Christ Church, Bradenton, Florida, Shadyside Presbyterian Church, Anthony; March 6, Anthony Ciucci; April continues its music series: November Pittsburgh, Pennsylvania, continues the 3, Deborah Dillane. For information: The Cathedral Church of the 25, Mozart, Mass in C Major, K. 258; 20th anniversary season of its music 717/737-0488; www.thechpc.org. Advent, Birmingham, Alabama, contin- December 2, Florida Voices; 12/9, series: November 4, Choral Evensong; ues its music series: November 16, John Sarasota Young Voices (4 pm), Sarasota- 11/18, Joan Lippincott; December 9, Crescent Avenue Presbyterian Deaver; December 2, Advent Lessons & Manatee Bach Festival I (8 pm); Decem- Handel’s Messiah; January 6, Pittsburgh Church, Plainfi eld, New Jersey, con- Carols (9 and 11 am), Frederick Teardo ber 6, James Lorenz; 12/13, Michael Camerata; February 24, Chanticleer, tinues its music series: November 10, (4 pm); 12/14, Advent Episcopal Day Edward Stuart; 12/16, Lessons & Carols May 5, Four Choirs Festival. For infor- Crescent Choral Society; December School Choral Ensemble; January 25, for Advent; 12/20, Julane Rodgers, harp- mation: www.shadysidepres.org. 16, Crescent Singers; February 10, Atlanta Guitar Trio; February 24, Choral sichord; January 13, Sarasota-Manatee young artists showcase; March 10, Evensong for Lent; March 17, Charles Bach Festival II; 1/20, Frederick Teardo; St. John’s Episcopal Church, Hag- Joseph Arndt, Vincent Carr, Preston M. Kennedy; April 19, Red Mountain February 3, Schubert, Mass in G Major; erstown, Maryland, continues its music Dibble, and Mark Pacoe; 3/29, Good Theatre Company; 4/21, Choral Even- 2/8, Sarasota-Manatee Bach Festival III; song. For information: 205/226-3505; 2/14, Richard Benedum and William www.adventbirmingham.org. Holt; 2/17, Florida Voices; 2/21, Steven Strite; 2/24, Brass Quintet from the Washington National Cathedral Florida Orchestra; 2/28, Mary Mozelle; presents its series of organ recitals, Sun- March 7, Carol Hawkinson; 3/14, Mat- days at 5:15 pm: November 18, Douglas thew Woods; 3/17, Jonathan Dimmock, Bruce; 11/25, William Wisnom; Decem- concert organist; 3/21, Ann Stephenson- ber 25, Jeremy Filsell; 12/30, John Alex- Moe. For information: ander. For information: 202/537-5757; www.christchurchswfl a.org. www.nationalcathedral.org. The Kennedy Center for the Per- Christ Church, Grosse Pointe forming Arts will inaugurate its new Farms, Michigan, continues its music Casavant organ on November 27 at 6 series: November 18, Schubert, Mass pm. The program features William Neil in A-fl at; December 2, Advent Proces- and the National Symphony Orchestra sion; 12/9, Handel, Messiah; January 6, performing works by Bach, Guilmant, Epiphany Procession; 1/27, Sounding Gabrieli, and Saint-Saëns. The new organ Light choral group; February 24, Christ comprises 85 ranks over four manuals Church Schola. For information: and pedal. The celebration continues www.christchurchgp.org. with a series of programs in January. For information: www.kennedy-center.org. St. Andrew Lutheran Church (ELCA), Mundelein, Illinois, announces VocalEssence presents its Welcome its 2012–13 music series: November 18, Christmas concerts December 1, 2, Jeffrey Schleff; December 16, Advent/ 7, 8, and 9 at churches in Edina, Min- Christmas cantata; February 10, Ivy neapolis, Apple Valley, and Stillwater. Poitiers Academy St. John; March 4, Michael Burkhardt, The program includes works by Menotti, hymn festival; April 20, Dennis Koletsos; Argento, Respighi, Rutter, Kantor, The 6th Organ Summer Academy of Poitiers (France) took place August June 2, annual music Sunday. For infor- Moore, and others. For information: 27–31. Fifteen participants from three countries (France, UK, Japan) received mation: standrewmundelein.com. www.vocalessence.org. instruction on three instruments: the Classical French organ in the Cathedral Saint-Pierre (François-Henri Clicquot, 1791, IV/44), the German Neo-baroque Reading Town Hall (UK) contin- The Choir of St. Luke in the Fields, organ in Notre-Dame-la-Grande (Yves Sévère, 1996, III/33), and the Romantic and ues its series of lunchtime concerts on David Shuler, music director, is featured neo-classical organ in Sainte-Radegonde (J.-L. Boisseau/B. Cattiaux, 1997, IV/56). Wednesdays: November 21, Graham on a new recording, A Sixteenth-Century Faculty included Dominique Ferran, professor at Poitiers Conservatory and a spe- Ireland; January 23, Peter Holder; Roman Christmas. The program includes cialist in baroque music; Olivier Houette, organist at Poitiers Cathedral and Les March 13, William McVicker; May 15, music of Palestrina, Victoria, Carissimi, Blancs-Manteaux in Paris, and professor of pedagogy at the Conservatoire de Paris; Christopher Nickol; July 3, student and Philips, recorded in concert last and Jean-Baptiste Robin, organist at the Royal Chapel in the palace of Versailles and player from Eton College. The series of December. For information: professor at Versailles Conservatory. Participants had six organs on which to practice. celebrity organ recitals takes place at 7:30 www.stlukeinthefi elds.org. For information: academiedorguedepoitiers.com. pm: November 8, David Goode, with ³ page 8

6 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Use Your Imagination While there’s always something special being built in the Allen factory, we recently embarked on a project that, even by Allen standards, is….unusual. The console, in its present state, is shown here. Of course it still requires a bit of work, but that’s our specialty! Over the next few months, we invite you to watch this pile of rough-sawn European Oak be transformed into a one-of-a- kind console at www.allenorgan.com/europeanoakconsole. To glimpse other special Allen projects, visit the “Organ of the Week” portion of our website. If you have a distinctive console design or unique stop list in mind, contact us. We’re ready to help make your dreams come true, too!

Allen Organ Company, LLC, 150 Locust Street, Macungie, PA 18062 t (610) 966-2202 [email protected] t www.allenorgan.com Here & There

³ page 6 People Vincent Boucher is featured on a new series of recordings, Charles Tour- nemire Organ Works, on the ATMA Classique label. Volume 1, Resurrectio, includes Choral-improvisation sur le Victimae paschali laudes, Lento, Toc- cata, op. 19, no. 3, Suite évocatrice, op. 74, Offi ce “Dominica Resurrectionis” (Petites Fleurs musicales, op. 66), Amen No. 5 and Postlude No. 17 (Postludes VJohn Collins VJeremy Filsell VJune Nixon libres pour des Antiennes de Magnifi cat, op. 68), and Offi ce “Dominica Resur- rectionis” (L’Orgue mystique, op. 56/ compositions created during the cathe- built by Alexander Schuke in 1909; and XVII), recorded on the Casavant Opus dral’s fi rst century by American-based a two-manual and pedal house organ 869 organ at Église des Saints-Anges composers, many of whom have associa- of four stops built by Tzschöckel from Gardiens, Lachine, Quebec. tions with the cathedral. Opening in 1912 Württemberg. The most valuable instru- Volume 2, Nativitas, includes Impro- with a 27-rank organ built by E. M. Skin- ment in the collection is the Papenius visation sur le Te Deum, Cinq Noëls ner in the earliest part of the building to organ of 1747 (pictured). A two-manual originaux en forme de Versets (Variae have been completed, the large organ in and pedal instrument of twenty ranks, preces, op. 40), Fresque Symphonique the upper church was built in 1937 by including a Quintathon 16′, Trompete 8′, sacrée No. 1, op. 75, Amen No. 2 and E. M. Skinner & Son and, despite several and Posaune 16′, this organ is undergo- Postlude No. 3 (Postludes libres pour des rebuildings to date, retains 43 stops from ing restoration and should be playable by Antiennes de Magnifi cat, op. 68), Offi ce the original organ and contains 78 stops the summer of 2013. “Nativitas D.N. Jesu Christi” (Petites installed since 1963. The recording was Fleurs musicales, op. 66), and Offi ce released on the Raven CD label (Raven VJune Nixon has announced that “Nativitas D.N. Jesu Christi” (L’Orgue OAR-942, two CDs). she will be retiring from the position mystique, op. 56/III), recorded on the Composers represented include Ray- of organist and director of music at St. Casavant Opus 615 organ at Église mond Weidner, Gerre Hancock, Nancy Paul’s Cathedral, Melbourne, in Febru- VWinfried Kuntz Saint-Jean-Baptiste, Montreal, Quebec. Faxon, Leo Sowerby, Gerald Near, ary 2013. Dr. Nixon was appointed on and Jeannine Jordan Volume 3, Trinitas, includes Triple George Baker, Pamela Decker, David Boxing Day 1972, and after 40 years, she Choral, op. 41, Amen No. 8 and Postlude Briggs, Richard Dirksen, Dan Gawthrop, says it seems an appropriate time in both No. 26 (Postludes libres pour des Anti- Norman Coke-Jephcott, Richard Purvis, her own life and that of the cathedral. ennes de Magnifi cat, op. 68), Offi ce “In and Douglas Major. For information: Under her direction the Cathedral Festo Ss. Trinitatis” (L’Orgue mystique, 804/355-6386; www.ravencd.com. Choir of Men and Boys has sung a op. 57), Postlude No. 44 (Postludes minimum of six services a week, includ- libres pour des Antiennes de Magnifi cat, VJeannine Jordan performed six ing services on Sunday and the offi ce op. 68), and Offi ce “Domenica XVII themed concerts in Austria and Germany of Evensong during the week. This has post Pentecosten” (L’Orgue mystique, in August. Starting the tour in Ried, totaled more than 11,000 services over op. 57), recorded on the Casavant Opus Austria, Dr. Jordan and her media artist the 40 years, has extended over one- 615 organ at Église Saint-Jean-Baptiste, husband, David, presented their Bach third of the life of the cathedral, one- Montreal, Quebec. For information: and Sons organ and media event at their third of the life of the Cathedral Choir, ATMAClassique.com. August 10th Innviertler Kultursommer and considerably more than half of her Konzert at the Stadtpfarrkirche. own life. She intends to spend more time Cameron Carpenter made his Alice Continuing the tour in Germany, Jor- in composing, in addition to examining, Tully Hall debut on October 28, as part dan performed two organ concerts based teaching, and adjudicating. of Lincoln Center’s White Light Festival. on the chorales of Martin Luther in the The program featured the hall’s recently Schlosskirche and Stadtkirche of Luther- VThe end of August 2012 saw the refurbished Kuhn organ. Carpenter’s stadt Wittenberg; presented an all-Bach retirement of Randall E. (Randy) present season includes performances at program at the “Bach Wedding Church” Wagner from Organ Supply Industries VRandy Wagner San Francisco’s Davies Hall, Moscow’s in Dornheim; performed a program of in Erie, Pennsylvania, after 36 years International Performing Arts Center, music by Bach and his contemporaries with the organization. He came to OSI and with the Los Angeles Philharmonic. on the 1735 Gottfried Silbermann organ as resident organbuilder and a member Organbuilder, now referred to as the at the Petrikirche in Freiberg; and played of the management team. In 1986 he Fellowship Certifi cate from the AIO, VJohn Collins played a recital at music of J.S. Bach and his sons on three was elected vice-president. In his retire- and was an early member of the AIO St. John’s Meads, Eastbourne, England of the organs in the Organ Museum at ment, he remains a member of the OSI Examination Committee. on September 1. The program included the Marienkirche in Bad Belzig. Board and the ESOP Committee of this Wagner was honored with a company works by Giovanni Gabrieli, John Stan- Winfried Kuntz, curator of the employee-owned company. retirement lunch and was acknowledged ley, William Goodwin, Juan Baptista Marienkirche Organ Museum, has col- Wagner’s interest in the pipe organ at the fi nal banquet of the AIO in Lan- Cabanilles, and G. F. Handel. lected fi ve organs to date. The three began in childhood. In high school he sing, Michigan in early October 2012. organs on which the program was pre- started his organbuilding career, work- VIn a new two-CD set, Americana, sented include a cabinet organ of the ing after school and summers with Dr. Publications Jeremy Filsell plays the 189-rank 18th century by an unknown builder of Homer D. Blanchard, who became his Wayne Leupold Editions organ of Washington National Cathe- the Brandenburg area, consisting of fi ve teacher and mentor. After graduation announces new releases. The Keyboard dral, Washington, D.C., where he has stops without pedal; a small one-manual from Ohio Wesleyan University in 1960, Manuscript of Francis Hopkinson, been artist-in-residence since 2010, in and pedal church organ of four stops he continued with H. D. Blanchard Pipe Volume 2 (WL600270, $37.50), edited Organs in Oberlin, Ohio, rising to general by H. Joseph Butler, is an anthology manager. In 1966 he joined the Holtkamp of keyboard music popular in America Organ Co., Cleveland, Ohio, in layout, in the second half of the eighteenth drafting, and purchasing. From 1969 to century; it contains a wide variety of 1976 Randy was in technical sales and musical styles ranging from middle purchasing for the W. H. Reisner Mfg. Baroque to early Classical. Historical Co., Inc., Hagerstown, Maryland. editions include Susanne van Soldt Kla- Randy Wagner is a founder of the vierboek (WL600275, $42.00), and The Organ Historical Society (OHS), the Netherlands, 1575–1700 (WL500018, Lorain County AGO chapter, the Ameri- $59.00) both edited by Calvert John- can Institute of Organbuilders (AIO), son. Congregational song titles include and the Hilbus OHS chapter. He is also Gracia Grindal’s A Treasury of Faith: a member of the Organ Club of London Lectionary Hymn Texts, Old Testament, and the American Theatre Organ Soci- Series A, B, and C (WL800043, $32.50), ety. He holds the certifi cate of Master ³ page 10

AUSTINORGANS.COM 
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8 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM

Here & There

Nunc Dimittis Campbell was a member of the Denver AGO chapter, for which he served on William Brant Mills of Florence, South Carolina, died on February 18 at the the executive board. age of 68. A diaconal minister in the United Methodist Church, Mills had served The American Music Research Center at the University of Colorado is creating as director of music and organist at Central United Methodist Church in Florence the Don Campbell Collection to house his books, videos, DVDs, and documents, for over 42 years. including source material for several of Campbell’s most popular works. The col- Mills earned degrees in organ performance—a Bachelor of Music from Florida lection will also include private letters from Nadia Boulanger, Campbell’s teacher. State University, and a Master of Music from the University of South Carolina. He also did post-graduate study at Indiana University, Southern Methodist Steven Alan Clark died July 14 in Nashville, Tennessee. He was 60 years old. University, Stanford University, and Columbia College. Mills was founder and He began organ study at age eleven, and earned a bachelor’s degree in organ director of the Masterworks Choir in Florence, which toured Austria and Ger- and a master’s in choral conducting at the University of Tennessee. Clark served many, participated in the Piccolo Spoleto festival, and sang services at Washington as organist-choirmaster at six churches in Tennessee and Florida, and served National Cathedral. The Masterworks Choir also sang choral works of Robert in a number of leadership roles in the AGO. He was also a licensed massage Powell at Christ Episcopal Church in Greenville, South Carolina, when Powell therapist. Steven Alan Clark is survived by his wife, Donna, two daughters, two retired. William Brant Mills is survived by his children, Brantley Rees Mills and grandchildren, his father, four siblings, a sister-in-law and two brothers-in-law, Susan Mills Rana, and four grandchildren. and seven nephews.

Don G. Campbell, age 65, died June 2 in Boulder, Colorado. A native of Rockwell Lewis “Wes” Deaton Jr. died in Davidson, North Carolina on San Antonio, Texas, Campbell studied at the Fontainebleau Conservatory in July 26 at age 59. He was organist at Davidson Methodist Church and earned a France, and earned two degrees at the University of North Texas. He was the bachelor’s degree in music in 1974, studying organ with Wilmer Hayden Welsh. author of 23 books, including the bestsellers The Mozart Effect and The Mozart He earned a master’s degree from the Peabody Conservatory in 1976, where his Effect for Children; his most recent book, released in 2011, was Healing at the major teachers were Cherry Rhodes and Donald Sutherland. Deaton moved to Speed of Sound, co-authored with Alex Doman. Campbell founded the Institute New York City in 1976 and studied with Calvin Hampton, and played for churches of Music, Health, and Education in Boulder in 1988, serving as its director until in the New York area, including St. Matthew’s Episcopal Church in Woodhaven, 1997. He also was involved with Aesthetic Audio Systems, which worked with New York, and Church of the Transfi guration. Deaton’s advertising career took hospitals and health care systems to provide music systems to optimize healing. him around the world; he served as senior vice president at Publicis New York,

³ page 8 Michigan 49930; $8.00 per copy, which Pilcher in Brooklyn, New York, for a complete collections of hymn texts that includes postage. For information: small Lutheran church also in Brooklyn. relate to the Epistle, Gospel, and Old 800/678-6925. By the 1950s, leaking water, soot, and rot Testament lessons from the pericopes had rendered the organ unplayable. In of the Common Lectionary. This collec- Oxford University Press announces 1964 the church building and the organ tion contains all three series for the Old new choral releases: Jackson, Vidi were sold to a new congregation that did Testament in one book (over 300 pages). Aquam; Wilberg, The Lord My Pasture not use the organ. A Treasury of Faith: Lectionary Hymns, Will Prepare; Murphy, Pilgrim Songs; That bleak future was about to change New Testament, Series B (WL800044, Helvey, O Gracious Light; Chilcott, when Ethan Fogg, director of commu- $21.00) is a collection containing all new Most Glorious Lord of Life. For informa- nity relations at the Spa Apartments at tunes composed by Amanda Husberg to tion: www.oup.com. Clifton Springs Hospital, called Parsons Gracia Grindal’s lectionary hymn texts in January 2012. He was looking for for the New Testament, Series B. For Organ Builders a historic pipe organ to install in the information: www.wayneleupold.com. Muller Pipe Organ Company of chapel in the Spa Apartments building Croton, Ohio, has been selected to con- adjacent to the Hospital. Clifton Springs Historic Pipe Organs of the struct a new pipe organ for Immaculate Hospital, or “sanitarium” as it was once Keweenaw by Jan Dalquist has recently Conception Church (RC) in Bellevue, known, was founded in 1850 so the been published. The booklet began as Ohio. This three-manual, 29-rank organ infi rm could bathe in the healing sulfur- the result of organ crawls by the local will utilize select repurposed pipework rich waters available there. One of the organists’ group known as Organists of arranged in a new tonal scheme, on buildings original to “The San” has been the Keweenaw to some of the historic new windchests and mechanism. The converted to a senior living center, and organs of the Keweenaw Peninsula, tonal design features a six-stop Great, a the chapel within it is regularly used for the northernmost tip of Michigan’s ten-stop Swell, and a fi ve-stop Solo, and weddings and other services. They have Upper Peninsula. utilizes careful borrowing from the Swell not had a working pipe organ for almost The crawls resulted in a catalog of Historic Pipe Organs of the Keweenaw division to form an “Ancillary” division, forty years. photos and stoplists that Jan Dalquist playable from the Solo manual. Father Parsons anticipates the organ will be had collected. This became the basis contacted, and a publisher-distributor Jonathan Wight and director of music ready for Christmas, but meanwhile, of an article published in the February found for the 34-page booklet. Ryan Neal collaborated with the builder back in the workshop, each part must 2007 issue of The Diapason. Over a The booklet provides brief histories on this project. For information visit be carefully cleaned and restored. Bent few years changes occurred, with the loss and photos of each church in which the www.MullerPipeOrgan.com or Muller’s pipes must be straightened and rot- of two of the working instruments and organs are located, including the 1899 new Facebook page at www.facebook. ten leather parts must be rebuilt. All the move of two inactive ones to wor- Barckhoff organ and an 1882 Felge- com/MullerPipeOrganCompany. together, over 3,000 hours of work must shiping churches. This resulted in Anita maker, with color photos of the organs, be completed before the organ will play Campbell’s article on the 1899 Barckhoff plus stoplists. The booklets were pub- Parkey OrganBuilders, Duluth, again. The Clifton Springs Hospital organ published in the October 2009 lished and marketed by the Isle Royale Georgia, announces the fi rst U.S. instal- plans to host a dedication recital for the issue of The Diapason. It was through and Keweenaw Parks Association. lation of the Organist Palette iPad inter- restored organ before the end of the Ms. Campbell’s energy that grants were The booklet is available from the face from Solid State Organ Systems. holiday season, and establish a regular solicited and received, pictures taken, Isle Royale & Keweenaw Parks Asso- The interface provides a number of recital schedule there for residents and text and photos formatted, a printer ciation, 49445 US Hwy 41, Hancock, user-friendly options to the organ, sim- the community. plifying the tasks of programming and Parsons’ tonal director Duane Prill setting systems ranging from Record/ is especially excited to hear the organ: Playback to MIDI to Capture memory “Historic pipe organs allow us a glimpse MANDER ORGANS expansion. The system is installed on into what musical tastes, and in effect, Parkey’s new four-manual console what life in general might have been like New Mechanical for Mt. Vernon Presbyterian Church, when the organ was fi rst conceived and Action Organs Atlanta, Georgia. Jim Wingate is the built. By carefully restoring such a gem, organist/director of music. For informa- we can understand a small part of the tion: www.parkeyorgans.com. culture that surrounded it.” For informa- tion: www.parsonsorgans.com. Parsons Pipe Organ Builders, Canandaigua, New York, is restoring The Rieger organ company of a rare historic organ that has not been Schwarzach, Austria, completed two heard in over sixty years. The organ was installations in the concert halls of the built in 1906 by William and Charles Musikverein in Vienna and the Slovak

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 CLAYTON ACOUSTICS GROUP Continuo Organs [e] [email protected] 2 Wykagyl Road Carmel, NY 10512 www.mander-organs.com 845-225-7515 [email protected] www.claytonacoustics.com CLAYTON ACOUSTICS AND SOUND SYSTEM Imaginative Reconstructions ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP

10 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM In the wind...

The invincible da Vinci and faces bore direct relationships to the function. Think of the effort and ingenu- the Cavaillé-Coll organ, form a center- The other night I was watching a forms of those body parts in Leonardo’s ity involved in building a pipe organ in piece of the long history of organ music. documentary about the life and work most famous painting, Mona Lisa. 1450, when there were no cordless drills, And like the ancient organ in Sion, the of Leonardo da Vinci, who lived from Perhaps most impressive was Leonar- laser-sharpened blades, or electric lights. instrument at Saint-Sulpice is still in 1452 to 1519, a time when the arts and do’s study of the human heart. He obvi- Those early organbuilders harvested regular use, not as an antique curiosity, sciences were fl ourishing. His contem- ously did some very gruesome experi- trees and milled lumber by hand, hauled but as the church’s main instrument that porary, astronomer Nicolas Copernicus mentation to inform his drawings, and he it to the workshop on oxcarts, cast metal is played every Sunday for Mass, and for (1473–1543), was studying the motions documented how he deduced the heart’s and soldered seams, fashioned parts for countless concerts and recordings. of celestial bodies and developing his valves functioned, even determining that mechanical actions, skinned animals and Forty years later in Dorchester, Mas- theory of heliocentric cosmology, dis- the valves cause blood to form vortexes tanned leather, all to make music. sachusetts (a neighborhood of Boston), placing the notion that the earth was or eddies that add to the quality of blood Ernest Skinner was at work on a new the center of the universe, and proving fl ow. A modern heart surgeon compared Anchors aweigh1 revolution. Starting around 1890, a that a system of planets including the Leonardo’s studies with X-rays and scans We can compare that effort to ship- number of American organ companies earth rotates around the sun. Physician that prove their accuracy. I was amazed building. We all have pictures of Chris- were experimenting with pneumatic and Richard Bartlot (1471–1557) was work- to see how well those sixteenth-century topher Columbus’s little armada, the then electric organ actions, but none was ing hard to understand the functions of studies stood up to modern scrutiny. Niña, the Pinta, and the Santa Maria in more creative or prolifi c than Mr. Skin- the human body. Another contemporary our minds’ eyes. The names roll off our ner. As an employee and later factory was Michelangelo (1475–1564), whose From one organ to another tongues like “I before E, except after C, superintendent of the Hutchings Organ genius with the visual arts in both paint- While Leonardo was quietly slicing or when sounding like ‘A’ as in neighbor or Company, and later in the company that ing and sculpture dazzles us more than up human hearts, the pipe organ was weigh.” The largest of those ships, Santa bore his name, Mr. Skinner invented and 500 years later. being developed into the most complex Maria, was about 60 feet long on deck produced the Pitman windchest, the fi rst Leonardo was fascinated by fl ight, and machine on the planet. Simple fl utes with a 41-foot keel, about 18 feet wide, electro-pneumatic organ action in which made hundreds of drawings of the wings had been made from grass and canes for and weighed about 100 tons, smaller than the stop action functioned as quickly as of birds in various positions, theorizing centuries—the panpipe grew common many modern personal pleasure yachts. the keyboard action. That simple fact, about how a bird could alter the shape in the sixth century BC. I wonder who While we might sail in a 60-foot sailboat which when combined with Skinner’s of its wings to affect the direction of its was fi rst to think of making a fl ute out on a sunny afternoon with six or eight fabulous electro-pneumatic combination fl ight. He noticed that soaring birds used of metal, and forming a tone-producing people on board, the Santa Maria had a action, was as infl uential to organists as spiraling updrafts of air to ascend effort- mouth using a horizontal languid at the documented crew of 40. The reason that Cavaillé-Coll’s fantastic pneumatic and lessly, and how they braked to slow for connection between the conical foot and a lavatory on a boat is called “The Head,” mechanical console appliances, because landing. I’m in an airplane as I write, and the cylindrical resonator? is because in those early sailing ships, the for the fi rst time, dozens of stops could can’t help but associate the wing fl aps In 256 BC, a Greek physicist named crew’s sanitation facility was to hang over be turned on or off simultaneously with the drawings I saw on television. Ctesibius created a musical instru- the side at the head of the ship. as quickly as an organist could move Leonardo wondered if it would be ment called the Hydraulis, which had Mechanically, Santa Maria had three from one key to the next. And those possible for humans to fl y, and imagined mounted fl utes similar to organ pipes, masts and a bowsprit, and fi ve spars bear- actions operated instantly; there was no and sketched numerous designs of fl ying a wind system that used the weight of ing fi ve sails. Each sail would have had mechanical noise. machines. The documentary tells of a water to create and regulate pressure, about eight control lines (halyard, sheets, group of aeronautical scientists in Eng- and a keyboard and mechanical action downhauls, etc.) and many of the lines A combination innovation land building a glider according to one of that operated valves to open those pipes. ran through blocks (multi-wheeled pul- As I mention Mr. Skinner’s combina- those designs. It was a single fi xed wing All this was 1,500 years before Leonardo leys) for increased leverage. Complete tion actions, I repeat a theory that I have about 30 feet across with fabric stretched was wondering about fl ight. the catalogue with a rudder for steering, proposed a number of times. Those over a wooden frame weighing about 90 I was a young teenager when I was a wheel with related lines and pulleys, machines, built in Boston around 1905, pounds. When it was fi nished, they tested introduced to the unique and lovely organ and a capstan (winch) for mechanical allowed the organist to select any com- it fi rst by mounting it on the back of a in the Cathedral-Fortress in Sion, Swit- advantage for hoisting sails and anchors, bination of stops and set it in a binary pickup truck and covering it with sensors. zerland through E. Power Biggs’s record- and we can estimate that Santa Maria memory, ready to be recalled at the As the truck drove forward, a computer ing, The Historic Organs of Switzerland. had a couple hundred moving parts. touch of a button. Decades earlier there recorded everything that was going on, At the time of that recording, it was The simplest two-manual organ of the were water-powered looms that could be and the team deduced that the glider widely thought that the organ was built same era, with 45- or 49-note keyboards, programmed to weave intricate patterns developed enough lift to fl y in air that was in 1390. There is some modern research would have some four or fi ve hundred using blocks of wood with patterns of moving around 20 miles per hour. suggesting that it was more like 1430, but moving parts, including keys, trackers, holes, the forerunners of the computer A pilot skilled at parasailing was I wouldn’t argue about a 40-year differ- squares, rollers, and valves. It’s amaz- punch cards that people my age used engaged to try to fl y the thing. Because ence—it’s a mighty old organ, and it’s per- ing to me that such a complex machine to register for college classes. But it’s the glider had no controls for direction fectly recognizable and playable. There’s would be devised and built for the pur- my theory that Mr. Skinner’s combina- or altitude, the team attached ropes a nice video on YouTube: http://www. pose of making music in a time when tion actions were the fi rst industrially to front and back and to each wingtip, youtube.com/watch?v=xiyy7AtMvis. It’s most machinery was so very primitive. produced, commercially available, user- and on a windy hilltop off she went. narrated in Dutch, but even if you don’t Johannes Gutenberg developed mov- programmable binary computers—the The fi rst two tries allowed the pilot to understand the language, you can see and able-type printing, producing the Maza- fi rst, ever. get a sense of how it handled, and on hear this remarkable instrument. rin Bible about 40 years before Colum- I’ve had a number of opportunities to the third try she went up about ten feet I love recognizing the pipe organ as bus’s great adventure. His printing press propose my theory to scientists outside and fl ew as far as her team could run such an ancient art form, stopping to had only three or four moving parts—but the organ world, and have not heard any before they lost control. She fl ew a little refl ect on what life was like in Europe that was one of the greatest advances in contradicting theories. If any of you out farther each time, eventually getting up in the mid-fi fteenth century. Think of the history of communication. Without there in Diapason land know anyone as high as 30 feet and fl ying forward for the state of public water supplies and Gutenberg, we wouldn’t have e-mail. who is expert in the history of computers, a couple hundred yards. It was fascinat- sanitation, personal health and hygiene, I’d be grateful if you’d pose this theory to ing to see that a design conceived 500 transportation and commerce. If you’ve That ingenious business2 them and let me know what you learn. years ago was so effective. ever visited a modern organbuilding Let’s jump ahead 300 years. By the As electro-pneumatic actions allowed The fi lm discussed Leonardo’s grasp workshop, you have an idea of the 1860s, science and technology had organists unprecedented control over of human anatomy. His drawings of mus- complexity and precision necessary to leapt forward exponentially. During that their instruments, so they allowed instru- cles and tendons in human arms, hands, make a monumental musical instrument decade, the Transcontinental Railroad, ments to be larger than ever before. In the Suez Canal, and the Transatlantic 1865, 40 or 50 stops made a very large Cable were completed, and Alfred organ. By 1920, such an organ had Nobel invented dynamite. And Aristide become commonplace. It was usual for Cavaillé-Coll built the grand organ at a large church to commission an organ Église Saint-Sulpice in Paris with 102 with four manuals, many dozens of ranks stops, fi ve manuals, and a fantastic array of pipes, and components of the organ of pneumatic registration devices. in multiple locations around the church. Cavaillé-Coll’s masterpiece at Saint- Imagine yourself as the fi rst to play an Sulpice must be one of, if not the most instrument with an Antiphonal divi- infl uential organs in existence. The sion—how your mind would race with bewildering array of levers and knobs ideas of how to exploit it. gave those organists unprecedented con- If we compare pipe organs that Leon- trol over the instrument, and the music ardo, Michelangelo, and Copernicus written by Widor and Dupré, inspired might have known, those that Henry by the sounds and mechanical assets of Ford, Thomas Edison, and Claude AHIGHER L EVEL of E XCELLENCE

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12 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM By John Bishop

Monet heard, and those of the time of conical foot that’s made fl at. The tone virtuosity that was the true forerunner of Steve Jobs, Mark Zuckerberg, and Bill of a reed pipe is produced by a vibrat- the near-maniacal feats of the feet of early Gates, what milestones of development ing brass tongue, which creates a sharp twentieth-century virtuosi like Edwin should we recognize? What innovations contrast of timbre. Lemare and Lynnwood Farnam, that brought our instrument from the pan- 7. The addition of a second keyboard school of players who took organ playing pipe to Walt Disney Hall? made it possible for a melody to be to new heights in response to the innova- 1. Ctesibius’s Hydraulis was the fi rst accompanied by a contrasting sound, tions of Ernest Skinner in the same way huge leap, introducing mechanically or echo effects to be achieved without that Widor and Dupré responded to the produced wind pressure, mechanical changing stops. I am not researching genius of Aristide Cavaillé-Coll. action, and a keyboard for the fi rst time, this as I write, but I guess this innovation 11. The Expression Enclosure (Swell as far as we know. dates from around 1475 or 1500. Box) was an invention that transformed 2. Adding a second set of pipes fore- 8. The logical and magical extension organ playing. Its earliest forms were shadowed the complexity of the modern of multiple keyboards was the invention like the Brustwerk of Baroque and Neo- organ. There would have been no stop of the pedal keyboard and development Baroque organs, with doors that the action—two pipes played simultaneously of the technique for mastering that most organist could open and close by reach- with one key. I suppose they were pipes “organistic” of skills. Playing melodies or ing up from the bench, or (God forbid) of similar character at different pitches, the individual lines of polyphonic music standing on the pedal keys. Jan Sweelinck (1562–1621) would be like today’s Principals eight-and-four. with one’s feet allowed organ music to 12. Pneumatic motors such as Barker astonished by our massive consoles and 3. In the early Renaissance, organ divi- develop deeper complexity. This level of Levers allowed huge organs with oth- high-pressure reeds. sions called Blockwerk were developed. sophistication was achieved late in the erwise mechanical actions to be played I wonder what the organ would be These consisted of numerous voices, fi fteenth century. with little effort. like today had Leonardo included it in including the fractional pitches we know 9. A wonderful example of a very early 13. The introduction of electric his sketchbooks. Q as mutations. organ with two manuals and pedals was actions gave us the modern symphonic 4. The stop action was the next obvi- the fi rst Große Orgel of the Marienkirche organ, the detached and remote console, Notes ous innovation, allowing the musician in Lübeck in Germany, the church later and the possibility of dispersing various 1. Nautical. While “anchors away” may to select individual voices, or multiple made famous in our history by organists organ divisions throughout a large room. seem the intuitive spelling, implying casting voices in any combination. Franz Tunder and his successor Diet- 14. I discussed combination actions off dock lines or hoisting an anchor and set- 5. The stop action would have led to the rich Buxtehude (who married Bruhns’s earlier. ting a vessel “underway,” the correct spelling, idea of contrasting voices. Instead of two daughter). That organ had 32 stops and 15. And more recently, solid-state aweigh, defi nes the moment when the anchor is lifted off the seabed and is “weighed” by the or more similar voices, there would have was built between 1516 and 1518, just control systems for pipe organs have anchor line. Anchors Aweigh is the fi ght song been different timbres for each pitch, like at the time of the death of Leonardo da given us multiple levels of memory, of the United States Naval Academy. The text our modern Principals and Flutes. Vinci, and when Michelangelo was about piston sequencers, transposers that are of the chorus: 6. I’m not sure when the fi rst reed 45 years old. considered a crutch by some and a god- Anchors Aweigh, my boys stop was introduced or who made it, but 10. By the time Heinrich Scheidemann send by others, and playback sequenc- Anchors Aweigh. I sure know that a wide variety of reeds (1595–1663), Tunder (1614–1667), and ers that allow an organist to capture a Farewell to college joys were present in organs in the very early Buxtehude (1637–1707) were compos- performance as a digital fi le, then ask We sail at break of day, ’ay ’ay ’ay sixteenth century. The tones of all organ ing their catalogues of organ music, the the organ to play it back, allowing criti- Through our last night ashore fl ue voices are produced by the splitting use of the pedalboard for independent cal listening to registration, balance, Drink to the foam of a “sheet” of air that’s formed by the voices was in full swing. More complex technique, and accuracy. Until we meet once more Here’s wishing you a happy voyage home! slot between the front edge of a pipe’s forms of composition, in those days Today we anticipate wireless consoles, 2. That Ingenious Business, Ray Brunner, languid (horizontal piece at the joint especially the fugue, exploited the versa- tap-screen music racks, and heaven The Pennsylvania German Society, 1991. In between the conical foot and the cylin- tility of the organ. And of course, it was knows what else. Just as Leonardo da 1762, Benjamin Franklin referred to organ- drical resonator) and the lower lip, which Johann Sebastian Bach (1685–1750) who Vinci could not possibly have imagined building in Eastern Pennsylvania as “that in- is a portion of the circumference of the brought pedal technique to a level of the automobile or the cellular telephone, genious business.”

“Lewtak Pipe Organ Builders were willing to work with our church to meet the specific needs of our congregation. The new organ was completed with the utmost attention to detail and the outstanding level of craftsmanship. The instrument is of the highest caliber, as are those people that worked on it.”

Abel J. Searor, Director of Music West Baptist Church, Oswego, NY

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 13 On Teaching By Gavin Black

Organ Method II led from the harpsichord to the piano, early twentieth century, inventors began This is the fi rst part—roughly the fi rst or from the shawm to the oboe. In the to create ways of making sound through half—of an Introduction designed to ori- case of the organ, however, its name has electricity without the use of wind, which ent the beginning student to the instru- not changed. (Here’s why the name has were then gathered under the umbrella ment itself: what an organ is, what it feels not changed: because the biggest and of the organ. In the early twenty-fi rst like to sit at the console and begin to play, most striking organs are solid, immov- century, a large proportion of the organs what you have to know in order not to able objects that cost a lot and that in in use have no pipes and use no wind: fi nd the initial experience of the organ part defi ne the spaces that they inhabit. they are one sort or another of electronic overwhelming. One of my own earliest Changes in organs have usually been organ, most creating sound through the attempts to practice organ has always sold as improvements, upgrades, updat- use of computer technology. Many but served as a caution to me. I was about ings, or even restorations, no matter how not all of these electronic organs are thirteen years old, and I had arranged new or innovative the content of those explicitly intended by their makers to with a nearby church to practice on their changes was, not as new instruments. imitate the sounds of pipe organs. organ. I had barely played at all prior to New developments in smaller, portable (Of course, the electronic organ has my fi rst visit there. Of course, they were instruments—a new action type in a always been a source of controversy. If being quite nice and supportive to let me stringed keyboard instrument, or a new it is in theory trying to sound like a pipe use the instrument. When I got there, I kind of bore in a double-reed instru- organ, how well does it succeed? Is the the instrument. The acoustics of the room turned the key and got the instrument ment—have usually been sold as new sound as beautiful and stirring as the in which it is found are always part of the going. I started trying to play. No mat- instruments.) A defi nition seems impos- sound of a pipe organ? Is it artistically sound of an organ, and the layout of the ter how few stops I put on—and I was sible: it is a challenge to fi nd any one appropriate to play organ repertoire instrument in the room can dictate things trying to be quiet—the sound stayed thing to say that is categorically true of all from before the era of the electronic about how it can best be used. the same: rather loud. I concluded that organs. Description, however, is possible, organ on such an instrument? Does it 7) A technological marvel. In the the organ was broken, and I was scared if it is fl exible enough to encompass all of offer any advantages—portability, more late Middle Ages and the Renaissance to death that I might have broken it. this magnifi cent variety. So, the organ is: stable tuning, an even greater variety large church organs—fully mechani- I turned everything off, left, and later 1) A musical instrument. This is of sounds? And so on. One interesting cal with several keyboards and many called to tell my contact at the church obvious: it’s what we are talking about. point about these controversies is that stops—were at least candidates for the that the instrument was broken, trying to Maybe it is not even worth mentioning, they are new to recent decades only in most advanced and intricate technology tell the story in a way that made it look except that it is one of only two things their details. All changes in organ design that had yet been developed. The his- like I hadn’t done it. Of course, in fact, that we can mention that are really true over hundreds of years—and change has tory of the development of technology someone had simply left the crescendo of all organs. The second one is that it is: been the only constant—have met with for the organ—key and stop action, and pedal a little bit on. I had never heard of 2) A keyboard instrument. In fact, both condemnation and adulation, and pipe design—moves in sync with the a crescendo pedal, so I panicked. I always even this is not quite universal. There everything in between.) overall history of technology, includ- hope to spare other beginners experiences have been barrel organs and other 5) An instrument with “stops”. ing the application of electricity and of like that. The Introduction is just a brief mechanically operated organs—organs That is, an instrument with discrete computer-driven functions. run-through of some concepts that I think that play themselves. However, for different sounds that can be used sepa- 8) Whatever you the student the student should bear in mind before someone coming to study organ, some- rately or in various combinations. This think it is or want it to be. Why are beginning to play. The last section of the one who wants to learn to play, we can is highly characteristic of the organ, and you studying organ? Did you fall in love book will be a more thorough discussion assume that it is a keyboard instrument essentially every organ beyond the very with the sounds? If so, were they of one of organ history, types of organs, devel- that we are talking about. smallest is set up this way. Of everything particular organ, or a type, or a wide opments in organ repertoire, and so on. 3) An instrument with a pedal that we have so far listed here, it might variety? (It could be even one particular An important part of that section will keyboard. The pedal keyboard has been be the closest to a defi nition, or at least stop.) Is it repertoire that draws you to be suggestions for further study, since a characteristic of the organ for a very to a thread binding together all of the the instrument? If so, what repertoire? A of course what we know about the organ long time indeed, but it has never been instruments that have been accepted as piece? A composer? An era? A variety of and its history keeps expanding and universal. It would be unusual nowadays “organs” over the years. It is not quite things? Is it the sense of power? That is changing. As always, I strongly welcome (but not necessarily actually wrong) for universal: there are organs small enough a bit facetious, but also real: an organist any feedback. someone who could not play the pedals that they make only one sound—that is, at even a fairly small organ commands at all to describe himself or herself as an they have only one stop, so the business more sounds and a greater range of Introduction: the instrument “organist”. However, over the centuries of combining stops does not apply. It is dynamics than any other performer: it What is the organ? The answer to many organs have been built without also not found only in the organ. Harp- is not even close. That can be intoxicat- this question is surprisingly elusive. No pedal keyboards, and something like sichords also have stops, for example. ing, and, since it is not harmful, there is student should expect to come up with a (very roughly) half of the organ repertoire However, the concept of stops and the no reason that we should not enjoy that defi nitive answer, when no experienced consists of pieces that do not need pedals. combining of stops is essential to the intoxication. Is it a place—a place where professional can; every student, espe- 4) A wind instrument. For many artistic task of playing the organ. With you have heard organ music, whether cially one new to the instrument, should centuries all of the instruments that most musical instruments, the player has a church or a concert hall or a practice think about it, and can confi dently were considered “organs” were ones in one basic sound available, but has the studio? Is it an inspiring performer or expect to fi nd thinking about it fascinat- which the sound came about through ability to shape the nature of that sound teacher or friend? Is it a connection to ing and absorbing. the application of wind. Some sorts of somewhat, through dynamics or other one of the religious practices that make The word “organ” and its equiva- pipes—wooden or metal, with or with- means. With the organ, the player has use of organ music? Try not to forget lent in other languages—orgue, orgel, out moving parts, similar in their ways several or, usually, many different sounds what drew you to the instrument and órgano, and so on—has been used for of producing sound to wind instruments available. However, the ability to shape what makes you love it—especially if the many centuries and in many parts of the such as fl utes or to reed instruments such the nature of any given sound is limited. hours of practicing ever threaten to seem world to denote a musical instrument. as clarinets or oboes—were set up ready 6) A place. More than any other musi- long. At the same time, try to be open to That musical instrument has changed— to receive a breath of wind—not from cal instrument, a pipe organ is part of the discovering all of the sides of the organ. evolved—over the centuries, and has human lungs, but from some type of architecture, part of the substance of the With all of this variety, how do we also differed, to some extent, in different bellows system. This was then delivered structure where it lives. Very few organs get started? parts of the world. This evolution and to the correct pipes, through one sort of move around. Those that do are very small I will end the excerpt here, because these differences have been substantial: mechanism or another, when a player and not designed to play very much of the it is a fairly logical stopping place. Next probably as substantial as the process that pushed a key. However, beginning in the organ repertoire: they are valid organs, month’s excerpt will begin with keyboard but they are not the most characteristic. and stop control layout, and go on from Organists can feel enveloped by the there. It will discuss the beginnings of instrument. The organ, rather than the registration, and practice habits. Q room or the building, is where they are when they are playing. And if the instru- Gavin Black is the Director of the Princeton ment is an essential part of the architec- Early Keyboard Center in Princeton, New Jer- ture, then the architecture is also part of sey. He can be reached at [email protected].

THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of each month at wrti.org

14 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Reviews

Music for Voices The optional C instrument’s music is on A Centone on Two Carols (Proces- Love Came Down at Christmas, Joel and organ the back cover but is not included in the sional), C. Griffi th Bratt. Two-part Raney. SATB with optional unison by James McCray choral score. Lively and fun. (SA/TB) unaccompanied, Paraclete choir and two C instruments, Hope Press, PPM01229, $1.70 (M-). Publishing Co., C 5710, $1.95 (M-). The milieu of post-Christmas Joy to the World, arr. Mark Patter- Subtitled “For the Twelve Days The opening melody is sung fi rst by and Epiphany son. Unison/two-part with piano and of Christmas,” this repetitive setting the unison choir, then repeated in parts; optional glockenspiel, Choristers combines material from a 9th-century the music then changes to a faster tempo Epiphany is a celebration held on Janu- Guild, CMA1258, $2.10 (M-). chant and a 17th-century French carol. for Angels we have heard on high, and ary 6, commemorating the revealing of Je- Designed for children’s chorus, this The vocal lines are very repetitive and eventually these two textures are per- sus as the Christ, particularly in terms of is an easy arrangement of the Isaac canonic throughout. The processional formed together. The C instruments are the Magi in Bethlehem; it is sometimes re- ferred to as Twelfth Night. There are sev- Watts/Handel popular Christmas is designed to be repeated as often as not indicated in the choral score but are eral separate associations of Epiphany; the hymn. There is a reproducible page needed for the choir to arrive at their on the back covers; their music has fl ow- visit of the Kings is the most recognized. for congregational use and a separate destination. An interesting approach to ing lines. Others include Christ’s baptism and Jesus’s glockenspiel score at the end of the a processional. fi rst miracle at Canaan. The manifestation choral music. The very limited two- Epiphany of God in Christ is the oldest feast associ- part writing is canonic. This is a very Angels We Have Heard on High, arr. Hymn from The Guiding Star, Dan- ated with Epiphany; this dates from about straightforward setting. Howard Helvey. SATB and piano iel Pinkham. SATB unaccompanied, the third century. four-hands, Beckenhorst Press, Thorne Music of Theodore Presser James McCray All My Heart Again Rejoices, arr. BP1957, $2.10 (M+). Co., 392-03059, $1.15 (M-). Church Choir Director’s Guide to Success David Lasky. SATB and keyboard, This is another wonderful Helvey The Hymn is a separate section of Augsburg Fortress, 978-1-4514- arrangement, with exciting keyboard a larger 12-minute cantata that uses a From Christmas Day to Epiphany 2392-1, $1.60 (E). music and safe choral writing. There brass quartet and optional organ; it was consists of 12 days, and through the rol- Arranged in a Baroque style, the fi rst is a bravura quality that opens with a a commission for an all-state choir and licking texts set to the music that has cel- verse is for men in unison, set above a keyboard fanfare. With brief unaccom- is based on a variety of texts. The Hymn ebrated those days (The Twelve Days of rhythmic keyboard accompaniment. The panied singing, some divisi and a robust uses similar rhythms and is syllabic Christmas) this period has been enjoyed, second verse is SATB unaccompanied, tempo, the music is propelled forward throughout, with some two-part writ- especially the mid-point of New Year’s and the third is for unison choir with and will be enthusiastically welcomed ing. Mild dissonances but comfortable Eve, which is not a religious holiday! a descant. This is a simple, pragmatic by the performers and the congregation. vocal lines. Also, the ineluctable conclusion of this Christmas anthem. Highly recommended. ³ page 16 period, which is Epiphany (January 6), also pales considerably for most people. There is a small thunderclap at church services that day, then a rapid fade until Shrove Tuesday on February 12, 2013 when celebrations erupt, especially in THESE FIRMS ARE BUILDER MEMBERS

New Orleans. ANDOVER ORGAN COMPANY Since January 6 will fall on a Sunday NORTH this year, Epiphany probably will get BEDIENT PIPE ORGAN COMPANY more emphasis than in those years when BERGHAUS PIPE ORGAN BUILDERS, INC. it occurs on other days of the week. Thus, AMERICA’S BIGELOW & CO. ORGAN BUILDERS it will be important for church choir direc- tors to provide a meaningful Epiphany BOND ORGAN BUILDERS, INC. anthem—which should be easier this year PREMIER BUZARD PIPE ORGAN BUILDERS, LLC since most church choir rehearsals are on C.B. FISK, INC. Wednesdays or Thursdays, so there will ORGAN BUILDING CASAVANT FRÈRES be a full rehearsal after the traditional week’s vacation following Christmas Eve. DOBSON PIPE ORGAN BUILDERS Most church choirs will not sing on & SERVICE FIRMS ARLAND IPE RGANS NC December 30, and will have earned a G P O , I . respite after a frantic and very overtaxed GOULDING & WOOD, INC. December. The constant stream of musi- HENDRICKSON ORGAN COMPANY cal performances that fl owed through the church for the past weeks will clearly HOLTKAMP ORGAN COMPANY merit a week’s vacation for the singers J.H. & C.S. ODELL and the director; unfortunately, the PIPE ORGAN KEGG PIPE ORGAN BUILDERS organist’s music must continue. Church services need musical accompaniment LÉTOURNEAU PIPE ORGANS even though choirs do not perform! QUESTIONS? NOACK ORGAN COMPANY, INC. There are fi ve additional Epiphany PARKEY ORGANBUILDERS Sundays between January 6 and Ash Wednesday on February 13, 2013. Typi- PARSONS PIPE ORGAN BUILDERS cally, these receive little special attention WE HAVE PASI ORGANBUILDERS, INC. from church choirs, and more general anthems are heard throughout American PATRICK J. MURPHY & ASSOCIATES INC. church services. However, directors THE ANSWERS! PAUL FRITTS & CO. ORGAN BUILDERS should review the church calendar and QUIMBY PIPE ORGANS, INC. examine the suggested readings for those weeks to bring cohesion through the RANDALL DYER & ASSOCIATES, INC. weekly musical choices with the same SCHANTZ ORGAN COMPANY enthusiasm as they did during Advent SCHOENSTEIN & CO. and Christmas. The music reviewed below covers TAYLOR & BOODY ORGANBUILDERS the period from Christmas Eve through Epiphany. It is a joyous musical time, so enjoy it because the dark days of Lent SUPPLIER MEMBERS are lurking in the shadows. A.R. SCHOPP’S SONS, INC. HARRIS PRECISION PRODUCTS Christmas and post-Christmas A Christmas Proclamation, Joseph INTEGRATED ORGAN TECHNOLOGIES, INC. M. Martin. SATB, keyboard, and OSI - TOTAL PIPE ORGAN RESOURCES optional C instrument, Lorenz Cor- PETERSON ELECTRO-MUSICAL PRODUCTS, INC. poration, 10/21861A, $1.50 (M). Here is an exciting setting to open Call for our free SOLID STATE ORGAN SYSTEMS a Christmas Eve service or on the 64 page color prospectus Sunday following it. Using repeated keyboard chords in alternating rhythms (3+3+2/2+2+2+2), the music is enthu- the highest standards of integrity, quality and craftmanship in pipe organ building siastically driven. The choral passages are often in two parts and eventually 1-800-473-5270 www.apoba.com include the hymn Hark, the Herald Angels Sing over fl owing keyboard lines.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 15 Reviews

³ page 15 6,500 hymns—meaning hymn texts, not and the Music of Poetry” by J. R. Wat- were set to music by the Baptist Howard The Star, Ed Nowak. SATB and tunes—and some scholars say the count son, argues the close relationship of the Doane. (Best known is “Blessed Assur- keyboard, Ed Nowak Music Publica- could be reckoned as high as 9,000 if poetry to music in every hymn, through ance.”) Dr. Yardley reminds us that the tions, manuscript, no price given; some longer texts are critically divided. structure, word associations (e.g., music gospel hymn arose to serve the needs contact ednowakmusic.com for per- These hymns are sung and known and the name of Jesus), rhythm, and of evangelists wooing a large audience formance information (M). around the world in Christian churches meaning. Chapter 3, “Psalms and Hymns more than the needs of Sunday morning Two versions are available, Standard of all denominations including Roman and Hymns and Sacred Poems” by Robin worship. Nineteenth-century Christians (7 pages) and Extended (10 pages). The Catholic, so universal and biblically Leaver, notes that Methodism was not had a clear understanding of the differ- fi rst of the four verses is in unison for the based is their content. And although an simply born in song but also “matured, ence. Revivalists such as Dwight Moody women; the other verses move through organist, harpsichordist, and fl ute-player, grew, and continues in song, vigorous and Ira Sankey popularized the gospel different arrangements, but always with Charles Wesley composed no music. hymn-singing being the hallmark of song for its immediate accessibility and the opening melody clearly articulated. Not all of the papers read at the con- denominational Methodism.” Examin- emotional appeal. But many musicians The keyboard part is not soloistic and ference made it into this book, but the ing the impressive sequence of hymnals found them predictable and for that rea- offers fi rm support for the singers. The editors commissioned fi ve additional brought out over a 40-year period by the son “unbearably banal.” “When under- story of the Wise Men is told with some essays to round it out. It is organized brothers John and Charles, two strands of stood in the context of purely evangelical dramatic choral effects (Sfz) on the word in two divisions: Part I, “Music and hymnody emerge, one refl ecting the con- events rather than as part of the ongoing “shine.” Perfect music for Epiphany. Methodism,” and Part II, “The Wesley cerns of the weekly society meetings and worship life of a congregation,” these Musicians.” In a brief introduction, editor the other the structure and content of the very features, writes Dr. Yardley, may be Star in the East, arr. William Nicholas Temperley, Professor Emeritus Anglican Book of Common Prayer. “Thus seen essential to their purpose. Averitt. SATB unaccompanied, E.C. of Music at the University of Illinois and Methodism evolved from being a move- Chapter 7, “Eucharistic Piety in Ameri- Schirmer Inc., No. 7777, $1.95 (M). author of the useful Music of the Eng- ment within a denomination to becoming can Methodist Hymnody, 1786–1889” by The beautiful text is set with sensitive lish Parish Church (1979), explains the denominationally independent.” Geoffrey C. Moore, traces the mid-nine- music, with mostly syllabic vocal lines. purpose of the conference and its book. In Chapter 4 Martin Clarke describes teenth-century drift away from John Wes- Based on a text and music from The He emphasizes the equal importance “John Frederick Lampe’s Hymns on the ley’s sacrifi cial eucharistic theology, which Southern Harmony, the stately music for John and Charles Wesley’s mission of Great Festivals and Other Occasions,” included belief in the real presence of has a march character for the 19th- both preaching and hymn singing, not- published in 1746 as the fi rst collection Christ in the eucharist, to a memorialism century text. The music is sophisticated ing music’s immense power to enhance of Methodist hymn-tunes “custom- that holds the sacrament as nothing more and well crafted. feelings specifi ed by sung words. He made” by a single composer. Sally Drage than a commemorative of Jesus. The sep- goes on to point out certain personality provides a brilliant analysis of “Method- aration of word and sacrament, by allow- Once a Star Rose in the Sky, Denice traits running through the whole Wesley ist Anthems: The Set Piece in English ing the eucharist to be celebrated apart Rippentrop. SATB with oboe and family: an overweening self-confi dence, Psalmody” in Chapter 5. She defi nes set from preaching, also took place, demon- violoncello, Beautiful Star Publish- an autocratic mindset, and a musical piece as “an anthem with a metrical text strated by reference to the hymns and ing, BSP-231 (E). conservatism preferring older traditions instead of prose,” noting that Methodist other music used. Methodists sang their The music has a folk-song character to current fashions. (Charles even wrote psalmody used two types: the 3-voice theology. Carlton R. Young brings Part with lyric lines. The two instruments are some doggerel dismissing Giardini and galant pieces by art composers favored I to a close with Chapter 8, “The Musi- independent, with the cello having long J. C. Bach, who “Have cut Old Music’s by John Wesley, and the later, more cal Settings of Charles Wesley’s Hymns, lines that are somewhat based on arpeg- throat, / and mangled ev’ry Note;” and homespun compositions by provincial 1742–2008.” He traces the journey these gios, while the oboe music is a counter- he sarcastically attacks the increasingly musicians, of which he might not have hymns have taken through settings in melody. There are brief divisi lines for popular piano with “Loud as a spanking, approved. Wesley held strong views on American song books—from the two the sopranos, but in general the music is Warming-pan its tone, / Delicious as the music. He opposed counterpoint with great shape-note collections, Southern not diffi cult. thrilling Bagpipe’s Drone.”) He concludes overlapping texts, excessive text repeti- Harmony, 1835, and The Sacred Harp, the introduction noting that, in stark tions, and long alleluias. He insisted that 1845, through offi cial hymnals of the vari- Book Reviews opposition to the prevailing xenophilia all who could should join in the singing, ous branches of American Methodism, Music and the Wesleys, edited by Nich- (“foreign is fi ner”), the three composer lest it be said that his followers did not to contemporary, global settings, some olas Temperley and Stephen Banfi eld. Wesleys found everything they needed at perform joint worship. Anne Bagnall described as “playful,” “pop,” “Broadway- Urbana, Chicago, and Springfi eld: home in Britain or in the distant past. Yardley contributed Chapter 6, “The style,” “reggae,” “bluesy,” “dancing,” University of Illinois Press, 2010. Editor Temperley also contributed Music of Methodism in Nineteenth- “jazzy,” all coming from Singapore, China, ISBN: 978-0-252-03581-4 (cloth, $80); the fi rst essay (Part I, Chapter 1), “John Century America,” noting that as each Argentina, Taiwan, Zimbabwe, England, 978-0-252-07767-8 (paper, $25), 274 Wesley, Music, and the People Called branch of Methodism formed, it cre- and the United States. The celebration pp. + xviii; www.press.uillinois.edu. Methodists.” In it he identifi es three ated two documents: a Discipline and of Charles Wesley’s tercentenary in 2007 Readers acquainted with Eric Rout- sources of original Methodist hymnody: a Hymnal, embodying both the particu- produced a number of new settings in ley’s valuable book on The Musical Wes- (1) Anglican high-church emphasis on larity of each group and the Methodist contemporary styles, “from folk to rock, leys (London, 1968) will welcome this singing as an offering to God, demanding “genetic code” contained in the writ- from ‘indie’ to electronic,” attempting to more diversifi ed treatment. It originated the highest quality that could be attained; ings and hymns of John and Charles. free Charles Wesley’s hymns from “their at a conference held in 2007 at the Uni- (2) Puritan stress on singing as an obedi- Prevailing tunes to the most important captivity to eighteenth- and nineteenth- versity of Bristol (England) to mark the ent carrying out of God’s command that hymns are discussed: Azmon, Lenox, century tunes and match them with twen- tercentenary of Charles Wesley’s birth. all people should praise their Maker with Martyn, Hollingside, St. Fabian, tieth- and twenty-fi rst century sounds Recognized authorities presented papers understanding; and (3) Pietist belief that Northfield, Chappel, Coronation and styles.” on music in Methodism and on the four singing was an expression of love coming (for “O for a Thousand Tongues”), and Perhaps of greatest interest to church individual Wesley musicians: Charles truly from the heart. This was John Wes- Helmsley, Judgment (Last Day), musicians and organists is Part II, “The (1707–1788), Charles the Younger ley’s ideal. The use of organs in worship Zion, Novello, Advent Hymn, and Wesley Musicians.” The remarkable (1757–1834), Samuel (1766–1837), and was discouraged, as John Wesley explic- Hamden (for “Lo, He Comes”). Lowell Wesley family produced three of the Samuel Sebastian (1810–1876). The itly disapproved of them, and he was Mason’s “Better Music” movement, most interesting composer-performers last three of these merit our attention suspicious of counterpoint, which could the singing school, the choral society, in history: Charles Wesley’s son Charles because they were actual composers of muddy the words sung simultaneously by quartet choirs, and vestiges of the “the Younger,” nephew to John Wes- music. The fi rst, Charles Wesley, brother different voice parts. The chapters that Anglican Oxford Movement are shown ley; his brother Samuel, considered to John Wesley (1703–1791), founder of follow in Part I deal mainly with hym- as infl uences along with the impact of the fi nest English organist of the early Methodism, is credited with writing over nody. Thus Chapter 2, “Charles Wesley Mason and William Bradbury in evan- nineteenth-century; and Samuel’s son gelizing children through music, which (Samuel) Sebastian (named for Bach), profoundly affected the styles and goals also proclaimed a genius and one of the of Methodist church music. Fanny J. most highly regarded cathedral organ- Crosby, “the most infl uential Method- ists of the Victorian Age. There exists ist hymn-writer after Charles Wesley,” a tremendous amount of confusion in contributed over 9,000 texts for what are church music circles today, including now called gospel hymns, 130 of which popular publications, regarding these

Fruhauff Mussiic Publliicattiionss Music of Ed Nowak Compositions, Historical Transcriptions, Choral, hymn concertatos, psalm Hymn Tune Settings & Liturgical Music  Scores for Organ, Voices, Carillon & Ensembles  settings, organ, piano, orchestral www.frumuspub.net and chamber ensembles D P.O. Box 22043 E Santa Barbara, CA 93121-2043 http://ednowakmusic.com

16 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Reviews individuals, due to similarity of names. Erratic and wild behavior made life diffi - Wesley’s fi rst major anthem, The Wilder- Not everyone will want to agree with The eight agreeable chapters compris- cult. Nevertheless, we are told elsewhere ness (Isaiah 35), and notes the use of solo the concluding words of the fi nal chapter: ing Part II clear up that problem. Based that Samuel, on his deathbed, reminded voices of which Sebastian usually whole- “Jazz was an idiom that would have been on the best scholarship, they lack turgid his son Sebastian, “Remember, the Wes- heartedly disapproved, and the freedom unimaginable to [Sebastian] Wesley. But detail, involved footnotes, technical leys were all gentlemen and scholars.” he felt in boldly handling the biblical it arose partly from the same contexts of obscurities and jargon. As orally pre- Peter Holman of Leeds offers Chap- text, even making alterations in it. The personal religious feeling and expression sented lectures, they have an almost ter 14, “Samuel Wesley as an Antiquar- fi nal chapter (16) considers “The Legacy that he himself loved and worked to conversational directness and clarity that ian Composer.” He defends Samuel’s of Sebastian Wesley” by the two editors. express in his output and that his grand- treatises usually forfeit. Each is a plea- obsessive interest in and championship Even where music historians denigrate father and great uncle had done so much sure to read. Co-editor Stephen Banfi eld of the music of Johann Sebastian Bach. Victorian church music in general, they to awaken and empower in vast numbers (Bristol) provides an overview in Chap- In music and other fi elds, England led make exception for Sebastian Wesley, of people of different races across the ter 9, “Style, Will, and the Environment: the way in historical research, in advance saying that “he had a genius for choral western Protestant world and eventually Three Composers at Odds with History.” of composers in continental Europe. writing and a grasp of new harmonic across the globe.” The early religious Chapter 10 discusses “Charles Wesley’s Wesley was part of that fashionable effects,” and that his anthems “show an songs that so energized the Methodist Family and the Musical Life of Bristol” pre-romantic interest in the past. And independence of thought and a mastery movement and the whole evangelical (Jonathan Barry), with emphasis on the his compositions show his willingness of climax” (C.V. Stanford, Edmund revival of the 19th century were not Wesley music teachers and on the infl u- to mix two styles (ancient and modern) Fellowes, H.C. Colles, Watkins Shaw, merely vehicles for “personal religious ence of Handel. together: “he seems to have been the fi rst Kenneth Long, John Caldwell, Wm. J. feeling and expression,” but were Anyone having trouble distinguishing person to combine old and new in single Gatens). The great German pianist and vehicles of theological expression going these Wesley prodigies or attempting movements.” Chapter 15, “The Anthem critic, Edward Dannreuther, wrote an beyond emotion and feeling, important to visualize them as discrete individuals Texts and Word Setting of Sebastian ardent appreciation of Wesley’s anthems as these attributes are. No matter the need only read Chapter 11, “Pictorial Wesley” by Peter Horton, examines the for the 1905 Oxford History of Music. tunes, the texts were theologically rich Precocity: John Russell’s Portraits of way the texts were selected from unusual An appendix contains John Nightingale’s and instructive. The Wesleys taught Charles and Samuel Wesley” by Peter portions of Scripture and the Litany, and Catalogue of Compositions of Charles their theology through a singing faith, Forsaith of Oxford-Brookes University. Wesley’s brilliant way of setting them to Wesley the Younger, and another lists all and Methodists ever since have learned This fascinating chapter examines two music. This is why we remember him the American Methodist hymnals cited. and preserved it. The jazz idiom simply relatively obscure portraits of Charles the today as “the composer of sacred music The book closes with a 17-page biblioga- is unsuited for communicating theology Younger and his brother Samuel, father par excellence.” Horton focuses on phy that is exceptionally rich. ³ page 18 of Sebastian, from the standpoint of an art historian and social critic of 18th- century evangelicalism. They date from 1776–1777 and hang today in London’s Royal Academy of Music. Dr. Forsaith sees these portraits as revealing traits of character possessed by the two musi- cians: Charles is portrayed at 21 almost foppishly, conveying effeminancy and an air of disdain. Banfi eld concretizes the Seamless ... implication: “Had Charles the Younger been born a century or more later, every- thing about him, from his love of soprano Mechanical Engineering and duets and lifelong residence with mother and sister to the gloves in Russell’s por- trait, would suggest the identity, unful- fi lled or otherwise, of a socially compliant Silent Wind gay man.” The picture of Samuel at age nine is quite the opposite. Russell por- trays him in classical style, like the statue of Mercury, messenger of the gods, in the Uffi zi Gallery in Florence. He wears a red suit, standing by a table, holding a quill pen on a music manuscript; at his feet is the bound score to his oratorio “Ruth,” precociously written at age eight. Moreover, the painting seems to mimic Gainsborough’s painting of the visiting German oboist, Johann Christian Fischer, who married Gainsborough’s daughter. Samuel is thus fl atteringly compared with a classical allusion and associated with a virtuoso musician. Chapter 12, “Harmony and Discord in the Wesley Family Concerts” (Alyson McLamore) celebrates the sixty-four concerts at the Wesley house in Maryle- bone (1 Chesterfi eld Street), mounted as a series in 1779, which endured for nine years. They featured the two talented Wesley boys as performers and com- posers. Administrative problems arose over fi nances and musical programming (“ancient” vs. “modern” composers), the question of the morality of secular concerts, and social tensions among the classes represented in the audience. The amazingly quiet wind system in Opus 39 at Hayes Barton United Methodist Church, Raleigh, North Carolina Philip Olleson, the Nottingham expert on Samuel Wesley, contributes Chapter 13, “Father and Sons: Charles, Samuel, and Charles the Younger.” The relations between Charles Wesley and his two sons Charles the Younger and Samuel are delineated in terms of their upbring- Visit www.buzardorgans.com for a demonstration ing and education, their attitudes toward music, Samuel’s rebelliousness (as, e.g., his temporary association with Roman Catholicism and his adolescent love affair with an older woman, Charlotte Martin), and some delightful correspondence John-Paul BUZARD Pipe Organ Builders between father and sons. Samuel exhib- 112 West Hill Street • Champaign, IL • 61820 • (217) 352-1955 • (800) 397-3103 ited manifestations of bipolar disorder resulting from an accidental concussion.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 17 Reviews

³ page 17 lovely space—which might even remind haunting lullaby. Also, a nearly lost Kiev to Berlin in 2001, is the indication except on the most superfi cial level. The it, just a bit, of home. Christmas treasure, the hymn York- of those sections that are to be played failure of Beaumont’s Jazz Mass and sim- To celebrate the decennial of its shire (“Christians, Awake”), is given to “a discretion” (two further toccatas and ilar jazz efforts demonstrates this fact. It arrival, the Förderverein Hook-Orgel the congregation. several partitas from this manuscript are is a matter of pragmatic effectiveness, has showcased the Hook in a recording The Kammerchor Passion, soloists, in volumes VI.1 and 2). not musical sophistication. The Wesleys of Dudley Buck’s cantata The Coming and all participating musicians give a very Four toccatas in the present volume might have considered the provenance of the King. This work was premiered fi ne interpretation of this piece. They were previously included in VI.1 (FbWV of jazz and its unbaptized associations in Brooklyn on November 17, 1895 (at avoid any trace of archness or irony, and 113–15 and 118), taking Berlin MS4450 more suggestive of Hogarth’s Gin Lane the hands of Buck’s student, John Hyatt give the music the sincere and energetic as the main source and collating variants than of anybody’s Christian church or Brewer). The composition is very enjoy- treatment it deserves. Berthold Labuda from other sources, but the subsequent humble meetinghouse. able, popular in its day and well worth did an excellent job bringing out the availability of the Innsbruck source Notwithstanding these observations, revival. The performances of all the sing- distinct voices of the Hook organ, not allows the variants from that source the book remains a most useful, authorita- ers and the organist (and registrant!) do excluding a delicious Vox Humana. to be presented for the fi rst time. Also tive, and informative resource for every the music and the instrument justice on Overall, this is a wonderful document included are the toccatas in C, D minor, church musician. The contributors are every level. of an important American organ and A minor and D major (FbWV 116, 119– clear, straightforward, sympathetic, and The cantata, over its eleven move- of an underappreciated American can- 21) that have been preserved in various critically objective. Highly recommended. ments, offers a rich variety of recitative, tata—as well as a testimony to the skill sources. An interesting case is the Toc- —John M. Bullard, Ph.D. aria, and choral textures, with a few of the musicians and craftsmen involved. cata in A Minor, the fi rst two sections Spartanburg, South Carolina opportunities for congregational par- One thinks that the Hook Brothers, of which were published in England in ticipation. Buck’s sensitivity to text is and Dudley Buck, would have liked to The Ladys Entertainment or Banquet of New Recordings everywhere in evidence, as in the opening paraphrase Mozart and exclaim, Meine Musick in 1708 in the name of Simonelli, Dudley Buck, The Coming of the “Prophecy” movement, for soprano solo. Berliner verstehen mich! a colleague of Froberger in Vienna, and King: Cantata for Advent and Christ- The non-metrical texts are set in a seam- —Jonathan B. Hall then under Froberger’s name in A sec- mas-tide. Förderverein Hook-Orgel less rondo: recitative alternating with an Rutherford, New Jersey ond collection of toccatas etc in 1719. Heilig Kreuz, Berlin, 2011. Kammer- arioso refrain. Still more wonderful is Published here for the fi rst time and chor Passion; Matthias Schmelmer, movement 9, “The Questioning of the New Organ Music considered by Rampe to be an authen- conductor; Berthold Labuda, organ. Magi.” Here, King Herod (a basso—what Johann Jacob Froberger, New Edi- tic work is FbWV 130, the only known For information: else?) interrogates the Wise Men, who tion of the Complete Works, Volume example of a toccata by Froberger with www.hook-orgel.de. answer with elaborate courtesy. Herod’s V.1. Keyboard and Organ Works from long-held pedalpoints. Considered of In 1991, the Heilig Kreuz Church in underlying paranoia comes through Copied Sources: Toccatas, edited uncertain authenticity is a short prae- Berlin inaugurated a remarkable pipe clearly—this is a wonderful bit of opera! by Siegbert Rampe. Bärenreiter ludium found in two sources; similar to organ: Opus 553 of Elias and George In other places, the Dudley Buck BA9211, €45.95; later examples by Pachelbel and Krieger, Greenleaf Hook of Boston, built in enthusiast (like this writer) will delight www.baerenreiter.com. it may well represent a written-down 1870 for the First Unitarian Church of in the infectious rhythms for which this This volume (bringing the eventual example of a typical short improvisation. Woburn, Massachusetts. The organ, a composer is so noted. Buck often writes total number of volumes in the new Three toccatas found in the Chigi MS fi ne three-manual of about forty ranks, is as if he were on horseback, and I, for complete edition of Froberger’s key- Q.IV.25—preserved in the Vatican and amply documented on its own website, one, enjoy these moments hugely. Per- board works to ten) presents Froberger’s previously considered to be by Fresco- www.hook-orgel.de. haps best of all of these is the cheerful toccatas from copied (i.e., manuscript) baldi and published in the CEKM series The organ spent most of its life—to Victorian virility of the three Wise Men, sources. It contains nine toccatas of of Frescobaldi’s compositions found in date—in a modest, attractive church in a whose showpiece, movement 5, “Across certain authenticity (four of which have these manuscripts—are included in this town a few miles north of Boston. It now the Desert: The Caravan of the Magi,” appeared previously in volume VI.1), volume. Attractive pieces with a variety lives in a grand and highly visible church is on horseback (or camelback) through- fi ve of which are also published in variant of textures and rhythms and alternating in one of the world’s great cultural capi- out. This movement could be excerpted, readings, plus a prelude, three toccatas free and imitative sections, they may well tals. Ironically, at fi rst glance it appears and I suspect would be a great favorite. of uncertain authenticity, and a further be youthful works composed in Rome that the organ has only moved next The texts throughout are well chosen, three toccatas of dubious authenticity. under Frescobaldi’s guidance and are door, rather than to another continent. interweaving Old Testament prophecies A source that was newly consulted for well worth playing. The Church of the Holy Cross in Berlin with the New Testament narrative. The volume V.1 is located in a private col- The volume concludes with three could be mistaken, at a cursory glance, librettist, though not credited, is prob- lection in Innsbruck, although a photo- works, in D minor, A minor, and F, for Trinity Church, Copley Square, in ably Buck himself. graphic reproduction has been available considered to be dubious. They are pre- Boston. Both are monumental Victorian Another feature of the music is its fre- in the Tyrolean State Museum; dating served in the Eckelt manuscript, which re-imaginings of historic church archi- quent recourse to two familiar Christmas from the early 18th century, it contains originally ascribed them to Pachelbel tecture, done in red brick, and about a carols: “Silent Night” and “O Come, All several pieces by Froberger, frequently but then inexplicably reassigned them decade apart in age. While differences Ye Faithful.” These are woven into the with interesting variant readings and to Froberger. The pieces in D minor quickly assert themselves to the eye, texture of the organ prelude (entitled much added ornamentation, as do the and F have fugal sections and rhythmic one senses a kinship between the two “Noël!”), and then reappear; the work readings from a manuscript compiled by changes that are not found in Pachel- buildings, and one is pleased that such a concludes with a chorus of the latter. Gottlieb Muffat. An interesting addition bel’s authentic toccatas, and although fi ne American organ fi nds itself in such a “Silent Night” is woven into the Virgin’s in MS4450, which was returned from not of the high standard of Froberger’s own toccatas, they still offer interest to the player. The Toccata in A Minor, rhapsodical and in C time throughout, is much closer to Pachelbel’s work. Thousands of titles, top-tier publishers... Of great interest is the inclusion of four pieces from a Viennese manuscript compiled by Ebner. These consist in three instances of just a fugal section of a longer work, and in the other (the Toc- cata in C) of a shorter version of the free opening and the fi rst fugal section; such abridgements were probably intended to form versets. This echoes Frescobaldi’s comments about abridging toccatas and OneLicense.net can be taken as a useful precedent for organists to apply in services today. The Innsbruck source for the Toccata in D forSUNDAY ANNUAL and ONE-TIME Minor, FbWV 119, presents the opening BULLETINS, as found in Muffat’s copy, but then con- CHURCH COPYRIGHT tinues with the Capriccio, FbWV 503. WEDDINGandFUNERAL Without overloading it, variant readings are incorporated into the musical text; PROGRAMS, they are worthy of careful study since they PERMISSIONS refl ect the many possibilities of rhythmic PROJECTION, and pitch differences, including applica- SPECIALSERVICE tion (or not) of accidentals that could have featured in a contemporary performance. BOOKLETS, The introduction to each volume (in Ger- Log on and take the tour today! man and English) provides detailed infor- PRACTICE TRACKS, mation on only the new sources that have and PODCASTS been consulted for the volume at hand, thus necessitating the purchase of earlier 800.663.1501 volumes for the player who wishes to have the fullest information possible on every

18 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Reviews Second Annual High School Organ Competition and Festival source used. There is a detailed comment middle section includes echoes, mallet on each piece included in each volume rolls, martellatos, martellato lifts, and Jan. 25-27, 2013 (although the comment on FbWV 123–5 mallet lifts with luscious new harmonies. as not containing a fugal section is inac- The arrangement ends with an exciting, 3UL]HVLQFOXGHFDVKDQGRUWXLWLRQVFKRODUVKLSVLQH[FHVVRI curate, since 123 and 125 do) and there fl amboyant coda that will leave the audi- :RUNVKRSVPDVWHUFODVVHVDQGOHVVRQVLQFOXGHG)RUGHWDLOVFRQWDFW is also a full critical commentary on each ence wanting more. .HQDQ3URIHVVRURI2UJDQ7LPRWK\2OVHQDWROVHQW#XQFVDHGX piece in each volume that gives source RUYLVLWZZZWLPRWK\ROVHQRUJDQLVWFRP details and variant readings, but this is in Catalonian Carol, arranged for German only. Several pages of facsimiles 3–5 octaves of handbells by Ronald are included. There are two probable mis- Kauffmann. Beckenhorst Press, Inc., prints: p. 63, bar 19, the two upper notes HB426, $3.95, level 3 (M). of the RH chord could be A and G, and This traditional Spanish carol contains p. 68, bar 14, the rhythm in the top part an abundance of rhythmic interest, and should be corrected. The introductory is rich with solid and varied harmonic section on scope and outline of the new structure throughout. With mostly quar- edition is identical to that included in vol- ter and eighth notes throughout, this ume VI; the information on the Sotheby piece should be very playable for most manuscript is not to be found in volume V. choirs. The arrangement includes an One feature of the manuscript copy effective middle section in the relative of eleven toccatas and twelve contra- minor key, which then brings the piece puntal works made by Gottlieb Muffat to a festive fi nale in the major. that has a most important bearing on performance practice is the addition of Fum, Fum, Fum, arranged for 3–5 elaborate ornamentation. Muffat’s own octaves of bells by Jason W. Krug. comprehensive table of performance Beckenhorst Press, Inc., HB423, of these ornaments is included in each $4.95, level 3 (M+). volume, but a discussion of the transition This festive arrangement features from the main note start for the trill to optional handchimes, as well as optional the upper note start required by Muf- castanets and tambourine. All of this fat (and, of course, his contemporaries) combined together creates a rhythmic is most regrettably not discussed in the bonanza that will have the audience preface; neither is there an inclusion of clapping along. Here is a refreshing the variant readings in the seven tocca- treatment of this favorite holiday classic. tas (although these were probably taken from the printed editions of 1693/5) A Celtic Silent Night, Franz Gruber, included in the Elizabeth Edgeworth arranged by Joel Raney for 3–5 book, compiled in all probability by octaves of handbells. Agape (a divi- John Blow, or a discussion of the English sion of Hope Publishing Company), Restoration ornament symbols included Code No. 2613, $4.95, level 3 (M). therein and the impact on performance. This holiday favorite captures Volume V.1 contains only 70 pages in authentic Celtic rhythms and unique the music section, making this volume harmonies in a lilting 9/8 meter. This relatively expensive, but the quality of title is now available for handbells the music it contains is the highest. Those alone, or it can serve as the accompa- players who already have the Heugel edi- niment for SAB and SATB choral set- tion will need to consider paying out for tings. Handchimes, violin, bass, guitar, just fi ve previously unpublished pieces and synthesizer parts are also available, and three available in the CEKM series; which provides a host of possibilities. many players may feel little inclination to have as many variants as possible. How- I Wonder as I Wander, arranged by ever, for the professional recitalist and Cathy Moklebust for 2 or 3 octaves Fisk, op. 75 teacher as well as for the keenly inter- of handbells with chime tree, fi nger ested non-professional, comparison of cymbals and triangle. Choristers ‡0DVWHU&ODVVHVZLWKLQWHUQDWLRQDOO\UHQRZQHGJXHVWDUWLVWV variants will offer invaluable information Guild, CGB761, $4.50, level 2 (E). C.B. Fisk, Op about how Froberger’s contemporaries, Here is a lovely, peaceful setting of ‡3DUWQHUVKLSZLWK6aOHP&ROOHJHLQFOXGLQJUHJXODUPDVWHUFODVVHV and players of succeeding generations, this refl ective carol. It is given a gentle, ZLWKZRUOGUHQRZQHGNH\ERDUGWHFKQLTXHSHGDJRJXH may have performed his pieces. waltz-like motif, which, in four mea- %DUEDUD/LVWHU6LQN It is very much to be wished that these sures, builds to a dynamic fortissimo. pieces will take their place in concerts Then the piece returns like it began— ‡&RXUVHVLQVDFUHGPXVLFLPSURYLVDWLRQRUJDQKLVWRU\DQG as well as in church services of all tradi- simple, yet effective. OLWHUDWXUHDQGRUJDQSHGDJRJ\ tions. Not at all easy to play stylishly, a thorough knowledge of performance Let All Mortal Flesh Keep Silence ‡*HQHURXVVFKRODUVKLSVDQGJUDGXDWHWHDFKLQJDVVLVWDQWVKLSV practice is an essential and indispensable (Procession and Meditation), requirement to an informed rendition of arranged by Karen Thompson for these pieces. But the pleasure obtained 2, 3, or 5 octaves of handbells and by both performer and listener will 2, 3, or 5 octaves of handchimes, 2013 on-campus auditions: repay the time spent in learning them with optional suspended cymbal -DQ )HE  many times over and will in its own way and chime tree. Choristers Guild, )HE $SULO justify and repay the editor and publish- CGB757, $4.50, level 2 (M-). 3ULRULW\IRUPHULWVFKRODUVKLSFRQVLGHUDWLRQZLOOEHJLYHQWR ers for having taken on this essential and The fi rst four measures are repeated DSSOLFDQWVZKRDXGLWLRQEHWZHHQ-DQDQG)HE monumental task and restore Froberger and played as a processional. It is to his rightful position as one of the most intended to begin with ringers of each ‡3URIHVVLRQDO$UWLVW&HUWLÀFDWH innovative and infl uential keyboard com- part positioned in different places in ‡0DVWHURI0XVLF posers of all time. I await the publication the room. Each part plays their pattern ‡%DFKHORURI0XVLF of the contrapuntal works from copied through at least once in place and then sources, which will complete this excel- processes to the bell tables. After the ‡8QGHUJUDGXDWH$UWV&HUWLÀFDWH lent and essential edition. ringers reach their destination the direc- ‡+LJK6FKRRO'LSORPD —John Collins tor will indicate when to play measure 5 Sussex, England and proceed with the remainder of the piece. The Procession and Meditation New Handbell Music may be played as separate entities. Angels from the Realms, Henry T. The second part, Meditation, begins Smart, arranged for 3–6 octaves of as a dialogue between handchimes and handbells by Cynthia Dobrinski. handbells; with the ringers available for :DGH:HDVW'HDQ6FKRRORI0XVLF Agape (a division of Hope Publishing the two choirs, this could be a stunning, Company), Code No. 2510, $4.50, moving piece. There’s nothing like the 'DQFH 60DLQ6WUHHW level 3- (M+). haunting sound of the handchime cou- 'HVLJQ 3URGXFWLRQ :LQVWRQ6DOHP1& A rousing introduction brings the pled with the brilliance of the handbell, 'UDPD  accompanying layer to a malleted, rhyth- both ringing separately and together. )LOPPDNLQJ DGPLVVLRQV#XQFVDHGX mic, and dance-like confi guration, with Very effective! Music www.uncsa.edu the familiar melody in the treble. The —Leon Nelson

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 19 Interview

Crazy about Organs

Gustav Leonhardt at 72

Gustav Leonhardt (photo: Lukasz Rajchert; by kind permission of International Festival Wratislavia By Jan-Piet Knijff Cantans, 46th edition)

This interview was fi rst published in was an important recognition of a man when there were no competition rounds. from Basel to Schaffhausen to pick up an Dutch in Het Orgel 96 (2000), no. 5. who has helped defi ne the way we have “But if you don’t mind, could we do it envelope with Swiss francs . . .4 I studied Leonhardt had been made an honorary listened to and performed early music early?” What is early, 9 am? “Well, ear- both organ and harpsichord with Eduard member (Lid van Verdienste) of the for more than half a century. lier would be fi ne too.” 8:30, 8 am? “Just Müller, for whom I still have the greatest Royal Dutch Society of Organists in the I spoke with Leonhardt in the sum- fi ne.” It sounded as if 6:30 would have admiration and respect. previous year. Apart from small adapta- mer of 2000 in Leipzig. He was chair- been OK too. tions in the fi rst few paragraphs, an man of the jury of the prestigious Bach J-PK: Can you tell me more about him? occasional correction, and explanations, competition for harpsichord; ironically, Jan-Piet Knijff: How did you become GL: He was fi rst and foremost an no attempt has been made to update the Leonhardt’s former student Ton Koop- interested in organ and harpsichord? excellent organist, who in addition was content of the article for this translation. man held the same position at that year’s Gustav Leonhardt: Through my par- asked to teach harpsichord, I think. He The interview on which the article was organ competition. I met the master ents, I think. They weren’t professional was the organist at a terrible organ, but based took place during the 2000 Leipzig after one of the competition rounds musicians—my father was a business- whenever a new tracker was built—Kuhn Bach Festival. Leonhardt read the article and we walked together to our hotels. man—but they were enthusiastic ama- or Metzler in those days—we went to try before it went to the editor and was very Leonhardt is often said to have been teurs. What was rather unusual was that, it out, right away, you know. pleased with it. I am grateful to the Royal formal; it is well known how he used even before the Second World War, we The way people played Bach on the Dutch Society of Organists and the edi- to address his Dutch students with the had a harpsichord at home, a Neupert, a organ was still pretty dreadful at the tor of Het Orgel, Jan Smelik, for permis- formal pronoun u (pronounced [ü]; the small one.2 My parents played Beethoven time, with many registration changes, sion for its republication.* equivalent of the German Sie); this must and Brahms for pleasure, but from time swell box, that kind of thing. But even have come across as utterly prehistoric to time also Bach and Telemann. Appar- then, Müller played completely differ- ustav Leonhardt (1928–2012) was— in the 1970s. But in fact, Leonhardt was ently they thought they had to buy a ently. For example, he would tell you G perhaps after Wanda Landowska— extremely friendly; he conversed easily harpsichord for that. I had to learn how that it was common to change manuals in the most infl uential harpsichordist of and openly about a host of topics. As we to play the piano as a boy; I mean, had this-or-that bar, but that that was simply the twentieth century. As Professor of passed by the Thomaskirche, Leonhardt to, it was simply a part of life. I don’t impossible, because you would break the Harpsichord at the Amsterdam Conser- volunteered his opinion of the new Bach remember liking it very much. When tenor line in two! So I learned from him vatory he introduced countless young organ by Gerhard Woehl.1 The conver- the harpsichord came, they let me play to analyze very ‘cleanly’ and to use that as musicians from all over the world to the sation quickly moved from Woehl to written-out fi gured-bass parts. I didn’t the basis for my performance. interpretation of early music, especially Silbermann, and Leonhardt mentioned care much for it, but of course, it must Harpsichord playing was still very the music of Johann Sebastian Bach. the organ at Großhartmannsdorf, which have shaped my musicality. During the primitive in those days. The instruments From his work with the Leonhardt Con- he played in the fi lm The Chronicle of last few years of the war there was no I played on in Basel were simply awful. sort—with his wife Marie as fi rst violin- Anna Magdalena Bach: “You know, that school, no water, no electricity. Marvel- It wasn’t until later that I came to know ist—grew a limited but no less signifi - Posaune 16 . . . ” His face and gestures ous, of course—especially that there was historic instruments. The idea that you cant career as a conductor: Leonhardt’s spoke louder than a thousand words. I no school! Moreover, I turned sixteen used different types of harpsichords— contribution to the complete recording asked why no organbuilder today seemed that year, so I more or less had to hide French, Italian—didn’t play a role at all. of Bach cantatas for Telefunken and his to be able to make such a Posaune. from the Germans. My brother and I I did collect pictures of historic instru- renditions of operas by Monteverdi and “Look,” he said dryly yet fi rmly, “fi rst of took turns being on the lookout. It was ments, but really without wondering Rameau are milestones in the history of all, you have to want it.” all very exciting. During that time, I was what they might sound like. recorded music. In 2000, at 72, Leonhardt was very so attracted to the harpsichord. And since Strangely enough, Müller was not at As an organist, Leonhardt has not much alive and well, still playing some there was little else to do, I simply played all interested in historic instruments as become nearly as famous—perhaps 100 concerts a year. For a concert in all the time. And of course, there was far as harpsichords went. On the other because organists in general don’t tend Göteborg that year, he didn’t even have a the enormous love of Bach. Dad was on hand, he was very precise with articula- to become famous in the way other hotel: he arrived in the morning, played the Board of the [Dutch] Bach Society, tion. You had to play exactly the way musicians do, perhaps also because he a concert in the afternoon, and fl ew on where Anthon van der Horst conducted.3 Bach wrote. Bach was the order of the limited himself to early music. Even to Portugal in the evening for a concert At fi fteen, I started studying music theory day. A little piece by Froberger or Cou- among Dutch organists, Leonhardt the next day. I asked whether he enjoyed privately with van der Horst. Yes, that I perin every now and then, but mostly remained an outsider. Therefore, his traveling; he shrugged: “I mean, it’s sim- enjoyed very much. I often pulled stops Bach, really. August Wenzinger,5 with being made an honorary member of the ply part of it.” Leonhardt was happy to for him at concerts. That’s really where whom I studied chamber music, was Royal Dutch Society of organists in 1999 have the interview on his ‘free’ Friday, my love of organs comes from. much broader in that regard. He played the whole repertoire: French, Italian, J-PK: You went to study in Basel. and the seventeenth century as well. We Would it not have been logical also had to sing in the choir, Senfl and to study in Amsterdam with van Josquin, but also monody. That was a der Horst? revelation. We had Ina Lohr,6 who was GL: Maybe, but harpsichord was the fi rst to use the old solmisation system high on my wish list too. And the Schola again as the basis of her theory classes. Cantorum in Basel was at the time the Everything was incredibly interesting. only place in the world where one could Look, things were kind of black-and- study early music in all its facets, includ- white at the time. On the one hand there ing chamber music and theory. It pulled was Romanticism, and that was horrible, like a magnet: I had to go there. so you wanted something different. The That was in 1947, only a few years Neue Sachlichkeit played an important after the war, and Holland was really still role. I think I actually played very dryly a poor country at the time. There was in those days. very little foreign currency, so studying in Switzerland was not all that easy. Thank- J-PK: Many people would argue fully, my father had business contacts, that you still played dryly many so from time to time, I went on bicycle years later.

20 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM in Veldhausen.11 That was a revelation a whole generation of harpsichord- back then, but I have recently played the ists from all over the world. organ again and it was still a revelation. GL: Oh, come on . . . For a long time, That doesn’t happen very often, that one I was simply the only one. thinks the same way about an organ so many years later. J-PK: Have you never wanted to teach organ? J-PK: What made Ahrend & Brun- GL: I’ve never really thought about zema so special? that. But even for harpsichord I never GL: I don’t know. They just under- had more than fi ve students at the same stood organs somehow. They had ears time. That was more than enough. The and just knew how to get the sound rest of the time I was so busy with con- they wanted. certs and recordings. [The conversation moves in a differ- J-PK: Ahrend has often been criti- ent direction; Leonhardt clearly wants to cized for imposing too much of his discuss something else.] own personality on an instrument I don’t know if it’s on your list, but when restoring it, for example the difference between organ and harp- in Groningen. sichord, I wouldn’t mind saying some- GL: Well, I mean, he does have a thing about that. Look, the harpsichord strong personality, and in the Martini [the has in a way stopped at some point in Martinikerk at Groningen—JPK], a great time. The organ went on, but changed deal had to be reconstructed. In such a completely. In my view, organ and harp- situation one can hardly blame anybody sichord are intimately connected. To a Gustav Leonhardt at the Nieuwe Kerk, Amsterdam, May 2008 (photo: Douglas Amrine) for putting his mark on a restoration. large extent, the instruments shared the same literature and performers played GL: Everyone is free to think what- interested in early music and played an J-PK: Was that also the case in both instruments. That stops at the end ever they want, but I personally think I awful lot together, viol consort also. That Amsterdam? of the eighteenth century and in my have allowed much more emotion in my was relatively easy for me because of my GL: No. A lot of Müller pipes had mind it’s only because of its function performances over the years. cello background. survived in excellent condition and the in church that the organ has continued new pipes Ahrend provided matched to exist. In other words, without the J-PK: Were there still others who But after three years Leonhardt had the old pipes very well indeed. Yes, church, the organ would have died out infl uenced you as a young musician? had enough of the Austrian capital and the Waalse [Eglise Wallonne—JPK] is as well. Interest in the organ at the GL: [Immediately] Hans Brandts returned to the Netherlands, where he defi nitely the best-preserved Müller in beginning of the nineteenth century Buys.7 We lived in Laren, near Hil- was appointed Professor of Harpsichord my opinion—not that there is a lot of was practically zero, really. versum [between Amsterdam and at the Amsterdam Conservatory. At the choice, unfortunately.12 All right, so the organ continued to exist. Utrecht—JPK]. I played cello as well, end of the 1950s he became organist of But over time, it changed so much that, and I sometimes played the cello in the Christiaan Müller organ of the Eglise J-PK: You made a whole series of really, it became a different instrument, at cantata performances he directed. I Wallonne, the French Protestant Church recordings on the organ, including least in my view. That is a problem for the never studied with him, but he had an of Amsterdam. composers such as Froberger, Cou- present-day organist that really does not enormous library, most of all about Bach. perin, and de Grigny . . . exist for harpsichordists. How can a man In one word: a dream. I used to spend GL: My wife is francophone and we GL: . . . who really don’t belong there serve so many masters? I don’t believe hours there, browsing, making notes. both belong to the Reformed Church, so at all. You are totally right about that and that is possible; at least, I can’t. Brandts Buys also had a two-manual we went to the French church as a matter I really don’t remember why we did it. The problem is, we aren’t theorists. harpsichord, something quite unusual at of course. I knew the organ already, but Perhaps Telefunken wanted some diver- Musicologists can study different the time. He had an enormous respect it was in very poor condition at the time. sity in the repertoire. On the other hand styles—that’s not a problem. But we for what the composer had written. I The action was terrible and it played very [he continues almost triumphantly], what musicians have to take the work of art in learned that from him. heavily. So when the position became should I have played on the Amsterdam our hands . . . [an expressive gesture] . . . After my studies I got to know Alfred vacant, I said that I was willing to do it Müller instead? and present it. That is something com- Deller, the famous countertenor.8 I had on the condition that the organ would be pletely different; it demands much more heard a tiny gramophone record of his restored properly. That was fi ne. I knew J-PK: The Genevan psalter, I suppose. ability to empathize. I have to say, when and was incredibly impressed. It showed Ahrend already, so he restored the organ, GL: [He laughs, covering his mouth all is said and done, the colleagues whom that singing could be more than a dead with Cor Edskes as consultant.10 with his hand.] Precisely—or Quirinus I admire the most tend to be those who tone with tons of vibrato. Diction: that van Blankenburg.13 specialize at least to some extent. was what it was all about. The tone helps J-PK: How did you meet Ahrend? [I mention an early-music specialist the diction. Deller was a master in this GL: I don’t remember exactly. In any J-PK: As a harpsichord teacher, you who at the same time is a jack-of-all- regard. That is incredibly important to case, I had seen an organ they had built have had a tremendous infl uence on trades. Yes, Leonhardt agrees: a great me. We organists and harpsichordists have to think dynamically too. We have to shape the tone.

J-PK: After your studies you became Professor of Harpsichord in Vienna. GL: Well, I mean, I taught there and yes, it was called ‘Professor.’ I actually went to Vienna to study conducting, even though it did not interest me very much. I don’t even remember now why I did it. It may have been at the urging of my parents. Organ and harpsichord, how was one ever going to make a living that way? With conducting one could at least pay the bills, that kind of thing. But the most important thing in Vienna was the library. I’d sit there all day, from opening till close, copying music—by hand of course—and making notes from treatises. I still use that mate- rial today. Much has been published Rieger builds classics for the future. since, but not nearly everything.

J-PK: What kind of things did you copy? GL: Oh, everything. Froberger, Kuh- nau, Fischer . . . Tablature too, I could Rieger-Orgelbau GesmbH read that easily back then—I’m com- A-6858 Schwarzach-Vbg., Hofsteigstraße 120 pletely out of practice now. I also copied T +43 (0) 5572/58132-0, F +43(0) 5572/58132-6 lute tablatures, just out of interest. www.rieger-orgelbau.com, [email protected] In Vienna I got to know Harnoncourt.9 We were just about the only people

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 21 Interview

J-PK: My point is that as an organist for their comments on earlier drafts of you have been relatively free to do this translation: Margaret Barger, Robert whatever you wanted. Brown, Jim Nicholls, Jodie Ostenfeld, and GL: That is true. The harpsichord is Paul Thwaites. For any dutchisms that re- my livelihood; the organ is in a sense main I take sole responsibility. 1. Gerhard Woehl built the new Bach or- a luxury. It’s also a different kind of gan (IV/61) for the Thomaskirche in the Bach instrument. [Enthusiastically:] One can year 2000. be crazy about an organ, I think. Harp- 2. The founder of the fi rm, Johann Chris- sichords don’t really have that. That is toph Neupert (who was apprenticed to Jo- because an organ usually has a much hann Baptist Streicher in Vienna) and his stronger personality than a harpsichord; descendants were avid collectors of historic that is part of what makes it such a keyboard instruments. Still in business today, fantastic instrument. On harpsichord, the fi rm built its fi rst harpsichord in 1906. one has to work much harder to get a 3. Dutch organist, conductor, and com- poser Anthon van der Horst (1899–1965) was beautiful sound. A good organ does half conductor of the Dutch Bach Society from the job for you if not more. A good organ 1931. He taught organ at the Amsterdam dictates—in the best sense of the word— Conservatory, where his students included much more than a harpsichord. Albert de Klerk, Piet Kee, Bernard Bartelink, Wim van Beek, and Charles de Wolff. J-PK: With all your interest in past 4. Schaffhausen, on the Swiss-German centuries it seems that there is one border, is some 60 miles from Basel. aspect of our time that interests you 5. August Wenzinger (1905–1996) was a in particular. cellist, viol player, conductor, and a pioneer of historically informed performance prac- GL: I think I know what you mean. tice. He taught both cello and viol at the Marie and Gustav Leonhardt at the Grote Kerk, Alkmaar, May 2008 (photo: Douglas Amrine) Schola Cantorum from 1933, where his most J-PK: Fast cars? famous student (apart from Leonhardt) was musician.] But even so, you can hear that because I happened to do the same GL: [Big smile—for a moment he no doubt viol player Jordi Savall, who suc- he plays so much other music as well.14 things as Bach did: playing organ and looks almost boyish.] As the Germans ceeded him in 1974. It’s a problem, of course. Take the fl ute: harpsichord, and conducting. Well, say, Wenn schon, denn schon.16 If one 6. Ina Lohr (1903–1983) studied violin How much literature is there from the except for composing, of course. [A ges- needs a car at all, surely a beautiful one in Amsterdam and theory and composition seventeenth and eighteenth centuries? ture of profound awe.] I found it a very is better than an ugly one. I just got a in Basel. One of the founders of the Schola Three Bach sonatas! We harpsichordists respectful fi lm, it was made with a lot of new Alfa 166, three liters, and it really Cantorum, she taught theory there on the basis of solmisation. She was also assistant can bathe in a wealth of early music. One integrity, and I enjoyed contributing to is a great pleasure. It’s a rather fi ery one, conductor to Paul Sacher with the Basel can easily spend a lifetime with it. it, also because Bach has determined my you know, the kind that just wants to go Chamber Choir. whole career. out for a ride. In the city, he has to stay 7. Johann Sebastian (Hans) Brandts Buys J-PK: Don’t you think the old com- on the leash, but out of town . . . Yes, a (1905–1959) came from a large Dutch family posers are so far away from us that J-PK: I think Frans Brüggen once real pleasure. Q of musicians, which included some fi ne com- it is more diffi cult to empathize said in an interview, ‘Leonhardt posers. A pioneer of harpsichord playing in with them? is Bach.’15 Jan-Piet Knijff never studied with Gus- the Netherlands, Brandts Buys was also active GL: No, I don’t. If you really study GL: [A gesture makes clear that he tav Leonhardt, but is a fourfold Enkel- as a conductor. As a performer and musicolo- the time and the art of the period in all couldn’t disagree more.] I consider Bach schüler (student-of-student) through three gist he specialized in the music of his name- sake, J.S. Bach. Brandts Buys had an unusu- its facets—painting, architecture, and the greatest composer who ever lived. But of Leonhardt’s harpsichord students (most signifi cantly Kees Rosenhart) and an occa- ally strong interest in historically informed so forth—a composer like Froberger I also see him as a composer in his time, sional organ student (Ewald Kooiman). A performance and was the fi rst in the Nether- can come just as close as, say, Widor. not just as some remarkable phenom- performer on piano, organ, and harpsichord lands to conduct the St. Matthew Passion with And look, Widor has become early enon. In that sense, I’m not a Bach man. with additional interests in music history, a small choir and orchestra (1947). Leonhardt music too by now. One has to study that music theory, and classics, he lives in Armi- presumably took part in performances with just as well. It’s no longer our own time; J-PK: Your career has mostly dale, NSW, Australia. Current performance the Hilversumse Cantate Vereniging (Hilver- it’s not self-evident. focused on harpsichord playing and projects include Bach’s Cantata 49 and Bach sum Cantata Society), which Brandts Buys led conducting. transcriptions by Cornelius, Reger, and during the war years 1943–1945. J-PK: You had to practically put GL: Well, no, not conducting, that has Vaughan Williams. 8. The countertenor Alfred Deller (1912– 1979) was central in reviving and popular- yourself in Bach’s shoes when you always been a side path; I don’t do it more Notes izing the countertenor in the twentieth cen- played the lead role in Jean-Marie often than once or twice a year. The Bach * I am also grateful to Hans Fidom, the tury. He founded the Deller Consort in 1948. Straub’s fi lm, The Chronicle of Anna cantata project, too, was really only one former editor of Het Orgel who suggested Benjamin Britten famously wrote the role of Magdalena Bach. or two weeks a year. Conducting to me that I interview Leonhardt. Finally, I thank Oberon in A Midsummer Night’s Dream for GL: It wasn’t acting, you know. is in a way the same as playing chamber my wife Brigitte Pohl-Knijff and the fol- Deller (1960), who recorded it with the com- Performing in costume, that’s all. Just music, except I happen not to be playing. lowing colleagues, students, and friends poser conducting. 9. Nikolaus Harnoncourt (b. 1929), cel- list, later conductor, founder of the period- instrument ensemble Concentus Musicus Wien (1953, fi rst public performance 1957). Harnoncourt’s Concentus and the Leonhardt Consort collaborated for a recording of Bach’s St. John Passion (1965) and shared the com- plete recording of Bach’s sacred cantatas for Telefunken’s Das alte Werk. 10. Jürgen Ahrend (b. 1930), German or- gan builder, active 1954–2005. In the 1950s and ’60s Ahrend and his then-associate Ger- hard Brunzema (1927–1992) were perhaps the most serious, consistent, and successful in reviving the seventeenth- and eighteenth- century North-German organ style. 11. In Bentheim county, Germany, near the Dutch border. The organ was built by Ahrend & Brunzema in 1957, and enlarged with a Rückpositiv by the Dutch fi rm Mense Ruiter in 1997. 12. Other surviving Müller organs include those in Haarlem, Leeuwarden, Beverwijk, and the Kapelkerk at Alkmaar. 13. Apart from more imaginative works such as the cantata L’Apologie des femmes (The Women’s Apology, 1715), Quirinus van Blankenburg (1654–1739) published a Harp- sichord and Organ Book of Reformed Psalms and Church Hymns (The Hague 1732). 14. Fortunately, I no longer recall whom I mentioned to Leonhardt. 15. The Dutch recorder player, fl autist, and conductor Frans Brüggen (b. 1934) per- formed extensively with Leonhardt in such groups as Quadro Amsterdam and the trio with cellist Anner Bijlsma. 16. ‘In for a penny, in for a pound.’

22 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Interview

J-PK: My point is that as an organist for their comments on earlier drafts of you have been relatively free to do this translation: Margaret Barger, Robert whatever you wanted. Brown, Jim Nicholls, Jodie Ostenfeld, and GL: That is true. The harpsichord is Paul Thwaites. For any dutchisms that re- my livelihood; the organ is in a sense main I take sole responsibility. 1. Gerhard Woehl built the new Bach or- a luxury. It’s also a different kind of gan (IV/61) for the Thomaskirche in the Bach instrument. [Enthusiastically:] One can year 2000. be crazy about an organ, I think. Harp- 2. The founder of the fi rm, Johann Chris- sichords don’t really have that. That is toph Neupert (who was apprenticed to Jo- because an organ usually has a much hann Baptist Streicher in Vienna) and his stronger personality than a harpsichord; descendants were avid collectors of historic that is part of what makes it such a keyboard instruments. Still in business today, fantastic instrument. On harpsichord, the fi rm built its fi rst harpsichord in 1906. one has to work much harder to get a 3. Dutch organist, conductor, and com- poser Anthon van der Horst (1899–1965) was beautiful sound. A good organ does half conductor of the Dutch Bach Society from the job for you if not more. A good organ 1931. He taught organ at the Amsterdam dictates—in the best sense of the word— Conservatory, where his students included much more than a harpsichord. Albert de Klerk, Piet Kee, Bernard Bartelink, Wim van Beek, and Charles de Wolff. J-PK: With all your interest in past 4. Schaffhausen, on the Swiss-German centuries it seems that there is one border, is some 60 miles from Basel. aspect of our time that interests you 5. August Wenzinger (1905–1996) was a in particular. cellist, viol player, conductor, and a pioneer of historically informed performance prac- GL: I think I know what you mean. tice. He taught both cello and viol at the Marie and Gustav Leonhardt at the Grote Kerk, Alkmaar, May 2008 (photo: Douglas Amrine) Schola Cantorum from 1933, where his most J-PK: Fast cars? famous student (apart from Leonhardt) was musician.] But even so, you can hear that because I happened to do the same GL: [Big smile—for a moment he no doubt viol player Jordi Savall, who suc- he plays so much other music as well.14 things as Bach did: playing organ and looks almost boyish.] As the Germans ceeded him in 1974. It’s a problem, of course. Take the fl ute: harpsichord, and conducting. Well, say, Wenn schon, denn schon.16 If one 6. Ina Lohr (1903–1983) studied violin How much literature is there from the except for composing, of course. [A ges- needs a car at all, surely a beautiful one in Amsterdam and theory and composition seventeenth and eighteenth centuries? ture of profound awe.] I found it a very is better than an ugly one. I just got a in Basel. One of the founders of the Schola Three Bach sonatas! We harpsichordists respectful fi lm, it was made with a lot of new Alfa 166, three liters, and it really Cantorum, she taught theory there on the basis of solmisation. She was also assistant can bathe in a wealth of early music. One integrity, and I enjoyed contributing to is a great pleasure. It’s a rather fi ery one, conductor to Paul Sacher with the Basel can easily spend a lifetime with it. it, also because Bach has determined my you know, the kind that just wants to go Chamber Choir. whole career. out for a ride. In the city, he has to stay 7. Johann Sebastian (Hans) Brandts Buys J-PK: Don’t you think the old com- on the leash, but out of town . . . Yes, a (1905–1959) came from a large Dutch family posers are so far away from us that J-PK: I think Frans Brüggen once real pleasure. Q of musicians, which included some fi ne com- it is more diffi cult to empathize said in an interview, ‘Leonhardt posers. A pioneer of harpsichord playing in with them? is Bach.’15 Jan-Piet Knijff never studied with Gus- the Netherlands, Brandts Buys was also active GL: No, I don’t. If you really study GL: [A gesture makes clear that he tav Leonhardt, but is a fourfold Enkel- as a conductor. As a performer and musicolo- the time and the art of the period in all couldn’t disagree more.] I consider Bach schüler (student-of-student) through three gist he specialized in the music of his name- sake, J.S. Bach. Brandts Buys had an unusu- its facets—painting, architecture, and the greatest composer who ever lived. But of Leonhardt’s harpsichord students (most signifi cantly Kees Rosenhart) and an occa- ally strong interest in historically informed so forth—a composer like Froberger I also see him as a composer in his time, sional organ student (Ewald Kooiman). A performance and was the fi rst in the Nether- can come just as close as, say, Widor. not just as some remarkable phenom- performer on piano, organ, and harpsichord lands to conduct the St. Matthew Passion with And look, Widor has become early enon. In that sense, I’m not a Bach man. with additional interests in music history, a small choir and orchestra (1947). Leonhardt music too by now. One has to study that music theory, and classics, he lives in Armi- presumably took part in performances with just as well. It’s no longer our own time; J-PK: Your career has mostly dale, NSW, Australia. Current performance the Hilversumse Cantate Vereniging (Hilver- it’s not self-evident. focused on harpsichord playing and projects include Bach’s Cantata 49 and Bach sum Cantata Society), which Brandts Buys led conducting. transcriptions by Cornelius, Reger, and during the war years 1943–1945. J-PK: You had to practically put GL: Well, no, not conducting, that has Vaughan Williams. 8. The countertenor Alfred Deller (1912– 1979) was central in reviving and popular- yourself in Bach’s shoes when you always been a side path; I don’t do it more Notes izing the countertenor in the twentieth cen- played the lead role in Jean-Marie often than once or twice a year. The Bach * I am also grateful to Hans Fidom, the tury. He founded the Deller Consort in 1948. Straub’s fi lm, The Chronicle of Anna cantata project, too, was really only one former editor of Het Orgel who suggested Benjamin Britten famously wrote the role of Magdalena Bach. or two weeks a year. Conducting to me that I interview Leonhardt. Finally, I thank Oberon in A Midsummer Night’s Dream for GL: It wasn’t acting, you know. is in a way the same as playing chamber my wife Brigitte Pohl-Knijff and the fol- Deller (1960), who recorded it with the com- Performing in costume, that’s all. Just music, except I happen not to be playing. lowing colleagues, students, and friends poser conducting. 9. Nikolaus Harnoncourt (b. 1929), cel- list, later conductor, founder of the period- instrument ensemble Concentus Musicus Wien (1953, fi rst public performance 1957). Harnoncourt’s Concentus and the Leonhardt Consort collaborated for a recording of Bach’s St. John Passion (1965) and shared the com- plete recording of Bach’s sacred cantatas for Telefunken’s Das alte Werk. 10. Jürgen Ahrend (b. 1930), German or- gan builder, active 1954–2005. In the 1950s and ’60s Ahrend and his then-associate Ger- hard Brunzema (1927–1992) were perhaps the most serious, consistent, and successful in reviving the seventeenth- and eighteenth- century North-German organ style. 11. In Bentheim county, Germany, near the Dutch border. The organ was built by Ahrend & Brunzema in 1957, and enlarged with a Rückpositiv by the Dutch fi rm Mense Ruiter in 1997. 12. Other surviving Müller organs include those in Haarlem, Leeuwarden, Beverwijk, and the Kapelkerk at Alkmaar. 13. Apart from more imaginative works such as the cantata L’Apologie des femmes (The Women’s Apology, 1715), Quirinus van Blankenburg (1654–1739) published a Harp- sichord and Organ Book of Reformed Psalms and Church Hymns (The Hague 1732). 14. Fortunately, I no longer recall whom I mentioned to Leonhardt. 15. The Dutch recorder player, fl autist, and conductor Frans Brüggen (b. 1934) per- formed extensively with Leonhardt in such groups as Quadro Amsterdam and the trio with cellist Anner Bijlsma. 16. ‘In for a penny, in for a pound.’

22 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Conference report W Sewanee Church Huw Lewis and Bruce Neswick Music Conference W Huw Lewis, conductor July 9–15, 2012

By Jane Scharding Smedley

his year’s conference, directed by few ‘tricks of the trade’. To illustrate TKeith Shafer, immediately followed the importance of posture and how to the national AGO convention just up the effi ciently communicate this to singers, road in Nashville. What a fi ne experience Lewis shared a simple system that came it was for those fortunate to attend both, to be named “Position 1, 2, 3.” It gave with their wide range of performances attendees a useful technique to take and learning opportunities. At Sewanee, home—and provided much humorous however, the emphasis is on music fodder at the Annual Frolic later! within worship, taught through actual The daily Eucharists in the Dubose “doing.” Daily choral rehearsals provide Conference Center’s chapel gave Neswick a teaching laboratory, as well as prepar- more opportunity to incorporate creative ing repertoire for the Friday Evensong service-playing and improvisations. and the Sunday Eucharist that concludes To complement the rehearsals, work- the week. shops and performances, Lois Fyfe Huw Lewis and Bruce Neswick, Music brought its excellent display gentle close. “Praise to the Living God” delicious culinary offerings issuing long-time favorites of this conference, of choral and organ music, along with (Leoni) closed the liturgy, then contin- from the kitchen at the Dubose Center returned as music faculty. Dr. Lewis, related items. In spite of this confer- ued as seed for a fi nal improvisation: a under Kim Agee, director, advised by organist at Hope College in Holland, ence following a very busy week at the postlude of fl ourishes, calm mid-section, board member Nancy Whitmer, host- Michigan, is director of music at St. Nashville AGO convention, Elizabeth then fugal ending—a marvelous musical ess extraordinaire. In spite of a packed John’s Church in Detroit. Mr. Neswick, Smith cheerfully shared her expert coda to a wonderful week. schedule, no one loses weight during well known in AGO and AAM circles advice as browsers delighted in a shop- Father Matthew Moretz served their week on the ‘holy mountain’. from past cathedral positions, is associ- ping spree. as the conference chaplain. A member The faculty for 2013 will be Richard ate professor of organ and sacred music Repertoire for Evensong included the of the clergy of St. Bartholomew’s Webster (Trinity Church, Boston) and at the Jacobs School of Music, Indiana Magnifi cat and Nunc Dimittis in B-fl at by Church, New York City, Fr. Moretz is Maxine Thevenot (St. John’s Cathedral, University. Both masters on the bench Henry Smart and Preces and Responses an advocate of Internet resources as a Albuquerque). The Reverend Barbara and the podium, they showed seamless by Robert Lehman. The anthem was means of evangelization; he spoke to the Cawthorn Crafton, who served as teamwork and sterling professionalism. Bairstow’s gorgeous setting of The King conferees about ways he thought they chaplain in 2011, will again share her They shared the bench at the Tuesday of Love, using the beloved St. Columba might enhance their ministries through spiritual gifts. Q evening recital, now named in memory melody. Anglican chants by Walmisley electronic media. of long-time conference leader Gerre and S. S. Wesley added variety to the This year’s gala banquet honored Jane Scharding Smedley has served as or- Hancock. In homage to his teacher, many verses of Psalm 18 appointed for two long-time board members. Keith ganist-choirmaster at St. Peter Roman Catho- Neswick performed his works (Air, the evening. Under his sensitive guid- Shafer is stepping down as conference lic Church in Memphis, Tennessee since 1980. Variations on tunes ORA LABORA and ance, with superb accompaniment by co-director. Janet Perkins, registrar She earned bachelor’s (Rhodes College) and PALM SPRINGS), ending his half of the Neswick, Lewis enabled the beauty of for many years, provided a friendly master’s (Wittenberg University) degrees in concert with an improvisation. Lewis Anglican chant to meld 145 voices into face and concerned ear to all who have sacred music, and holds the Colleague and balanced the program with skillful true sung prayer. A prelude improvisa- been part of the Sewanee ‘family’. Choirmaster certifi cates from the American Guild of Organists. Her teachers included renderings of works from past masters: tion on Mighty Savior was offered by Gifts were bestowed along with much David Ramsey, Tony Lee Garner, Frederick Bach (Fugue in E-fl at Major), Brahms Neswick to undergird the solemn proces- applause to show appreciation for their Jackisch, and Richard White. An attendee at (Chorale Prelude and Fugue on “O Sor- sion of 145 vested singers, then seam- dedicated service. the Sewanee Church Music Conference since row Deep”), and Franck (Chorale in A lessly fl owed into the hymn itself. The sense of community at the 1979, she currently serves as secretary of the Minor). Both in recital and later in the The liturgical and musical climax of conference is further supported by board of directors. worship services, the resources of the the week was the Sunday Eucharist. large Casavant organ in All Saints Cha- Neswick’s preludes were on tunes to be pel at the University of the South were sung: Nettleton by Hancock, Leoni fully explored. by Seth Bingham and Richard Proulx. 4A?RRCPCBJC?TCQDPMKMSP-CRRCP'GJC In the nearby Chapel of the Apostles, Hancock’s Houston Mass (also sung at a newer two-manual Casavant instru- daily Eucharist) was used. “Your new studio instrument of 12 ranks ment was used for a masterclass led This year’s commissioned anthem— at the Juilliard School is amazingly com- jointly by Neswick and Lewis. Ten per- Hymn of Praise by Gary Davison—used plete and satisfying in every way. With formers, representing a range of ages a text from Revelations and the Psalms. its wealth of tonal variety at unison and octave pitches, judicious duplexing over and backgrounds, received individual- Its shifting meters and dynamic contrasts three manuals, precise action, ample pro- ized coaching and guidance. Special were well performed by the singers vision of registrational controls and two mention is made of those present who under Lewis’s precise musical direc- enclosed divisions, students can learn represented the next generation—two tion; Neswick had the very challenging not merely “the notes” on this organ, but all aspects of their playing as they must in their teens and eight of college age accompaniment, punctuated by dra- for performing in public. So many organs or under thirty. Board member Alvin matic silences, well in hand. of the studio type are over-supplied Blount coordinated this event; he also Deeply appreciated by this writer, with high-pitched mixtures and mutations led a reading session of organ repertoire Neswick demonstrated throughout both that have a harsh, even harmful effect based on hymntunes useful for worship. liturgies the role of the organist in con- on one’s hearing. Clear, lively and full of color, the sound of this instrument Other workshops on hymn-playing tech- necting the parts of the liturgy. When forever puts to rest the idea that such niques and improvisation were offered silence was needed, it was there—when registers are useful in a small space. by Neswick on this smaller instrument, a a musical thread could serve the fl ow, he Fortunate are the Juilliard faculty and nice gesture towards those present who wove it with sensitivity and art. His free students who now have this perfect gem of may not be blessed with four manuals accompaniment to In Babilone (“Hail, an instrument to use!” and en chamade on Sunday mornings. Thou Once-Despised Jesus”) was clas- Thomas Murray, Professor in the Other sessions offered throughout sic, with twists of key and registration, Practice of Organ Performance the week included handbells, Episcopal but never straying from its purpose to University Organist, Yale University basics, computer notation systems, and lead and support congregational song. reading sessions. Bradley Almquist Later at Communion, he used motifs presented excellent workshops on “Con- from the anthem to come. He sensitively ducting Skills” and “Music Theory for bound the fl ow of worship, leading into Schoenstein & Co. the Singer.” Davison’s lovely setting of My Soul Shall Huw Lewis’s choral skills were fully Be Alway, followed by Nettleton Established in San Francisco š 1877 evident in the daily rehearsals, dem- (“Come, Thou Fount”). All followed www.schoenstein.com e (707) 747-5858 onstrating various techniques and a his musical cues to bring the hymn to a

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 23 Pipe Organ History The Early Iberian Organ Design and Disposition

By Mark J. Merrill

The development of origin for other special characteristics early Spanish organs of this organ type.3 The dimensions of At the beginning of the 16th century, the windchest, consisting of one single Organ at San Bernardo, Granada, Spain, builder unknown, circa 1772 organs in Spain resembled those in the piece or of two pieces, are often small. rest of Europe. During the last third There are usually 45 channels (for four of the century, Spanish organs gradu- octaves, the short octave included), ally began to take on characteristics of of which 21 are for the left-hand side their own, becoming transformed into and 24 for the right-hand side—if the several local organ types. windchest is made of two pieces. The The fi rst noticeable development of structure of the organ permits a dif- the Spanish organ was the gradual dif- ferent number of registers for each ferentiation of individual registers from hand, always more for the right hand. the Blockwerk, which also occurred It is necessary in many cases to place elsewhere in Europe. Little by little, the majority of the large bass pipes the keyboard compass expanded to outside of the windchest, due to its cover more than three octaves and restricted dimensions. This has contrib- windchests began to be constructed uted greatly to the development of the larger, especially towards the bass. techniques of conducting wind to the Divided registers began to be built on façade, and later, to the trompetería de Spanish organs in the 1560s. Two sepa- batalla (Battle Trumpets). The tablones rate lines of evolution existed in regard (channel boards) distribute wind to dif- to the increasing versatility of sonori- ferent parts of the façade and are one of ties, namely, adding more keyboards the ingenious inventions of the Spanish and dividing registers. organ builders to cope with the tricky Three different kingdoms coexisted problems of guaranteeing wind to all on the peninsula: Castile, Aragon, and the pipework. The action is always sus- Divided keyboard of San Salvador organ, Granada, Spain Portugal. Due to the occupation of the pended, creating a touch that, accord- Moors (711–1497) the Spanish court ing to Blancafort, is “the most sensitive was forced to take up residency in and subtle that exists.”4 The mechanism Barcelona, Spain, located at the heart of the draw stops is simple. of the region of Catalonia. It is for this Although examples of divided stops reason that the development of the exist elsewhere in Europe—in Brescia, early organ in Spain fi nds its beginnings Italy, in 1580, for example—“Spain in Catalonia. certainly seems to be the fi rst country to Generally speaking, the instruments have used them systematically for colour- were quite large and were frequently ful solo effects.”5 The principle of the built on a 16′ basis (Flautado de 26 = divided registers is simple and ingenious. Principal 16′). Flautado de 26 (made of The keyboard is divided into two halves, metal) was a stop frequently included both of which possess a variety of stops. in Catalonian organs. It was common Because the descant and bass halves can to have at least two manuals: a Cadira, be registered independently, even rather and the Rückpositiv. In Catalonia, small one-manual organs offer versatile there were no divided registers until and rich possibilities for registration. It is the 18th century, and the windchests common to fi nd a few of the same stops were large in size and diatonic by on both halves of the keyboard, but the arrangement. It is noteworthy that majority of registers belong exclusively when divided registers appeared later to the descant or to the bass half. The in Catalonian organs, the division was growing popularity of the divided reg- made between b and c1, while the divi- isters gave birth to a new type of organ sion point in the Castilian organs was composition, namely, the tiento de medio between c1 and c1-sharp.1 registro, in which either one or two solo The high point of the Castilian organ voices fi gured in the soprano (tiento de was around 1750, considerably later than medio registro de tiple/de dos tiples), or that of the Catalonian organs. Castilian in the bass (tiento de medio registro de organs were commonly built on an 8′ baxón/de dos baxones), against a softer basis (Flautado de 13 = Principal 8′). accompaniment, which was played on Flautado de 26 was rarely found in these the other half of the keyboard. I consider organs. There was usually only one man- the technique of divided registers to be ual, but there could be as many as three one manifestation of the Spaniards’ love in exceptional cases. (For instance, the of fanciful, colorful sounds, contrasts, Gospel organ of the Segovia Cathedral and variety in sonority. has three keyboards.) There was usu- A variety of surprising special effects ally no Cadereta (Swell). The registers could be created by the different toy were divided, and the windchests were stops that especially large Baroque small and chromatic. The largest pipes organs contained. It is usual to have were placed in the center of a façade, Tambores or Timbales (drums) in the and there was usually a horizontal pedal, providing a timpani effect. Tam- trompetería (reed division).2 bores often include D and A. Pajaritos Gabriel Blancafort describes several (little birds) produce a twitter resem- features of the Castilian organ, which bling the Usignoli (nightingale) of the reveal its close resemblance to the posi- early Italian organs. There are also a tive organ. First of all, the windchest variety of accessories generating sounds Trompetería of the organ of Santa Clara, Santiago, Spain: Orlos (regals) and of the Castilian organ always maintains of sleigh bells. One is a Zymbelstern- Trompeta Real 8 its chromatic structure, which is the like apparatus.

24 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Characteristics of the divided into two defi ned families: fl au- de Batalla (exterior and horizontal) and as well as the rear façades (speaking early Iberian organ tados (principals) and nasardos (nasard Trompetas Interior (interior and verti- into the nave), which allows for dazzling The vast majority of Iberian organs as in the Netherlands, nachsatz), which cal). Early instruments almost always echo effects alternating between exte- are small instruments. In fact, the form two distinct choruses of labial had at least one, if not two stops en rior and interior reeds. typical instrument consists of a single pipes: the coro estrecho or claro, and the Batalla even in the event that the instru- manual. Instruments of two or three coro ancho. The terms estrecho or claro ment might not have a single interior Windchests and distribution of manuals are the exception and then refers to cylindrical open pipes with a 1/4 reed stop. wind on early Iberian organs only found in the largest cathedrals. mouth to circumference relationship. The most frequently found Trompetas Windchests on early instruments are Early instruments with four manuals The terms estrecho and ancho refers to de Batalla (exposed and horizontal) are: always laid out chromatically, never simply do not exist. It should also be the diameter of the pipe in relation to Left hand stops diatonically or symmetrically. Addition- mentioned that these instruments do the length. Early Iberian instruments Bajoncillo (4′) ally, each chest is divided between bajos not have a highly developed indepen- measured pipe lengths oddly enough in Clarin en 15º (2′) (bass) and tiples (treble). The division dent pedal division, but rather utilize a palmos (palm or hand widths). Clarin de Bajos (8′) occurs between c′ and cs′ (c3 and c#3). In minimal octave or pull-downs. The following stop names are typical Clarin en 22º (1′) Catalonia the division occurs between b The organbuilder and writer of many of early instruments. Trompeta Magna (16′) and c′ (b2 and c3), but is the exception to treatises, Mariano Tafall y Miguel, gives Trompeta de Batalla (8′) the rule and is very seldom encountered. the following classifi cations of early Flautado Mayor de 26 Palmos (16′) organs based upon their disposition.6 Flautado de 13 (8′) Right hand stops Keyboards (Teclados) Early builders were accustomed to Octava (4′) Oboe (8′) Of course, early instruments always 2 using the following names to describe Docena (2 ⁄3′) Chirimia Alta (4′) utilize mechanical key and stop action. their organs based upon the size of the Quincena (2′) Trompeta de Batalla (8′) The action on most early instruments 1 instrument and basis of pitch. Such com- Decinovena (1 ⁄3′) Clarin (8′) tends to be extremely responsive and mon names are órgano entero/completo Veintidosena (1′) Trompeta Magna (16′) light, necessitating a highly developed (based upon 16′), medio órgano (based Lleno* (mixture) Trompeta Imperial (32′) level of technique. Divided registers upon 8′), cuarto de órgano (based upon Cimbala (partidos) predominate the peninsula 4′), and octavo de órgano (based upon 2′ Sobrecimbala It is also common to fi nd Dulzainas, and, as previously stated, allow the stopped and sounding at 4′). *lleno general or principal chorus. Orlos (regals), Viejos, Viejas (rankets), organist to have two distinct registrations The manuals, órgano mayor (Great) and Gorrinitos (clarions) mounted hori- on a single manual. and cadereta (Swell), can also be clas- The nasardos can be open or stopped, zontally on the exterior of the case: 8′, Thanks to the divided registers, it is sifi ed into the following fi ve categories, conical or cylindrical pipes. Generally 4′, 2′ for the left hand and 16′ and 8′ always possible to register a work with depending on the number of manuals: there is a 2/9 mouth to circumference for the right hand. These batteries of contrasting registrations for the right and relationship. reed stops serve two roles within the lit- left hand. This may explain the existence 1 manual erature: one as a solo stop and the other of so many small instruments with only Órgano Mayor Violon Mayor de 26 Palmos (16′) as a complement to the reed chorus. a single manual, however, one which Violon de 13 (8′ stopped) The voicing is formidable, harmonic, serves as two! When considering the 2 manuals Nasardo en 8º (4′ stopped) and richly distinctive in comparison early Iberian repertoire it is important 2 Órgano Mayor Nasardo en 12º (2 ⁄3′ stopped or open) to the interior reeds, which are sweet to realize the signifi cance of a title such Cadereta Nasardo en 15º (2′ open) and broader in scaling. In the larg- as Tiento de tiples (melody in the right 3 or Nasardo en 17º (1 ⁄5′ open) est cathedrals (Zaragoza, Salamanca, hand) or Tiento de bajos (melody in the Órgano Mayor Nasardos Toledo, Málaga, Granada, Santiago de left hand). Cadereta Interior Claron Compostela, Sevilla) the organs have On the earliest of instruments, it Corneta Trompetas de Batallas mounted on the is possible to fi nd stops that were 2½ manuals front façades (speaking into the choir) enclosed within an Arca de Ecos (echo Órgano Mayor Generally speaking, nasardos 4′ and Cadereta above are semi-open or chimney-style Cadereta Interior (Arca de Ecos: pipes. The Swiss-German organbuild- enclosed within a chamber) ers Juan Kiburz y Francisco Otter, who were established in Barcelona, Spain, 3 manuals proposed the addition of several new Órgano Mayor stops in the organ at the Iglesía de Cadereta Nostra Senyora del Pi, recommending Cadereta Interior (Arca de Ecos: the inclusion of a Gamba, Quintatón, enclosed within a chamber) Fagotto, and Soncional. However, as THE KING OF Órgano de la Espalda (speaking into early as 1587, organbuilder Maese Jorge the side of the nave from rear façade of added a Flautas Tapadas de 14 Palmos, INSTRUMENTS the organ) called a Quintaden, deriving its name Cadereta de la Espalda (speaking into from the sound that produced a promi- BY PETER WILLIAMS the side of the nave from rear façade of nent fi fth overtone. the organ) In fact, by the end of the 18th century The organ is the largest instrument with many early organs in Spain contained the longest repertory and the greatest influ- The casework of early such stops as Flauta travesera (traverse ence on Western music’s unique evolution. Iberian organs fl ute), Flauta con boca redonda (fl ute with The casework, generally speaking, round mouth), Flauta Alemana (German THE KING OF But what is its origin? Who first made it, is either very decorative or very plain. fl ute), Salicional, and Gamba. when, where, how? Why was it introduced Larger instruments found in cathedrals, INSTRUMENTS in churches, what gradually led to the vast however, are highly ornate. Two oppos- Reeds world of organ music? Is the keyboard itself ing instruments are located above the Without a doubt, the stops most asso- How the Organ Became choir; they are nearly identical and very ciated with early Iberian instruments are Part of Western Culture not one of the West’s greatest inventions? ornate: one instrument will have two or the lenguas (reeds). The Lengüetería This newly-revised book reviews what is three manuals and the other possibly (reed division) makes up the third known and speculated about a fascinating just one manual. The casework of early chorus on a typical Iberian instrument. PETER WILLIAMS instruments also has a secondary func- Reeds are divided into two categories: topic, drawing on a large number of inter- tion, that of adding embellishment and reales (normal or full length) and cortos disciplinary sources to suggest some an- aesthetic value to the artistic integrity of (half length) resonators. swers and underlines the significance (in the building. Early in the development of the Ibe- the words of an early scribe) of the “instru- rian organ, lenguas cortos (half-length $19.95 Pipework on early resonator stops) such as Dulzainas, ment of instruments.” Iberian organs Orlos, and Regalías were introduced. Early builders used the term caños Little by little appeared the Trompe- (pipes) and cañería (pipe building) tas Bastardas (harmonic trumpets) IN STOCK FOR IMMEDIATE SHIPMENT! extensively until the Romantic and Post- with half-length resonators, as well NOW CHOOSE FROM OVER 5,000 TITLES! Romantic periods, at which time the as the Trompetas Reales (full-length term tubo came into use, most likely due trumpets). The Trompeta Real (8′) is ORDER ANY TIME ONLINE: www.ohscatalog.org to the impact of the French school of always an interior stop and vertical in its symphonic organbuilding, which came placement. The Obué and the Clarinete ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we from the French term tuyau (tube). (which is the Cromorno for Iberian P.O. Box 26811 Richmond, VA 23261 recommend, is $8.50 for your entire order. The term tubo is divided into two instruments) can also be found on many Telephone: (804) 353-9226 Media Mail shipping is $4.50 for your entire order. Shipping outside U.S. is $4.50, plus distinct classifi cations, as tubos de boca early instruments. Monday-Friday 9:30am-5:00pm ET (labials) and tubos de lengua (linguals). The Trompetas can be further divided the cost of air postage, charged to your VISA

E-mail: [email protected] SHIPPING or MasterCard. Tubos de boca (or labials) can then be into two distinct categories: Trompetas

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 25 Pipe Organ History

Pedal keys (contras) on the organ at San Salvador, Granada, Spain, builder unknown, circa 1767 chamber) foreshadowing the future key and two keys as if they had been Caja Expresiva (expressive box; swell accidentals. It is interesting to discover box). Initially, these Arcas were open, that the Spanish word for a key on the non-expressive boxes containing a sin- keyboard is tecla (from the Latin, teja), gle stop such as a Corneta or Trompeta further supporting the hypothesis that placed within the Arca, producing a the early Iberian organ is much older slightly distant sound quality. Over than originally thought. time, a lid was placed on top of the The old manual compass was as indi- Trompetería of the organ at Monasterio de San Pelayo, Santiago, Spain: Trompeta box and a lever, operated by the foot cated below until the mid-15th century: Real 16, 8, 2 and Clarines 4 or knee, would open or close the lid. | Fa | Sol | La | b | Si | Do | # | Re | b | Initially this effect was referred to as Mi | Fa | etc. (Sol 1–Sol 5); Cadereta of 51 notes (Do repertoire, so it goes without saying suspensión, referring not to a musical 1–Re 5): Ecos of 51 notes (Do 1–Re 5). the pedals are very simple in design, structure, but rather the emotion pro- The new layout was as follows: The tessitura of the manual is divided usually consisting of wooden pisas duced in response to the overall effect. | Do | Fa | Re | Sol | Mi | La | b | Si | Do and labeled in the following manner: (round knobs) or peanas (blocks), but Earliest examples typically affected | # | Re | b | Mi | Fa | etc. 1º Octava = Grave never more than an octave. When the only one Tiples (right hand) register or 2º Octava = Baja pedals are a pull-down (coupled from stop, usually the Corneta. Later, the Arca This manual layout, which ended on 3º Octava = Media the manual) they are called pisas. If, on de Ecos came to include a variety of stops. La 4, is the format that was prevalent 4º Octava = Aguda the other hand, the pedals have their The terms Eco and Contraeco seem to be during the 17th century. It consisted of 5º Octave = Sobreaguda own appropriate pipes, they are called used quite often in early treatises, which 42 notes: 21 notes for each hand [divided contras. These pedals fi rst appeared describe the effects created by the Arca registers]. In the 18th century, the com- The short octave diatonically—Do, Re, Mi, Fa, Sol, La, de Ecos, the sensation of far (lejanía) and pass was further enlarged in the right The limited pedal division is no doubt Sib, Si—eight pitches total. Later they near (cerca), not that of loud and soft. hand up to Do 5 and later enlarged in the due to the use of short octaves in these were expanded chromatically—Do, These Arcas de Ecos were not utilized left hand to complete the octava grave. early instruments. The lowest notes of Do#, Re, Mib, Mi, Fa, Fa#, Sol, Sol#, to create a “swelling” sound (crescendo). At the end of the 18th century, Julian the keyboard, which would normally be La, Sib—twelve pitches total. The usual Aristide Cavaillé-Coll incorporated this de la Orden installed in the Cátedral E-F-F#-G-G#, were tuned to pitches stop for the Contras is the Flautado 26 concept with his organ at Santa María de de Malaga three new manuals of 51 below their usual pitches; the C/E short palmos (16′). In some instances, the San Sebastián, in which the third manual notes (Do 1–Re 5), and in the Cátedral octave (octava corta) keys were tuned pisa being a pull-down works much operates in the same manner as an Arca de Toledo he renovated the Organo de as C-F-D-G-E. Since the pedal division like a coupler, so the sound will refl ect de Ecos, which he called an Organo de Emperador in 1770 with two manuals of was so limited, this allowed the per- the registration used in the left-hand, Ecos, which in France would be called a 54 notes (Do 1–Fa 5). In 1797 José Verd- former to play intervals in the left hand lowest octave. Q Récit Expressif. alonga enlarged the Órgano de evangelio that would otherwise be impossible. The The compass of the manuals, as one to three manuals of 56 notes (Do 1–Sol use of the short octave was popular for Mark J. Merrill holds a B.M. in church would expect, increased gradually as 5). These 56-note manuals took on the many reasons: music and an M.A.T. in Spanish from Drake newer instruments were being con- name teclados de octavas segundas, University, Des Moines, Iowa. He has stud- ied organ with Montserrat Torrent for nearly structed. Bigger is better! Correa de which meant that all of the octaves were Benefi ts for the organist 30 years, earning his Maestría in Organ from Arauxo makes mention of this fact in his like the second octave. Verdalonga also 1. It allowed the organist to play the the Conservatory of Music in Barcelona, treatise, Facultad Orgánica, 1626: the constructed the organ in the Iglesia lowest bass note and inner voice with the Spain, as well as his Título de Doctorado organbuilders Hernando de Córdoba del Salvador de Leganés in 1790 with a left hand. The short octave was in a sense from the Real Academia de Bellas Artes in and Hernando Alonso de Córdoba, manual compass of 45 notes (Do 1–Do the pedal on these instruments. Spain. He has dedicated the past 30 years to father and son from Zaragoza, Spain, 5), with a diatonic short octave (octava 2. It extends the lowest octave of the documenting, recording, and analyzing near- were given the task of expanding the corta). In 1771 Josep Casas renovated instrument, omitting chromatic notes, ly 168 historical instruments in Spain. His compass of the organ for the Parroquia and enlarged the Órgano Prioral at the since the bass part of the keyboard rep- dissertation, “The Effects and Implications de San Gil de Zaragoza, Spain in 1574.7 Escorial, where Antonio Soler was the ertoire was predominantly diatonic. on the Performance Practices of Early Ibe- rian Keyboard Music,” earned him a special In order to amplify the compass from Fa organist. The outcome was an organ of 3. It allowed the organist’s feet to be citation of merit from the Spanish Depart- to Do they only had to add one natural three manuals: Órgano Mayor of 61 notes free for other tasks: ment of Culture. He has presented numerous • To operate the Arca de Ecos concerts and lectures in Spain and has been • To operate foot-activated stops heard in recital numerous times on Spanish National Radio. Benefi ts for the organbuilder It was more economical, Notes • When space was at a minimum 1. Gabriel Blancafort, “El órgano español • When cost was a factor del siglo XVII,” in Actas del I Congreso Na- cional de Musicología (Zaragoza: Institución The stops are located on either side “Fernando el Católico,” 1979), 133–142. 2. Ibid., 121. of the teclado (manual) according to 3. Ibid., 138. the divided registers, bajos and tiples, 4. Ibid., 138–139. left and right, respectively. Stops can be 5. Peter Williams, The European Organ found in the shape of paddles or knobs, 1450–1850 (Bloomington: Indiana University ornate or plain. Occasionally, it is pos- Press, 1978, third impression), 245. sible that the stop knobs can be located 6. See James Wyly, “The Pre-Romantic beneath the manual and activated by the Spanish Organ: Its Structure, Literature, and knees. On organs with a short octave the Use in Performance.” D.M.A. dissertation, stops may be located where the pedals University of Missouri at Kansas City, 1964, ought to be, since on such an instrument, 280–283. 7. This is the eleventh (unnumbered) page there was no basic need for pedals. in Kastner’s preface to his edition of Correa’s Facultad orgánica, fi rst published as volumes The pedals VI (1948) and XII (1952) in the series Monu- The use of pedals was limited mentos de la Música Española (Barcelona: In- to emphasizing cadences in early stituto Español de Musicología).

26 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Harpsichord

Gathering Peascods for the Old Gray Mare Some Unusual Harpsichord Music Before Aliénor

By Larry Palmer Violet Gordon Woodhouse Pearl CD cover The 2012 inaugural meeting of the equally charming, though perhaps less the University of California, Berkeley new Historical Keyboard Society of historically informed, when performed in 196110 and Igor Kipnis recorded it North America (HKSNA), formed by without the ambient sound track. in 1976.11 I have occasionally enjoyed the merger of the Southeastern Histori- playing Delius’s purple-plush harmonies cal Keyboard Society (SEHKS, founded Thomé in a shortened version arranged by Bal- 1980) and its slightly younger sibling, New harpsichord music composed timore harpsichordist Joseph Stephens. the Midwestern Historical Keyboard for the earliest Revival harpsichords4 Each time I play the work I fi nd fewer Society (MHKS, organized 1984), actually predates any recording of the notes to be necessary, and decide to was an historic event in itself. The instrument: Francis Thomé’s Rigodon, omit more and more of them, often an late March gathering in Cincinnati opus 97, a pièce de claveçin, was writ- approach that best serves these piano- included both the seventh iteration of ten for the fl eet-fi ngered French pianist centric harpsichord refugees from the the Jurow Harpsichord Playing Com- Louis Diémer, and published in Paris by early Revival years. Since Delius surely petition and the eighth occurrence of Henry Lemoine and Company in 1892.5 ranks among the better-known compos- the International Aliénor Composition ers who attempted to write anything at Competition, plus scores of scholarly The fi rst 20th-century all for the harpsichord, it seems worth presentations and short recitals, loosely harpsichord piece? the effort to forge an individual version organized into ten sessions, each with a There are currently two contenders for that serves to bring this quite lovely general connecting theme. “fi rst place” in the 20th-century modern piece to the public. For my contribution to Session Seven harpsichord composition sweepstakes. (The Old Made New) I attempted to The fi rst may be Mario Castelnuovo- Grainger craft a title enigmatic enough that Tedesco’s English Suite, originally com- Inspired by the recent anniversary it might pique the curiosity of a few mitted to paper in 1909 during his stu- year (2011) of the beloved eccentric Cover of Sharp’s Country Dance Tunes, potential auditors, but with the higher dent years in Florence, then recreated in Percy Grainger (he died in 1961), it arranged for piano goal of providing information about 1939 shortly after the Italian composer’s some of the earliest and relatively immigration to the United States. That obscure “new” compositions for harp- version, sent to prominent harpsichord- sichord from the early 20th-century. I ist Ralph Kirkpatrick in 1940, seems to hoped, as well, to underscore, at least have been ignored by the artist, but it by implication, the major stimulus for was ultimately published by Mills Music a continuing creation of new repertoire in New York in 1962.6 that has been provided by the Aliénor’s A second contender (dare we call it a prizes, performances, and publications “co-fi rst”?), which is, thus far, the earli- since its inception in 1980. est published 20th-century harpsichord work, is Henri Mulet’s tender and Woodhouse plays Cecil Sharp charming miniature Petit Lied. Mulet is As early as July 1920, Violet Gordon most often remembered, if at all, for his Woodhouse, the most prominent and ten Byzantine Sketches for Organ, a set gifted of early 20th-century British harp- that ends with the sometimes-popular sichordists, recorded three of folksong toccata Tu es Petrus (Thou art the rock). collector Cecil Sharp’s Country Dance Comprising a brief seventeen measures, Opus 116 Tunes. Thus Sharp’s 1911 piano versions Mulet’s “Little Song” is dedicated to of the tunes Newcastle, Heddon of Faws- fellow organist Albert Périlhou, who ley, and Step Back serve as the earliest was characterized by his more famous “contemporary” music for harpsichord contemporary Louis Vierne, as “a com- committed to disc.1 poser of the 18th century.” So perhaps These were followed, in 1922, by this delicate, nostalgic work, published recorded performances of two more in 1910 “pour claveçin [ou piano]” was St. Paul’s Episcopal Church Cecil Sharp transcriptions, Bryhton intended to pay homage to Périlhou’s M U R F R E E S B O R O , T E N N E S S E E Camp and the evocatively titled Gath- antiquarian tendencies.7 ering Peascods.2 While the 1920 record- The Létourneau pipe organ at St. Paul’s Episcopal ings were already available in digital Busoni Church was completed in July 2012 and offers 26 ranks format, courtesy of Pearl Records’ 1916 saw the publication of Ferruc- over two manuals and pedals. With a superbly flexible Violet Gordon Woodhouse compact cio Busoni’s 1915 Sonatina ad usum specification, the organ boasts five 16’ ranks and is disc,3 I had never heard the 1922 offer- infantis Madeline M.* Americanae pro ings. Peter Adamson, an avid collector Clavicimbalo composita8—a strange, but housed within a solidOpus oak 118 case displaying tin pipes. of these earliest discs, assured me that ultimately satisfying keyboard work that, For details about this organ and others, please contact he could provide the eponymous work with some imaginative editing, is play- us or visit our website. listed in the title of this article. Both of able on a two-manual harpsichord, which us were surprised to fi nd that Gathering one assumes the composer did, since he Peascods was never issued in the United was also the proud owner of such a 1911 LÉTOURNEAU PIPE ORGANS Kingdom, but Peter was able to send Dolmetsch-Chickering instrument.9 me some superior dubs from the origi- UNITED STATES CANADA nal 1920 discs, as well as a few seconds Delius 1220 L Street NW 16355 avenue Savoie of authentic 78-rpm needle scratching. Often described as “unplayable,” the Suite 100, Box 200 St-Hyacinthe, Québec Combining this acoustic noise with very original Dance for Harpsichord (for Washington, DC J2T 3N1 Sharp’s keyboard arrangement, quickly piano) by Frederick Delius came into 20005 Tel: 450-774-2698 located online via Google search, made being in 1919, inspired by the artistry of Tel: 800-625-PIPE Fax: 450-774-3008 possible the restoration of Peascods to Violet Gordon Woodhouse. Kirkpatrick Fax: 202-737-1818 [email protected] [email protected] www.letourneauorgans.com the roster of earliest recorded “con- included it in a unique program of 20th- temporary” harpsichord literature. It is century harpsichord music presented at

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 27 Harpsichord

Francis Thomé, Oeuvres pour Piano Castelnuovo-Tedesco, English Suite Ferruccio Busoni at his Dolmetsch- Delius, Dance for Harpsichord Chickering harpsichord seemed fi tting to rework another of my So why not present Grainger’s Handelian included on Kirkpatrick’s contemporary the dance music offends sensibility. It own arrangements, that of his “Room- romp edited for one player, ten fi ngers, music disc.14 sounds wrong; it is a breach. Prokofi ev Music Tit-Bits,” the clog dance Handel and two manuals? Grainger’s own scores the dance (No. 25) for two pro- in the Strand, particularly after coming arrangement (“dished-up for piano solo, Duke Ellington vincial, out-of-tune harpsichords, the across Grainger’s own mention of the March 25, 1930, [in] Denton, Texas” For afi cionados of jazz, the 44 mea- invisible performers carelessly barreling through the fi ve-measure phrases at an in- harpsichord’s infl uence on his compo- according to the composer’s annotation sures of Duke Ellington’s A Single Petal of sane tempo—a comical comment on the sitional career. In a letter to the pianist in the printed score) provides a good a Rose comprise three manuscript pages hullabaloo that greets the arrival . . . of 13 Harold Bauer, Grainger wrote: starting place. now housed in the Paul Sacher Founda- a pompous regimental commander. There tion (Basel, Switzerland), available only ensues an enigmatic waltz (No. 26), which . . . the music [of my] Kipling Settings Persichetti and Powell as a facsimile in Ule Troxler’s invaluable Prokofi ev scores fi rst for string quintet . . . [is] an outcome of the influence Two major solo works from the volume documenting the many commis- and then, in a jarring contrast, for the two emanating from the vocal-solo numbers- 1950s composed for the harpsichordist sions bestowed on contemporary com- harpsichords . . .17 with-accompaniment-of-solo-instru- Fernando Valenti deserve more perfor- posers by the wealthy Swiss harpsichord- ments in Bach’s Matthew-Passion, as I mances than they currently receive: Vin- ist Antoinette Vischer.15 About Ellington’s One wonders just how many pro- heard it when a boy of 12, 13, or 14 in cent Persichetti’s Sonata for Harpsichord unique work, Mme. Vischer wrote to the vincial harpsichords there were in Frankfurt. These sounds (two flutes and harpsichord . . .) sounded so exquisite (now known as that prolifi c composer’s composer late in 1965: mid-1930s Russia, but this Polka from to my ears . . . that I became convinced Sonata No. One), still, to my ears, his Eugene Onegin, played at a slightly more that larger chamber music (from 8-25 most pleasing work for our instrument, Just on Christmas Eve I received your moderate pace, has served as a delight- performers) was, for me, an ideal back- and Mel Powell’s Recitative and Toc- marvelous piece . . . I am very happy ful encore for performances of Francis ground for single voices . . .12 cata Percossa—another wonderful work about your composition and I want to as- Poulenc’s Concert Champêtre when that sure you of my greatest thanks. . . . could I ask you the favour to give me the man- enchanting work is performed as a duo uscript with the dedication to my name with piano standing in for the orchestral as all other composers are doing for me, parts, just as it was presented by Wanda Now it’s even easier to get with a photo from you who always belong Landowska and Poulenc in the very fi rst, to my collection . . .16 pre-premiere hearing of Poulenc’s out- standing score.18 TThehe DDiapasoniapason When Igor Kipnis asked whether I had any idea as to where he might fi nd The Old Gray Mare, at last this score, I shared the citation infor- Having fêted a pompous general with on time, every time mation with him. Some years later he Prokofi ev’s Polka, it is time to explain reciprocated by sending an arrangement the reference to The Old Gray Mare. We hope you are enjoying this issue’s new full-color presentation of made in collaboration with jazz great American composer and academic THE DIAPASON. In January 2013, THE DIAPASON adds another Dave Brubeck. A damper pedal would Douglas Moore composed a short varia- certainly make playing even this some- tion set based on the popular folk tune new element — a digital edition. So, now you can: what more idiomatic keyboard arrange- to demonstrate the culminating ami- ment easier, but the gentle beauties cable musical collaboration between the • Choose the print edition of Ellington’s only “harpsichord” work previously antagonistic harpsichord and • Choose the digital edition deserve to fi nd their place in our reper- piano, a duet that concludes the mid- toire. In the spirit of jazz improvisation, 20th-century recording Said the Piano to • Choose both the print I suggest adapting the written notes to the Harpsichord. This educational pro- AND digital edition fi t one’s individual fi nger span, as well as duction has had a somewhat unique cul- assuming a free approach both to some tural signifi cance as the medium through of the notated rhythms and repeats, and which quite a number of persons fi rst Whether you choose not being afraid to toy with the tessitura encountered our plucked instrument. to convert your print by changing the octave of some notes While Moore’s variation-fi nale remains subscription to a digital in order to achieve a more lyrical legato unpublished, it is possible to transcribe line on our pedal-less instrument. the notes from the record, and thus subscription — or choose regale live concert audiences with this to add a digital subscription Prokofi ev (for two) charming entertainment for listeners to your existing print subscription, it’s good to have options. In 1936 Sergey Prokofi ev surprised “from three to ninety-plus.” the western musical world by forsaking Other musical examples utilized in Paris and returning to live out the rest this clever skit include a preludial move- Know a student who would like to receive a digital edition at a of his days in his native Russia. One of ment, the mournful Le Gemisante from special discounted rate? Simply send them to THE DIAPASON his fi rst Soviet musical projects was the Jean-François Dandrieu’s 1èr Livre de website to complete the subscription form. composition of incidental music for a Claveçin [1724]; the violently contrast- centenary production of Pushkin’s play ing Military Polonaise in A Major, opus Eugene Onegin. In this dramatic and 40/1 by Fréderic Chopin, in which the Visit www.thediapason.com and click on the digital edition colorful orchestral score a dream scene piano demonstrates its preferred athletic banner to preview the digital edition, or click on the Subscribe is integrated with the house party of the and happy music and then goads the heroine, Tatyana. harpsichord into a ridiculous attempt banner to launch the form to convert to or to add a digital In his recent book, The People’s Artist, at playing the same excerpt, sans pedal. edition subscription. music historian Simon Morrison writes, That confrontation is followed by Jean- Philippe Rameau’s ever-popular Tam- For further information, contact Publisher Jerome Butera at The party scene opens with the strains bourin, which manages to sound nearly of a . . . polka emanating from a distant as ridiculous when the piano tries to [email protected]. hall. Aberrant dance music represents ab- show that it “can play your music better errant events: much like Onegin himself, than you can play mine!”—an attempt

28 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Grainger, Handel in the Strand Persichetti, Sonata for Harpsichord Cover of Troxler’s book on Vischer Cover, Simon Morrison book on Prokofi ev heard to be futile when the harpsichord puts that notion to rest by playing it “the way it ought to sound.” The 2012 Aliénor winners chosen Härnösand Cathedral by judges Tracy Richardson, David Schrader, and Alex Shapiro from some Härnösand, Sweden 70 submitted scores: Solo harpsichord (works required to emulate in some way the Mikrokosmos pieces by Béla Bartók): composers Ivan BožiĀeviĀ (Micro- grooves), Janine Johnson (Night Vision), A new pipe organ Kent Holliday (Mikrokosmicals), Thomas Donahue (Four Iota Pieces), Mark Janello Said the Piano to the Harpsichord 7ZRPDQXDOPRYDEOHFRQVROHZLWKÀEHURSWLFFRQQHFWLRQ (Six Harpsichord Miniatures), and Glenn album cover 6OLGHUHOHFWULFDFWLRQ‡5XIIDWWL+\SHU'\QDPLF([SUHVVLRQ Spring (Bela Bagatelles). Vocal chamber music with one obbligato instrument and 10. The list of included composers is given in Palmer, Harpsichord in America, harpsichord: Jeremy Beck (Songs of Love p. 146. Kirkpatrick also recorded this program & Remembrance), Ivan BožiĀeviĀ (Alié- in 1961. GRAND-ORGUE nor Courante), and Asako Hirabayashi 11. “Bach Goes to Town,” Angel/EMI Montre 8’ (Al que ingrate me deja).19 Q S-36095. Flûte 12. http://www.percygrainger.org/prog not5. Harmonique 8’ Notes htm (accessed 20 October 2011). Bourdon 8’ Prestant 4’ 1. Jessica Douglas-Home, The Life and 13. Published by G. Schirmer. Doublette 2’ Loves of Violet Gordon Woodhouse (London: 14. Persichetti’s ten sonatas for harpsichord Fourniture IV The Harvill Press, 1996). Discography (by are published by Elkan-Vogel, Inc., a subsid- Trumpet 8’ Alan Vicat), p. 329. iary of the Theodore Presser Company, Bryn Tremulant 2. Ibid. Matrices issued in France with the Mawr, PA 19010; the First Sonata, opus 52 Zimbelstern catalogue number P484. (1951), was published in 1973. The Powell 3. Great Virtuosi of the Harpsichord, vol- work remains unpublished. RÉCIT (Enclosed) ume 3. Pearl GEMM CD 9242 (1996). 15. Ule Troxler, Antoinette Vischer: Doku- 4. Three newly constructed two-manual mente zu einem Leben für das Cembalo (Ba- Bourdon 16’ harpsichords built by the piano fi rms Érard sel: Birkhäuser-Verlag, 1976). Published by Rohrflöte 8’ and Pleyel, and by the instrument restorer Schott & Co. Ltd., London; U.S. reprint by Salicional 8’ Unda Maris 8’ Louis Tomasini, were shown at the Paris Ex- G. Schirmer. Principal 4 position of 1889, and heard in performances 16. Ibid., pp. 99–100. Flûte a Fuseau 4’ at the event. The modern harpsichord revival 17. Simon Morrison, The People’s Art- Nasard 2-2/3’ is often dated from that year. ist—Prokofi ev’s Soviet Years (New York: Ox- Octavin 2’ 5. See Larry Palmer, “Revival Relics” in ford University Press, 2009). The quotation Plein Jeu III Early Keyboard Journal V (1986–87), pp. is found on page 130. I assembled the two Trompette 45–52, and Palmer, Harpsichord in America: harpsichord parts by cutting and pasting them Harmonique 8’ A 20th-Century Revival (Bloomington: Indi- from the orchestral score of Eugene Onegin Clarinette 8’ ana University Press, 1989; paperback second (his opus 71). I am unaware of any other pub- Tremulant edition, 1993), pp. 4–6; page six is a facsimile lished edition. of the fi rst page of Rigodon. 18. Personally I fi nd the balances for the PEDALE 6. See Larry Palmer, “Mario Castelnuo- Poulenc much better in duo performances Soubasse 16’ vo-Tedesco’s English Suite for Harpsichord than in live harpsichord and orchestra ones. Bourdon 16’ at 100.” The Diapason, December 2009, Another interesting possibility, at least as Octave 8’ pp. 36–37. demonstrated by a recording, may be heard Bourdon 8’ 7. See these articles in The Diapason: on Oehms Classics compact disc OC 637, Choralbass 4’ Donna M. Walters, “Henri Mulet: French where harpsichordist Peter Kofl er is part- Basson 16’ organist-composer,” December 2008, pp. nered by organist Hansjörg Albrecht and Clarinette 4’ 26–29; Harpsichord News, August 2010, p. percussionist Babette Haag in a compelling 11; and, for a complete facsimile of the origi- performance, recorded in 2009 in Munich. nal publication, the issue of January 2011, 19. For more information about Aliénor and p. 12. its history, consult www.harpsichord-now.org. 8. Edition Breitkopf Nr. 4836 “for Piano Solo.” 2012 marks the 50th anniversary of harp- 9. See Larry Palmer, “The Busoni Sona- sichord editor Larry Palmer’s fi rst published tina,” in The Diapason, September 1973, writing in THE DIAPASON: a brief article about pp. 10–11; Palmer, Harpsichord in America: Hugo Distler in the issue for November 1962. “Busoni and the Harpsichord,” pp. 25–26; Since those graduate student days he has Builders of Fine Pipe Organs the fi rst harpsichord recording of this work is taught at St. Paul’s College and Norfolk State played by Larry Palmer on Musical Heritage and Southern Methodist Universities, served Society disc LP 3222 (1975). A fi ne 2002 digi- as President of SEHKS from 2004–2008, to the World tal recording, Revolution for Cembalo (Hän- and is a continuing member of the advisory ssler Classic CD 98.503) features Japanese board for Aliénor. At the Cincinnati gather- harpsichordist Sumina Arihashi playing the ing in addition to “Gathering Peascods” he www.ruffatti.com Busoni Sonatina, as well as Delius’s Dance, played Glenn Spring’s Bela Bagatelles at Thomé’s Rigodon, and other early revival the Awards recital and chaired the Sunday 9LD)DFFLRODWL‡3DGRYD,WDO\ works by Ravel, Massenet, Richard Strauss, session devoted to “Swingtime—The Mitch RUJDQV#UXIIDWWLFRP86$ and Alexandre Tansman. Miller Showdown.”

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 29 Cover feature

View of the organ case (photo credit: Toby Wellenstein)

Schoenstein & Co., that Æolian-Skinner organs deserve the Choir Benicia, California reputation they have. First Lutheran Church, Our work at First Lutheran Church in the Pedal and giving the instrument on a program that would use the available Sioux Falls, South Dakota began in 1989 when we were asked to sur- a thorough tonal regulation before con- budget to address these issues as well as vey the organ for the possibility of com- sidering any further additions. Hearing honor as much as possible the original Polishing a gem pleting stops prepared for later addition. an instrument in proper balance with intention of a Positiv division. When we talk with committees today The organ is Æolian-Skinner Opus 1342, every stop delivering its full potential To augment the foundation of the about building a new organ, we remind designed in 1957, completed and dedi- often obviates the need for more stops Great, we added a 16′ Violone and a them that their decision will have rami- cated by Virgil Fox in 1959. It replaced or changes the direction that additions large-scale 8′ Flute Ouverte. To add fi cations for many generations and that Wurlitzer Opus 2127, built for the then- might take. Furthermore, we knew that some of the “sparkle” promised by the insisting on top quality will be like estab- new church in 1930. The builder’s plan the instrument would need releathering Positiv we added a Seventeenth to the lishing an endowment—a lasting legacy. was for an enlarged Pedal division and a and that the most effi cient approach was Great as well as a 4′ Fugara and Klein First Lutheran’s choice of an Æolian- fl oating Positiv, typical of the period. In to take care of any tonal additions along Mixtur to the Choir. A fi ve-rank Antipho- Skinner in 1956 proves the wisdom of 1964, Æolian-Skinner was called back to with renovation work. The Bombarde nal division was added in the chamber investing in the best—not just the “good add an 8′ Festival Trumpet and a Zym- and regulation were completed in 1994. formerly occupied by the Wurlitzer enough.” Æolian-Skinner was the gold belstern. By 1989, the primary concern By 2010 it was clear that the need for organ. Dominated by 8′ tone, its main standard then and still is today. The was to add more weight and power to the mechanical renovation was imminent and purpose is to provide the acoustical illu- majority of the most famous and highly Pedal and possibly move forward with the church was determined to complete sion of tone from the main organ in the regarded instruments in America were some of the other planned additions. the instrument and at the same time rear- balcony reaching forward to the chancel. made by Skinner in Boston. Our survey confi rmed the need for range the choir seating and improve the It has proved to be quite effective in this What makes an Æolian-Skinner so additional Pedal weight, but revealed acoustic as far as possible. In consultation role. It is diffi cult for anyone in the nave special? The answer is that the fi rm was other points that we thought should with committee chairman James Moore, to determine that the Antiphonal is play- always guided by people who knew and take precedence over additions such who is also a trained organist, consultant ing; it simply seems to extend the “reach” loved music. The Skinner people seemed as the Positiv. The organ suffered from John Ferguson, music director Michael of the main instrument. The division is to have an innate sense of refi ned good an accumulation of mechanical main- Elsbernd, and organist emeritus Marcia also quite helpful in accompanying taste. This artistic impulse was sup- tenance issues and it was badly out of Kittelson, we developed a plan to solve choirs that occasionally perform from ported by outstanding craftsmanship in regulation, with poor speech and erratic three musical problems that were consid- the chancel. The 16′ Quintaton, which every facet of organ building. The depth balance within and among stops. This ered truly worth addressing after years of was a bit light in this acoustic for the of expertise was unrivaled. appeared to be due to a rushed installa- experience with the instrument. Although Great division, has turned out to be an Schoenstein & Co. has a long-stand- tion that allowed hardly any time to fi n- the planned Positiv and additional Pedal ideal double for the small Antiphonal. ing connection with Skinner. From ish the instrument before Virgil Fox was upperwork would be nice, it was consid- Our other work included a complete 1907 to 1909 Louis Schoenstein, third to arrive, as well as layout of the enclosed ered far more urgent to direct the tonal rebuild of the console and electrical generation member of our founding divisions that made the pipework so character of the organ towards making up control system, which also facilitated the family, worked for Ernest M. Skin- inaccessible that regulation efforts were for acoustical problems. After intensive addition of a few useful borrows in the ner, following the family tradition of undoubtedly hampered. Rushed instal- acoustical study, it was determined that Choir and Pedal. An interesting feature broadening skills by apprenticing with lations were fairly common during the it was not practical from an engineering of the console work was the addition of other builders. Later, his son Law- fast moving post-war boom. The overall standpoint to make major changes in the a large music storage cabinet fi lling the rence joined Æolian-Skinner in a more quality of Skinner’s magnifi cent factory building, such as strengthening the ceil- space formerly taken by the electro- permanent way at the invitation of G. voicing, however, made even the jobs ing for better sound refl ection. Several pneumatic combination and switching Donald Harrison in 1956. He extended fi nished with a lick and a promise sound improvements, including removal of car- equipment! We built an entirely new his “apprenticeship” for 16 years! Our quite grand. In 1990 we thoroughly ser- pet, would make a signifi cant difference; expression system with vertical shades company has maintained, restored, viced the organ, correcting the mechani- however, sound would not carry well located on two sides of each expres- and installed numerous Skinner and cal problems and doing some preliminary from the balcony to the chancel and mid- sion box. These replaced the horizontal Æolian-Skinner organs. We can say tonal work. This led us to recommend range tenor and bass tones would not be shades that opened in only one direction from decades of practical experience installing only the planned Bombarde supported as well as treble. We decided and had become warped over the years.

Æolian-Skinner Opus 1342, 1959, Schoenstein & Co. 1994, 2011

GREAT (II) SWELL (III – enclosed) CHOIR (I – enclosed) ANTIPHONAL (fl oating – G) 16′ Violone (A) 61 pipes 16′ Contra Viola 12 pipes 8′ Spitzviol 68 pipes 16′ Quintaton 61 pipes 8′ Prinzipal 61 pipes 8′ Viola Pomposa 68 pipes 8′ Koppelgedeckt 68 pipes 8′ Diapason 61 pipes 8′ Violone (A) 12 pipes 8′ Viola Celeste 68 pipes 8′ Dolcan 68 pipes 8′ Lieblich Gedeckt 61 pipes 8′ Flûte Ouverte (B) 61 pipes 8′ Rohrfl öte 68 pipes 8′ Dolcan Celeste 56 pipes 8′ Erzähler 49 pipes 8′ Holzbordun 61 pipes 4′ Prestant 68 pipes 4′ Fugara (A) 68 pipes (Lieblich Gedeckt Bass) 4′ Octave 61 pipes 4′ Flûte Harmonique 68 pipes 4′ Nachthorn (D) 68 pipes 4′ Octave 61 pipes 2 4′ Spitzfl öte 61 pipes 2′ Octavin 61 pipes 2⁄3′ Rohrnasat 61 pipes Zymbelstern 2 2⁄3′ Twelfth 61 pipes 1′ Plein Jeu (IV) 244 pipes 2′ Blockfl öte 61 pipes 3 2′ Fifteenth 61 pipes 16′ Contra Hautbois 68 pipes 1⁄5′ Tierce 61 pipes PEDAL 3 1⁄5′ Seventeenth (A) 42 pipes 8′ Trompette 68 pipes 2′ Klein Mixtur (III–IV - E) 192 pipes 32′ Untersatz (New Digital – C) 1 1⁄3′ Fourniture (IV–VI) 318 pipes 8′ Hautbois 12 pipes 16′ Krummhorn (TC)* 16′ Kontra Bass 32 pipes 8′ Festival Trumpets 61 pipes 4′ Clairon 68 pipes (notes 57–68 from Fugara) 16′ Bourdon 32 pipes 4′ Festival Trumpets 12 pipes Tremulant 8′ Krummhorn 68 pipes 16′ Contra Viola (Swell) Chimes (Digital - C) Swell 16-UO-4 8′ Flûte Ouverte (Great)* 16′ Violone (Great)* Antiphonal on Great Antiphonal on Swell 8′ Festival Trumpets (Great) 16′ Gedecktbass (Choir) 12 pipes Tremulant 16′ Quintaton (Antiphonal)* Harp (Digital - C) 8′ Octave 32 pipes Celesta (Digital - C) 8′ Bourdon 12 pipes Zymbelstern (F) 8′ Violone (Great)* Choir 16-UO-4 8′ Flûte Ouverte (Great)* Antiphonal on Choir 8′ Gedecktbass (Choir) 4′ Choral Bass 12 pipes 4′ Flûte Ouverte (Great)* 2′ Flûte Ouverte (Great)*

30 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Swell

This greatly improved the tonal egress of First Lutheran had taken exceptional care both Swell and Choir divisions. The pipe of the instrument and while the time had display was rearranged to incorporate the now arrived for more signifi cant mechani- new 16′ and 8′ pipes of the Great, mak- cal and electrical upgrades, its basic integ- ing quite a dramatic façade. We also did rity had been maintained. Schoenstein mill shop foreman Erik Asprey demonstrates console storage a complete mechanical rebuild with the The church’s experience working with exception of wind regulators, which had Jack Bethards and Schoenstein & Co. sug- First Lutheran now has a warmer, excellence cultivated appreciation for the been completed earlier by the J.F. Nor- gested that the fi rm was the logical choice more colorful organ. The strong choral organ and its role in Christian worship. dlie Company, who have done excellent to undertake a more extensive process tradition of the church has a more versa- During her tenure at First Lutheran, work on the organ over the years. Perhaps of renewal of the instrument. Since they tile accompanimental colleague and the Marcia Kittelson took excellent care of of most importance for the organ’s long- are highly respected for their restoration overall sound of the instrument in the Opus 1342, and the church owes a tre- term maintenance was a re-engineering work on many Aeolian-Skinner organs, room is richer and much more satisfy- mendous debt of gratitude for her careful of certain aspects of the layout to provide the fi t was a natural. It seemed to be the ing. Its leadership of the congregation’s preservation of this heritage instrument. improved access for maintenance. ideal time to complete the preparations singing has been substantially improved. Given the history of the sanctuary This project has been a special pleasure evidenced in the console, especially the Throughout this lengthy and sometimes organ, with slightly more than fi fty years for us because of the long-term relation- absent Positiv division. All agreed to frustrating process, I’ve been impressed of service to the congregation, it was not ship we have had with the congregation. utilize the console preparations for an by the creativity and patience of Jack diffi cult to gain the momentum to under- Over the years, as we have taken steps Antiphonal organ instead of adding the Bethards of Schoenstein and the perse- take its necessary renovation. Knowing towards this fi nal completion, we have typical Aeolian-Skinner brightly voiced verance of the committee, especially its the benefi ts in terms of overall cost, and enjoyed each of our experiences in Sioux Positiv to what already was an instrument chair, James Moore, and organist Mar- faced with the prospect of not being able Falls. The congregation is a most active needing more gravitas in its sound, espe- cia Kittelson. They had a vision, never to fi nish the organ more than fi fty years one and is deeply appreciative of good, cially considering the relatively dry acous- wavered, and the result more than fulfi lls after the initial investment, the organ traditional church music. We have been tics in the room. It has made a great dif- their hopes and aspirations. Would that it committee pressed forward with the privileged to know and work with all ference in the effectiveness of the organ, always were so. tenacious and unfl agging leadership of their musicians throughout this period especially as a leader of congregational —John Ferguson chairman James Moore. With the gener- and the atmosphere has been totally song. Additional foundational sound was osity of two lead gifts, the committee was supportive and most pleasant. added to the Great and the existing Choir From the organist able to fi nally realize the total project. —Jack M. Bethards was provided with a complete chorus with Music ministry has long been an impor- Under the guidance of project consul- President and Tonal Director mixture, a signifi cant move since the Posi- tant facet of First Lutheran’s identity. It tant John Ferguson, the organ commit- Schoenstein & Co. tiv division was not to be. came as no surprise to me, when I joined tee confi dently engaged Schoenstein & Pipe Organ Builders During the long gestation of the proj- the professional staff of this church in Co. to proceed with the renovation and ect, a careful study of the acoustics in the 2007, that the organ enjoys an active role completion of Opus 1342. From the out- From the consultant space was undertaken. It soon became in the leading of weekly services. Since set, the committee sought to preserve the I have long been a friend of First evident that any major improvement the installation of Aeolian-Skinner Opus Aeolian-Skinner aesthetic, while blending Lutheran Church, Sioux Falls and enjoyed to the acoustics was not structurally or 1342 in 1959, only two other organists in new pipework with the existing stoplist. bringing the St. Olaf Cantorei to the fi scally possible. However, refl ective have presided at the console: the late Dr. The committee’s decision to entrust the church many times. Thus I was delighted surfaces in the gallery, especially directly Merle Pfl ueger (who designed the origi- work to this fi rm began in the 1990s, to be asked to help the organ committee behind the choir, were improved and nal stoplist in collaboration with Aeolian- when Schoenstein & Co. added a pedal explore options for the renovation and have enhanced the choir’s projection Skinner representatives) and Organist reed and completed necessary regulation possible completion of its 1959 Aeolian- into the nave and enabled its members Emerita and Curator of Organs, Marcia work. Furthermore, Schoenstein’s con- Skinner organ. Fortunately, the people of to hear one another signifi cantly better. Kittelson, whose scholarship and musical nection to Skinner and Aeolian-Skinner

First Lutheran Church, Sioux Falls, South Dakota

32′ Bombarde (Digital – H) Peterson ICS System Reversible Actions Notes 16′ Bombarde (I) 32 pipes Combination Action Great to Pedal piston and toe lever A New pipes and chest 2011 16′ Contre Hautbois (Swell) 100 Memories with digital read-out Swell to Pedal piston and toe lever B New pipes on Quintaton chest 2011 8′ Trompette (I) 12 pipes 13 General pistons Choir to Pedal piston and toe lever C New Walker 2011 8′ Krummhorn (Choir) 6 Duplicate general toe studs Antiphonal to Pedal toe lever (new) D New chest 2012 4′ Clairon (I) 12 pipes 6 Great pistons, 1 Great cancel piston Swell to Great piston E New pipes 2012 4′ Krummhorn (Choir) 6 Swell pistons, 1 Swell cancel piston Choir to Great piston F New Der Zimbelstern 2011 Antiphonal on Pedal 6 Choir pistons, 1 Choir cancel piston Swell to Choir piston G Former prepared Positiv. All new 6 Antiphonal pistons, 1 Antiphonal Sforzando I piston and toe lever except Quintaton pipes formerly on Couplers cancel piston with indicator the Great and Zymbelstern formerly Great to Pedal 8 6 Pedal toe studs, 1 Pedal cancel Sforzando II piston and toe lever in the main organ 2011 Swell to Pedal 8, 4 toe stud with indicator H New Walker 1994 Choir to Pedal 8, 4 1 Set piston I New pipes and chest 1994 Swell to Great 16, 8, 4 1 General cancel piston Special Controls * New borrow Choir to Great 16, 8, 4 Piston Sequencer Option Great/Choir Transfer Swell to Choir 16, 8, 4 Pedal to Manual on/off Great Pedal to Manual on/off Swell Note Pedal to Manual on/off Choir 1. Antiphonal does not couple with divi- Crescendo Pedal with indicator sions on which it is drawn. Two balanced Expression pedals 2. Festival Trumpets do not couple. Flûte Great keys separation switch – 4 positions Ouverte on Choir does not couple. 3. Percussions couple. Chimes couple Note: Sforzandi and Crescendo are program- down one octave on the Pedal. mable on each memory level.

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 31 Cover feature New Organs via Louis Schoenstein and his son, Law- of faith—even as other “steeples are fall- rence, who worked for G. Donald Har- ing” in favor of fl eeting trends. Towering rison, naturally affi rmed this decision. over the east balcony is an instrument of From the beginning of the commit- stately beauty, completely at home with tee’s discussions with Jack Bethards, its Gothic surroundings. In this context, I President and Tonal Director of Schoen- believe one starts to hear the organ—fi rst stein & Co., it was clear that we could by sight. When played, it sounds like one accomplish astounding results with a expects it should—with grace, exqui- strikingly conservative approach. Acous- site beauty, and majestic power. It was tically, it was determined that an Antiph- rededicated in a public recital played by onal organ would be a more appropriate Grammy Award-winning organist Paul way of rendering the prepared division. Jacobs, chairman of the organ depart- Housed in the chancel, the Antiphonal ment at the Juilliard School, to a capacity organ lends valuable support to the audience on December 4, 2011. cantor, choirs, and congregation at the On behalf of the organ committee, I crossing and front portions of the nave. wish to extend our deepest appreciation The Quintaton 16′, formerly the basis for to Jack Bethards, Louis Patterson, and the gallery Great, now takes its place as the entire staff at Schoenstein & Co. a foundation for the Antiphonal organ. First Lutheran has enjoyed an ongoing The ability to draw the Quintaton sepa- relationship with this fi rm since the early rately in the Pedal as well as a manual 1990s, and it is a joy to see the progress stop makes it a fi ne addition to the new over the years that continues to make colorful foundation stops. Opus 1342 an ever more perfect instru- Further enhancements to the Great ment. The fi nished organ has exceeded Photo credit: Randall Karstens and Choir divisions were also desired; the what many of us thought possible, and Great lacked an appropriately scaled 16′ we could not imagine a more satisfy- R. Karstens Organ Works, to support the principal chorus, and the ing relationship than that which we Columbus, Ohio Choir division, while ideal for the accom- have enjoyed with the professionals at Lake Park Lutheran Church, paniment of choirs and solo vocalists, Schoenstein & Co. Milwaukee, Wisconsin lacked a chorus that could contrast with —Michael J. Elsbernd Lake Park Lutheran Church had a the Swell. Added support to the Great Director of Music Ministry two-manual pipe organ built by the division is offered by a new Violone at 16′ & Principal Organist Steiner-Reck Organ Company of Louis- replaced the electrical relay with a new and 8′ pitch, an 8′ Flute Ouverte, and a ville, Kentucky. The organ was built for one from Solid State Organ Systems. The 3 1 ⁄5′ principal-scaled Seventeenth. With From the chair of the the church’s 75th anniversary, and has former Swell division was re-purposed the appropriate foundation tones now in organ committee served the congregation well. Over the as a Positiv, with the removal of the 1 place, the existing mixture, a 1 ⁄3′ IV–VI When the organ committee recom- years, some maintenance and tuning swell shades as well as the replacement Fourniture, makes sense to the ear. The mended the purchase of an Aeolian- issues developed, and the congregation of the original Gemshorn Celeste with additional mutation stop, when combined Skinner in 1956, they probably knew felt that there were some sounds they a 2′ Principal. The former Gemshorn 2 with the existing 2 ⁄3′ Twelfth, allows for a how well the instrument would serve wanted to add to the tonal scheme of Celeste was then transplanted into the contrasting Sesquialtera to the Choir. the church beyond their lifetimes. They this instrument. new Swell as the 4′ Spire Flute. Joining the existing pipework in the probably did not know that the organ Twenty-fi ve years later, in conjunction Along with the Swell, a new organ Choir are a new 4′ Fugara and 2′ Klein would still be unfi nished 50 years later. with the church’s centennial celebra- console was built, with three manuals Mixtur. While modest, to be sure, these Purchased at a cost of $52,000, the organ tion, and with the help and enthusiasm and pedal, to play the existing organ and two additions give the Choir a fi rm as installed and dedicated was missing of the growing congregation, the organ the new division. The organ console is identity, and a fi ne contrast to the Swell reeds, a mixture, and upperwork in the has been rebuilt and completed. The constructed of solid cherry with walnut plenum. The ability to make the existing Pedal division, as well as a Positiv divi- committee, formed in January 2008 accents. About one-third of the materials Krummhorn speak at 16′ to tenor C adds sion, all of which could have been added and headed by organist Mel Robbert, in the rebuilt organ are new. further gravity to the division. at the time for another $12,000. received a variety of bids, but was The congregation is most excited The fi nished organ opens a new chap- As Opus 1342 approached its fi ftieth impressed not only by R. Karstens about the versatility of the instrument, ter in the life of First Lutheran and Opus anniversary in November 2009, a new Organ Works’ bid, but also by owner the selection of stops, and its ability to 1342. With the renovation and comple- organ committee, formed in 2007, had Randall Karstens’ understanding of the fi ll the space. The organ was dedicated tion accomplished, the church members two goals: to complete the instrument, church’s needs. on Sunday, February 7, 2010 as part of have answered the call of the 1956 organ and to do everything necessary to keep Construction began in August 2009. Sunday services played by Mel Robbert. committee—continuing to invest well in the organ in service for another 50 years. The existing organ was left intact, with The entire congregation has high hopes those things that ensure a worthy legacy Having worked with Jack Bethards some exceptions. Karstens performed a that it will lead them through the next and Schoenstein & Co. in the early 1990s general cleaning, as well as mechanical hundred years. on a reed addition to the Pedal and other and pipe repairs, remedial voicing, and —Randall Karstens tonal regulation of the entire organ, the committee had no trouble deciding to move forward with Schoenstein. With R. Karstens Organ Works, Ltd 2010 the invaluable help of John Ferguson, our consultant and long-time friend of 24 stops, 28 ranks, 1,722 pipes First Lutheran, we quickly agreed on the Lake Park Lutheran Church, Milwaukee, Wisconsin scope of work. It took longer to fi nd our 2 ′ way through the political processes and GREAT 2⁄3 Nasat existing 68 8′ Principal existing 56 2′ Principal new 56 to raise the money needed to fi nish the 3 8′ Rohr Floete existing 56 1⁄5′ Terz existing 56 1 project, but with help from many faithful 8′ Spitz Floete existing 80 1⁄3′ Quinte (ext) members, we did. 4′ Octave existing 56 III Mixture existing 168 In the end, we made the instrument 4′ Spitz Floete (ext) 16′ Cromorne existing 80 ′ ′ mechanically current, added 12 ranks 2 Spitz Floete (ext) 8 Cromorne (ext) IV Mixture existing 224 4′ Cromorne (ext) of pipes, and ensured that the organ 8′ Trumpet existing 68 Cymbelstern should serve First Lutheran Church Chimes existing long beyond those of us on the commit- PEDAL ′ tee. The results exceed our expectations SWELL (enclosed) 16 Violone (ext, Sw) 12 16′ Bourdon new 80 16′ Subbass existing 56 in every way: the Antiphonal division 8′ Viola new 68 16′ Bourdon (Sw) enables the sound of the organ to fi ll the 8′ Viola Celeste (TC) new 56 8′ Viola (Sw) room for the fi rst time, the new 8′ stops 8′ Bourdon (ext) 8′ Flute Bass (Subbass) ′ ′ add warmth and richness of tone without 4 Spire Flute existing 56 8 Bourdon (Sw) 4′ Octave Viole (ext) 4′ Choral Bass existing 32 changing the organ’s identity as an Aeo- 2′ Hohl Flute new 61 4′ Gedackt (Subbass) lian-Skinner, and all of the new stops add 16′ Bassoon new 80 16′ Trumpet (Gt) 12 impressive tonal color and versatility. 8′ Trumpet new, hooded, unencl. 61 16′ Bassoon (Sw) ′ ′ Jack Bethards, Louis Patterson, and 8 Oboe (ext) 8 Trumpet (Sw) Tremulant 4′ Trumpet (Sw) everyone at Schoenstein have been Swell to Swell 16 4′ Oboe (Sw) always timely, responsive, and profes- Swell to Swell 4 sional. Their work is simply excellent, Unison Off Couplers and speaks for itself. Swell to Great POSITIV Positiv to Great —James E. Moore 8′ Gemshorn existing 68 Swell to Positiv Chair of the organ committee 8′ Gedackt Pommer existing 56 Great to Pedal Violone hoisted by Erik Asprey and 4′ Gemshorn (ext) Swell to Pedal Dave Beck on the bottom, and Oliver 4′ Traverse Flute existing 56 Positiv to Pedal Jaggi and Mark Hotsenpiller on the top Photo credit: Louis Patterson, unless (photo credit: First Lutheran Church) indicated otherwise

32 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO Park Ridge Presbyterian Church PATRICK ALLEN 25 NOVEMBER Park Ridge, IL GRACE CHURCH This calendar runs from the 15th of the month of Handel, Messiah; St. Anthony of Padua issue through the following month. The deadline is Church, New Bedford, MA 3 pm Pickle Piano & Church Organs NEW YORK the fi rst of the preceding month (Jan. 1 for Feb. Kent Tritle; Cathedral of St. John the Di- Bloomingdale, IL issue). All events are assumed to be organ recitals vine, New York, NY 5 pm unless otherwise indicated and are grouped within Angela Kraft Cross; St. Thomas Church each date north-south and east-west. •=AGO Fifth Avenue, New York, NY 5:15 pm chapter event, • •=RCCO centre event, +=new organ William Wisnom; Washington National Ca- dedication, ++= OHS event. thedral, Washington, DC 5:15 pm Christopher Babcock Information cannot be accepted unless it Mozart, Mass in C, K. 258; Christ Church, specifi es artist name, date, location, and hour in Bradenton, FL 11 am writing. Multiple listings should be in chronological Peter Sykes; Independent Presbyterian, St. Andrew’s by the Sea, order; please do not send duplicate listings. Birmingham, AL 4 pm Hyannis Port THE DIAPASON regrets that it cannot assume responsibility for the accuracy of calendar entries. 26 NOVEMBER Stephen Buzard; Elliott Chapel, Presbyte- rian Homes, Evanston, IL 1:30 pm UNITED STATES East of the Mississippi 27 NOVEMBER Dean W. Billmeyer GAVIN BLACK +William Neil, with National Symphony Or- Princeton Early Keyboard Center 15 NOVEMBER chestra; Kennedy Center Concert Hall, Wash- University of Minnesota Maxine Thevenot; University of the South, ington, DC 6 pm 732/599-0392 Sewanee, TN 7:30 pm Minneapolis 55455 • [email protected] www.pekc.org 29 NOVEMBER 16 NOVEMBER Sonia Lee, harpsichord; First Church, Bos- Richard Webster & Colin Lynch; Trinity ton, MA 12:15 pm Church, Copley Square, Boston, MA 12:15 pm William Ness, with brass and percussion; 30 NOVEMBER THOMAS BROWN Randall Mullin; Trinity Church, Copley Byron L. Blackmore First Baptist, Worcester, MA 7:30 pm UNIVERSITY Peter Krasinski, silent fi lm accompa- Square, Boston, MA 12:15 pm Crown of Life Lutheran Church niment; Methuen Memorial Music Hall, Charles Miller; National City Christian PRESBYTERIAN CHURCH Methuen, MA 8 pm Church, Washington, DC 12:15 pm Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Edoardo Bellotti; Anabel Taylor Hall Cha- Christmas concert; Greene Memorial Unit- 623/214-4903 ThomasBrownMusic.com pel, Cornell University, Ithaca, NY 8 pm ed Methodist, Roanoke, CA 8 pm Richard Fitzgerald; National City Christian Carol Service; Canterbury United Method- Church, Washington, DC 12:15 pm ist, Birmingham, AL 4:30 pm Master Chorale of South Florida, Mahler, Symphony No. 3; Adrienne Arsht Performing 1 DECEMBER David Chalmers Arts Center, Miami, FL 8 pm Manhattan School of Music Chamber Choir; DELBERT DISSELHORST Christian Lane; Trinity Lutheran, Akron, Greenfi eld Hall, Manhattan School of Music, Concert Organist OH 8 pm New York, NY 7:30 pm GLORIÆ DEI CANTORES Professor Emeritus John Deaver; Cathedral Church of the Ad- Alan Morrison, Handel, Messiah; Ursinus University of Iowa–Iowa City vent, Birmingham, AL 12:30 pm College, Collegeville, PA 7:30 pm Orleans, MA Lessons & Carols; Lawrence Memorial 17 NOVEMBER Chapel, Lawrence University, Appleton, WI 1 John & Marianne Weaver, with cello; East pm, 4 pm Craftsbury Presbyterian, East Craftsbury, VT Samuel Hutchison, Christmas Carol Sing; JAMES DORROH, AAGO, PhD STEVEN EGLER 7:30 pm Overture Hall, Madison, WI 11 am Central Michigan University Peggy Kelley Reinburg, works of Alain; St. Community Carol Sing; First Presbyterian, Saint Luke’s Episcopal Church Mt. Pleasant, Michigan John’s Episcopal, Hagerstown, MD 1 pm Springfi eld, IL 6 pm Samford University Artist in Residence Master Chorale of South Florida, Mahler, Birmingham, Alabama First Congregational Church Symphony No. 3; Adrienne Arsht Performing 2 DECEMBER Saginaw, Michigan Arts Center, Miami, FL 8 pm Gail Archer, Lessons & Carols; Vassar Col- Organ Consultant Organ Recitals [email protected] lege, Poughkeepsie, NY 7 pm 18 NOVEMBER Andrew Henderson; Madison Avenue Vincent Dubois; Woolsey Hall, Yale Univer- Presbyterian, New York, NY 3 pm A Professional Card in sity, New Haven, CT 8 pm Advent Lessons & Music; Grace Church, JOHN FENSTERMAKER Dongho Lee; Grace Episcopal, Elmira, NY 4 pm The Diapason NY 4 pm Benjamin Sheen; St. Thomas Church Fifth Saint Andrew Chorale & Orchestra, Handel RINITY BY THE OVE For rates and digital specifi cations, Avenue, New York, NY 5:15 pm T - - -C contact Jerome Butera & Pergolesi; Madison Avenue Presbyterian, Alan Morrison, Handel, Messiah; Ursinus New York, NY 3 pm 847/391-1045 College, Collegeville, PA 2 pm NAPLES, FLORIDA [email protected] Nathan Laube; Brick Presbyterian, New Children’s Choir of Lancaster & Lancaster York, NY 4 pm Liederkranz Chorus; Holy Trinity Lutheran, Iris Lan; Cathedral of St. John the Divine, Lancaster, PA 4 pm New York, NY 5 pm Holiday choral concert; St. Paul’s Episco- Anne Laver; St. Thomas Church Fifth Av- pal, Greenville, NC 7:30 pm enue, New York, NY 5:15 pm Central Florida Master Choir; First United STEPHEN HAMILTON WILL HEADLEE Joan Lippincott; Shadyside Presbyterian, Methodist, Ocala, FL 3 pm 1650 James Street Pittsburgh, PA 4 pm Florida Voices; Christ Church, Bradenton, recitalist–clinician–educator Douglas Bruce; Washington National Ca- FL 4 pm Syracuse, NY 13203-2816 thedral, Washington, DC 5:15 pm Peter DuBois; Johnson Memorial United www.stephenjonhamilton.com (315) 471-8451 Todd Wilson; Court Street United Method- Methodist, Huntington, WV 3 pm ist, Lynchburg, VA 3 pm Advent Lessons & Carols; Rosary Cathe- The Atlanta Singers; Peachtree Road Unit- dral, Toledo, OH 3 pm ed Methodist, Atlanta, GA 5 pm Advent Lessons & Carols; St. Peter in Gary L. Jenkins Stephen Tharp ; St. John the Baptist Catho- Chains Cathedral, Cincinnati, OH 3 pm ANDREW HENDERSON, DMA lic Church, Canton, OH 4 pm Central Presbyterian Church Advent Procession; Christ Church Grosse Christopher Houlihan; Stambaugh Audito- Madison Avenue Presbyterian Church Director, Schmidt Concert Series Pointe, Grosse Pointe Farms, MI 4:30 pm rium, Youngstown, OH 4 pm Carmelite Monastery Thomas Murray; Schermerhorn Sympho- New York, NY Christ Church Chorale with orchestra, ny Center, Nashville, TN 2 pm Curator of Organs Schubert works; Christ Church Grosse Choral concert; St. Mary’s Episcopal Cathe- www.andrewhenderson.net Rose-Hulman Institute of Technology Pointe, Grosse Pointe Farms, MI 4:30 pm dral, Memphis, TN 4 pm, 7 pm Terre Haute, Indiana Peter Dubois; Independent Presbyterian, Birmingham, AL 4 pm Handel, Messiah; Fitzgibbon Hall, Hanover Karen Beaumont; Cathedral of St. John College, Hanover, IN 2 pm the Evangelist, Milwaukee, WI 4 pm Advent Lessons & Carols; Cathedral Church A two-inch Professional Card Jeffrey Schleff; St. Andrew Lutheran, Mun- of the Advent, Birmingham, AL 9 am, 11 am delein, IL 3 pm Frederick Teardo; Cathedral Church of the in The Diapason Alexander Kirillov; Madonna della Strada Advent, Birmingham, AL 4 pm Chapel, Loyola University, Chicago, IL 3 pm Carol Service; Canterbury United Method- For information on rates and specifi cations, contact Jerome Butera: Choral concert; St. Andrew’s Lutheran, ist, Birmingham, AL 4:30 pm [email protected] 847/391-1045 Mahtomedi, MN 4 pm Advent Lessons & Carols; Lutheran School of Theology, Chicago, IL 7 pm 19 NOVEMBER David Schrader, with Aurora University Karen Beaumont; Summerfi eld United Choirs; Crimi Auditorium, Aurora University, LORRAINE BRUGH, Ph.D. Methodist, Milwaukee, WI 1 pm Aurora, IL 3 pm, 7:30 pm 20 NOVEMBER 4 DECEMBER Associate Professor Helen Hawley; Park Congregational, Grand Baltimore Choral Arts; Cathedral of Mary Rapids, MI 12:15 pm Our Queen, Baltimore, MD 7:30 pm University Organist

21 NOVEMBER 5 DECEMBER Valparaiso University Thanksgiving Evensong; Emmanuel Church, Michael Shoemaker; Camp Hill Presbyte- Valparaiso, IN Chestertown, MD 6 pm rian, Camp Hill, PA 12:15 pm Susan Foster; Visitor Center, Old Salem www.valpo.edu 23 NOVEMBER Museums & Gardens, Winston-Salem, NC Andrew Scanlon; Trinity Church, Copley 12 noon 219-464-5084 Square, Boston, MA 12:15 pm Christopher Urban, with handbells & pi- John W. W. Sherer; Fourth Presbyterian, ano; First Presbyterian, Arlington Heights, IL [email protected] Chicago, IL 12:10 pm 12:10 pm

WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 33 CALIFORNIA LUTHERAN UNIVERSITY Calendar Visit The Diapason Kyle Johnson, DMA website: 6 DECEMBER Handel, Messiah; St. Rose of Lima Catholic University Organist Gavin Black, harpsichord; First Church, Church, Massapequa, NY 7:30 pm www.TheDiapason.com 

r
LFKPIOT!DBMMVUIFSBOFEV Boston, MA 12:15 pm Charles Miller; National City Christian www.callutheran.edu Choir of St. Luke in the Fields; Church of St. Church, Washington, DC 12:15 pm Luke in the Fields, New York, NY 8 pm Christmas with the Basilica Choir; Basilica James Lorenz; Christ Church, Bradenton, of the National Shrine of Mary, Queen of the FL 12:15 pm Universe, Orlando, FL 7:30 pm Bradley Hunter Welch; Christ Lutheran, Brian Jones KIM R. KASLING 7 DECEMBER Athens, OH 7:30 pm D.M.A. Louise Mundinger; Trinity Church, Copley The Georgia Boy Choir; Peachtree Road Director of Music Emeritus Square, Boston, MA 12:15 pm United Methodist, Atlanta, GA 7 pm St. John’s University TRINITY CHURCH Alan Morrison, with Westminster Choirs, Advent Episcopal Day School Choral En- Collegeville, MN 56321 readings & carols; Princeton University Cha- semble; Cathedral Church of the Advent, Bir- BOSTON pel, Princeton, NJ 8 pm mingham, AL 12:30 pm James Hicks; National City Christian Church, Washington, DC 12:15 pm 15 DECEMBER Britten, A Ceremony of Carols; Cathedral of Martin Jean; Marquand Chapel, Yale Uni- JAMES KIBBIE Mary Our Queen, Baltimore, MD 7 pm versity, New Haven, CT 5 pm Sarasota-Manatee Bach Festival; Church of Gail Archer, with Barnard-Columbia Cho- The University of Michigan the Redeemer, Sarasota, FL 8 pm rus; Union Theological Seminary, New York, Ann Arbor, MI 48109-2085 Advent Procession of Lessons & Carols; NY 8 pm ORGAN CONSULTANT The Georgia Boy Choir; Peachtree Road 734-764-1591 FAX: 734-763-5097 Holy Trinity Lutheran, Akron, OH 7:30 pm www.gabrielkney.com Lessons & Carols; Mercer University, New- United Methodist, Atlanta, GA 7 pm email: [email protected] ton Chapel, Macon, GA 7:30 pm Holiday concert; Glenview Community Candlelight Carol Sing; St. Chrysostom’s Church, Glenview, IL 7 pm Church, Chicago, IL 5 pm, 7:30 pm 16 DECEMBER A Professional Card in David K. Lamb, D.Mus. 8 DECEMBER Christmas Concert; St. Anthony of Padua Church, New Bedford, MA 3 pm Director of Music/Organist The Diapason Ray Cornils, with brass; Methuen Memo- For rates and digital specifi cations, rial Music Hall, Methuen, MA 7:30 pm Scott Lamlein, with trumpet; First Congre- First United Methodist Church contact Jerome Butera Christmas concert; Cathedral of St. John gational, Bristol, CT 11:30 am Columbus, Indiana 847/391-1045 the Divine, New York, NY 7:30 pm David Baskeyfi eld; Reformed Church of 812/372-2851 [email protected] Alan Morrison, with Westminster Choirs, the Tarrytowns, Tarrytown, NY 4 pm readings & carols; Princeton University Cha- Lessons & Carols; St. Vincent Ferrer pel, Princeton, NJ 8 pm Church, New York, NY 3 pm Christmas concert; St. Lorenz Lutheran, Britten, A Ceremony of Carols; Grace Frankenmuth, MI 6:30 pm Church, New York, NY 4 pm VocalEssence; Trinity Lutheran, Stillwater, 8th Annual Carol Sing; Madison Avenue MN 7:30 pm Presbyterian, New York, NY 3 pm David Lamb; St. Mary the Virgin Church, 9 DECEMBER New York, NY 4:40 pm Ray Cornils, with brass; Methuen Memo- William Wisnom; St. Thomas Church Fifth rial Music Hall, Methuen, MA 3 pm Avenue, New York, NY 5:15 pm Candlelight Procession and Advent Les- Lessons & Carols; First Congregational, sons & Carols; St. Mary’s Parish, Burlington, Bristol, CT 3 pm NJ 4 pm Christmas concert; First Church, Wethers- Crescent Singers; Crescent Avenue Pres- fi eld, CT 4 pm, 7 pm byterian, Plainfi eld, NJ 5 pm My Lord Chamberlain’s Consort; Madison ANDREW PAUL MOORE Lessons & Carols; Cathedral of Mary Our Avenue Presbyterian, New York, NY 3 pm A.S.C.A.P. Queen, Baltimore, MD 5 pm FELLOW, AMERICAN GUILD OF ORGANISTS Christian Haigh; St. Thomas Church Fifth CHRIST CHURCH Lessons & Carols; St. Paul’s Episcopal, Avenue, New York, NY 5:15 pm 345 SADDLE LAKE DRIVE Greenville, NC 5 pm Cathedral Choir of St. John the Divine; Met- ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS Lessons & Carols for Advent; Christ Church, (770) 594-0949 ropolitan Museum of Art, New York, NY 6:30 Bradenton, FL 11 am pm, 8:30 pm Mark Jones, with choirs and orchestra; Advent Lessons & Carols; Camp Hill Pres- First Presbyterian, Pompano Beach, FL 4 pm byterian, Camp Hill, PA 8:30 & 11 am Lessons & Carols; Peachtree Road United DOUGLAS O’NEILL Handel, Messiah; Shadyside Presbyterian, Methodist, Atlanta, GA 5:30 pm LEON NELSON Pittsburgh, PA 4 pm Lessons & Carols; Midway Presbyterian, Director of the Sanctuary Choir Cathedral of the Madeleine Lessons & Carols; Emmanuel Church, Midway, KY 4:30 pm Chestertown, MD 4 pm Southminster Presbyterian Church Salt Lake City, Utah Advent/Christmas cantata; St. Andrew Lu- Sarasota Young Voices; Christ Church, Bra- theran, Mundelein, IL 8:30 am Arlington Heights, IL 60005 [email protected] denton, FL 4 pm Pergolesi, Magnifi cat; Edgebrook Commu- 801/671-8657 Sarasota-Manatee Bach Festival; Christ nity Church, Chicago, IL 10 am Church, Bradenton, FL 8 pm Simone Gheller; Madonna della Strada Lessons & Carols; Morrison United Method- Chapel, Loyola University, Chicago, IL 3 pm MARILYN MASON ist, Leesburg, FL 7:30 pm CHAIRMAN, DEPARTMENT OF ORGAN PRUMC Chancel Choir with soloists, or- 17 DECEMBER UNIVERSITY OF MICHIGAN chestra, and Georgia Boy Choir; Peachtree Handel, Messiah; Carnegie Hall, New York, ANN ARBOR Road United Methodist, Atlanta, GA 5:30 pm NY 8 pm Christmas concert; St. Lorenz Lutheran, “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Frankenmuth, MI 1:30 pm, 4:30 pm with awesome technique and a thrilling command of its daring writing.” 18 DECEMBER Handel, Messiah; Christ Church Grosse The American Organist, 1980 Carol McNally, with harp; Park Congrega- Pointe, Grosse Pointe Farms, MI 4:30 pm tional, Grand Rapids, MI 12:15 pm Christmas concert; Independent Presbyte- rian, Birmingham, AL 5:30 pm 19 DECEMBER David Lamb, with choir; St. Boniface Cath- Joseph O’Berry; Visitor Center, Old Sa- LARRY PALMER SYLVIE POIRIER olic Church, Louisville, KY 3 pm lem Museums & Gardens, Winston-Salem, The Glory of Christmas; First Presbyterian, NC 12 noon Arlington Heights, IL 4 pm David Lamb, Matt Dickerson, Travis Per- Professor of PHILIP CROZIER son, Lee Barlow, & Tom Nichols; Indiana ORGAN DUO 11 DECEMBER Landmarks Center, Indianapolis, IN 7 pm Harpsichord and Organ 3355 Queen Mary Road, Apt 424 Handel, Messiah; St. Thomas Church Fifth Rudolf Zuiderveld, with cantor; First Pres- Avenue, New York, NY 7:30 pm byterian, Springfi eld, IL 12:15 pm Meadows School of the Arts Montreal, H3V 1A5, P. Quebec Dean Rosko; Church of the Gesu, Milwau- kee, WI 7:30 pm 20 DECEMBER SOUTHERN METHODIST UNIVERSITY Canada Frederic Green, harpsichord; First Church, (514) 739-8696 12 DECEMBER Boston, MA 12:15 pm Dallas, Texas 75275 Community Carol Sing; Grace Church, New Britten, Ceremony of Carols; St. Thomas Fax: (514) 739-4752 York, NY 12:15 pm Church Fifth Avenue, New York, NY 5:30 pm Musical Heritage Society recordings [email protected] Tim Olsen; Visitor Center, Old Salem Mu- Christmas concert; St. Patrick’s Cathedral, seums & Gardens, Winston-Salem, NC 12 New York, NY 7 pm noon Handel, Messiah; Carnegie Hall, New York, Shawn Thomas; Morrison United Method- NY 8 pm ist, Leesburg, FL 12 noon Julane Rodgers, harpsichord; Christ Bradley Hunter Welch; Fifth Avenue Bap- Church, Bradenton, FL 12:15 pm tist, Huntington, WV 6:15 pm A four-inch Professional Card Capital Chamber Singers Women; First 21 DECEMBER Presbyterian, Springfi eld, IL 12:15 pm Rich Spotts; Trinity Church, Copley in THE DIAPASON Square, Boston, MA 12:15 pm 13 DECEMBER Charles Miller; National City Christian For rates and specifi cations Andrus Madsen, harpsichord, with traver- Church, Washington, DC 12:15 pm so; First Church, Boston, MA 12:15 pm Quire Cleveland; Trinity Cathedral, Cleve- contact Jerome Butera Handel, Messiah; St. Thomas Church Fifth land, OH 7:30 pm Avenue, New York, NY 7:30 pm David Lamb, Matt Dickerson, Travis Per- 847/391-1045 Michael Stuart; Christ Church, Bradenton, son, Lee Barlow, & Tom Nichols; First Unit- FL 12:15 pm ed Methodist, Columbus, IN 7 pm [email protected] 14 DECEMBER 22 DECEMBER Stephen Kalnoske; Trinity Church, Copley Quire Cleveland; Trinity Cathedral, Cleve- Square, Boston, MA 12:15 pm land, OH 7:30 pm

34 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer Recitals – Consultations Do-It-Yourself Messiah; Glenview Commu- Douglas Cleveland; Christ Episcopal, Ta- Cathedral Church of the Advent nity Church, Glenview, IL 7:30 pm coma, WA 12:10 pm Birmingham, Alabama 23 DECEMBER 17 NOVEMBER www.AdventBirmingham.org Handel, Messiah; Carnegie Hall, New York, Lynn Trapp, with piano, concertos; St. Olaf NY 8 pm Catholic Church, Minneapolis, MN 1:30 pm Advent Lessons & Carols; St. John’s Epis- David Pickering; Redeemer Lutheran, Sa- copal, Hagerstown, MD 10:15 am lina, KS 7 pm ROBERT L. Quire Cleveland; Trinity Cathedral, Cleve- The First Apostle; Christ Church Cathedral, Nicholas E. Schmelter land, OH 3 pm Houston, TX 3 pm Candlelight Service of Nine Lessons & Gail Archer; Episcopal Church of the Good Director of Music and Organist SIMPSON Carols; Christ Church Grosse Pointe, Grosse Shepherd, Ogden, UT 7 pm First Congregational Church Christ Church Cathedral Pointe Farms, MI 4:30 pm Saginaw, Michigan 1117 Texas Avenue Candlelight Service of Carols; First Presby- 18 NOVEMBER Houston, Texas 77002 terian, Springfi eld, IL 10:30 am Ken Cowan; St. Mark’s Lutheran, Marion, IA 4 pm 24 DECEMBER Jeannine Jordan, with media artist, Bach ORGAN MUSIC OF THE SPANISH BAROQUE Lessons & Carols; Grace Church, New and Sons; St. Mark Lutheran, Omaha, NE Stephen Tappe York, NY 8 pm 2:30 pm Organist and Director of Music Lessons & Carols; Camp Hill Presbyterian, Alan Morrison; Bates Recital Hall, Univer- David Troiano Camp Hill, PA 5 pm, 7 pm, 9 pm sity of Texas, Austin, TX 4 pm Saint John's Cathedral DMA MAPM Lessons & Carols; First United Methodist, The Chenaults; St. Andrew’s Episcopal, Denver, Colorado 586.778.8035 Columbus, IN 11 pm Amarillo, TX 7 pm www.sjcathedral.org Choral Evensong; St. John’s Cathedral, [email protected] 25 DECEMBER Denver, CO 3 pm Jeremy Filsell; Washington National Ca- Maurice Clerc; St. John’s Cathedral, Albu- thedral, Washington, DC 5:15 pm querque, NM 3 pm Angela Kraft Cross; St. Mary’s Cathedral, Marcia Van Oyen 26 DECEMBER San Francisco, CA 3:30 pm Joe Utterback John Coble; Visitor Center, Old Salem Mu- First United Methodist Church COMMISSIONS & CONCERTS seums & Gardens, Winston-Salem, NC 12 19 NOVEMBER Plymouth, Michigan noon •Craig Cramer; Hope Lutheran, Shawnee, 732 . 747 . 5227 KS 7:30 pm mvanoyen.com 28 DECEMBER Iris Lan; Trinity Church, Copley Square, 23 NOVEMBER Boston, MA 12:15 pm Rose Whitmore; Spanaway Lutheran, John W. W. Sherer; Fourth Presbyterian, Spanaway, WA 12 noon Chicago, IL 12:10 pm David Wagner 25 NOVEMBER DMA Kevin Walters 30 DECEMBER Mahlon Balderston; Trinity Episcopal, Madonna University M.A., F.A.G.O. John Alexander; Washington National Ca- Santa Barbara, CA 3:30 pm Livonia, Michigan thedral, Washington, DC 5:15 pm Karen Beaumont; St. Casimir’s 27 NOVEMBER [email protected] Rye, New York Roman Catholic Church, Milwaukee, WI 4 David Baskeyfi eld; St. Andrew United pm Methodist, Plano, TX 8 pm Lessons & Carols; St. Simon’s Episcopal, Arlington Heights, IL 8 am, 10 am 30 NOVEMBER Handel, Messiah; Kauffman Center for the KARL WATSON Davis Wortman 31 DECEMBER Performing Arts, Kansas City, MO 8 pm Cathedral Choir and Orchestra; Cathedral Chelsea Chen; First Congregational, Boul- St. James’ Church of St. John the Divine, New York, NY 7:30 pm der, CO 7:30 pm SAINT LUKE’S New York 1 DECEMBER METUCHEN UNITED STATES VocalEssence; Colonial Church of Edina, West of the Mississippi Edina, MN 7:30 pm Handel, Messiah; Kauffman Center for the 15 NOVEMBER Performing Arts, Kansas City, MO 8 pm Charles Callahan and Scott Davis, lec- RONALD WYATT RUDOLF ZUIDERVELD ture/recital; First Baptist, Nacogdoches, TX 2 DECEMBER 10:30 am VocalEssence; Plymouth Congregational, Trinity Church Illinois College, Jacksonville Christopher Jennings; First Presbyterian, Minneapolis, MN 4 pm Galveston First Presbyterian Church, Kilgore, TX 3 pm Advent Service of Lessons & Carols; St. Springfi eld Ken Cowan; First Baptist, Longview, TX Mark’s Episcopal Cathedral, Minneapolis, MN 7:30 pm 5 pm Lynn Trapp, Messiah Sing-A-Long; St. Olaf 16 NOVEMBER Catholic Church, Minneapolis, MN 6:30 pm Charles Dodsley Walker, FAGO Jean Guillou; Cathedral Basilica of St. Lou- Handel, Messiah; Kauffman Center for the is; St. Louis, MO 8 pm Performing Arts, Kansas City, MO 2 pm Artist-in-Residence Founder/Conductor Frank Perko III; St. John’s Cathedral, Den- Bradley Hunter Welch; Church of the Holy Saint Luke’s Parish Canterbury Choral Society ver, CO 3 pm Communion, Dallas, TX 5 pm 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458

William Webber, C.A.G.O. Organist, First Christian Church, Danville, KY Instructor of Music & Religious Studies, 5 Maysville Community College Contact Bill at 6 ±1HZIURP1HZ0H[LFR«SUHPLHUHSHUIRUPDQFHV = DQG¿UVWUHFRUGLQJVIHDWXUHPXVLFDQGPXVLFLDQVLQ , $OEXTXHUTXH A two-inch Professional Card in The Diapason 4 ±'DYLG%ULJJV«WKLVPXOWLIDFHWHG(QJOLVKRUJDQLVW FRQFHUWL]HVLPSURYLVHVWUDQVFULEHVDQGFRPSRVHVZLWK For information on rates and specifi cations, contact Jerome Butera: ) HTXDOHQWKXVLDVP [email protected] 847/391-1045

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WWW.THEDIAPASON.COM THE DIAPASON Q NOVEMBER 2012 Q 35 Calendar

Advent Lessons & Carols; Cathedral of St. David Higgs; Walt Disney Concert Hall, WA 7 pm 5 DECEMBER John, Albuquerque, NM 4 pm Los Angeles, CA 8 pm Mahlon Balderston; Trinity Episcopal, Gillian Weir; Westminster Cathedral, Lon- Vytenis Vasyliunas; St. Mary’s Cathedral, Santa Barbara, CA 3:30 pm don, UK 7:30 pm San Francisco, CA 3:30 pm 15 DECEMBER Kevin Rose; Trinity Episcopal, Santa Bar- Christmas concert; Cathedral Basilica of St. 6 DECEMBER INTERNATIONAL bara, CA 3:30 pm Louis, St. Louis, MO 8 pm Martin Ellis; St. Martin’s Dorking, London, Houston Chamber Choir; Chapel of the Villa UK 1 pm 7 DECEMBER de Matel, Houston, TX 3:30 pm and 7:30 pm 16 NOVEMBER VocalEssence; Shepherd of the Valley Lu- New Mexico Philharmonic Orchestra, Denis Bédard, with soprano; Holy Rosary 7 DECEMBER theran, Apple Valley, MN 7:30 pm Choirs of the Cathedral of St. John; Popejoy Cathedral, Vancouver, BC, Canada 8 pm David Oldfi eld; Parish Church of SS. Peter Lessons & Carols; Our Lady of the Lake Hall, University of New Mexico, Santa Fe, NM and Paul, Godalming, UK 1 pm Parish, Seattle, WA 7:30 pm 6 pm 17 NOVEMBER Lessons & Carols; Trinity Lutheran, Lyn- Andrew Sampson; St. Stephen’s Church, 9 DECEMBER 8 DECEMBER nwood, WA 7:30 pm London, UK 12 noon Simon Lloyd; Westminster Cathedral, Lon- Houston Chamber Choir, Handel, Messiah, don, UK 4:45 pm Part I; Church of St. John the Divine, Hous- 16 DECEMBER 18 NOVEMBER Peter Holder, with trombone; Westminster ton, TX 7:30 pm Christmas concert; Cathedral Basilica of St. Winfried Bönig; Saint-Sulpice, Paris, Abbey, London, UK 5:45 pm Lessons & Carols; Bothell United Method- Louis, St. Louis, MO 2:30 pm France 4 pm ist, Bothell, WA 7:30 pm Houston Chamber Choir; Chapel of the Villa Jeffrey Makinson; Westminster Cathedral, 12 DECEMBER Lessons & Carols; Stanford Memorial de Matel, Houston, TX 3:30 pm and 7:30 pm London, UK 4:45 pm Umberto Pineschi; Monastero della Visi- Church, Stanford, CA 8 pm Polyphony: Voices of New Mexico; Las Jeremy Lloyd; Methodist Central Hall, tazione, Pistoia, Italy 9 pm Placitas Presbyterian, Placitas, NM 3 pm Westminster, London, UK 3 pm 9 DECEMBER Lessons & Carols; St. Alphonsus Church, Peter Holder; Westminster Abbey, London, 14 DECEMBER VocalEssence; Plymouth Congregational, Ballard, WA 7 pm UK 5:45 pm Jonathan Bunney; St. Stephen Walbrook, Minneapolis, MN 4 pm David Gell; Trinity Episcopal, Santa Bar- Michael Murray; Ryerson United Church, London, UK 12:30 pm Lessons & Carols; Community of Christ bara, CA 3:30 pm Vancouver, BC, Canada 3 pm Temple, Independence, MO 7 pm 15 DECEMBER Advent Lessons & Carols; Christ Church 18 DECEMBER 21 NOVEMBER Andrew Parmley; St. Stephen’s Church, Cathedral, Houston, TX 5 pm Todd Wilson, with Pacifi c Symphony; Re- Graham Ireland; Reading Town Hall, Read- London, UK 12 noon Sangre de Cristo Chorale; Santa Maria de nee and Henry Segerstrom Concert Hall, ing, UK 1 pm la Paz Church, Santa Fe, NM 3 pm Costa Mesa, CA 7:30 pm Lessons & Carols; St. Stephen’s Episcopal, 22 NOVEMBER 16 DECEMBER Seattle, WA 7 pm 21 DECEMBER David Hughes; St. Martin’s Dorking, Lon- Andrea Vannucchi; Monastero della Visi- Emma Lou Diemer; Trinity Episcopal, San- Christmas Festival of Lessons & Carols; St. don, UK 1 pm tazione, Pistoia, Italy 5 pm ta Barbara, CA 3:30 pm Mark’s Episcopal Cathedral, Minneapolis, MN Ben Giddens; Westminster Cathedral, Lon- 7:30 pm 24 NOVEMBER don, UK 4:45 pm 11 DECEMBER Lessons & Carols; St. Mark’s Cathedral, Se- Peter Wright; Bloomsbury Central Baptist, Robert Quinney, with oboe; Westminster Baltimore Consort; Christ Church Cathe- attle, WA 7:30 pm London, UK 4 pm Abbey, London, UK 5:45 pm dral, Houston, TX 7:30 pm 22 DECEMBER 25 NOVEMBER 18 DECEMBER 13 DECEMBER Lessons & Carols; St. Mark’s Cathedral, Se- Andreas Jost; Église, Auvernier, Switzer- Richard Hobson; Grosvenor Chapel, Lon- Mark Fideldy; St. Barnabas Lutheran, attle, WA 7:30 pm land 5 pm don, UK 1:10 pm Plymouth, MN 12:30 pm Martin Stacey; St. Paul’s Cathedral, Lon- 23 DECEMBER don, UK 4:45 pm 23 DECEMBER 14 DECEMBER Christmas Festival of Lessons & Carols; St. João Santos; Westminster Cathedral, Lon- Kumiko Konishi; Monastero della Visitazi- +Judith Hancock & Scott Davis; Jessen Mark’s Episcopal Cathedral, Minneapolis, MN don, UK 4:45 pm one, Pistoia, Italy 5 pm Auditorium, University of Texas, Austin, TX 5 pm Alexander Binns, with trumpet; Westmin- Gerard Brooks; Methodist Central Hall, 7:30 pm Britten, A Ceremony of Carols; Cathedral of ster Abbey, London, UK 5:45 pm Westminster, London, UK 3 pm Lessons & Carols; Holy Rosary Church, Se- St. John, Albuquerque, NM 3:30 pm Irina Rozalova; Westminster Cathedral, attle, WA 7:30 pm Christmas Lessons & Carols; Cathedral of 29 NOVEMBER London, UK 4:45 pm Christmas Carol Sing-along; Trinity Episco- St. John, Albuquerque, NM 4 pm Paul Gobey; St. Martin’s Dorking, London, pal, Santa Barbara, CA 3:30 pm Lessons & Carols; Benaroya Hall, Seattle, UK 1 pm 25 DECEMBER Jean-Christopher Geiser; Cathedral, Lau- sanne, Switzerland 5 pm ORGAN BUILDERS 30 NOVEMBER Jens Korndoerfer; Holy Rosary Cathedral, Vancouver, BC, Canada 8 pm 30 DECEMBER Anna Picchiarini; Monastero della Visitazi- L. W. BLACKINTON THE NOACK ORGAN CO., INC. 2 DECEMBER one, Pistoia, Italy 5 pm and associates, inc. MAIN AND SCHOOL STREETS Robert Selinger, with soprano; Cattedrale, Peter Holder; Westminster Abbey, London, GEORGETOWN, MA 01833 UK 5:45 pm www.noackorgan.com Pistoia, Italy 5 pm 380 FRONT ST. Peter Stevens; Westminster Cathedral, EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America London, UK 4:45 pm 31 DECEMBER Martin Ford, with clarinet; Westminster Ab- Jean-Christopher Geiser; Cathedral, Lau- bey, London, UK 5:45 pm sanne, Switzerland 10:45 pm Member Firm: The Associated Pipe Organ Builders of America martin ott pipe organ RANDALL DYER company & ASSOCIATES, INC. inc.

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36 Q THE DIAPASON Q NOVEMBER 2012 WWW.THEDIAPASON.COM Organ Recitals

DEAN BILLMEYER, Congregational Unit- JONATHAN DIMMOCK, with Jane Cain, Gothique, op. 25, Boëllmann; Bolero de concert, Wesley; Evensong, Callahan; Prelude and Fugue ed Church of Christ, Iowa City, IA, April 22: duo organist, Davidson College Presbyterian op. 166, Lefébure-Wely. in B-Flat, Bach; Prelude in Classic Style, Young; Final (1st Sonata for Organ, op. 42), Guilmant; Church, Davidson, NC, May 1: Praeludium in God of Grace and God of Glory, Manz; Jesus, Ciacona, Toccata Septima (Apparatus Musico- f-sharp, Buxtehude; Prelude and Fugue in C, STEPHEN HAMILTON, Trinity Church Co- Joy of Man’s Desiring, Bach; Rhapsody on Eng- Organisticus), Muffat; Schmücke dich, o liebe BWV 547, Bach; Sonata in d, op. 30, Merkel; pley Square, Boston, MA, April 6: Le Chemin de lish Hymntunes, Callahan; Toccata on Amazing Seele, BWV 654, Von Gott will ich nicht lassen, Hymne d’Action de Grace ‘Te Deum,’ Langlais; la Croix, Dupré. Grace, Pardini. BWV 658, Allein Gott in der Höh sei Ehr, BWV Prélude, Adagio et Choral Varié sur ‘Veni Cre- 663, Prelude and Fugue in G, BWV 541, Bach; ator,’ Durufl é. BENJAMIN HUTTO, Bethel United Meth- DOROTHY YOUNG RIESS M.D., Trin- Ecce Lignus Crucis —A Meditation, Heiller; La odist Church, Charleston, SC, May 28: War ity United Methodist Church, Youngstown, Procession de la Fête d’un Village surprise, Blanc; MATTHEW DIRST, Co-Cathedral of the March of the Priests (Athalie, op. 74), Mendels- OH, May 6: Fête, Langlais; Triple Fugue on ‘St. Prelude and Fugue in g, op. 7, no. 3, Dupré. Sacred Heart, Houston, TX, May 22: In festo sohn; Concerto in G, BWV 592, Bach; Saraband Anne,’ BWV 552, Bach; Symphonic Chorale corporis Christi, Heiller; Variations sur un for the Morning of Easter, Howells; Andante al- ‘Jesu Meine Freude,’ op. 87, no. 2, Karg-Elert; ELIZABETH and RAYMOND CHENAULT, thème de Clément Janequin, Alain; Impromptu, legro (Concerto in B-fl at, op. 4, no. 6), Handel; ‘Waltz 2,’ Suite for Variety Orchestra, Shosta- with Paul Hamaty, commentator, and Jeffer- Vierne; Aria, Alain; Dieu est simple (Méditations La Joie du Printemps, Hart; Crown Imperial, kovich, arr. Riess; Alléluias sereins, Transports son McConnaughey, visual effects, All Saints sur le mystère de la Sainte Trinité), Messiaen; Walton, arr. Murrill. de Joie (L’Ascension), Messiaen. Church, Atlanta, GA, May 15: Choral (Sonate à Basse de Trompette, Jig for the Feet, Nocturne Deux), Litaize; Récit–Te Deum, Marchand; Cro- (Organbook III), Albright; Joie et clarté (Les CHRISTOPHER JENNINGS, St. Matthew’s JEFFREY SCHLEFF, St. Andrew Lutheran morne en taille du 2ème ton, D’Andrieu; Plein jeu corps glorieux), Messiaen; Passacaille, Martin. Lutheran Church, Charleston, SC, May 29: Fan- Church, Mundelein, IL, April 1: Fantasy VI, Fro- du 6ème ton, D’Angincourt; Carillon de West- fare, Wyton; Prélude, Adagio, et Choral Varié sur berger; Fantasy in g, BWV 542, Bach; O Blessed minster (Pièces de Fantaisie), Vierne; Apparition KELLY DOBBS-MICKUS, Loyola Univer- le thème du Veni Creator, op. 4, Durufl é; Five Spring, J. Biery; My Song Is Love Unknown, Os- de l’église éternelle, Messiaen; Rosace (Esquisses sity, Chicago, IL, May 20: Processional, Mathias; Dances, Hampton; Scherzetto, op. 108, no. 1, terland; Hosanna, Loud Hosanna, Kerr. Byzantines), Mulet; Marche des Rois Mages, Du- Suite de Deuxième Ton, Clérambault; Sonata in Jongen; Toccata, Hancock. bois; Lamento, Dupré; Incantation pour un Jour c, op. 65, no. 2, Mandelssohn; Voluntary in G, MICHAEL STAIRS, Longwood Gardens, Ken- Saint, Langlais; The Phantom of the Opera Med- Heron; Le Banquet Céleste, Messiaen; Magnifi - JAMES METZLER, St. Thomas Church nett Square, PA, May 6: New Era, Ogden; Coun- ley, Lloyd Weber, arr. Chenault. cat Primi Toni, Buxtehude; Final (Organ Sym- Fifth Avenue, New York, NY, May 20: Marche try Gardens, Grainger, arr. Keedy; The Nightin- phony No. 1 in d, op. 14), Vierne. de Fête, Büsser; Andante sostenuto (Symphonie gale and the Two Sisters, Grainger, arr. Perna; On BRIAN WM. DAVEY, Episcopal Church of Gothique, op. 70), Widor; Fantasy in G, BWV Hearing the First Cuckoo in Spring, La Calinda Bethesda-by-the-Sea, Palm Beach, FL, May 6: RONALD EBRECHT, Conservatorio Santa 572, Bach; Chant héroïque (Neuf Pièces), Lan- (Koanga), Delius, arr. Stairs; Salut d’Amour, Elgar, Trumpeting, Wood; Berceuse (Suite Bretonne), Cecilia, Rome, Italy, May 28: Fantasia in fa mi- glais; Adagio (Symphony No. 3, op. 28), Vierne; arr. Lemare; Saints on a Spree, Acacia Avenue (An Dupré; Boléro de Concert, op. 166, Lefébure- nore, K. 608, Mozart; Fuga in la bemolle minore, Improvisation sur le ‘Te Deum’, Tournemire, Art Deco Three Piece Suite), Ogden; Scenes from Wely; Andantino, Lemare; The Bells of Saint Brahms; Go down Moses, Sowande; Blues ev- transcr. Durufl é. an Imaginary Ballet, No. 1, Coleridge-Taylor, arr. Anne de Beaupre, Russell; Toccata in b, Gigout. erywhere, Scott; Michael, row the boat ashore, Swinnen; The Dam Busters, Coates. Bruce; Prelude e tripla fuga in mi bemolle mag- CHRISTA RAKICH, The Church of Christ at ROBERT DELCAMP, with Chattanooga giore, Bach; Scherzo, op. 2, Prélude, Adagio et Dartmouth College, Hanover, NH, June 3: Fanta- GEOFFREY WARD, St. James United Symphony and Opera Youth Orchestras’ Sym- choral varié sur le thème du ‘Veni Creator,’ op. sie in G, BWV 571, Sonata No. 1 in E-fl at, BWV Church, Montreal, QC, Canada, June 26: Cia- phony Orchestra, Gary Wilkes, conductor, Sol- 4, Durufl é. 525, Komm, heiliger Geist, Herre Gott, BWV 651, cona in e, BuxWV 160, Buxtehude; Variations diers & Sailors’ Memorial Auditorium, Chatta- Schmücke dich, o liebe Seele, BWV 654, Nun dan- on ‘God Save the King’, Rinck; Sonata, Cirri; nooga, TN, May 7: Marche Militaire, Schubert; JOHN GIRVIN, with Max Morden, trum- ket alle Gott, BWV 657, Von Gott will ich nicht Paraphrase sur le ‘Te Deum’, Langlais; Adagio Organ Concerto in F (The Cuckoo and the pet, Faith Lutheran Church, New Providence, lassen, BWV 658, Jesus Christus, unser Heiland, in E, Bridge; Prelude and Fugue in e, BWV Nightingale), Handel; Spring Song, Hollins; NJ, May 6: Fantasy and Fugue in c, BWV 537, BWV 665, An Wasserfl üssen Babylon, BWV 653, 548, Bach. Saints on a Spree, Ogden; American Salute, Bach; Concerto in B-fl at, HWV 294, Handel; O Lamm Gottes, unschuldig, BWV 656, Bach. Gould; Variations on a Shaker Melody, Cop- O Mensch, bewein’ dein’ Sünde gross, BWV JAMES WELCH, Notre Dame d’Auteuil, land; Night on Bald Mountain, Moussorgsky; 622, Bach; Offertoire in E-fl at, Pastorale, op. BECKY RAMSEY & ALICE WALKER, Ca- Paris, France, June 17: Toccata, Vierne; Inter- Symphony No. 1 for Organ and Orchestra, op. 19, Franck; Prayer of Saint Gregory, op. 62b, thedral Basilica of St. Augustin, St. Augustine, mezzo (Suite pour Orgue), Berveiller; Earth 42, Guilmant. Hovhaness; Voluntary in G, S. Glück; Suite FL, June 1: Allegro and Fugue (Duet for Organ), Carol, Purvis; Lyric Symphony, Christiansen.

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PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS

You probably know the “Fireside Fancies” Certifi ed appraisals—Collections of organ Wayne Leupold Editions announces new The Organ Historical Society has released by Joseph Clokey but have never seen them all books, recordings, and music, for divorce, publications. The Keyboard Manuscript of Fran- Historic Organs of Indiana, 4 CDs recorded at together. For years, organists have suggested estate, gift, and tax purposes. Stephen L. Pinel, cis Hopkinson, Volume 2 (WL600270, $37.50), the OHS National Convention in Central Indiana them for restoration and rightfully so. Those Appraiser. [email protected]; 609/448-8427. edited by H. Joseph Butler, an anthology of in July, 2007. Nearly 5 hours of music features keyboard music popular in America in the second 31 pipe organs built between 1851–2004, by who think the name of Clokey sounds somehow Aeolian-Skinner, Skinner, Henry Erben, Fel- half of the eighteenth century, contains musical familiar will be pleased to know that Joseph, the gemaker, Hook & Hastings, Kilgen, Kimball, Pipe Organs of the Keweenaw by Jan Dalquist, styles ranging from middle Baroque to early composer and organist awarded three honorary a booklet with histories, stoplists, and photos of and many more builders. Performers include Classical. Historical editions include Susanne doctorates, was the father of Art, the anima- some of the historic organs of the Keweenaw Ken Cowan, Thomas Murray, Bruce Stevens, van Soldt Klavierboek (WL600275, $42.00), tor who created Gumby and Davey & Goliath. Peninsula, the northernmost tip of Michigan’s Carol Williams, Christopher Young, and others. and The Netherlands, 1575–1700 (WL500018, michaelsmusicservice.com; 704/567-1066. Upper Peninsula, has been published. Organs A 40-page booklet with photos and stoplists is $59.00) both edited by Calvert Johnson. Con- included. OHS-07 4-CD set is priced at $34.95 include an 1899 Barckhoff and an 1882 Felge- gregational song titles include Gracia Grindal’s (OHS members, $31.95) plus shipping. Visit the maker. The booklet is priced at $8.00 per copy, A Treasury of Faith: Lectionary Hymn Texts, Old OHS Online Catalog for this and over 5,000 3 Baroque Transcriptions for Organ—New which includes postage, and is available from single editions from Fruhauf Music Publica- Testament, Series A, B, and C (WL800043, other organ-related books, recordings, and sheet the Isle Royale and Keweenaw Parks Asso- music: www.ohscatalog.org. tions. J. S. Bach: Sinfonia from Cantata 29, ciation, 49445 US Hwy 41, Hancock, Michigan $32.50). For information: 800/765-3196; $10; G. F. Handel: Organ (or Harp) Concerto in 49930. For information: 800/678-6925. www.wayneleupold.com. B-fl at Major, $9; and A. Vivaldi: Lute Concerto Refl ections: 1947–1997, The Organ Depart- in D Major, $9. Visit www.frumuspub.net, or ment, School of Music, The University of Historic Organs of Seattle: A Young Yet contact: [email protected]; 805/682-5727, Fruhauf Music Publications presents sea- Michigan, edited by Marilyn Mason & Margarete sonal offerings: A Starlit Night It Was in Beth- Vibrant History, is a four-disc set recorded at Thomsen; dedicated to the memory of Albert mornings, Pacifi c time. By mail: Fruhauf Music the 2008 OHS national convention, held in the lehem —Christmas Carol Verse Anthem (SATB, Stanley, Earl V. Moore, and Palmer Christian. Publications, P.O. Box 22043, Santa Barbara, Seattle area. Nearly fi ve hours of music feature SAB, Unison & Organ, 10 p.); and Seven Varia- Includes an informal history-memoir of the organ CA 93121-2043. historic organs by Aeolian-Skinner, Casavant, tions on a French Noel [$12] for organ solo. Visit department with papers by 12 current and former Hook & Hastings, and Hutchings-Votey, Kilgen, faculty and students; 11 scholarly articles; remi- www.frumuspub.net to view listings and place Tallman, Woodberry, Hinners, Cole & Wood- e-mail orders. Or contact: [email protected]; niscences and testimonials by graduates of the The OHS Catalog is online at www.ohscatalog. berry, plus instruments by Flentrop, C. B. Fisk, department; 12 appendices, and a CD record- org. More than 5,000 organ and theatre organ 805/682-5727, Mon-Fri mornings, Pacifi c time; and Rosales, and Pacifi c Northwest organbuild- ing, “Marilyn Mason in Recital,” recorded at the CDs, books, sheet music, DVDs and VHS vid- or write: Fruhauf Music Publications, P.O. Box ers Paul Fritts, Martin Pasi, John Brombaugh, National Shrine of the Immaculate Conception eos are listed for browsing and easy ordering. 22043, Santa Barbara, CA 93121-2043. Richard Bond, and many more! Organists in Washington, DC. $50 from The University of Use a link for adding your address to the OHS Douglas Cleveland, Julia Brown, J. Melvin But- Michigan, Prof. Marilyn Mason, School of Music, ler, Carole Terry, Bruce Stevens, and others are Catalog mailing list. Organ Historical Society, Box Ann Arbor, MI 48109-2085. Crystal Records has released David Craighead, featured on 24 pipe organs built between 1871 26811, Richmond, VA 23261. E-mail: catalog@ Organ (CD181), a CD that combines Craighead’s and 2000. Includes 36-page booklet with pho- organsociety.org. two LPs on Crystal Records, originally released tographs and stoplists. $34.95; OHS members: The Tracker—The Organ Historical Society in 1977 and 1981. The program includes Albright, $31.95. For info or to order: http://OHSCatalog. publishes its journal four times a year. The The King of Instruments; Persichetti, Sonata for com/hiorofse.html. Tr a c ke r includes news and articles about the Ed Nowak, Chicago-area composer, arranger, Organ, op. 86, and Drop, Drop Slow Tears; Adler, organ and its history, organbuilders, exemplary and church musician, announces his new web- Xenia, A Dialog for Organ and Percussion (Gor- organs, regional surveys of instruments, and site, featuring Nowak’s original choral works, don Stout, percussion); and Cooper, Variants for *Two Films on DVD about J. S. Bach’s “Art of music played on the organ. Emphasis is on American organ topics of the 18th, 19th, and hymn concertatos, chamber and orchestral Organ. David Craighead (1924–2012) was chair- Fugue,”* and 2 CDs of the entire work played by 20th centuries, with occasional features on works, organ hymn accompaniments, organ man of the organ department at Eastman School George Ritchie, as well as two hours of video and piano pieces, electronic music, and psalm lecture by Ritchie at the organ, receive rave European topics. Most issues run 32 pages with of Music from 1955 until his retirement in 1992. many illustrations and photographs, and at least settings. The website offers scores and recorded One of the most respected organists in the world, reviews from all quarters and are sold as a set, one annual issue is published in full color. Mem- examples that are easy to sample and can be Craighead represented “the American School of FSF-DVD-001, for $39.95 postpaid worldwide by bership in OHS includes a subscription to The purchased in downloaded (PDF and MP3) or organists at its fi nest” New( York Times). For infor- Raven, Box 25111, Richmond, VA 23261, www. Tr a c ke r . For more information or to subscribe: printed form. Visit ednowakmusic.com. mation: 360/834-7022; www.crystalrecords.com. RavenCD.com. www.organsociety.org.

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PUBLICATIONS / RECORDINGS PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SERVICES / SUPPLIES

Walton Music’s new choral music includes Away 1964 M.P. Möller pipe organ. 36-rank Ornate Gothic oak organ case—Front and in a Manger, The Holly and the Ivy, All Creatures American Classic specifi cation including two sides. H 312″, W 330″, D 174″. Includes façade Need help with your re-leathering project? of Our God and King, Midnight Clear, Love Came célestes, two enclosed divisions and 32′ reed. pipes and related ranks (Principal 16′, Principal All pneumatics including Austin. Over 45 years experience (on the job assistance Down at Christmas, and Waltz for an Open Three-manual electro-pneumatic console. No 8′, Harmonic Flute 8′). $30,000. john@organ- Sleigh. Titles for developing voices include Bum- available). 615/274-6400. casework or façades; instrument is in good clearinghouse.com; 617/688-9290. ble Bee, Der Tanz, Die Nachtigall, The Rainbow, condition but will need re-leathering. New price: Regina Coeli, and Peace on Earth . . . And Lots of Asking $35,000 “as is” or can be rebuilt. For more Little Crickets. Also available: Eric Whitacre’s Five information, contact Létourneau Pipe Organs at Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions Hebrew Love Songs and Water Night, plus titles [email protected] or 888/774-5105. parts. Let us know what you are looking for. and mechanisms. Highest quality materi- for men’s voices, women’s voices, and vocal jazz. als and workmanship. Reasonable rates. For information: www.musical-resources.com. E-mail [email protected] (not comcast), phone 215/353-0286 or 215/788-3423. Columbia Organ Leathers 800/423-7003. Reuter, 15 stops, great condition. Moller www.columbiaorgan.com/col. Double Artiste, very good condition. 615/274- Request a free sample issue of The Diapason 6400 or milnarorgan.com. for a student, friend, or colleague. Write to the 16′ Double Open Wood Diapason with chests Editor, The Diapason, 3030 W. Salt Creek Lane, and racks. 14″ Scale, 5″ WP. $8000 FOB Deer- Highest quality organ control systems since Suite 201, Arlington Heights, IL 60005; or e-mail: fi eld, NH. Can deliver. john@organclearinghouse. 1989. Whether just a pipe relay, combination Wicks organ, 2 manuals, 4 ranks, ca. 1990. action or complete control system, all parts [email protected]. 16′ Rohrfl ute 97 pipes, 8′ Principal 85 pipes, 4′ com; 617/688-9290. ′ are compatible. Intelligent design, competitive Gemshorn 73 pipes, 8 Trumpet 61 pipes. Excel- pricing, custom software to meet all of your lent condition. Oak casework and console. Lauck PIPE ORGANS FOR SALE ANNOUNCEMENTS requirements. For more information call Westa- Pipe Organ Co. 269/694/4500; e-mail: k.reed. cott Organ Systems, 215/353-0286, or e-mail [email protected]. [email protected]. 1949 Holtkamp Organ from St. Paul’s Lutheran The second East Texas Pipe Organ Festival Church, Cleveland, OH. Three manuals, 37 takes place November 12–15. Organists Jeremy stops, 51 ranks. A true classic. Listed in Blanton. ELECTRONIC ORGANS FOR SALE Bruns, Charles Callahan, Ken Cowan, Richard Aeolian/Robert Morton-style maroon Restored, and installed, $450,000–500,000 Elliott, David Ford, Christopher Jennings, Lorenz leather is now available from Columbia Organ depending on confi guration and casework. See Leathers! Highest quality. 800/423-7003, Hybrid organ—Rodgers Organ, Trillium T927, Maycher, Thomas Murrray, Larry Palmer, Walt THE DIAPASON E-news or www.holtkamporgan. three manuals, four ranks of North European www.columbiaorgan.com. com for details, or call 216/741-5180. Strony, Brett Valliant, and Bradley Welch perform pipes. For small church or large house. New Jer- on Aeolian-Skinner pipe organs tonally fi nished sey area. E-mail [email protected], or phone by Roy Perry (1906–1978). For information: www. ATTENTION ORGANBUILDERS! Are you wor- 973/543-7505. 1928 Casavant pipe organ, completely restored EastTexasPipeOrganFestival.com. ried by the shrinking church market? Expand with fi ve new stops by Létourneau in 1987. Two into the health-club scene! Our new Exer-Bellows manuals and pedals, 24 ranks. Organ is in excel- Allen MDS-65—3-manual drawknob, 54 stops, provides a winding system that can make pipe Are you receiving THE DIAPASON E-News? Our lent condition and is a good candidate for solid- 6 channels, 600 watts audio, 6 speakers, MIDI; organs commonplace in gyms nationwide. Two state conversion. Asking $65,000 “as is” or can 1990’s vintage, good condition: $33,000. Atlantic newsletter is e-mailed monthly to our registered models available: bicycle, or elliptical trainer. Now be rebuilt with modifi cations. For more informa- City Pipe Organ Co.; 609/432-7876. subscribers; a separate issue each month sends people can burn calories while producing beauti- tion, contact Létourneau Pipe Organs at mail@ you our web classifi ed ads. To register, visit ful music! Can also be used with church organs, letourneauorgans.com or 888/774-5105. www.TheDiapason.com, click on Newsletter, to help portly choir members become more svelte, MISCELLANEOUS FOR SALE and enter your contact information. For assis- or to keep young high-energy choristers occupied tance, contact Joyce Robinson, 847/391-1044, and their energy under control. Box Bellows-Con, 1971 II/3 Delaware simulated tracker-touch The Diapason, [email protected]. pipe organ (61) pedal (32). Perfect for practice Wood pipes. Missing pipes made to match. [email protected]. or small church. 12 stops, 185 pipes. Contact Damaged pipes in any condition repaired. Over [email protected]; 330/494-3195. 25 years experience. Filip Cerny, 814/342-0975. If your company was not listed in THE Postal regulations require that mail to The DIAPASON 2012 Resource Directory, be sure Diapason include a suite number to assure delivery. Please send all correspondence Two manual, 3 ranks, 6 Walker stops, detached Atlantic City Pipe Organ Company—16′ Double to be part of the 2013 issue! For informa- to: The Diapason, 3030 W. Salt Creek Lane, console,10 years old; $6,500. Atlantic City Pipe Open Diapason, 16′ String, 16′ Pedal Trombone, tion, contact Joyce Robinson, 847/391-1044, Suite 201, Arlington Heights, IL 60005. Organ Co., 609/432-7876. much more. 609/641-9422, [email protected]. [email protected].

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 Builders of America -+ &62GHOO odellorgans.com s 860-365-8233 P.O. Box 405, East Haddam, Connecticut 06423 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859

GUZOWSKI & STEPPE Advertise in The Diapason H.W. DEMARSE ORGANBUILDERS INC For rates and digital specifi cations TRACKER ORGANS NEW INSTRUMENTS REBUILDS - ADDITIONS contact Jerome Butera TUNING & SERVICE 518-761-0239 1070 N.E. 48th Court 847/391-1045 2 Zenus Dr., Queensbury, NY 12804-1930 FT. LAUDERDALE, FL 33334 (954) 491-6852 [email protected]

HAGERSTOWN Own a piece of history! ORGAN COMPANY, INC. New • Rebuilding • Solid-State Updating The cover of the 100th Anniver- sary Issue of The Diapason is now 301/797-4300 available on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold- Patrick j. Murphy colored metal, and the high-quality & associates, inc. plaque has a marbleized black organbuilders fi nish; a slot on the back makes it easy to hang for wall display. Made 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 in the USA, The Diapason 100th 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com Anniversary Issue commemorative plaque is available for $45, shipping in USA included. $10 discount for Jacques Stinkens The Organ Clearing House members of the 50-Year Subscrib- PO Box 290786 ers Club. Order yours today: Organpipes - since 1914 Charlestown, MA 02129 [email protected] Flues - Reeds Ph: 617.688.9290 847/391-1045 Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl

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George Baker Diane Meredith Belcher Michel Bouvard* Guy Bovet* Chelsea Chen Douglas Cleveland Daryl Robinson 2012 AGO National Competition Winner Available 2012-2014

Ken Cowan Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang*

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

Janette Fishell David Goode* Judith Hancock Thomas Heywood* David Higgs Marilyn Keiser

Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012

Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney

Celebrating Our 91st Season!

*=Artists based outside the U.S.A. Thomas Trotter* Todd Wilson Christopher Young