THE DIAPASON MARCH 2019

The Cathedral of Christ the King Superior, Wisconsin Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

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

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

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

ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 3, Our website and more vintage issues Whole No. 1312 We have uploaded more digitized issues from our 110 year MARCH 2019 history at our website, www.thediapason.com. At this time, sub- Established in 1909 scribers can view most issues from 1944–1945, 1966–1993, and Stephen Schnurr ISSN 0012-2378 2005 to the present. There are some gaps within these years, 847/954-7989; [email protected] and we are interested in acquiring missing issues, should you www.TheDiapason.com An International Monthly Devoted to the Organ, have them. The project of digitization will continue, with the the Harpsichord, Carillon, and Church Music goal at the end of phase 1 to offer PDFs of issues between 1944 Avenue, New York City. Jonathan Ortloff and Kola Owolabi and the present. A feature article on this project is forthcoming. report on the Organ Historical Society 2018 national conven- CONTENTS tion, headquartered at Rochester, New York. Don’t forget! FEATURES In “Harpsichord Notes,” Larry Palmer brings to our attention The new Dobson organ at Saint Thomas A subscription to The Diapason makes the perfect gift at any a new book by Beverly Jerold as well as a new CD, Telemann Church, Fifth Avenue, New York time! Many of our readers have been subscribers for many years. Sonatas for Violin and Harpsichord. John Bishop, in “In the by Scott Cantrell 16 Start a new tradition with your friend, student, or colleague with Wind . . .,” muses on the words of Charles Brenton Fisk, “The Organ Historical Society 2018 Convention, the monthly remembrance that brings so much to your mailbox organ has to appear to be alive.” In “On Teaching,” Gavin Black Rochester, New York: A review by Jonathan Ortloff and Kola Owolabi 20 or email account. Visit www.thediapason.com and click on Sub- continues his discussion of the various meanings of repetition. scribe at any time, or contact Rose Geritano, our subscription Our cover feature focuses on the new organ by Sebastian M. NEWS & DEPARTMENTS manager, at [email protected] or 847/391-1030. Glück of New York, New York, for the Cathedral of Christ the Editor’s Notebook 3 King, Superior, Wisconsin. In “Organ Projects,” the Bennett Here & There 3 In this issue Organ Co. instrument at St. Paul’s Memorial United Method- Appointments 4 Scott Cantrell provides an introduction to the new Dob- ist Church, South Bend, Indiana, as rebuilt by the Berghaus Nunc Dimittis 6 son Pipe Organ Builders organ in St. Thomas Church, Fifth Organ Company of Bellwood, Illinois, is featured. Q Carillon News 8 Harpsichord Notes by Larry Palmer 11 In the wind . . . by John Bishop 12 Here & There On Teaching by Gavin Black 14 REVIEWS Events Kola Owolabi; April 8, Stephen Warner, The seventh International Organ New Organ Music 10 silent fi lm accompaniment, Our Hospi- Competition Dudelange 2019 will New Recordings 10 tality; June 2, Colin Knapp and friends. take place September 8–13 at St. Mar- New Handbell Music 11 The organ at the church is Opus 110 by tin’s Church, Dudelange, Luxembourg, ORGAN PROJECTS 24 Martin Ott: three manuals, 35 stops, 41 on the Stahlhuth-Jann organ of four CALENDAR 25 ranks. http://www.martinottpipeorgan. manuals, 78 ranks. The jury includes com/opus-110. Also see The Diapason, Bernard Foccroule (president, Bel- RECITAL PROGRAMS 29 September 2009, p. 32, https://www. gium), Paul Breisch (Luxembourg), Kay CLASSIFIED ADVERTISING 30 thediapason.com/sites/thediapason/ Johanssen (Germany), and Monica Mel- fi les/September2009FullIssue.pdf.) For cova (Spain). Jury members will present information: www.fpcy.org. a masterclass. Application deadline is THE July 15. For information: DIAPASON MARCH 2019 www.orgue-dudelange.lu.

Cathedral of St. Mary of the Assump- Conferences and tion, San Francisco, California, Ruffatti seminars organ The United Church of Christ Musicians’ Association announces its The Cathedral of St. Mary of the biennial conference, “Uniting Church Assumption, San Francisco, Califor- and Community through Music and The Cathedral of Christ the King Superior, Wisconsin Cover feature on pages 22–23 nia, announces recitals, Sundays at Art,” June 25–28. The conference will be 4:00 p.m.: March 3, Laura Wiley, fl ute, hosted at First Congregational Church, COVER and David McFarland, guitar; 3/17, Madison, Wisconsin. Clinicians include Sebastian M. Glück, New York, New York; Oliver Brett, organ; 3/24, Polyphon- John Behnke, Bruce A. Bengtson, The Cathedral of Christ the King, ics concert choir, directed by Scott Greg Zelek, and others. For informa- Superior, Wisconsin 22 Glysson; 3/31, Friedrich Ebelmann, tion: www.uccma.org/conference2019. bassoon, Rebecca Rust, cello, Monica Zion Lutheran Church, Wausau, Wiscon- sin, Kegg organ Editorial Director STEPHEN SCHNURR Chew, piano; The French Organ Music Seminar and Publisher [email protected] April 7, Hanna Tarley, violin; 4/14, announces its 2019 summer offerings, 847/954-7989 Thomas Mellan, organ, Espen Aas, Zion Lutheran Church, Wausau, July 4–19, including four days in Eng- President RICK SCHWER clarinet; 4/21, Jeanette Wilkin Tietze, Wisconsin, announces organ recitals, land, eight in Paris, and three in Alsace. [email protected] piano; 4/28, David Ball, organ. St. Sundays at 3:00 p.m.: May 5, Craig Time in England features visits to Royal 847/391-1048 Mary’s Cathedral houses a 1971 Fratelli Cramer; October 6, Isabelle Demers. Festival Hall, Westminster Abbey, West- Ruffatti organ of four manuals, 89 ranks. The three-manual, 49-rank organ was minster Cathedral, and St. Paul’s Cathe- Editor-at-Large ANDREW SCHAEFFER [email protected] For information: built by Kegg Pipe Organ Builders of dral, London. Highlights of Paris include www.stmarycathedralsf.org. Hartville, Ohio, and was featured in the Notre Dame, Sacré Coeur, St. Etienne Sales Director JEROME BUTERA January 2011 issue of The Diapason. du Mont, Radio France, St. Sulpice, La [email protected] 608/634-6253 For information: Trinité, and La Madeleine. Hosting the Circulation/ https://zionlutheranwausau.com. tour in Alsace will be Daniel Roth, Subscriptions ROSE GERITANO Yannick Merlin, and Beatrice Piertot. [email protected] 847/391-1030 Competitions Organs visited include those of Stras- Handbell Musicians of America bourg and Ebersmünster. There will be Designer KIMBERLY PELLIKAN Area 3 welcomes entries from compos- a concert given by FOMS members. [email protected] ers for a composition to be premiered All seminars include playing time and 847/391-1024 at the organization’s 2020 Adult Spring instruction on each organ. Registrants Contributing Editors LARRY PALMER Handbell Festivals. Original composi- may sign up for individual segments or Harpsichord tions should not be based on any other for all three. For information: BRIAN SWAGER First Presbyterian Church, Ypsilanti, tune, should be suitable for massed www.bfoms.com. Carillon Michigan, Martin Ott organ ringing, and consist of two compatible handbell scores of a single piece in 2–3 The American Kodály Institute JOHN BISHOP The Ypsilanti Organ Festival, and 3–5+ octave versions. Winning com- at Loyola University Maryland In the wind . . . hosted by First Presbyterian Church, position prize is $1,500. Deadline for announces its summer master’s degree GAVIN BLACK Ypsilanti, Michigan, announces events submissions is March 23. For informa- programs. Programs include endorsed On Teaching for 2019, Sundays at 4:00: March 10, tion: www.areaiii.org. ³ page 4 Reviewers Jay Zoller

John L. Speller THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Leon Nelson Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Subscriptions: 1 yr. $43; 2 yr. $77; 3 yr. $106 (United States and U.S. Possessions). Copyright ©2019. Printed in the U.S.A. Canada and Mexico: 1 yr. $43 + $10 shipping; 2 yr. $77 + $15 shipping; 3 yr. $106 + $18 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $43 + $30 shipping; 2 yr. $77 + $40 shipping; specifi c written permission of the Editor, except that libraries are authorized to make 3 yr. $106 + $48 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite THE DIAPASON accepts no responsibility or liability for the 201, Arlington Heights, Illinois 60005-5025. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 3 Here & There

³ page 3 Kodály certifi cation levels 1, 2, and 3, an Appointments M.Ed. in Kodály Music Education, and Jillian Gardner is appointed other options. Courses run July 6–26 in director of music and organist for Baltimore. For information: Huntsville First United Methodist www.loyola.edu/kodaly. Church, Huntsville, Alabama, where her responsibilities include overseeing First-Plymouth Church, Lincoln, the music department consisting of Nebraska, announces “Sing Your 11 ensembles, choirs, and children’s Faith—Refresh Your Spirit: A Choral Stephen Hamilton music while providing leadership of and Spiritual Retreat in the Heartland,” two adult choirs and serving as choir- July 19–21. Clinicians include Tom St. Matthäus Lutheran Church, Munich, master for two traditional services. Trenney, Ariel Merivil, Rev. Barbara Germany; 3/31, Saint Paul Within the Gardner holds degrees in organ Crafton, and Michael Hawn. For Walls, Rome, Italy; April 7, St. Giles Jillian Gardner from Baylor University and Oberlin information: www.fi rstplymouth.org/ Cathedral, Edinburgh, Scotland; 4/9, Conservatory, having studied with singyourfaith. St. Salvator’s Chapel, University of St. Isabelle Demers and James David Christie. Additional studies have been at the Andrew; 4/12, Crail Parish Church, McGill Summer Organ Academy and as organ scholar at St. Peter’s Church in The Choristers Guild announces its Crail-Fife, Scotland; 4/16, Cathedral, New York City. Choristers Guild Institute, a certifi cate Glasgow, Scotland; 4/17, University of Having given recitals throughout the United States and abroad, she has program for directors of young singers Scotland. For information: earned prizes in multiple competitions and is a member of The Diapason’s 20 in churches and church schools. The www.stephenjonhamilton.com. Under 30 Class of 2015. She serves as convener for American Guild of Organ- conference will be held July 22–26 at ists’ Young Organists division and has previously served as director of music First United Methodist Church, Fort and organist for Austin Avenue United Methodist Church, Waco, Texas. For Worth, Texas. Faculty members include information: www.jilliangardner.net. Michael Burkhardt, Andrea Baxter, and Emily Floyd. For information: Arvid Gast is appointed visiting www.choristersguild.org. professor of organ, Oberlin College Conservatory, Oberlin, Ohio, Febru- ary through May. He is a sabbatical replacement for Jonathan Moyer, who assumes Gast’s duties as profes- sor at the Hochschule für Musik in Lübeck, Germany, and titular organist Townes Osborn Miller, Moonyeen Al- of the historic Stellwagen organ in St. brecht, and Nicholas Schmelter Jakobi, Lübeck. Gast is noted as an interpreter of German Romantic organ Sibelius Summer Academy Nicholas Schmelter performed the Arvid Gast music and as a pedagogue and jurist. premiere of Psalms for Flute and Organ The Helsinki Organ Academy takes (Set 2), by Moonyeen Albrecht, with Christa Rakich is appointed visit- place August 1–7 in Helsinki, Finland. fl utist Townes Osborn Miller, on Janu- ing professor of organ, Oberlin Col- The academy is organized by the Sibe- ary 11 at First Presbyterian Church, Caro, lege Conservatory of Music, Oberlin, lius Academy, Uniarts Helsinki, as part Michigan. The composition was written Ohio, effective through academic of the Sibelius Summer Academy. The for Schmelter and Miller. Schmelter has year 2019–2020. An Oberlin gradu- event will highlight organ music in its commissioned and premiered new music ate, she has served on the faculties of diversity and the organs of Helsinki and by Albrecht, Robert Powell, Philip Rice, Westminster Choir College and New Janakkala. Participants experience Finn- Bernard Wayne Sanders, and others. For England Conservatory. Her perform- ish organ culture and the possibilities of information: www.schmeltermusic.com. ing career has taken her throughout studying organ and church music at the North America, Europe, and Japan. Sibelius Academy. In addition to individ- Christa Rakich She maintains artist-in-residencies ual instruction, lectures, seminars, and Concert management at St. John’s Episcopal Church, West workshops are offered. Participants also Seven Eight Artists announces the Hartford, and the Congregational Church, Somers, Connecticut. Currently perform in matinees and the fi nal con- additions of Jacob Benda and Eric serving as vice-president of the Boston Clavichord Society, she will teach organ cert. One of the focus areas of the week Plutz to its roster. Jacob Benda is fea- and clavichord at Oberlin. For information: www.christarakich.com. Q will be improvisation for silent movies. tured as solo recitalist at cathedrals, Visiting teachers will be Peter Kra- festivals, and universities throughout sinski and Balázs Szabó. The Sibelius the United States. Recent engagements Academy church music and organ fac- include performances at the Basilica of ulty includes Olli Porthan and Timo St. Mary (Minneapolis), Christ Church Kiiskinen. Participants will visit the Cathedral (New Orleans), St. Andrew’s organbuilding factory of Martti Por- Episcopal Cathedral (Jackson, Missis- than in Janakkala. Enrollment deadline sippi), Plymouth Congregational Church is March 30. For information: www. (Seattle), the 2018 East Texas Pipe sibeliussummeracademy.fi . Organ Festival, Wesleyan University, and the University of Texas. Since 2010 he has promoted the music People of American organist and composer Clar- Stephen Hamilton announces his ence Mader (1904–1971). He has lectured tenth European concert tour: March 22, on the life and music of Mader at Yale

Jacob Benda Eric Plutz

University and at the 2014 American Guild Originally from Rock Island, Illinois, of Organists convention in Boston. He Plutz earned a Bachelor of Music degree earned a Doctor of Musical Arts degree from Westminster Choir College and a from Louisiana State University where he Master of Music degree from the East- studied with Herndon Spillman. Benda man School of Music. For information: currently serves as director of music www.seveneightartists.com. and liturgy at Nativity of Mary Catholic Church, Bloomington, Minnesota. Princeton University Organist Eric Publishers Plutz performs across the United Augsburg Fortress announces a new States and abroad. A recording artist, publication, Music Sourcebook for Life Plutz has released four solo albums Passages: Healing, Marriage and Funeral on the Pro Organo label as well as two (ISBN 9781506447643, $49.95). The recordings on the Princeton University book assists church musicians and lead- Chapel organ. To mark the sesquicen- ers in planning for weddings, funerals, AUSTINORGANS.COM tennial of the birth of Louis Vierne, and healing services. It contains music 
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Plutz will perform the composer’s six originating in different cultures and organ symphonies in the 2019–2020 varying accompaniment styles, including and 2020–2021 seasons. ³ page 6

4 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Colin Andrews R. Monty Bennett Elisa Bickers Shin-Ae Chun Leon W. Couch III Joan DeVee Dixon Organist/Lecturer Organist/Presenter Organist/Harpsichordist Organist/Harpsichordist Organist/Lecturer Organist/Pianist Recording Artist Charlotte, North Carolina Prairie Village, Kansas Ann Arbor, Michigan Austin, Texas Hutchinson, MN

Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Justin Hartz Sarah Hawbecker Organist Organ/Carillon Professor of Organ Organist/Recording Artist Pipe/Reed Organist Organist/Presenter Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Philadelphia, PA Atlanta, GA

James D. Hicks Michael Kaminski Angela Kraft Cross David K. Lamb Mark Laubach Yoon-Mi Lim Organist Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Organist/Lecturer Califon, NJ Brooklyn, New York San Francisco, CA Clarksville, Indiana Wilkes-Barre, Pennsylvania Dallas/Fort Worth, TX

Wynford S. Lyddane Colin Lynch Philip Manwell Katherine Meloan Scott Montgomery Shelly Moorman-Stah lman Pianist/Instructor Organist/Conductor Organist Organist/Faculty Organist/Presenter Organist/Pianist Washington, D.C. Boston, Massachusetts University of Nevada, Reno Manhattan School of Music Fayetteville, Arkansas Lebanon Valley College

David F. Oliver Brenda Portman Ann Marie Rigler Edward Taylor Tom Winpenny Jason A. Wright Organist Organist/Presenter/Composer Organist/Presenter Organist/Choral Conductor Organist/Choral Conductor Conductor/Clinician Morehouse College Cincinnati, Ohio William Jewell College Carlisle Cathedral, UK St Albans Cathedral, UK Hilton Head, South Carolina

Beth Zucchino Clarion Duo Rodland Duo Christine Westhoff Organist/Harpsichordist/Pianist Keith Benjamin, trumpet Viola and Organ & Timothy Allen Sebastopol, California University of Missouri-Kansas City The Juilliard School/ Soprano and Organ Melody Steed, Elementary Music St. Olaf College Little Rock, Arkansas Specialist, Waterloo, Iowa www.ConcertArtist Cooperative.com

R. Monty Bennett, Director ([email protected]) • Beth Zucchino, Founder & Director Emerita ([email protected]) 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 a non-traditional representation celebrating its 31st- year of operation Here & There

³ page 4 Thirty-Two Psalms from the Becker reproducible pages, an appendix of addi- Psalter (G-9799, $9.95), edited by Alice Nunc Dimittis tional resources, and a CD-ROM of fi les Parker with English texts by Gracia Jean Victor Arthur Guillou, 88, to assist in the creation of service folders. Grindal and Jean Janzen, includes com- died January 26 in Paris, France. Titu- For information: mentary by Parker for each setting. lar organist at Saint-Eustache Church www.augsburgfortress.org. Bach Duets (G-9879, $19.95), arranged in Paris from 1963 until 2015, he was by Noel Jones, is a collection of eleven an international concert organist and Breitkopf & Härtel announces works for piano and organ, drawn from pianist, prodigious improviser, teacher, new publications. Kleine Geistliche organ chorale preludes of J. S. Bach, composer, poet, and writer. Chormusik (ChB 5344, €19.50), by augmented by selections by C. P. E. Born in Angers on April 18, 1930, Karl Thomas, op. 25, is a collection of Bach and Vivaldi. Five Organ Preludes Guillou taught himself to play piano 20 motets covering the liturgical year. on Plainsong Tunes (G-9657, $16), by at home. Fascinated by improvisation, Most selections are for a cappella choir; Robert J. Powell, provides selections he began organ studies with Raphaël a few are accompanied by organ, violin, for two- and three-manual organs. New Fumet. At age twelve, he was named and/or fl ute. G. F. Handel, Concertos Plainsong Mass III (G-9683, $5.25), by organist at the local Saint-Serge for Organ and Orchestra are available, David Hurd, is a setting of the Mass Church. In 1947, he took private edited by Ton Koopman: op. 4, HWV that fi rst appeared in 1980 and has been organ lessons in Paris with Rolande 289–294 (PB 5680, €15.90); op. 7, HWV revised for use with the 2010 Roman Falcinelli, becoming one of her fi rst 306–311 (PB 5681, €16.90); and nos. Missal. For information: disciples. In 1953, he entered the 13–16, HWV 295, 296a, 304, and 305a www.giamusic.com. Paris Conservatory and studied har- (PB 5682, €15.90). Franz Liszt, Sonata Jean Guillou (photo credit: Jean-Michel mony with Maurice Durufl é, music in B Minor, is transcribed for organ by Franchet) analysis with Olivier Messiaen, and Bernhard Haas (EB 8989, €28.90). For organ with Marcel Dupré. In 1954, he information: www.breitkopf.com. was awarded fi rst prizes in organ, harmony, counterpoint, and fugue. Guillou was well known for his interpretations of the music of Liszt, Mozart, Schumann, Mussorgsky, Franck, and Bach (recorded by Philips). On June 1, 1982, the New York City Chapter of the American Guild of Organists presented him its “International Performer of the Year” award during a recital he gave at The Riverside Church. In 1985, during the third centenary of J. S. Bach’s birth, Guillou performed the complete organ works of Bach in ten concerts, in France and other countries. From 1955 to 1957, Jean Guillou taught at the Escola Diocesana de Musica Sacra in Lisbon, Portugal. He then lived in western Berlin until 1963. From 1970 to 2005, he gave masterclasses in Zurich, teaching interpretation and improvisa- tion to over 300 organists from all over the world. At Saint-Eustache Church in Paris, the organ had two consoles, one in the organ loft and another on the ground fl oor, where the organist was visible. Jean Guillou was assisted by a co-titular organist, André Fleury, and by Jean-Paul Imbert and his students. From 1977 to 1989, this organ underwent a series of renovations, until the Dutch fi rm Van den Heuvel entirely reconstructed it, retaining Victor Baltard’s organ case. This new organ, with its 101 stops, was inaugurated on September 21, 1989. With the German organ builder Detlef Kleuker, Jean Guillou designed the The Organist: Fugues, Fatherhood, and a organs at Notre-Dame des Neiges Church in Alpe d’Huez, France; Chant Fragile Mind d’Oiseau Church in Brussels, Belgium; the Tonhalle in Zurich, Switzerland; Naples Conservatory; and Tenerife Auditorium in Santa Cruz. In his book, University of Regina Press L’Orgue, souvenir et avenir [The Organ, Past and Future] (Buchet-Chastel, 1978/ Music and War in the United States announces a new book, The Organist: Symétrie, 2010), Jean Guillou expressed his strong belief that organs should be Fugues, Fatherhood, and a Fragile Mind found elsewhere than in churches. He conceived a portable organ with a variable Routledge announces a new book (978-0-88977-581-7, $19.95), by Mark structure that could be performed anywhere, even in the middle of a forest. In La by Sarah Mahler Kraaz, Music and Abley. The book tells the story of how Musique et le Geste [Music and Gesture] (Beauchesne, 2012), Guillou explained War in the United States. The book the author grew up with a father who his conception of music as a sonorous gesture. He even wrote a collection of introduces the long and varied history struggled with depression and was both poems entitled Le Visiteur [The Visitor] (Christophe Chomart, 2009). of music’s role in war. Spanning the emotionally unstable and artistically In addition to his composition of organ works, Guillou also made numerous history of wars involving the United gifted. For information: www.uregina.ca. transcriptions for organ and composed works for organ with piano, fl ute, trumpet, States from the American Revolution mixed choir, soprano, narrator, as well as seven concertos for organ and orchestra, to the Iraq war, with contributions from chamber music, and symphonies for large orchestra, etc., mostly published by other scholars, this edited volume brings Recordings Schott. Over 100 recordings were released by Philips, Dorien, Festivo, Decca, together themes in this area of study. Acis announces new CDs. Dupré: and other labels. The chapters address topics such as The American Experience (APL67062). Jean Guillou remained an active performing artist until the end of his life. In military music, commemoration, music David Baskeyfi eld performs on the 2015, when he was forced to retire from Saint-Eustache, he wanted to designate as propaganda and protest, and the role organ of St. Mary the Virgin, Times his successor, but the church held a competition to name his two successors. of music in treating post-traumatic stress Square, New York City. Repertoire In 2016, at the age of 86, he continued to give concerts (by memory). On June disorder (PTSD). For information: includes works of Dupré, featuring the 26, he performed on the historic Cavaillé-Coll at the Saint-Ouen Abbey Church www.routledge.com. premiere recording in the United States in Rouen, where his former student, Jean-Baptiste Monnot, had just been of Dupré’s transcription of Paul Dukas’ appointed co-titular. After giving concerts in Korea, on September 23, he played GIA Publications announces The Sorcerer’s Apprentice. Liszt’s Ad nos at Notre-Dame Cathedral in Paris. new publications. Heinrich Schütz: ³ page 8 Thanks to Jean-Michel Franchet, president of the Organ Association in Melun (in the Seine-et-Marne, south of Paris), I was privileged to know Jean Guillou personally. He had invited both of us to celebrate the 25th anniversary of this association on October 15, 2016. We gave a daylong series of presentations on Pauline Viardot’s former house organ, built by Aristide Cavaillé-Coll in 1851 and Quality Pipe Organ installed in Notre-Dame Collegiate Church in Melun in 1885. Since this was Cavaillé-Coll’s fi rst organ to include a German pedalboard with thirty notes and Building and Service two independent pedal stops, we performed together Charles-Valentin Alkan’s Bombardo-Carillon for four feet on this occasion. Jean Guillou then gave an since 1969 eclectic concert of works by Vivaldi/Bach, Franck, Guillou, and Liszt. I remem- ber his warm, friendly personality and his vigorous interpretations. Jean Guillou is survived by his wife, Suzanne Varga, and a daughter. A memo- rial Mass for was celebrated February 5 at Notre-Dame Cathedral in Paris. —Carolyn Shuster Fournier Q

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6 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Innovation and Excellence

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Johannus has dealers throughout the United States. Visit johannus.com to fi nd a dealer near you. If you have any questions, or would like more information about any of our organs, you can contact us at [email protected] Here & There

Carillon News by Brian Swager Carillon for sale A carillon of 48 bells is available for purchase. Originally a mobile carillon, the bells were cast by the Royal Eijsbouts Bellfoundry in Asten, Netherlands. It toured in Europe from 1992 through 2006. The Chime Master Systems fi rm brought the carillon to the United States in 2007 where it has toured to numerous cities. The instrument can be installed in a permanent location. The price is $225,000, not including truck and trailer. The instrument comprises four octaves (minus the lowest semi-tone) from a 2,000-pound bourdon that sounds “F” and is keyed to “C.” Contact Jeff Crook, 800/344–7464. A Neapolitan Stabat Mater Royal Dutch Carillon Association On the 100th anniversary of the founding of the Dutch Carillon Association, the designation “Royal” was given to the organization by His Royal Highness King Willem- Alexander. Ada Boerma, president of the association, accepted the award from the King’s Commissioner of Utrecht, Willibrord van Beek, in a festive ceremony dur- ing a symposium in the Speelklok museum in Utrecht on October 1, 2018. In further celebration of the jubilee, several other special events were scheduled throughout the year including a bus excursion to carillons in the province of Utrecht, a carillon playing competition in Kampen and Zwolle, a carillon canal trip in Amsterdam, and a masterclass on carillon composi- tion. June 20 was the offi cial anniversary, so a week of Dutch Towards the Light carillon music was organized for June 18–24 during which all carillonneurs in the Netherlands were invited to participate Towards the Light (ICSM 013), fea- in playing Dutch music on all 185 carillons in the country. tures the Helsinki Chamber Choir con- Milford Myhre with fellow carillonneur Julie Zhu who com- Leo Samama composed Centenary Bells for the occasion. ducted by Nils Schweckendiek. Works pleted his portrait in December (photo credit: Geert D’hollander) include Einojuhani Rautavaara, Missa a Poles in mourning cappella and Our Joyful’st Feast; Lotta Bok Tower Gardens honors Milford Myhre The Polish people, and perhaps especially Polish carillon- Wennäkoski, Valossa and Ommel; and Bok Tower Gardens in Lake Wales, Florida, will honor neurs and carillon enthusiasts, are in mourning following the Paolo Livorsi, Lamenti. For information: Milford Myhre who was the Bok Tower carillonneur January 14 assassination of Pawel Adamowicz, the mayor http://icsmrecords.com. from 1968 to 2004. The gardens will be the venue for the of Gdansk. Adamowicz was a major supporter of the carillon congress, dubbed “Congress in Paradise,” of the Guild of culture that grew considerably in Gdansk in the last 20 years Carillonneurs in North America, June 10–14. of his tenure. There are now three carillons in Gdansk. In Organbuilders To celebrate Myhre’s commitment to the carillon com- November 2018, Mayor Adamowicz personally presented munity, the gardens will name its new and improved listen- medals to several carillonneurs to honor their contributions ing area, positioned beneath a canopy of trees near the to the carillon art in Gdansk: Gert Oldenbeuving of the foot of the “singing tower,” in his honor. A plaque will be Netherlands, Frank Deleu of Belgium, Giedrius Kuprevi- prominently displayed to honor Myhre. Additional improve- cius of Lithuania, and Malgosia Fiebig of Poland. ments will include a permanent foundation, new benches, a Immediately after the tragic attack, Polish composer high-defi nition screen enclosed in a weatherproof cabinet, Katarzyna Kwiecien-Długosz composed Epitafi um (Epi- and new camera technologies that will make it possible for taph) for carillon, which was distributed internationally so that visitors to watch the carillonneur play in real time. carillonneurs throughout the world could render homage. Q Bok Tower Gardens is seeking donations to fi nance the project. For more information, contact current carillonneur Send items for “Carillon News” to Dr. Brian Swager: Geert D’Hollander (863/734-1208) or associate director of [email protected]. For information on the Guild of philanthropy Kelsey Jaffer (863/734-1212). Carillonneurs in North America: www.gcna.org. First United Methodist Church, Lub- bock, Texas, where Létourneau Opus ³ page 6 (G-49319, $18.98), featuring the choir of 135 will be installed Beneath the Incense Tree: Music for St. James’s Episcopal Church, Los Ange- Advent, Christmas & Epiphany features les, California, under the direction of Orgues Létourneau of Saint- the choir of Trinity College, Melbourne, James Buonemani. The disc features Hyacinthe, Québec, Canada has signed conducted by Christopher Watson. works by Bairstow, Walton, Morales, an agreement with First United The choir performs works by Mathias, Gjello, Poulenc, and Buonemani. For Methodist Church, Lubbock, Texas Brahms, Bach, Pachelbel, Locklair, and information: www.gothic-catalog.com. to extensively rebuild the church’s pipe others. For information: organ. Known as the Forrest Memorial www.acisproductions.com. L’Encelade announces a new CD, Le Organ, the present instrument began life Clavecin Mythologique (ECL 1801, €15), in 1954 as an M.P. Möller with 38 ranks Gothic announces a new CD, featuring Anne Marie Dragosits per- spread over seven divisions. The organ O Beauty Ever Ancient, Ever New forming on an 1787 Taskin harpsichord. was enlarged in 1980 and 1988, with further additions coming later to bring Le Clavecin Mythologique the total number of ranks to 54. Létourneau’s Opus 135, the rebuilt For- MANDER ORGANS Featured are works by d’Anglebert, Lully, rest Memorial Pipe Organ, will have 75 Couperin, Rameau, and Duphly. For ranks over eight divisions, including some information: www.encelade.net. 28 ranks retained and rescaled from the New Mechanical Action Organs previous instrument. Mechanically, the ICSM Records announces new instrument will be all-new, with electric recordings. A Neapolitan Stabat Mater slider windchests and two consoles. The (ICSM 012), features Le Concert fi rst phase of the project will be the com- l’Hostel Dieu, with Franck-Emmanuel pletion of the Antiphonal and Echo divi- Comte, conductor and organist, per- sions in May 2019; the Chancel divisions forming Giovanni Battista Pergolesi’s of the organ are expected to be fi nished in Stabat Mater. Other settings of the text December 2019. For information: are included. http://letourneauorgans.com. Q

³ St. Peter’s Square - London E 2 7AF - England Exquisite [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 WEEKEND ORGAN Continuo Organs [e] [email protected] MEDITATIONS www.mander-organs.com JL Weiler , Inc. Grace Church in New York Museum-Quality Restoration jlweiler.com Imaginative Reconstructions www.gracechurchnyc.org of Historic Pipe Organs

8 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM

Reviews

New Organ Music Pablo Casals; The Reproaches, John both boy and girl choristers, and the setting of the phrase, “Hodie Christus Three Apostolic Preludes for Sanders; Easter, Surrexit a mortuis,* choir includes four choral scholars from natus est,” sung over and over by the full Organ, by Carson Cooman. Zimbel Charles-Marie Widor; Assumption: local universities, one of whom is the choir, accompanied on the organ, and Press, Subito Music Corporation, Ave, Maria, Anton Bruckner; All Saints’ fi rst woman alto to sing in the choir in its building up to a climax at the end. It is #80101400, $12.95. Available from Day: Valiant-for-Truth, Ralph Vaughan 500 years of existence. Another fi rst for modern in its character, but nonetheless www.subitomusic.com. Williams; Christ the King: O clap your Bristol is that Bristol Cathedral Choir extremely pleasant and accessible. I am always amazed when looking at hands, David Bednall. School, formerly a boys’ independent February 2 is Candlemas, the Feast one of Carson Cooman’s scores at how Bristol Cathedral originated as an school at which I was a student teacher of the Purifi cation of the Blessed Virgin versatile the music is. I regularly play a Augustinian abbey in the middle of the in the spring of 1971, has now become Mary, or the Presentation of Jesus in the two-manual Hook organ without much twelfth century. As it was a collegiate the fi rst government-funded choir acad- Temple, when candles are traditionally in the way of mechanical assists, and I church of Augustinian Canons, it was emy in England, where of course the blessed for the church’s year. For Candle- am always able to play one of Cooman’s long called simply “The College,” and Church of England is the established mas we return to the Tudor period with pieces. The music works on a small organ indeed its location in Bristol is still church. This is the British equivalent of music by Thomas Tallis. The featured as well as a large one. Most pieces are known as College Green. At the begin- an American performing arts academy. composition is Tallis’s Videte miraculum, in the range of diffi culty that an average ning of the sixteenth century the abbey It is open to anyone, but obviously only which celebrates the miraculous Virgin organist can play adequately. In addition, was in the process of being rebuilt, but the most musical students get to be Birth of Jesus as Mary stands holding Cooman normally indicates that move- only the choir and transepts had been Cathedral Choristers. Furthermore, him in the Temple. This is a complex ments of a suite can be played either completed before the abbey was dis- judging by the repertoire on this com- motet for six voices (SATTBB), but Bris- together or as individual pieces as the solved by Henry VIII in 1539, and for pact disc, the choir is singing music in tol Cathedral Choir takes it in its stride, situation warrants. It all works together over three centuries there was no nave. a much wider variety of styles than the and the result is very successful, not- for greater versatility. In 1542, however, Henry VIII estab- rather narrow class of music that it used withstanding that Tallis himself probably This collection, Three Apostolic lished the former abbey as the cathedral to sing. had a much larger choir at his disposal at Preludes, composed in 2017, is a case of the newly created Diocese of Bristol. On this recording, we begin the Waltham Abbey before the Reformation. in point. The three pieces are based The fi ne organ was built on the pulpitum church’s year with an Advent piece from After Candlemas we move on to Lent on plainchants that are appointed for or choir screen by Renatus Harris in the golden age of English choral music, with a composition by Herbert Sum- the feast days of three of the Apostles. 1685 and retains its casework with carv- William Byrd’s Vigilate, nescitis enim sion, who was organist of Gloucester They are: Praeludium in festo S. Andreae ings by Grinling Gibbons. quando dominus domus veniat. This Cathedral for nearly forty years in the apostoli (St. Andrew, November 30); Sadly, around the time the nave Latin motet sounds very fi ne in the spa- middle of the twentieth century. In Exile Praeludium in festo S. Thomas apostoli and western towers were built in the cious acoustic of Bristol Cathedral. We is a motet for double choir using the text (St. Thomas, July 3); and Praeludium in second half of the nineteenth century, move on next to another Advent piece of Psalm 137 (“By the waters of Baby- festo S. Philippi apostoli (St. Philip, May the organ was removed from its com- by the modern Scottish composer James lon”). Again this is quite an adventurous 3). Although Cooman gives the dates of manding position on the pulpitum and MacMillan (b. 1959), his motet, O radi- piece for a relatively small cathedral the feast days, there is no reason why one rebuilt in the north choir aisle, result- ant dawn, based on the “O” antiphon choir—forming a double choir means could not play them anytime for services ing in considerable mutilation of the for December 21. “O Oriens” is one that there are only two people on each or for a concert. The composer asks that casework. The original polished tin of a collection of twenty-eight pieces of the lower three parts. Sumsion’s music if one uses them as a suite, one play them façade pipes and a few wooden fl ute that make up MacMillan’s Strathclyde is enjoying something of a revival and In in the given order. This gives the suites a pipes, however, happily remain in the Motets, composed between 2005 Exile, which produces a numinous effect generally ascending dynamic order. The present four-manual organ, built by and 2010 for the Chamber Choir of in the warm acoustics of Bristol Cathe- plainchants over the centuries have pro- J. W. Walker & Sons in 1907, an out- Strathclyde University in Glasgow. It is a dral, is a particularly fi ne example. The vided gist for the imaginations of many standing instrument of its time. On very pleasant piece whose compositional second motet for Lent is from the pen of composers. There is no exception here this recording most of the repertoire is style reminds me somewhat of Francis a composer belonging to the generation as each prelude uses the chant appointed a cappella, but a couple of the pieces, Poulenc’s Christmas motet, Quem vidis- following Sumsion, viz., Kenneth Leigh- for the day in its own way. marked above with an asterisk, include tis pastores. MacMillan’s composition is ton, who was Reid Professor of Music I am much enchanted with this set of organ accompaniment. an excellent example of how much more at the University of Edinburgh. Drop, preludes as, not only are they interest- When I was an undergraduate at the venturesome the repertoire of Bristol drop slow tears is the fi nal movement ing, well constructed pieces, they can be University of Bristol in the late 1960s Cathedral has become over the last of his cantata Crucifi xus pro nobis, op. used at many different functions. This is and early 1970s, I frequently attended quarter of a century. 38, which he wrote for David Lumsden innovative music that I am not hesitant services at Bristol Cathedral and have Sally Beamish (b. 1956) is a London- and the Choir of New College, Oxford, to recommend. to say I was underwhelmed by the stan- born violist and composer who now lives in 1961. —Jay Zoller dard of the music in those days. I was in Scotland. Her Christmas carol, In the Coming into Holy Week, for Maundy Newcastle, Maine accordingly astonished when I played stillness, is a setting of a poem of the same Thursday we hear Anton Bruckner’s this compact disc and heard the superb name by Katrina Shepherd. The carol well-known motet Christus factus est, sound produced by the present-day is quite short, and its quiet character a staple part of the repertoire of many New Recordings choir. Had my memory been failing me refl ects Beamish’s religious persuasion choirs. For Good Friday we then hear a A Year at Bristol. The Choir of Bris- with regard to how the choir sounded as a Quaker. Bristol Cathedral Choir’s more recent work, Pablo Casals’ setting tol Cathedral; Paul Walton, organ;* fi fty or sixty years ago? Apparently not. gentle, meditative treatment of the of O vos omnes. One thinks of Casals Mark Lee, director. Regent Records I found an archived BBC recording of piece is entirely appropriate and shows primarily as a cellist; his O vos omnes is compact disc, REGCD 514. Avail- Choral Evensong from Bristol Cathedral their sensitivity to the nuances of such a plaintive and mystical work that again able from www.regentrecords.com. in 1957 on YouTube, and judging by this music. The other Christmas piece on comes off. We then hear a suitably som- Advent: Vigilate, William Byrd; O the choir in those days was every bit as the recording is by James Whitbourn (b. ber setting of The Reproaches by John radiant dawn, James MacMillan; Christ- mediocre as I remember it. 1963), an English composer who is best Sanders (1933–2003), Sumsion’s succes- mas: In the stillness, Sally Beamish; Mark Lee, director of music since known for his Annelies, a choral setting sor as organist of Gloucester Cathedral. Hodie,* James Whitborn; Candlemas: 1998, is to be congratulated for bringing of the diary of Anne Frank. His Hodie For Easter we hear Widor’s joyful Videte miraculum, Thomas Tallis; Lent: about such a magnifi cent transformation begins with a single unaccompanied cho- anthem Surrexit a mortuis, where the In exile, Herbert Sumsion; Drop, drop in the quality of the cathedral’s music rister, Ben Saunders, singing a mysteri- full choir and the majestic full organ slow tears, Kenneth Leighton; Maundy over the last twenty years. At the same ous and rather medieval-sounding solo, make a happy combination, and the Thursday: Christus factus est, Anton time there have been radical changes in followed by a rhythmic and energetic sound of the trebles really soars to the Bruckner; Good Friday: O vos omnes, the makeup of the choir. There are now

Church of Saint Jude the Apostle Wauwatosa, Wisconsin Three manuals – forty ranks

A RTISTRY – R ELIABILITY – A DAPTABILITY

10 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Harpsichord Notes lierne-vaulted roof of the cathedral. By Larry Palmer Bypassing the Ascension, Pentecost, and Trinity Sunday, etc., we move next A fascinating book by Beverly to the Feast of the Assumption of the Jerold, Music Performance Blessed Virgin Mary on August 15. For Issues: 1600–1900 this another Anton Bruckner motet is Readers of The Diapason’s July 2018 chosen, the most popular of his three issue most likely remember Beverly settings of Ave Maria. Jerold’s article about two eighteenth- For the feast of All Saints, Mark century concerts of Handel’s music as Lee chooses one of Ralph Vaughan reviewed by the Berlin Court Kapell- Williams’s lesser-known choral works, meister Johann Friedrich Reichardt, Valiant-for-Truth, based on a passage who attended the programs during his from John Bunyan’s The Pilgrim’s 1785 visit to London. Ms. Jerold has Progress. Much of this is a sort of dialog spent much of her life researching for Telemann Sonatas For Violin and between the trebles and the rest of the period information about musical per- Harpsichord choir. Its seriousness refl ects the fact formances as reported by the persons that it was written at the height of the who experienced them. One could see Friedrich Telemann (1681–1767) fi lls a horrors of World War II. The fi nal work in the stunning color headshot of this recent compact disc featuring violinist on the compact disc is for Christ the intrepid author that she has a fi rm chin Dorian Komanoff Bandy and harp- King Sunday and is the premier record- and twinkling eyes, ever on the lookout sichordist Paul Cienniwa (Whaling ing of another joyous piece, O clap your for authentic information about the topic City Sound, WCS 108). Originally pub- hands, by David Bednall (b. 1979), who that she is researching. These period lished in Frankfort-am-Main in 1715, Music Performance Issues: 1600–1900 is the Bristol University Organist. This verifi cations serve as guides for those these six four-movement works, each completes an altogether very interesting who seek stylistic authenticity in their comprising alternating slow-fast-slow- Especially an elegant solo harpsichord recording of a small English cathedral own present-day performances. fast movements, were composed with introduction to the “Cantabile” of the choir at its best, and I thoroughly rec- From the many varied essays that the burgeoning amateur house music B-minor Sonata had moved me deeply, ommend it. Jerold has published in a wide range musician in mind. A seventh sonata of and I appreciate the sensitive musical —John L. Speller of journals she has selected nineteen similar style and length that has sur- realization of the fi gured bass through- Port Huron, Michigan articles for her book Music Performance vived only in the composer’s manuscript out. It also pleased me that Cienniwa Issues: 1600–1900, issued in 2016 by preserved in the Dresden State Library lists among his musical mentors Jerome Pendragon Press, Hillsdale, New York, receives its world premiere recording to Butera, a longtime editor of The Dia- New Handbell Music as a paperback edition comprising 359 fi ll out the program. pason and currently the magazine’s Essential Classics for 3–5 Octaves pages of useful knowledge (ISBN 978- In disc and numerical order the sona- sales director. (File that in your “Small of Handbells. Agape (a division of 1-57647-175-0, list price: $65, available tas are in G Minor, D Major, B Minor, G World” folder, please.) Hope Publishing Company), Code from www.pendragonpress.com). Major, A Minor, and A Major; the extra The fi ne-sounding instrument, it No. 2852, Level 3 (M – D-), $49.95. I would enjoy sharing many of her seventh sonata is in F-sharp Minor. Each turned out, is a single-manual 2 x 8 This collection includes nine of remarkable discoveries and observations composition bears the TWV (Telemann example inspired by the unique 1681 Agape’s best-selling arrangements in with you, but it would be unfair for me to Werke Verzeichnis [“work catalogue”]) Vaudry harpsichord (an instrument recent years. These traditional settings present you with Jerold’s discoveries, and number 41, followed by an indication of that our readers encountered briefl y come from an array of well-known, sea- it might rob you, the readers, of the sur- its individual key (in German style: g, D, last month through the illustration soned composers and arrangers using a prises that you may have when you read h, G, a. A, fi s). for Jane Clark’s article on François wide range of styles useful throughout the book for yourselves. I do encourage I had met the harpsichordist during Couperin). It was built in 2008 by the church year. Single copies of these you to access the volume and to enjoy a long-ago Boston Early Music Festival Kevin Spindler. For those who might titles would greatly exceed the cost of Jerold’s fi ndings, offered with the utmost visit. He has recently relocated to the wish to acquire this music, violinist this one book, which is reproducible for clarity and complete references to her warmer climes of Florida where (now Bandy suggests IMSLP for download- your ringers. A great bargain and highly sources. To whet your curiosities, here Dr.) Paul Cienniwa is music director of ing (https://imslp.org), or, even better, recommended. Titles include Praise to are the titles of the book’s chapters: St. Paul’s Episcopal Church in Delray. a facsimile of the 1715 edition pub- the Lord, the Almighty, The Strife Is • Dilettante and Amateur: Our Thus it was not diffi cult to locate an lished by Anne Fuzeau Productions O’er, We Gather Together, Christ the Evolving Language email address for this fi ne artist. I espe- (http://www.editions-classique.com/ Lord is Risen Today, Now the Green • Bach’s Lament about Leipzig’s Pro- cially wanted to learn who had built the en/index.php). With such a fi ne example Blade Riseth, Ding Dong! Merrily on fessional Instrumentalists harpsichord used for this recording and of the collaborative harpsichord line for High, O Holy Night, Celebrate with Joy, • Choral Singing Before the Era of to ascertain whether the works were consultation, one might not be so reluc- and O Come, O Come, Emmanuel. Recordings being played from a realized score or tant to realize that fi gured bass. Q • Why Most a cappella Music Could from the more probable two-line origi- Now Thank We All Our God, J. S. Not Have Been Sung Unaccompanied nal engraving. It turned out to be the Comments and questions are wel- Bach, arranged for 5-octave hand- • Fasch and the Beginning of Mod- latter, which made my admiration for come. Address them to lpalmer@smu. bell choir, 2-octave handchime ern Artistic Choral Singing such beautiful collaborative musician- edu or 10125 Cromwell Drive, Dallas, choir, and optional timpani/malleted • What Handel’s Casting Reveals ship ascend even several units higher. Texas 75229. G3 and D4, by Michael Burkhardt. About Singers of the Time MorningStar Music Publishers, • Intonation Standards and Equal MSM-30-610, Level 2 (M-), $32.00. Temperament The popular tune, Nun Danket • Eighteenth-Century Stringed Key- Alle Gott, by Johann Crüger, is given board Instruments from a Performance a wonderful, festive treatment by Burk- Perspective [LP: You may be surprised hardt with a 5-octave handbell choir, a about the clavichord!] 2-octave handchime choir, and optional • The Tromba and Corno in Bach’s timpani, with malleted G3 and D4 hand- Time bells. Players should enjoy pulling out all • Maelzel’s Role in Beethoven’s Sym- the stops in this inspiring rendition. Full phonic Metronome Marks score is included with reproducible parts • The French Time Devices Revisited for everything else. • The Notable Signifi cance of and in Bach’s Era O Sacred Head, Now Wounded, • Numbers and Tempo: 1630–1800 arranged for 3–6 octaves of handbells • Overdotting in Handel’s Overtures by Matthew Compton. Agape (a divi- Reconsidered sion of Hope Publishing Company), • Notes inégales: A Defi nitive New Code No. 2825, Level 3 (D), $4.95. Parameter The Passion Chorale by Hans Leo • Distinguishing Between Artifi cial Hassler opens with an expressive motive and Natural Vibrato in Premodern Music that resonates throughout the piece. The • A Solution for Simple (secco) The- melodic and rhythmic material inspires a ater Recitative wealth of text painting. In fact, to aid the • How Composers Viewed Perform- performers, the biblical text of the pas- ers’ Additions sion story, taken from the four gospels, • The Varied Reprise in Eighteenth- is set over the music as a reference in Century Instrumental Music—A ringing that particular passage. The pro- Reappraisal found treatment of this music and text should be extremely meaningful during Telemann Sonatas for the Lenten season. Violin and Harpsichord www.ruffatti.com —Leon Nelson Totally unfamiliar music by the Vernon Hills, Illinois most prolifi c baroque composer Georg

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 11 In the wind...

Music as community . . . of the poetry, and the wonderful feeling When I was offered the opportunity of producing all that acoustic sound to of joining the Organ Clearing House surround, lead, encourage, and inspire during the summer of 2000, I faced a the congregation. As the choir mounted critical choice. In addition to working the chancel steps and split into the rows independently as an organbuilder and of center-facing choir stalls, I loved hav- technician, renovating and maintaining a ing eye contact with them as I played and gaggle of organs in the Boston area, I was they sang. Sometimes an exchanged wink also director of music at a large suburban would remind us of a joke, sometimes we Congregational church. I knew that the simply reveled in the joy of it. Organ Clearing House would sweep me into a busy travel schedule, and that I The living organ would have to make a choice. Charles Brenton Fisk (1925–1983) was That was a diffi cult decision on many an innovative and inquisitive organbuilder levels. I had developed many friendships and founder of the venerable fi rm C. B. over my nearly twenty-year tenure at the Fisk, Inc. Charlie was revered by his church. For the fi rst sixteen years, it was coworkers for his Socratic teaching, inspir- a privilege to work with the senior pas- ing creative thought by posing questions. tor, a kind and wise man and fellow sailor He famously said, “The organ is a machine, who preached beautifully and supported whose machine-made sounds will always the music program vigorously. The be without interest unless they can appear privilege diminished after his retirement to be coming from a living organism. The with a string of short-term successors organ has to appear to be alive.” I have who ranged from silly to terrible, but I often written that it is the challenge, even valued my relationship with the choir the responsibility of the organbuilder to enormously. We were fortunate to have remove the mechanics from the equation. a superb professional quartet joining the Practically, it is impossible. Every organ twenty or so volunteers, and we had a has some elusive click, buzz, or hiss. But blast preparing and presenting all sorts careful attention to fabricating techniques of music from simple unaccompanied and quality control, especially being sure hymns to great oratorios with orchestra. that moving parts are identical in form and Each Thursday night, we opened our function can tame the wild beast within. Don Verkuilen with Double Open Wood CCC, a half-ton note (photo credit: Keith Hillier) home after rehearsal, and at least half, Some organs, especially undistin- sometimes all of the choir would show up. guished organs with electro-pneumatic String Quartet, wrote sensually about his skipping from one family of instruments BYOB was the order of the day (though action, can seem like industrial products relationship with his violin: “When I hold to another, combining them, giving them we made sure to have extra on hand, just with lifeless tone, but when I am working the violin, my left arm stretches lovingly solos, fi lling the room with complex tones. in case), and we would order pizza or inside an instrument, there is a big dif- around its neck, my right hand draws the Mr. Steinhardt is one of our greatest some appropriate substitute and spend ference in the sensations I feel whether bow across the strings like a caress, and violinists. He can produce magic from that a couple hours discussing the music we the blower is running or not. When the the violin itself is tucked under my chin, pound of spruce, producing a kaleidoscope had worked on that evening, projects blower is not running, the organ is static a place halfway between my brain and of colors. He can shift from stentorian maj- that various members were involved in and lifeless. When the blower is turned my beating heart.” (page 5) esty to nimble coloratura. But Steinhardt’s outside the church, and simply nourish- on, I hear and feel the air surging through I have shared this quote in these pages kaleidoscope is miniscule when compared ing our friendships. I have no doubt that the windlines, fi lling the reservoirs and several times over the years. When I fi rst to the organist shifting from a mighty the camaraderie of those many evenings pressurizing windchests. There may be a read it, I was touched by his eloquence chorus of Tubas to a distant Aeoline. enhanced our music-making by building few creaks and groans as wind vessels fi ll. about the intimacy of his relationship And the organist’s ability to superimpose special levels of trust and respect among The organ gains breath and comes alive. with his instrument, and I wondered a variety of tone colors simultaneously is that cheerful group of musicians. Organs that are conceived, intended, further, what about the clarinetist or bas- unique in the world of music. The contrast Almost twenty years have passed since and built to seem alive are those that can soonist who puts the business end of his between a Diapason and a Trumpet is the I faced and made the decision to leave all become part of a community of music instrument in his mouth. It does not get perfect example. The two voices may have that and join the Organ Clearing House. I making in a church. They join the choir much more personal than that. the same volume level, but they are sig- do not regret the choice, but I miss the fun in air-driven acoustic musical leadership, Compare that to the organist sitting nifi cantly different in harmonic structure. and richness of working with that choir. Of that unique type of tone that carries and on the bench at one end of a large room. They can be compared one after the other, all the aspects of playing the organ for wor- blends so well. She draws a simple stop, perhaps the they can be contrasted, each being given ship, I miss most the pageantry of proces- most beautiful Diapason voice on the an independent line of music, or they can sional and recessional hymns—the move- At one with the machine instrument, and plays a single note. If the be combined and played together. And ment of the sound of the choir through In his book, Violin Dreams (Houghton organ has tracker action, the motion of that is just two stops. Multiply that by doz- the building, the relationship between the Miffl in, 2006), Arnold Steinhardt, the her fi nger has moved a few levers to open ens or even hundreds, and the organist has choir and congregation, the ebb and fl ow now retired fi rst violinist of the Guarneri a valve, releasing stored pressurized air to a seemingly limitless variety of tone avail- move into the pipe and produce tone. able at the touch of a fi nger. Or thousands If it is an electro-pneumatic organ, of touches of fi ngers. Scattered leaves ... from our Scrapbook her fi nger has closed an electric contact And that is where the seamless (switch) sending current through a wire to machine comes in. Recently, a colleague an electro-magnet. The energized magnet mentioned that he was using a sequence moves a metal armature (valve), which of forty-fi ve pistons for a single decre- opens one end of a pressurized channel scendo. What does that statement mean I am not ashamed of sentiment, to the atmosphere. The other end of that to a knowledgeable organist? First, it channel is closed by a leather pouch with must be a huge organ to have that many without which no one, I think, a valve glued to it. When the pressure pistons and enough stops to make that can really love music with his is released from the channel, the pouch many meaningful changes in a single whole heart. Cleverness in collapses, pulling open the valve. It takes passage. Second, the organist is seeking musical form and development a lot more words to describe simply the a very grand, sweeping effect. Third, may make a certain appeal, but motions of an electro-pneumatic action, the organist is putting in a lot of work one who is devoid of sentiment and if it is a large instrument, there can be to prepare. Does it take an hour, two or sympathy can never get to many more steps between key and valve hours, or more of practice time to create the heart of music. including intermediate relays and switch- such a sequence? Did he need to have a ing. But in a well-built and well-regulated friend present to share in the listening as Alfred Hollins action, it all happens instantaneously. he made decisions? And we can assume That one motion of the organist’s fi nger (or hope) that this monumental organ sends a single tone across the vast space. is in a huge acoustic space. And that is It is similar to fl ipping a switch to turn one of the singular aspects of playing the on a light. But the lively thrill of playing organ—creating vast tonal structures in the organ comes in the clever and seam- vast acoustic spaces. (I was right on all less operation of the machine. Touch a counts. It was David Briggs working on button with your thumb and that single registrations for his new transcription note releases a roar. Hold the note and of Bruckner’s Seventh Symphony at the fl ex your ankle, and the note gets softer. Cathedral of Saint John the Divine in Schoenstein & Co. And to think you have done all this with New York City on February 26.) a single note. Multiply those gestures § Established in San Francisco š 1877 exponentially, and you create a musical www.schoenstein.com ❧ (707) 747-5858 whole with an expressive range greater A violin typically weighs less than a than that of a symphony orchestra, deftly pound—400 grams is usual. The luthier

12 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM By John Bishop labors for months with a half dozen the organbuilder or maintenance techni- repetition, the offending issue is more pieces of wood, each of which weighs a cian cooperate to correct and repair those often the (lack of) speed of release. few ounces. We weigh pipe organs by the conditions as they arise. I know I have With all these factors faithfully exe- ton, and the process of building an organ spent hundreds of hours crawling around cuted and carefully balanced, the pipe involves thousands of hours of managing in organs looking for extraneous mechani- organ becomes the perfect extension hundreds of components, some of which cal noises. On more than one occasion, it of the musician. It is an acoustic pan- weigh as much as a ton. You see that big has turned out not to be the organ at all, tograph, expanding the scale of musical tower crown with moldings and carvings, but a light fi xture above the nave ceiling thought according to physical settings. sitting on top of a forty-foot organ case? that rattles when low FFF# is played. The And how did it get there? That’s right. last time the bulb was changed, the custo- Community spirit People put it there. Notice how it is just dian did not tighten all the screws. That organ, so beautifully balanced and a foot or two from the ceiling arch? And The keyboards are regulated so that all scaled to its environment, is not only an what does that mean? Right. There could feel alike, and the “strike point” of each extension of the thoughts and inspirations be no hoisting point above it. People put is at precisely the same level. All the keys of the organist, but for the entire commu- it there without mechanical assistance. travel the same distance and have the nity of listeners and singers. While plant How do we build a ten-ton machine same spring tension and weight. life takes in oxygen and produces carbon whose mechanical presence can vanish Windchest actions are silent and con- dioxide, a transformation that is essential The organ in the church where I under the fi ngers of an artist? Here are a sistent. Precision is essential in fabricat- to the balance of life, a pipe organ takes in played last was not extraordinary, but few of the myriad issues to be considered ing the mechanical parts of a pipe organ. air and exhausts air. The same air that runs it was a good, solid, pretty complete by the organbuilder. Each must have exactly the dimensions, through the works and the pipes of the three-manual electro-pneumatic organ. density, and weight in order to ensure organ is inhaled by the singers, soloists, It was in good condition and everything Architectural design that each note performs the same as the choristers, and congregants alike, who in worked, and the independent voices The excellent monumental organ rest. The standard for the best pipe organ turn produce musical tone in harmony blended nicely into choruses, with solo should claim a commanding architec- actions is the repetition rate. In both with the instrument. The inspiration and singers, the choir, and with the congrega- tural presence in its surroundings. The tracker and electro-pneumatic organs, exchange of air enables the inspiration tion. It was a familiar part of the family, organ relies on the building for the pro- the action must be free and capable of and exchange of musical ideas, emotional and together we rode its broad back jection and blending of its tone, and the repeating faster than any human fi ngers responses, worshipful experiences, and through countless adventures. It was a symbiotic relationship should include can move. While many musicians assume the range of human interaction. Those magic carpet ride with plenty of seats visual harmony. In that sense, the organ that speed of attack is essential to rate of sensations are measured in goose bumps. and cup holders. I loved it. Q is the mouthpiece of the building.

Tonal structure If an organ is intended for liturgical use in a large space, it must include: DISCOVEDISCOVER R • a wide dynamic range with indi- vidual voices carefully planned so as to allow subtle gradation between different 21st CENTURY levels of volume; 21st CENTURY • enough variety of tone to satisfy the ORGAN BUILDING requirements of congregational leader- ship, expressive accompaniment of solo ORGANIN NORTH BUILDI AMERICA NG voices and choruses, festival outbursts, and the realm of solo organ literature; • multiple keyboard divisions, each with a specifi c purpose and individual IN NORTHORTH AAMERICAMER character, and each blending seamlessly with all the others.

Limitless lungs A mentor and colleague once shared his mantra with me, “Air is the fuel we burn to produce organ tone.” If we are setting out to produce monumental tone in a monu- mental space, we are going to need a lot of BUILDER MEMBERS: SUPPLIER MEMBERS: fuel. It takes a hurricane of air to make one big bass pipe go. Once in a while, when Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. servicing an organ, I have occasion to lift Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources one of those big babies from its hole, and Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products let me tell you, until you have experienced Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems ten or fi fteen inches of wind blasting Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation through that six-inch hole, you cannot have Casavant Frères Patrick J. Murphy & Associates full appreciation of the amount of energy Dobson Pipe Organ Builders Parsons Pipe Organ Builders involved in the speech of that pipe. Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. Add to that one toehole the hundreds C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. involved in the last fortissimo chord of Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders French toccata, and you might get a A. Thompson-Allen sense of what’s going on. A six-note chord Garland Pipe Organs, Inc. with a hundred stops playing equals how many toeholes? A large organ blower might be able to move ten thousand cubic feet of air per minute at whatever pressure the organ is running on. How APOBA provides a simple way for you to take big is ten thousand cubic feet? It’s fi fty advantage of the expertise of the top people in by twenty by ten feet. A professional bowling lane is sixty feet long. WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of The machines and reservoirs that cre- several generations who have preceded them. ate and store the pressure are accurately regulated to provide pressure at a steady and constant rate. If the pressure varies, Call today for APOBA’s Pipe Organ so does the pitch and intensity of the tone. 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 13 On Teaching

Repetition II February column that, “. . . we essentially During the week after I fi nished writ- never fi nd ourselves wanting to omit ing my previous column, I had several any part of a piece that isn’t a repeat. I experiences, each of which had some have never had a student ask me about bearing on what I wrote about, so I a through-composed piece ‘should I or will describe these before continuing should I not play mm. 9–16?’ or anything and expanding the discussion from last like that.” And indeed I cannot remem- month. One of them was a delightfully ber any previous instance of this. well-timed refutation of something that A hypothetical discussion of the rami- Example 1, Johann Caspar Ferdinand Fischer, Musicalischer Parnassus I wrote last month, the others more in fi cations of this choice by these musicians sync with my thoughts. would probably start by invoking respect composers. That does not mean that it seems to enliven the experience of play- First, a student asked me to review for the composer and go on to talk about is not true. And whatever the intent, the ing the passage, then it is a fruitful and some of the music of Johann Caspar the shape and arc of the piece. It might effect of repeats on length is real. I found correct way of looking at it. Ferdinand Fischer with him. We started emphasize “right” and “wrong,” or just it interesting that the question came up With words, the vast majority of with the Musicalischer Parnassus, a col- attempt to characterize the nature of the naturally for someone whose take on this attempts to use the same word or phrase lection of nine suites published in 1738. changes brought about by this sort of edit- repertoire was fresh and unspoiled. as a question and its answer will fail: I was reminded by reading through the ing. Some people would say that if they The last of these chance occurrences “Would you like some toast?” collection that the prelude to the fi rst didn’t like this piece as is, they should was about the Widor “Toccata” from “Would you like some toast.” of those suites follows almost exactly play something else. I did not engage in Symphony V. I wonder how different and so on. the same harmonic progression as the very much of that discussion with these this piece would seem if the fi rst measure The possibility that a repeat will seem fi rst prelude from the Well-Tempered performers, at least not then. The choices were repeated exactly as is before the like a question and answer can never Clavier, and it is in triple time. Thus it had been made, practiced, and rehearsed. (actual) second measure. That second be subject to failure as such; it can just sounds a lot like my tripled version of And I am not sure what I would say, measure starts out as a repeat of the fi rst, seem like an interesting idea or not. This that passage from last month: probably beyond just that I was surprised and that I but crucially changes on the fi nal beat. brings us to one of the fascinating things more so than the Bruhns excerpt that tip my hat to the Fates for delivering this about repetition, both signed repeats and came to my mind when I contemplated to me at that exact moment. Further questions the repetition or recurrence of any mate- my altered version of the Bach. The rel- I have heard debate from time to regarding repetition rial, whatever the structure. The fact that evant measures of the Fischer are found time about whether or not a performer One question that I fi nd fascinating we can accept the amount of repetition in Example 1. should take the repeat in the long fi rst in repeat situations is whether the two in music that we do accept invites us It is widely accepted that Bach knew movement of Schubert’s Piano Sonata instances of the same material, one after to think about the ways in which music Fischer’s music and was infl uenced by in B-fl at Major. Performers and musi- another, are a statement of something resembles or does not resemble those him. Fischer, about whose life not much cologists talk about the length and raise and then a restatement of it, or are a forms of expression that use words or is known, was probably nearly thirty questions about balance. But since there question and an answer. This question concrete visually based images. years Bach’s senior. However, the collec- is a fairly long fi rst ending as part of itself will not always or often have an In a work of theater—play, movie, tion that contains this passage was not the section that we either do or do not answer. However, in some cases for us as television episode—if a structure in published until twenty years or so after decide to repeat, part of the discussion players, and for our students, observing which something happened and then was Bach wrote the WTC prelude that seems is about the material in that fi rst ending. our own feelings about this, one case at a literally repeated, then something else to echo it. Did Bach know this piece I have heard people use it as a reason to time, might be revealing. happened and was also literally repeated, in manuscript? Did Fischer know the take the repeat—so that one does not It might seem counterintuitive that and so on, were to be used, it would be WTC, which of course was not actually entirely omit material that the composer the exact same notes could be both the at best some sort of special effect. It is published until decades later? Prob- wrote. But I have also heard it given as question and the answer. However, this not necessarily the case that this has ably not. This is probably coincidence, a reason not to take the repeat—on the is not impossible even with words: never been done. But it is not routine or and this passage is possibly just another grounds that the fi rst ending material is “Really?” remotely common. It would be possible interesting example of the use of repeti- boring, not up to the standard of the rest “Really!” to go to dozens of plays and movies per tion to create an aesthetic effect. of the piece. This again touches on the or even more extended: year for a lifetime—and watch an almost Next, I was coaching some musicians question of when we do and when we do “Really?” infi nite amount of television—without on a chamber music project, and I was not give ourselves permission to second- “Really.” ever once encountering this form. surprised to be told that they had decided guess a composer. “For certain?” But in music it is routine. Why is this to make cuts to one of the pieces they Then a student of mine, a former “For certain.” so? It should not be that the repetition were to play at an upcoming concert. player of a melody instrument, just now Each of these question and answer is inoffensive—acceptable—because it Specifi cally, they were going to leave a getting into keyboard playing, spontane- groups works. Furthermore, each word is meaningless. If it were meaningless, movement or two out of the very long ously asked why so much keyboard music or phrase has its own particular feeling. then we would not have a vast repertoire piece. However, in the longest move- has repeats: is it just because they want The “really” answer in the second group- in which a substantial amount of repeti- ment, they were snipping out bits: a few to make the pieces longer? I touched ing feels different to me from that in tion has been perceived as valuable by a measures here, a few measures there, on that a bit in the February column as the fi rst, because it is not being asked to vast audience over many centuries. (At based on a sense that the movement was well. It is an idea that we tend to resist, express fi nality. least that is a fair assumption or a rea- too long and repetitive. This caught my since in a way it could be taken to be In the realm of music without words, sonable hope.) But the meaningfulness attention since I had just written in my disparaging or belittling of the work of the question and answer attribute is is abstract, and that seems to be the big more abstract, more elusive. Attributing difference. The extent to which repeti- this to a passage almost certainly can- tion in music engages our “why are they not ever be right or wrong or subject to doing that again?” refl ex is limited. proof, or even perhaps to analysis. But Perhaps because the repetition is because it cannot ever be wrong, it can abstract, it can also evoke a response to always be potentially useful. If thinking the very idea of repetition itself. That of a repetition situation as a question and idea is powerful. As much as we like answer, or as a statement and restate- newness, we also like familiarity, and ment, perhaps in a different mood or repetition gives a sense of connection by a different “person,” seems useful or to the past and future. It is possible that

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14 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM By Gavin Black

energy, like a response, like an echo, like a reaffi rmation, like something thoughtfully reconsidered? A serious engagement with ideas such as these should probably precede choices about out-and-out changes. Any changes in the notes (ornamentation) or the sound (registration) or performance values (articulation, phrasing, use of timing devices, rubato, and so on) will be based sometimes, at least when we hear the have seen in a long time. I loved it!” So on taking the passage as seriously as it repeat of a passage, we react as we do that suggests that we need to feel a bit of warrants, not on halfway giving up on it when we see an old friend or go back caution about whether repetition, what- in advance. to our favorite restaurant. Repetition ever its power, can lead to boredom. A very practical though mysterious may suggest something like resurrection This is to some extent the domain of the aspect of playing repeated passages or or reincarnation, or hint at some of the composer. If we think that a composer’s identical material is that the same exact things that we wonder about and crave use of repetition in a particular piece notes can seem easier or more diffi cult wandering, that by virtue of its not being having to do with eternity and infi nity. creates boredom, we might just not to play depending on whether you are the initial statement it is a different thing This is especially true of recurrence in want to play that piece. But nonetheless playing them for the fi rst or second that is going on and needs attention and composition, as in rondo technique or as players, we need both to make sure time. Sometimes, in a long piece in interest. On a very practical note, if the recapitulation. Certainly these images that we do what is necessary to make which something comes back after a fi ngering and pedaling of two passages are overblown and should not be taken repeated material interesting and to long interval, this can be explained by that are identical in notes can also be too literally or even too seriously. But I refrain from overreacting. stamina and concentration issues. This identical, that should save time and am pretty sure that some of these sorts of I believe that a lot of students tend is something that I have to remember work and lead to greater security. This feelings are there much of the time. It is to overreact to the fear that repeated to think about consciously when I am is something that seems like it could go part of the picture of what repetition can or recurrent material will be boring. playing the Bach Prelude and Fugue without saying, but that is also worth feel like or mean. This can manifest itself in wanting to in E Minor, BWV 548, for example. In remembering consciously. In music that has words and is in add ornamentation or change stops. each movement there is an extended As I said last month, a lot of this is verses, we expect the music to repeat, There is a kind of fruitful paradox, true da capo. And when the opening speculation or ideas that I fi nd interest- but not the words. We can sing any that if you always change ornaments or material comes back it manifestly does ing to try on for size. I would encour- number of verses in a row of a hymn change stops on repeats, that in itself not feel the same. I need to remember age students to think for themselves as and happily accept that the musical becomes repetitive and potentially consciously to give it an extra dose much as possible about what it means notes will be the same for every verse. boring. So everyone should be moti- of concentration to compensate for to take an interesting and important However, if the words were exactly vated to limit those sorts of gestures or the effects of playing non-stop for a musical idea and just plain do it again. the same for each verse it would seem to think carefully and in an individually long time. Also the return of familiar The ways in which I have framed some bizarre. A phrase in words might recur. tailored manner about when they are material in a case like that creates the of my thoughts about it might be use- But any sameness of that sort has to be the most valuable. danger of a letdown: “oh, it’s just that ful to some people, but all the more so dealt out very differently with words If a repeat—or material that comes old passage again; I did that fi ne ten if they invite people to come up with than with music. back or resembles other material— minutes ago.” their own. Q The term “repetitive” is, in everyday seems intrinsically boring to you, is One way to avoid that letdown is to usage, almost a synonym for “boring.” there a way of framing it aesthetically, focus on the possible rhetorical differ- Gavin Black is Director of the Prince- You never hear someone say “that was philosophically, or through imagery, ences alluded to above. Try to remem- ton Early Keyboard Center in Princeton, a wonderful book: really repetitive” or that brings it to life? Is there a way ber, whether it is an instant repeat or a New Jersey. He can be reached by email “that movie was the most repetitive I of playing it with more energy, or less return after a good deal of other musical at [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 15 New organs

The new Dobson organ at Saint Thomas Church, Fifth Avenue, New York

By Scott Cantrell

t was an organbuilder’s dream assign- hand. Who will ever forget those post- Iment, and a formidable challenge: Evensong improvisations? a monumental instrument in a grand But with only one expressive divi- church renowned for elegant music and sion, the Swell, and no Romantic solo liturgy—as well as architecture—with stops, the previous instrument was the generous acoustics most church handicapped for the more elaborately musicians only dream of. Because of its orchestrated accompaniments of Angli- high visibility, it was sure to draw high- can choral music. It was not an organ intensity attention from organists—and designed for the smooth crescendos others—with widely varied experiences, and decrescendos of Hubert Parry and tastes, and expectations. Sure enough, Herbert Howells. It had no English horn the crowd that packed Saint Thomas or French horn, let alone a crowning, Church on New York’s Fifth Avenue for hot-coals tuba. And, mechanically it was the October 5 dedicatory recital on the failing, to an extent that at the very least new Dobson organ was well littered with a major renovation was urgent. the glitterati of the organ world. Other Below are some personal fi rst impres- crowds fi lled the nave for the October sions from those two recitals and two 7 Sunday morning Solemn Eucharist, services. But fi rst, a bit of history. afternoon Solemn Evensong, and an ensuing recital by Saint Thomas associ- From Skinner to Dobson ate organist Benjamin Sheen. The elegant building we admire today, The new organ case by Dobson Pipe Organ Builders (photo credit: Benjamin Hoskins) Aside from thirteen stops recycled blending French and English Gothic from the previous Saint Thomas instru- elements, replete with elaborate stone virtually new instrument, retaining just a tonal changes. Adams replaced Aeolian- ment, the Irene D. and William R. and woodcarvings, was the fi nal collabo- few hundred pipes and some windchests Skinner reeds with bolder, more French- Miller Chancel Organ is completely ration between architects Ralph Adams from its predecessor. Tragically, Harrison, ifi ed examples, reconstituted mixtures, new. It is dedicated to the memory of Cram and Bertram Grosvenor Goodhue. long in precarious health, died of a heart and removed the formerly expressive former organist and director of music Opened in October 1913, it originally attack during the installation. The crew Choir division in favor of an exposed, John Scott, whose tragically early 2015 had an organ by the Ernest M. Skinner rushed to complete most of the organ for quasi-baroque Vorwerk. The antiphonal death, at age 59, deprived the world, as Company, Opus 205, over which organ- a planned recital by Pierre Cochereau divisions were removed in preparation well as the parish, of a brilliant organist ist T. Tertius Noble, recruited from York at the 1956 national convention of the for a separate new instrument to be and choral director. The instrument’s Minster in England, presided until his American Guild of Organists. installed in the rear gallery; some of the clear and dramatic contrast from its retirement in 1943. By the time another The new instrument was nominally antiphonal pipework was shifted to the predecessor certainly represents Scott’s Englishman, T. Frederick H. Candlyn, French, complete with front-and-back chancel organ. own tastes and vision, from an English succeeded Noble, the relatively dense, Grand Choeur divisions of reeds bolder (Inaugurated in 1969, the Loening heritage including earlier appointments dark tone of the thirty-year-old Skin- than usual with Aeolian-Skinner. I say Memorial Organ in the gallery, by Adams, at London’s Southwark and Saint Paul’s ner organ had fallen out of fashion, and “nominally,” as recordings made in Octo- was a four-manual, mechanical-action cathedrals. If the former chancel organ, Candlyn found it especially frustrating ber 1957 by Marcel Dupré (recently instrument based on French Classic incorporating multiple generations of for leading congregational singing. By reissued in a boxed set of his Mercury models. Plagued with mechanical issues pipework and changing tonal concep- now, Skinner had been edged out of the and Philips recordings) capture a fairly from the start and generally considered tions, was the product of some Franco- merged Aeolian-Skinner Organ Co. and taut American Classic instrument that tonally unconvincing, it soon fell out of American imaginations, the new organ set up his own fi rm, E. M. Skinner & Son. had, as it were, taken a fi rst-year French use. It was removed to make room for the is more Anglo-American, although Meanwhile, G. Donald Harrison, an course. Although it was widely acclaimed 1996 Loening-Hancock organ, based on incorporating French-style reeds. In Englishman formerly with Willis, had a crowning masterpiece of Harrison’s German and Dutch baroque models, by particular, it provides far better accom- assumed tonal direction of Aeolian- work, even it did not fully satisfy Self’s Taylor & Boody Organbuilders. With a panimental resources in the English cho- Skinner and was creating a stir with newly tonal ideals, and it did not last long with- third manual and additional manual and ral repertory central to Saint Thomas’s brightened and clarifi ed choruses. Cand- out major modifi cations. pedal stops added in 2015, this remains musico-liturgical identity. lyn was keen to clarify the Saint Thomas During the 1960s, blasting for expan- an elegant example of its style.) Mongrel that it was, the previous Saint organ’s sound, but he remained faithful sion of the Museum of Modern Art With heavy use in multiple services Thomas instrument, known as the Arents to Skinner, who in 1945 was contracted behind the church caused collapse of an each week and regular recitals, the Organ after its lead donors, had its glori- to rework and replace mixtures and organ chamber ceiling, and a clogged roof Arents organ had ongoing mechanical ous effects—especially after the church’s chorus reeds and make other changes to drain fl ooded the Swell division. Some of issues. The organbuilding fi rm of Mann acoustics were dramatically improved in brighten the sound, plus make a number the Skinner chests were becoming unre- & Trupiano maintained it insofar as pos- the 1970s by removing tapestries that of changes to the console. Although still liable. Aeolian-Skinner was unable to sible, making further changes, including had hung on the north wall of the nave healthy and vigorous, Skinner now was 79 handle the needed work at the time, but adding new reeds to the Swell. By the and sealing sound-muffl ing Guastavino years old, and his work was apparently less recommended two former employees, time Gerre Hancock was succeeded by tile on the ceilings. The massive “crash” than satisfactory. Only three years later, Gilbert Adams and Anthony Buffano, John Scott in 2004, it was clear that, at of its rich, reedy full-organ sound was further brightening and clarifi cation were who had set up their own operation. the least, a major rebuilding, including justly beloved, and the plush foundations carried out by M. P. Möller, in an effort to This was a period when organbuilders replacement of almost all the windchests, had a velvet-textured purr unlike any produce, as Candlyn wrote, “a Willis organ all over the United States were fi nding had become a necessity. The church com- other. Hearing ten seconds of either of with all the brilliance of the French.” pouch leathers tanned in new ways fail- missioned independent studies of the those sonorities, you would immediately Candlyn’s successor, William Self, ing faster than in the past, a problem existing organ, with consideration of the say, “Ah, Saint Thomas.” There were arrived in 1954 with decidedly Franco- aggravated by heavy urban pollution musical demands of the Saint Thomas also bold fl utes of quite special beauty. philic inclinations. Doubtless perceiving just beginning to be addressed in those music program, from consultants Joseph During Gerre Hancock’s tenure as the existing Saint Thomas organ as a dated days. Attempting to provide greater Dzeda and Jonathan Ambrosino. organist-choirmaster, from 1971 to 2004, mishmash, he arranged for Harrison and durability, Adams replaced a number of One could have advanced an argu- he and a succession of assistant organists Aeolian-Skinner, by now the Cadillac the Aeolian-Skinner pitman chests with ment for preserving the best tonal worked wonders with the resources at of American organbuilders, to create a new slider chests and began extensive resources of the Arents organ, replacing

16 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Portraits of Gerre Hancock, Fr. Andrew Mead, and John Scott in the Positive case- work (photo credit: Ira Lippke) the windchests, replacing the Vorwerk A lot of the basic structure was agreed on with an expressive Choir division, and very early: Great, Swell, Choir, Solo. The adding an expressive Solo division arrangement of the building had a lot to with more orchestral voices. But, after do with it. John was really about trying decades of hit-and-miss accretions and to have as many options as possible for deletions, reconstitutions and revoic- accompanying the choir, without losing ings, there was also a strong argument the classical core of the organ from a for a newly coherent conception, more literature standpoint. specifi cally geared to the actual week- by-week uses of the instrument. This Everyone admired certain aspects of the Arents organ. Yes, there was a reaction was the conclusion of both the Dzeda against it, but there was also a conscious and Ambrosino studies, and Dobson effort to retain some of it. There was that Pipe Organ Builders was selected to iconic St. Thomas blaze of tone down the develop conceptions for the new instru- nave, and we really wanted to have the same kind of French character in the reeds, ment, in consultation with John Scott but with a little more control than before. and Ambrosino, who was retained as In every manual division there is a chorus ongoing consultant. of French reeds. The Great chorus of 16′, “There is this sort of holy grail of the 8′, and 4′ are made in French construc- organ that will do anything,” says John tion. The Swell Trompette and Clairon are French, and the trebles of the Basson Panning, Dobson’s vice president and in the Choir are also French construction. tonal director. “But John [Scott] didn’t There are reeds with French shallots in the want a mishmash that had no coherence. Solo, on 10 inches of wind. The restored 1913 organ case with new tin façade pipes (photo credit: Benjamin Hoskins)

OREGON BACH FESTIVAL ORGAN INSTITUTE July 8 – 13, 2019

Led by Grammy Award-winning organist PAUL JACOBS Daily master classes • Seminars on music theory, history, and organ design Tour of Portland organs • Recital performance in the Festival

A generous grant from The Reed Foundation provides free tuition, room, and board for Institute participants.

Participant auditions are due by March 20, 2019. Auditors can enroll through June 1.

For more information about the Organ Institute please visit OregonBachFestival.org/organ-institute Photo by Athena Delene

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 17 New organs

Lynn Dobson, president and artistic BWV 541, and opening hymn, “Come, director of the fi rm bearing his name, thou Holy Spirit, come” (Veni Sancte designed the new case, in collaboration Spiritus), were played on the Taylor & with Saint Thomas’s then-new rector, Boody instrument in the rear gallery. But Fr. Carl Turner, and the Bangor, Penn- then the Miller-Scott organ got to show sylvania, woodworking shop of Dennis off big reedy blasts and purring founda- O. and Dennis D. Collier. The new case tions in the Gloria of the Langlais Messe has a fl atter, more Renaissance look, solennelle. The anthem was Candlyn’s capped with a trumpeting angel. Pipe Christ, whose glory fi lls the skies, the shade carvings include likenesses of postlude Gigout’s Grand choeur dia- current and past musicians and rectors, logué, with fi ery fanfares on the antipho- members of the organ committee and nal Trompette en Chamade. donors. Fears that it would be overly At Solemn Evensong, the new organ intrusive have proved unfounded; the displayed plush grandeur in Edwardian two cases carry on a subtle dialogue of music: George Dyson’s sturdy Magni- complementarity, like the decani and fi cat and Nunc dimittis in D and the cantoris sides of a chancel choir. virtually orchestral drama of Edward Bairstow’s Blessed city, heavenly Salem. How does the new organ sound? The subtlety of registration changes Below are initial, and necessarily per- certainly could not have been achieved sonal, impressions of the new Dobson on the previous organ (although former organ. At various times, among the two assistant organist Michael Kleinschmidt recitals and two services, I sat on differ- certainly whipped up an exciting 1 ent sides of the middle aisle about ⁄4 and accompaniment for the Bairstow on 1 ⁄3 of the way down the nave. Others in a CD from Gerre Hancock’s era). At different seats, obviously, will have had the end, as clouds of incense rose, the different impressions—especially of choir sang the plainsong “Te Deum” an organ speaking from chambers, its with full-organ thunderings between sound having to turn a corner to project verses. The concluding voluntary was down a long nave. The sonic impact the Langlais Hymne d’Actions de grâces varied, of course, from a packed nave “Te Deum,” the antiphonal Chamade’s for the opening recital to a more normal new 16′ extension joining in the open- congregation for the Sunday Evensong ing statement. and recital. Associate organist Benjamin Sheen, Right from the start of Daniel Hyde’s who had done heroic accompanimental inaugural recital, in the Edwin Lemare duties during the two services, brought arrangement of Wagner’s Die Meis- no less authority to the post-Evensong tersinger Overture, it was clear that recital. Perhaps redressing the surpris- the new organ had a well-knit fi nesse ing absence of English music on Hyde’s hardly characteristic of its predeces- opening recital, he opened with Tom sor. (Live video transmission from the Winpenny’s transcription of Walton’s console to a large screen in the choir March for A History of the English- revealed that one of Hyde’s socks was Speaking Peoples, composed for a decorated with the American fl ag, the stillborn English TV series based on Sir other with the Union Jack.) There was a William Churchill’s four-book collec- decent suggestion of the reedy richness tion. He closed with the great Introduc- of the Arents organ, but on far better tion, Passacaglia, and Fugue of Healey The major pipe shades depict the four Evangelists. (photo credit: Ira Lippke) behavior, with massive pedal tone. Willan, composed three years after the Hyde effortlessly cycled through what English native emigrated to Canada. In the Swell, in addition to French- southeast chamber behind the new case; seemed a gazillion registration changes, Again, the new organ supplied idiom- style 8′ Trompette and 4′ Clairon there the expressive Solo is in the southwest demonstrating the new instrument’s atic richness of tone and subtly elabo- are more Anglo-American chorus reeds chamber, beyond the new case. Pedal dynamic and coloristic range and its rate “orchestrations.” Bold fl utes—the at 16′ and 8′ pitch, better suited to pipework is divided between the 1913 ability to manage seamless crescendos Great 8′ Harmonic Flute and the Solo choral accompaniments. The surprise case and the northwest chamber beyond; and decrescendos of timbre as well as Flauto Mirabilis—sang out in Vierne’s is perhaps that the Great includes no the bottom octave of the 32′ Contrabass, volume. Fanfare fi gures sounded fore water-splashed Naïades, and the Tuba Germanic 8′ trumpet stop as an alter- in Haskell construction, lies horizontally, and aft, from the hot-coals tubas and Mirabilis was heard in very loud full cry native to the 16′, 8′, and 4′ chorus of out of sight, on the galleries in front the newly energized Aeolian-Skinner in Lionel Rogg’s transcription of Liszt’s French reeds. The Solo has not one but of the Solo and Pedal chambers. In Trompette en Chamade. Strings and Saint François de Paule marchant sur two very English tubas; one registers physically laying out the organ, priorities celestes purred. Indeed, it was such les fl ots. “merely” a hearty forte, while the Tuba included lowering some chamber ceil- a virtuoso demonstration that one Some overall, and necessarily pro- Mirabilis, on twenty-fi ve inches of wind, ings to reduce sound traps and installing wished for individual sounds to linger visional, impressions now. Certainly proclaims a truly heroic voice. Also new thick and tightly sealing shutters on the a little longer! the new Miller-Scott organ is carefully to the instrument are more orchestral three expressive divisions. Four Bach settings of the chorale considered and fastidiously voiced. The voices in the Solo: a Viol d’Orchestre By the time Daniel Hyde succeeded “Allein Gott in der Höh sei Ehr” overall effect is elegant and cohesive in and companion Celeste modeled on John Scott, in 2016, the new organ was demonstrated more classical sonori- ways the Arents organ, for all its excite- early twentieth-century examples by the already under construction. “John had ties, including a silvery plenum, a ment, never could be. The full organ is English builder Arthur Harrison, plus very specifi c ideas of what the Arents Sesquialtera, 8′ and 4′ fl utes, and rich and stirring, although, at least in Cor Anglais, French Horn, and Orches- organ couldn’t do, and what he wanted 8′, 4′, and 2′ principals. A campy, these fi rst hearings, individual voices tral Oboe. the new organ to do,” Hyde says. “The carnival-esque Karg-Elert Valse and lesser combinations tended to feel Designing a new organ also pre- specifi cation was already locked down. I mignonne briefl y displayed the understated. The three swell boxes have sented the opportunity to rationalize was able to have some input of specifi cs sizzling Solo Viol d’Orchestre and enormous dynamic ranges. placement of the divisions, which had of the console layout and console design, Celeste, elsewhere foundations and Projecting organ tone out of chancel been shifted over the years, not always and various gadgets for the convenience chimes(!). In the opening dialogues chambers down a long nave will always to advantage, and to improve tonal of the player. I was very much involved of the Franck E-Major Choral, Hyde be a challenge. A bit of grit and texture egress from chambers. The all-impor- in the tonal fi nishing, as it was voiced in added the Swell’s more English Trum- in a chancel can register as a subtler, tant Great division formerly had been the church.” pet to the Oboe, which overdid the but enlivening, energy in a nave. With exposed in front of the northwest cham- A few words about the two organ reedy effect; in the “chorale” proper a 4′ the new organ, at least from the nave ber, in the bay beyond the glorious 1913 cases, old and new, are in order. The ele- fl ute oddly joined the Vox Humana. In perspective, I personally would welcome case, hardly advantageous for leading gant 1913 case, part of Bertram Good- the reprise of the theme of Sweelinck’s a bit more texture, a bit less absolute congregational singing. (Directions hue’s original design for the church and Mein junges Leben variations we heard smoothness, to the fl ues. here are physical rather than liturgical; executed by the Boston fi rm of Irving the Voce Umana, an Italian-style prin- Another thing that struck me was a reversed from traditional orientation, & Casson, speaks in more of a French cipal celeste, on the Positive. Hyde’s certain diffi culty in hearing the soprano the church’s altar is at the physical west accent, with its curved pipe towers and playing was brilliant where called for line in hymn accompaniments, a ten- end of the building.) frilly pipe shades. Gleaming tin façade and everywhere fastidious, although it dency for tone to cluster around the In the new dispensation, the Great is pipes now replace the duller zinc pipes was a surprise to hear the earlier music middle of the keyboards. This may in the new case on the southeast end of that had been there for generations. As played with such unrelenting legato. have had more to do with accompa- the chancel, opposite the 1913 case, with ideas for a new organ evolved, it was At the Sunday morning Solemn nimental registrations chosen, which the new Positive division below. The eventually decided to reject the previ- Eucharist the new organ was unheard almost across the board struck me as Swell remains in the 1913 case, but phys- ous “fl owerpot” displays of pipes and fi t until after the offi cial blessing at the too reserved. But I did fi nd myself ically pushed forward more than before. the opposite side of the chancel with a beginning of the service. The prelude, wanting more ascending energy in the The expressive Choir division is in the new case of commensurate grandeur. Bach’s G-Major Prelude and Fugue, treble, especially from the all-important

18 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM 2 16′ Trombone (61 pipes) 6⁄5′ Grosse Tierce (1956 pipework, Great division. For all the stated aims Dobson Pipe Organ Builders 8′ Tuba (61 pipes) 32 pipes) 4 of projecting more sound from the Opus 93 (2018) 8′ Trompette (61 pipes) 4⁄7′ Grosse Septième (1956 pipework, Great, especially, I did wonder if the 4′ Clairon (61 pipes) 32 pipes) GREAT (Manual II, in new case) 8′ Tuba Mirabilis (unenclosed, 25′′ ′ new left-side case, relatively fl at and ′ ′ 4 Super Octave (partly in façade, 32 Diapason (ext 16 ) wind pressure, 61 pipes) 32 pipes) densely fi lled in with carvings, were not 16′ Diapason (partly in façade, 73 pipes) 8′ Trompette en Chamade (Choir) ′ ′ ′ 4 Flute (ext 8 ) a more inhibiting factor than had been 16 Bourdon (61 pipes) Chimes (25 tubes) 1 ′ ′ 3⁄5 Seventeenth (1956 pipework, expected. The Positive division seemed 8 First Diapason (61 pipes) 32 pipes) 8′ Second Diapason (61 pipes) PEDAL (in northwest chamber very reticent, although again that may ′ 2′ Flute (ext 8′) 8 Harmonic Flute (61 pipes) and existing case) 2 ′ have been more a matter of registra- ′ IV Mixture (2 ⁄3 , 128 pipes) 8 Gamba (1956 pipework, 61 pipes) 32′ Contrabass (44 pipes) ′ tions chosen, and where I was sitting at 8′ Chimney Flute (61 pipes) ′ 32 Contre Bombarde (1956 pipework, 32 Diapason (Great) 44 pipes) the time. Some Pedal notes stuck out 4′ First Octave (61 pipes) 32′ Subbass (56 pipes) ′ ′ ′ 32′ Trombone (ext Sw 16′, 12 pipes) more than others. 4 Second Octave (61 pipes) 16 Contrabass (ext 32 ) ′ ′ 4′ Spire Flute (61 pipes) 16′ First Diapason (partly in façade, 16 Bombarde (ext 32 ) 1 16′ Posaune (32 pipes) Although in rehearsals the Saint 3⁄5′ Grosse Tierce (61 pipes) 32 pipes) 2 ′ ′ 16′ Trumpet (Sw) Thomas organists had taken advantage 2⁄3 Twelfth (61 pipes) 16 Second Diapason (Great) ′ 2′ Fifteenth (61 pipes) 16′ Subbass (ext 16′) 8 Trompette (32 pipes) of the built-in playback system to check 3 ′ 1⁄5′ Seventeenth (61 pipes) ′ 4 Clairon (32 pipes) registrations and balances in the nave, 16 Contra Gamba (Solo) ′ V Cornet (8′, mounted, TG, 185 pipes) 16′ Bourdon (Great) 4 Schalmey (32 pipes) the opening recital and Sunday services IV Mixture (2′, 244 pipes) 16′ Echo Bourdon (Swell) 8′ Tuba Mirabilis (So) 2 2 ′ were their fi rst chances to hear the full III Cymbal ( ⁄3′, 183 pipes) 10 ⁄3′ Quint (fr Gt 16′ Bourdon) 8 Trompette en Chamade (Ch) resources of the organ with full con- 16′ Bombarde (61 pipes) 8′ Octave (partly in façade, 32 pipes) Chimes (So) 8′ Trompette (61 pipes) 8′ Bass Flute (56 pipes) gregations. There is no way to gauge an 4′ Clairon (61 pipes) 8′ Gamba (Solo) Total number of ranks: 126 organ’s real-life effect without adding the Tremulant 8′ Gedeckt (ext 32′) Total number of stops: 102 acoustical impact of bodies in the pews. 8′ Bourdon (Sw 16′) Total number of pipes: 7,069 With so lavishly appointed an instru- SWELL (Manual III, enclosed in northeast chamber) ment, organists will need time to dis- 16′ Bourdon (61 pipes) cover what works best in what situations. 8′ Diapason (61 pipes) The console, necessarily sequestered in 8′ Viola (61 pipes) SOLID STATE ORGAN SYSTEMS a recess under the new left-side case, 8′ Viola Celeste (61 pipes) 8′ Flûte Traversière (1956, Flûte is the worst possible place to judge Harmonique, revoiced, 61 pipes) balances. Already, Hyde, Panning, and 8′ Lieblich Gedeckt (61 pipes) Ambrosino all acknowledge that some 8′ Flûte Douce (1956 pipework, balances need readjusting. “I think the 61 pipes) 8′ Flûte Céleste (1956 pipework, main structure of the choruses we’re 61 pipes) happy with,” Hyde says. “I might want 4′ Octave (61 pipes) to look at a little different balance in the 4′ Fugara (61 pipes) bass department. When the building is 4′ Flûte Octaviante (1956 Gr. Flûte Harmonique, revoiced, 61 pipes) as full as it was, it probably needs a little 2 2⁄3′ Quint (61 pipes) bit of thinning out of the bottom of the 2′ Fifteenth (61 pipes) texture. The room sort of balloons the 2′ Octavin (61 pipes) 3 ′ sound slightly.” 1⁄5 Tierce (61 pipes) IV Cornet (4′, mounted, TG, 148 pipes) Panning says, “There are still things to 1 IV Plein Jeu (1 ⁄3′, 244 pipes) do to the organ that were not complete 16′ Double Trumpet (61 pipes) for the dedication. Chief among those, 8′ Trompette (61 pipes) we’ve decided to remake the bottom 8′ Trumpet (61 pipes) ′ 8′ Hautbois (61 pipes) octave of the 32 Swell reed extension. 8′ Vox Humana (61 pipes) We want to bring up the Swell and Solo 4′ Clairon (61 pipes) trumpets. And we noticed that some Tremulant 1970 notes of the 32′ fl ues do really bloom. CHOIR (Manual I, enclosed in “I noticed in a couple places that some southeast chamber) 1980 of the registrations sounded a little bland, 16′ Quintaton (61 pipes) sort of homogenizing, although there are 8′ Diapason (61 pipes) some quite lovely and individual sounds. 8′ Spire Flute (61 pipes) 8′ Flute Celeste (61 pipes) As for the balance, it is true that there 4′ Gemshorn (61 pipes) is quite a lot of tenor and mid-octave 4′ Flute (1956 Enc. Positiv pipework, energy. Some of that comes from the 61 pipes) 2 ′ reeds that we want to re-balance.” 2⁄3 Nazard (61 pipes) 2′ Doublette (61 pipes) 1990 Happily, and especially for an instru- 2′ Recorder (61 pipes) 3 ment of this size and complexity, there 1⁄5′ Tierce (61 pipes) 1 are plans to revisit these and other issues 1⁄3′ Larigot (61 pipes) 1 1⁄7′ Septième (61 pipes) MultiSystem II in the summer, at the end of the choir sea- ′ son. Hyde himself will leave after Easter, 1 Piccolo (61 pipes) 16′ Basson (61 pipes) 2000 to succeed Stephen Cleobury at King’s 8′ Trompette (61 pipes) The world’s College, Cambridge. Saint Thomas has 8′ Clarinet (61 pipes) named British-born American organist 4′ Clairon (61 pipes) most advanced Tremulant Jeremy Filsell as Hyde’s successor. 8′ Tuba Mirabilis (Solo) and intuitive “For me, personally, as a voicer, I 8′ Trompette en Chamade (existing, really welcome the ability to edit,” Pan- with new 16′ and 4′ octaves, pipe organ ning says. “It’s wonderful to be able to do 85 pipes) control system 2010 something, consider it for a while, and POSITIVE (Manual I, in new come back. We are planning to come case) back after the organ has been used in a 8′ Principal (partly in façade, 61 pipes) number of ways, and consult with Dan 8′ Voce Umana (21–61, partly in façade, 41 pipes) and Ben and see what needs adjustment. 8′ Gedeckt (61 pipes) We want to accommodate real-world 4′ Octave (61 pipes) conditions. We don’t presume that we 4′ Chimney Flute (61 pipes) 2′ Super Octave (61 pipes) have the full picture when we say the 2 II Sesquialtera (2 ⁄3′, 122 pipes) organ is done.” Q 1 IV Sharp Mixture (1 ⁄3′, 244 pipes) 2020 8′ Cromorne (61 pipes) Scott Cantrell began a 45-year career Tremulant as a classical music critic writing for the SOLO (Manual IV, enclosed in precursor of The American Organist. southwest chamber) An organist and choirmaster in earlier 16′ Contra Gamba (61 pipes) years, he has often written about organs, 8′ Flauto Mirabilis (61 pipes) organ music, and organists. Since 1999 8′ Gamba (61 pipes) 8′ Gamba Celeste (61 pipes) he has been classical music critic of The 8′ Viole d’Orchestre (61 pipes) Dallas Morning News, on a freelance 8′ Viole Celeste (61 pipes) basis since 2015. He holds degrees from 4′ Orchestral Flute (61 pipes) 4′ Viole Octaviante (61 pipes) Southern Methodist University and 1 III Cornet des Violes (3 ⁄5′, 183 pipes) Rensselaer Polytechnic Institute. 16′ Cor Anglais (61 pipes) 8′ French Horn (61 pipes) 5600 General Washington Dr.,Suite B211, Alexandria, VA 22312 Builder’s website: www.dobsonorgan.com 8′ Orchestral Oboe (61 pipes) t: +1 (703) 933 0024 e: [email protected] Church’s website: www.saintthomaschurch.org Tremulant

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 19 Convention report

Organ Historical Society 2018 Convention, Rochester, New York A review By Jonathan Ortloff and Kola Owolabi

hen I reviewed the 2009 Organ fi t this bill. Thirty-three events cannot be WHistorical Society Convention adequately covered here, so a sampling in Cleveland, Ohio, I remarked on the of those that stood out in this mission will evolution of such gatherings from their have to suffi ce. mid-century beginnings: long gone were the days of the un-air-conditioned Saturday, July 28 school bus with bad springs on dusty The pre-convention day took attend- back roads visiting a bevy of two-manual, ees to Ithaca, home to a number of nineteenth-century Hooks, Simmonses, new instruments in recent years. The or Johnsons. The feel of the modern newest instrument heard at the conven- OHS convention is one altogether more tion, the 2016 Juget-Sinclair at Saint sleek and polished, and the Rochester Luke Lutheran Church, was played by convention, ably led by co-chairs Myles Belgian organist and musicologist Joris Boothroyd and Nathan Laube, con- Verdin. An unwelcome acoustic and tinued this trend in spades. As over 400 placement presented the builders with a West Bloomfi eld Congregational Church, West Bloomfi eld, New York, 1880 William J. Davis or- attendees discovered between July 28 challenge to be sure in building a French gan (all photo credits: William T. Van Pelt) and August 4, Rochester’s OHS conven- Romantic-style instrument. Mr. Verdin’s tion was a delicious buffet of thirty-six program was a welcome surprise for Skinner organ, Opus 655. Ken Cowan Eastman School of Music. Matthews’s instruments spanning four centuries of this reviewer. Rather than choosing a and Bradley Hunter Welch shared the program featured two selections from organbuilding, demonstrated by thirty- typical program of large works by Widor, bench in a duet program that was, from Joseph Jongen’s Quatre Pièces, opus 37. fi ve recitalists. Franck, Guilmant, and their ilk, Verdin the opening Tuba Mirabilis fanfare of the His elegant performance demonstrated First and foremost, the tremendous programmed no fewer than ten smaller Shostakovich Festive Overture, positively many of the possible combinations of 8′ number of young people at the Roch- pieces by less-celebrated composers electric. Truly sounding as one player, and 4′ stops as well as the 8′ Oboe and ester convention must be mentioned. including Lemmens, Benoist, and Théo- the two milked every possible color out Bassoon, in a variety of musical textures. Thanks in large part to continued dore Dubois, all played with sensitive of the sixty-eight-rank instrument, but in Overall, this instrument has a warm and generous fi nancial support from Paul expressivity, demonstrating his thorough a natural way; not color for color’s sake. pleasing sound that is gently present in Fritts, the E. Power Biggs Fellowship mastery of this music. Excepting the Natural, too, was the shaping of phrases the room. The program concluded with program was able to grant twenty-eight Troisième Choral of Franck, none was whether with swell shades or rubato, Mendelssohn’s Sonata No. 4. Marked fellowships this year, providing travel, longer than four to fi ve minutes; all of particularly in the “Larghetto” from “Allegro con brio,” the fi rst movement lodging, and convention registration to different characters, they were a superb Elgar’s Serenade for Strings, played by of this sonata often comes across as bold those attending an OHS convention for demonstration of the organ’s many Mr. Welch, who always seemed to leave and declamatory. This instrument led the fi rst time. Bravo to the OHS and Mr. guises. With mature reserve, Verdin just a little bit more box left, whether Matthews to a more nuanced rendition Fritts for the dedication to this impor- held the organ’s tutti back until fully the opening or closing. Mr. Cowan’s maiden that balanced strong rhythmic drive with tant program that brings new, younger fi fth piece of the program, fi nally wash- voyage of Karg-Elert’s programmatic subtle fl exibility to make room for inter- members to the OHS. ing the audience in the rich, but hardly Improvisation on “Nearer My God, to esting melodic and harmonic details. Unlike other national or regional overpowering full organ. The conven- Thee” showed him an equal master of At Rochester’s Downtown United organ gatherings, the intent of OHS tion’s fi rst recital was indeed a primer on expression and color, including a haunt- Presbyterian Church, C. B. Fisk’s 1983 conventions has always been to focus the perfect OHS demonstration. ing statement of the theme on the Echo Opus 83, the last organ fi nished by on the organs. To that end, the suc- Vox Humana. With the closing duet Charles Fisk himself, was the vehicle cessful OHS recital is one that puts the Monday, July 30 arrangement of “Toccata” from Jongen’s for Annie Laver, assistant professor of instrument fi rst, presents it in its best The convention’s highpoint occurred Symphonie Concertante, one might have organ at Syracuse University. The organ and fullest light, and approaches it on on Monday evening, at Saint Paul’s expected the console simply to burst into is known for its forceful presence in the its own (often historic) terms. By and Episcopal Church on East Avenue, fl ames for all the energy being pumped room, and Laver skillfully uncovered the large, most recitals heard in Rochester Rochester, home to a recently restored into it. The audience immediately leapt instrument’s gentler sounds in a set of to its feet in a roundly deserved standing variations by Dirck Sweelinck, featuring ovation. Best of all, both during the play- several of the 8′ fl utes, solo 4′ stops, and ing and in the exquisite program notes combinations such as the Swell 8′ Cor de Saving organs throughout given by both Cowan and Welch, it was Nuit and 2′ Waldfl öte. Her performance patently clear they were having a blast of Bach’s Toccata in C, BWV 566a, was America....affordably! with this performance. declamatory and bold with a wonderful sense of rhetorical gesture. Her treat- Tuesday, July 31 ment of the fi rst fugue was particularly Most of the day on Tuesday was spent delightful, with the Positive 8′ Trechter- visiting rural communities an hour’s drive regal and 4′ Baarpijp evoking a spirited south of Rochester. At Leicester Evan- Renaissance consort. Laver worked gelical Presbyterian Church in Leicester, seamlessly with her two registrants to New York, an 1876 Steer & Turner was create a kaleidoscopic sound spectrum aptly demonstrated by Malcolm Mat- and a grand sense of architecture while thews, currently a doctoral student at lavishing appropriate care on many expressive details.

Wednesday, August 1 Michael Unger’s performance on the 1-800-621-2624 2008 Taylor & Boody organ at Pittsford First Presbyterian Church was a buffet foleybaker.com of eighteenth- and nineteenth-century music appropriate to the organ, based

20 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM In closing, a single word of criticism, particularly given the number of younger people attending and performing at this convention: at its very core, the OHS should promote approaching historic instruments on their terms, and promote an understanding of how to play them in a way that respects their builder’s intent. Apologizing for the historicity of some instruments should be anathema at an OHS convention recital, and yet I found Malcolm Matthews it disturbingly common, particularly from William Porter young performers, in reference to origi- nal combination actions. Whether jok- professors William Porter and David ingly complaining or taking fi ve minutes Higgs, both performing on historic between every single piece of a program Jonathan Moyer reconstructions, elected to adopt an his- to reset pistons, some performers’ desires toric approach: playing the entire hymn that these instruments be something organo pleno, at what we would today they are not was occasionally plainly evi- consider about half tempo or slower. dent. This reviewer hopes the OHS will Both Porter’s Lasst uns erfreuen and remain steadfast to its mission to foster Higgs’s O Gott, du frommer Gott an environment that fi rst and foremost were rock solid—not an easy feat when presents historic pipe organs in their accompanying several hundred singing best light and remind their performers at such a tempo—and wholly supportive, that it is the organ’s chance to shine, not Porter’s being particularly expansive, necessarily theirs. In this vein, Robert and provided convention goers with a Poovey’s masterful use of Skinner Opus wholly different experience in hymn 517 at Rochester’s Church of Saint Luke singing. On the 1893 Hook & Hastings and Saint Simon Cyrene deserves men- Annie Laver David Peckham at Rochester’s Christ Church, OHS tion. Observing from the page turner’s favorite Christopher Marks was clearly position, I witnessed Dr. Poovey’s care- on those of David Tannenberg. The Tuba, to Chant de Paix of Langlais, singing along and breathing with the fully planned use of the organ’s resources: organ itself is a study in miniature, both pairing Violes d’Orchestre with Tibia congregation during “Because thy Trust with ample use of divisional pistons and physically and tonally, with “expected” Clausa to ethereal and beautiful effect. is God Alone,” to the tune Marthina by hand registering, he reset the organ’s two eighteenth-century sounds present, but Finally, the singing of “Praise the Source J. Christopher Marks (no relation!), and general pistons exactly once, all the while at a volume appropriate to the small size of Faith and Learning,” set to the tune would absolutely not let the audience giving a masterfully thorough demonstra- and acoustic of the church. If the organ Procession by William Albright, was drag, despite its best efforts. tion of the instrument. was a bit too lieblich to keep up with a profoundly moving experience, given All in all, every attendee, whether a the roaring audience in singing “Love the regal nature of the tune, the rock- Lectures veteran OHSer or a Biggs fellow, must Divine, all Loves Excelling,” it provided solid accompaniment, and the thrilling Aside from performances, three have come away from Rochester with delicate and exquisitely-voiced color and support of the organ, undergirded by lectures broadened the scope of offer- an undeniable sense of the good health choruses for the literature Unger chose. the thundering 16′ Ophicleide. After a ings at the Rochester convention. Joris of the OHS. Kudos to all those involved Mendelssohn’s Andante with Variations century of derision and misunderstand- Verdin’s discussion of the harmonium, in planning this lively social gathering of in D was intimate and delicate, with ing, Hope-Jones and his instruments and particularly the historic desire for like-minded organ afi cionados coupled lieblich strings and fl utes, while Kellner’s surely won some reconsideration, and expression in keyboard instruments, was with a highly polished performance pro- Prelude on Was Gott tut das ist wohlge- much credit is due to Mr. Peckham for a valuable insight into an instrument that gram. The OHS should be rightly proud tan brought out the sprightly side of both presenting the organ so spectacularly infl uenced many of the French Roman- of the showing in Rochester; with events organ and player, both the fl ute-based and sensitively. tic composers whose organ music has of this caliber, the future of the Organ accompaniment, and the haunting vowel become staples of our repertoire. Joel Historical Society is in good hands. Q color of the Vox Humana cantus fi rmus. Saturday, August 4 Speerstra, from the Göteborg Organ Saturday, the convention’s fi nal Art Center (GOArt), used three case Organbuilder and organist Jonathan Thursday, August 2 optional day, began with a visit to Saint studies to explore affordances—unin- Ortloff is president of Boston-based Ort- While heavily altered since its con- Mary’s Catholic Church in Auburn, New tended consequences and discoveries of loff Organ Company, LLC, and a gradu- struction by Henry Erben in 1840, the York, where David Baskeyfi eld dem- new ways to use reconstructed historic ate of the Eastman School of Music. fourteen-stop organ at Grace Episcopal onstrated the Carl Barckhoff instrument instruments. Finally, the present author Kola Owolabi, associate professor of Church in Lyons was the medium for (two manuals, twenty-six ranks), built delivered a review of Robert Hope- organ at the University of Michigan, Ann another textbook demonstration recital in 1890. This is an exquisite instrument Jones’s career, and his position as the last Arbor, reviewed Tuesday’s and Satur- by Jonathan Moyer, who established in a beautiful Gothic Revival church truly forward-looking organbuilder. day’s convention events for this piece. a congenial rapport with the audience designed by Patrick Keely, with glorious with his good-mannered welcome. Nine acoustics. From the opening notes of pieces, none longer than fi ve minutes, Bruckner’s Vorspiel und Fuge in C Moll, included Wesley’s Voluntary IX, high- Baskeyfi eld revealed his masterful art- lighting the organ’s delicate 4′ fl utes, and istry, creating a brooding and imposing Mendelssohn’s Thema mit Variationen, atmosphere through careful attention to — 38 ranks whose theme was introduced nearly building long phrases. Works by Robert inaudibly by the 8′ Dulciana. Finally, it Schumann and Charles-Valentin Alkan did not go unnoticed that we heard full demonstrated further color possibilities. ′ tuscaloosa, alabama tuscaloosa,

organ exactly once, at the end of August Notable among the organ’s ten 8 stops opus 132 Gottfried Ritter’s Variationen über des are the powerful Doppel Flute and Volkslied “Heil dir im Siegerkranz” to Gamba on the Great. At times the Dop- close the program. pel Flute clearly stood out in a soloistic capacity, while elsewhere it was used in Friday, August 3 fuller combinations of foundations stops

Friday was unit organ day, noting the to give a melodic line subtle prominence. Church Chri Episcopal rich history of Robert Hope-Jones and the import Rochester played in his early Hymns success in the United States. Eastman A fi xture of every OHS convention is graduate and organbuilder David Peck- the lusty hymn singing at each recital: ham demonstrated Hope-Jones Opus an opportunity for performers to dem- 2 at Rochester’s Universalist Church. onstrate what, for most pipe organs, follow us on Under Peckham’s capable and sympa- is their primary purpose. Good hymn facebook! thetic hand, the larger of only two Hope- playing takes work and preparation, and Jones organs remaining in the United this discerning audience can tell when States was a revelation to many who hymns have been well prepared, and expected to hear a loud, dull, lumbering when they are last-minute afterthoughts. octopod. Despite its horseshoe con- The Rochester convention had some sole, this decidedly non-theatre organ truly outstanding accompaniments, 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA was the successful vehicle for a varied, mostly taken from Rollin Smith’s Empire t 800 625-7473 [email protected] colorful program, running the gamut State Hymnbook, a compilation of texts Visit our website at www.letourneauorgans.com from David Johnson’s Trumpet Tune in or tunes with New York connections. D, showcasing the organ’s spectacular Several hymns stood out: Eastman

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

Sebastian M. Glück, New York, New York The William and Alice Stack Cathedral Organ The Cathedral of Christ the King, Superior, Wisconsin Ground was broken for the Cathedral of Christ the King on June 23, 1926, and the building was dedicated on Christmas Day of 1927. Elegant simplicity marks the neo-Romanesque structure and its campanile, built upon a raised platform and standing nobly against the Wisconsin sky. Romanesque architecture, which features thick masonry walls with small windows rather than large expanses of fl exible stained glass, normally would provide ample reverberation and the preservation of most frequencies. The cathedral’s interior stood unfi nished until a fund drive was initiated in 1937 to complete the decorations and furnish- ings, installing carpet in the sanctuary and sound-absorbing materials covering the ceiling and the upper side and rear walls of the nave. Despite the great cubic volume of the building, reverberation was annihilated, with a range of .94 to 1.0 seconds. The choir sang from a low- ceilinged gallery above the narthex, its The Cathedral of Christ the King, Superior, Wisconsin (photo credit: John Kawa) voices struggling to reach the crossing with the inadequate accompaniment of a In 2003 the Cathedral Organ Commit- possible. A church in the northeast had The musical blueprint small organ with failing digital stops. tee had selected another organbuilder purchased, under my direction, carefully What began as a two-manual design to build a new organ, but the price of selected ranks from organs that had been grew to three manuals in light of how A new acoustic the large instrument was formidable. dismantled and placed on the open mar- much substantive literature called for In 2003, Rev. Richard Vosko was The project was set aside until Scott ket. That client chose to wait patiently for a third, and how the nuances of choral engaged as the liturgical designer, along Riedel recommended that I review the the time when they could build the organ accompaniment could be expanded. with architect Robert Semborski of circumstances, since he had served as I had designed for them without prepar- During the century and a half that Architectural Resources, Inc., of Duluth, the consultant on three organs I had ing any stops for future installation. At Americans have placed Choir divisions Minnesota, to begin a revision of the built across the country and believed the point of signing a contract, Hurricane under expression, these sections often cathedral, with Scott R. Riedel & Asso- that a different approach would lead to Sandy severely damaged that congrega- have been of nebulous conception and ciates, Ltd. of Milwaukee, Wisconsin, success. Client, consultant, and builder tion’s roof, existing organ, and organ could not serve the literature. I walked as acoustic and organ consultants. The were in agreement that if an appropriate chamber. Their pipe organ would have the conservative path of an unenclosed choir was relocated into the Epistle-side heritage organ could be adapted to the to wait until they restored their building, eight-rank Positiv division in the Gospel transept, and the altar, ambo, and litur- situation, the timeline could be com- and the pipes remained in storage. An case, with the Great in the Epistle case. gical functions onto a raised sanctuary pressed and the budget reduced. I made evaluation of the needs of both potential These divisions enjoy the spatial separa- space that extends into the crossing. The it very clear that despite the prevailing clients led to the sale of that pipework to tion of a Baroque Positiv in a dorsal case project was completed and dedicated in hopeful mythology, a complete restora- the Cathedral of Christ the King. while keeping the organ entirely on one February of 2005. tion or reconfi guration of an existing The available ranks were suited to level for the sake of tuning stability. The The installation of terrazzo paving and organ might equal or exceed the cost of adaptation for an organ in the cathedral, interior of the organ features abundant the removal of the sound absorbing ceil- a new one. with adjustments to the specifi cation, lighting, broad walkboards, sturdy tuning ing and side wall treatments were initial Over a period of years, I located and some rescaling of the fl uework, and the perches, and secure ladders to facilitate steps toward doubling the reverberation offered three possibilities to the cathe- construction of some new pipes. The its future care and longevity. time. A coffered, hard plaster ceiling and dral. The fi rst was a late Frank Roo- clear mission was to serve the Catholic Pipe organs of moderate size can hard surface clerestory walls now result sevelt organ that I had purchased and liturgy, congregational singing, and the exhibit some predictability in tonal in clear, intelligible speech and more stored before its abandoned home was established organ and choral literature. design if the builder is a conscientious than two seconds of gracious reverbera- razed. Future plans had not been fi nal- There was no interest in adopting the steward of a client’s funds; each indulgent tion. Modest amounts of sound absorb- ized in Superior, so I incorporated that whims of any particular temporary frill that supplants a requisite voice is an ing treatment on the rear wall prevent instrument into a 62-rank double organ organbuilding trend that might prove extravagant waste—a disservice to music, unwanted refl ections and repetitions. for another client (see The Diapason regrettable in the future. The specifi ca- liturgy, and education. Instruments of Upper-level balconies and ambula- cover feature, April 2018). Two sub- tions were built upon the features held this size can be conceived with measured tory spaces fl anking the sanctuary were stantial, serially altered Aeolian-Skinner in common by the instruments of the additions to the safety of the template, redesigned as organ chambers for a organs subsequently were brought important eras and cultures of organ increasing color and utility without being future instrument, and the building was under consideration. Both of those composition and building. That informa- irresponsible. My ethical obligation to outfi tted with electrical conduits and situations were so heavily freighted with tion was fi ltered through the registration keep the instrument free of artifi cially ductwork in anticipation of the installa- bureaucracy, politics, and interference guidelines handed down by tradition, generated voices served to focus the sto- tion of a new organ. The former hybrid by middlemen that a choice was made performance practice treatises, and the plist and curb tonal temptation. organ was sold, and the cathedral used to redirect the search. composers’ scores. Such tenets distilled The forthright core of the Great divi- a piano as their primary musical instru- On another front, unforeseen circum- the stoplist toward a practical design that sion is its Diapason chorus, with the ment after the building renovation. stances made the cathedral organ project endures rather than frustrates. bottom octave of the 8′ standing in the

Sebastian M. Glück

GREAT – Manual II SWELL – Manual III – enclosed POSITIV – Manual I PEDAL 16′ Bourdon (ext 8′) 12 pipes 8′ Open Diapason 58 pipes 8′ Viole de Gambe Swell 32′ Untersatz (c) 8′ Open Diapason 58 pipes 8′ Stopped Diapason 58 pipes 8′ Dulciana 58 pipes 16′ Open Wood Bass 32 pipes 8′ Bourdon 58 pipes 8′ Viole de Gambe 58 pipes 8′ Holzgedeckt 58 pipes 16′ Dulciana (ext Pos 8′) 12 pipes 8′ Harmonic Flute (a) 49 pipes 8′ Voix Céleste (TC) 46 pipes 4′ Principal 58 pipes 16′ Sub Bass 32 pipes 8′ Viole de Gambe Swell 4′ Principal 58 pipes 4′ Chimney Flute 58 pipes 16′ Bourdon Great 4′ Principal 58 pipes 4′ Harmonic Flute 58 pipes 2′ Recorder 58 pipes 8′ Principal 32 pipes 2 4′ Spire Flute 58 pipes 2⁄3′ Nazard 58 pipes Sharp Mixture II 116 pipes 8′ Sub Bass (ext 16′) 12 pipes 2′ Fifteenth 58 pipes 2′ Quarte de Nazard 58 pipes 8′ Clarinet 58 pipes 8′ Viola Swell 3 Chorus Mixture IV 232 pipes 1⁄5′ Tierce 58 pipes Tremulant 8′ Dulciana Positiv 8′ Trumpet (b) 14 pipes Mixture III 174 pipes 8′ Trumpet Great 8′ Bourdon Great Tremulant 16′ Bassoon (ext 8′) 12 pipes 8′ Oboe Swell 4′ Fifteenth (ext 8′) 12 pipes 8′ Clarinet Positiv 8′ Trumpet 58 pipes 16′ Herald Trumpet (fr 8′) 4′ Flute Great 8′ Herald Trumpet Positiv 8′ Oboe 58 pipes 8′ Herald Trumpet 58 pipes 16′ Trombone 32 pipes Great Silent Tremulant Positiv Silent 16′ Bassoon Swell 16′ Swell to Swell 8′ Trumpet (ext 16′) 12 pipes 4′ Swell to Swell 8′ Bassoon Swell 4′ Clarion (ext 16′) 12 pipes 4′ Clarinet Positiv

22 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Cathedral of Christ the King

inspired by my walk-through of the permanent stage settings of Palladio’s Teatro Olimpico of 1585, in which he used classical architectural elements in forced perspective to create the illusion of greater height and depth in the built environment. Unconventional as this treatment may be, one has the sense that the portions of the instrument that fl ank the liturgical focus of the build- ing were always in place and meant to Swell pipework View from the nave be there. Rather than being imposed distractions, they tend to sweep the eye speaking façade. The large scale 8′ Har- complete the quartet of stops for the is notably bold and broad in tone, voiced back toward the sanctuary. monic Flute, which takes its lowest nine fonds d’huit. brightly so as to work well in both French pipes from the Open Diapason to main- The choir of fl utes includes the ele- organ repertoire and its characteristic soli Beyond the walls tain open tone throughout the compass, ments of the Cornet Composé. With in English anthem accompaniments. The When a church or synagogue asks is joined by the 16′/8′ wooden Bourdon only one tierce combination in the Herald Trumpet, which plays from this its membership to contribute funds unit and the Viole de Gambe borrowed instrument, I felt that the mutations manual, is placed in the triforium on the toward a major project, the campaign is from the Swell. The 4′ Spire Flute is should be fl ute scaled. Principal scaled Gospel side of the sanctuary and is the most successful if it enhances the lives voiced and fi nished such that it can be mutations cannot weld into a Cornet, yet most brilliant stop in the organ. of those beyond the circle of donors. If 2 3 used in unconventional combinations the 8′-2 ⁄3′-1 ⁄5′ fl ute combination can, in The Pedal division is derived from four pipe organs are heard only during reli- with other fl ue stops for a variety of tonal a good acoustic, convince one that there boldly scaled unit ranks and carefully gious services and are kept under lock colors. The fi rm and round Trumpet is is a Sesquialtera present. This places selected mezzo-forte stops either bor- and key at all other times, a barrier is an extension of the Pedal reed unit, and the Cornet in a position to enter into rowed or extended from the manual divi- erected between the institution and the although a theoretical compromise, is dialogue with the half-length cylindrical sions, with the 8′ Principal in the Gospel inquisitive listener. The organ is one of not detected as such by the listener in reed in the Positiv while still contribut- façade. The 16′ Dulciana, extended from many tools that can bring the surround- the now-sumptuous acoustic. ing to the Grand-Jeu. the Positiv, is worth its weight in gold for ing community into the congregation’s The Swell division is located in the The original plan called for indepen- its utility and elegance, and allows for the sphere of ministry. triforium of the Epistle side of the sanc- dent ranks for the 16′ Bassoon and 8′ forcefulness of the 16′ Open Wood Bass The area’s organists and academics tuary, with shutter fronts opening into Oboe, but they were reconceived as a to fully undergird the ensemble. The 16′ have taken note of this instrument in part the sanctuary as well as to the transept unit when the organ was expanded to Trombone unit, despite its brassy fl air, because it offers a new perspective on the behind the Great windchest. This sec- three manuals. An unexpected feature is warm and round, and rolls down the performance of the post-Mendelssohnian ond set of shutters prevents the Swell of the capped, full-length 16′ Bassoon is nave dramatically. It is scaled and voiced organ repertoire without rejecting any of from sounding distant and directs its that when drawn in the Pedal by duplex for the Pedal, rather than being a con- the structure of the golden age of the tone toward the choir stalls in the tran- action, it sits beautifully beneath the ceptual extension of the Great Trumpet, organ. In a region that until recently has sept. The division is planted on a slider strings, as a surrogate Violone, and adds a practice which can lead to inadequate favored the interpretive neoclassicism soundboard like the rest of the organ, color and pitch identity to the Pedal line support in the bass. of the last century, organ students are with the exception of the reeds and the in softer combinations. welcomed to a new pipe organ of a more Viole de Gambe, which stand on an elec- The Positiv borrows a bit from the The visual element inclusive academic style. tropneumatic unit windchest. Georgian chamber organ and a bit from It is a challenge to be invited to Large-scale choral works and the hun- The American Swell division, for the Continental Baroque, but is neither. design and build an organ after another dreds of pieces written for organ with decades gutted of its 8′ Open Diapason, Open fl ue stops at 8′ pitch were com- builder’s recommended alterations have solo instruments or orchestra will be is enjoying a return of this valuable pitch mon practice for the secondary manual been made to the edifi ce. A freestand- more authentically experienced in this base. It is included here as a hearty slot- divisions of Bach’s time and culture. The ing organ in a resonant case, recessed peaceful, spiritual, resonant space. The ted version that is immeasurably useful chronic omission of such tone, as well as slightly into one of the transepts, Duluth Superior Symphony Orches- in the liturgy as well as in the perfor- the frequent absence of the 4′ Principal would have been ideal, but two factors tra, Twin Ports Wind Orchestra, Lake mance of organ and choral music. The during the Orgelbewegung’s American negated that possibility. Reinforced Superior Chamber Orchestra, Duluth- Swell Diapason chorus is marked by a manifestation, perpetuated an imbal- concrete platforms projecting into Superior Symphony Chorus, Superior brighter Mixture than that of the Great, ance between the Great and Positiv. each transept were already in place at Diocesan Chorale, and myriad collegiate and although it contains only three The utility of the 8′ Dulciana cannot be the direction of the previously selected ensembles have a new resource through ranks, it bears two unisons and one quint overstated, especially when it leans more builder. Worshippers and visitors to the which to expand and vitalize the musical throughout the playing range to maintain toward an Echo Diapason than the type cathedral had been looking at those life of the region. clarity in voice leading. Incisive French of neutered, bland string placed in Ameri- empty shelves and gaping holes in the —Sebastian Glück strings of slotted construction take their can organs of a century ago. The two-rank transept walls for a decade and a half, traditional places, and the undulant mixture is not high-pitched, as the Positiv and expected a resolution. In addition, Personnel: makes a good pair with the Diapason as differentiates itself by its weight and three fi ne mosaics in the Byzantine style Sebastian M. Glück, Artistic and Tonal well. The parent rank stands behind the texture without having the upperwork had been commissioned for each of the Director shutter front near the Great windchest, separate from the ensemble. The 8′ Clari- building’s apses, and their beauty had to Albert Jensen-Moulton, General as it is borrowed onto the Great to net is made of very hard black zinc and remain in view. Manager My series of concept sketches began Robert Ahlborg with a sculptural “pipes in the open” Joseph DiSalle array, which quickly revealed itself to be Keith Goss The Cathedral of Christ the King, Superior, Wisconsin contextually inappropriate. As a preser- Dominic Inferrera vation architect attuned to precedent John Kawa 8′ Great to Pedal Positiv Sharp Mixture II and context, I felt that the mid-20th-cen- Robert Rast 8′ Swell to Pedal C1 19.22 tury treatment was an evasion of artistic William Wildenberg ′ 4 Swell to Pedal C25 15.19 responsibility, so I moved forward by David Winek 8′ Positiv to Pedal F#31 12.15 A46 08.15 cataloguing the building’s architectural 16′ Swell to Great elements. One principle of fi ne interior Suppliers: 8′ Swell to Great Swell Mixture III design is that if stylistically disparate Organ Supply Industries, A. R. Schopp’s ′ 4 Swell to Great C1 15.19.22 furnishings are placed in a room, the Sons, Syndyne, Peterson Electro- 8′ Positiv to Great C13 12.15.22 C37 08.12.15 gesture is most successful when they are Musical Products 8′ Swell to Positiv C49 01.08.12 at least two historical periods apart. The cathedral case design, as built, Builder’s website: www.gluckpipeorgans. Great/Positiv Transfer Great Chorus Mixture IV combines pendant pairs of pipe stock- com C1 19.22.26.29 (a) C1–G#9 from 8′ Open Diapason C13 15.19.22.26 ades with wooden casework. The Cathedral website: https://superiorca- (b) extension of Pedal Trombone unit G#33 12.15.19.22 former is a nod to what Midwestern thedral.org (c) C1–B12 resultant from Open Wood Bass F#43 08.12.15.19 American builders were producing C#51 05.08.12.15 for Catholic churches at the time the Photos by Sebastian Glück, except as Three manuals, 37 ranks, 2,107 pipes cathedral was built, and the latter was noted.

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 23 Organ Projects

Berghaus Pipe Organ Builders, Bellwood, Illinois Saint Paul’s Memorial United Methodist Church, South Bend, Indiana Every organ project is unique, but the unusual circumstances surrounding our introduction to the project at Saint Paul’s Memorial United Methodist Church make it stand out. The opportunity came to our attention after a friend of the fi rm took an architectural tour of the church, and Saint Paul’s was kind enough to allow us to assess the organ and provide several options for consideration. When we inspected the 1902 Bennett Organ Co. instrument, the original leath- ers were deteriorating and the organ was unreliable at best. The process of convert- ing the electro-pneumatic action to an electric-valve action had already begun, and the church was looking for a bid to continue that process and rebuild the rest of the organ in its original confi guration. In addition to furnishing the requested bid, Berghaus gave the option to convert the main chestwork to slider chests, reconfi gure the chamber, build a new steel structure, new enclosures, new wind system, and new console in a much more comprehensive approach to rebuilding the instrument. The slider chest approach appealed to Saint Paul’s Memorial, providing a multi- tude of benefi ts. The simplicity of a slider Saint Paul’s Memorial United Methodist Church, South Bend, Indiana (photo credit: Joe Lightner) chest reduces the number of moving parts from the thousands to the hundreds, low- As the stoplist shows, many ranks of ers the maintenance costs as a result, cre- the original Bennett instrument still ates less chance of malfunction or failure, remain; however, some of the pipework and provides a common wind channel for was so badly damaged that Berghaus excellent tuning stability and blend. elected to replace it with vintage sources Reconfi guration of the chamber allows from our inventory. Our pipe specialists for easier access and serviceability of the repaired all ranks and revoiced them to instrument. The new steel structure give the organ its signature sound with provides sturdy support for the 13⁄4-inch the new elements providing more color tongue-and-groove expression chamber possibilities. The crowning of the organ walls and shades. New reservoirs and is the 23-karat gold gilding of the origi- wooden windlines reduce noise and tur- nal façade pipes, which makes the organ bulence, providing a steady wind supply look as sumptuous as it sounds. to the chests. New electro-pneumatic The organ was completed in Novem- offset chests support the largest bass ber 2017. Over 200 people attended pipes. A new custom cherry console, the dedicatory concert given by for- built to AGO standards, provides the mer Berghaus tonal director Jonathan organist with a comfortable setting from Oblander on April 6, 2018. which to play the instrument. —Brian Berghaus, President The interior of the organ before work began (photo credit: Berghaus Organ Company) Berghaus Pipe Organ Builders/ Bennett Organ Co. Saint Paul’s Memorial United Methodist Church, South Bend, Indiana

GREAT (Manual II, unenclosed) CHOIR (Manual I, enclosed) 8′ Open Diapason (façade, existing, 8′ Geigen Principal (existing, 61 pipes) 61 pipes) 8′ Melodia (existing, 61 pipes) 8′ Doppelfl öte (existing, 61 pipes) 8′ Flute Celeste (TC, new, 49 pipes) 8′ Gemshorn (from inventory, Ruffatti, 8′ Dulciana (existing and from 61 pipes) inventory, Casavant, 61 pipes) 4′ Principal (existing, 61 pipes) 8′ Unda Maris (TC, from inventory, 2 2⁄3′ Nasard (existing, 61 pipes) Casavant, 49 pipes) 2′ Super Octave (existing, 61 pipes) 4′ Flute Octaviante (existing, 61 pipes) 1 1⁄3′ Plein Jeu III (existing and Berghaus 8′ Orchestral Oboe (existing, 61 pipes) inventory, 183 pipes) 8′ Clarinet (existing, 61 pipes) Tremolo Tremolo Chimes (new action, 25 bars) PEDAL (unenclosed) SWELL (Manual III, enclosed) 16′ Open Diapason (existing and from A view of work being done in the Berghaus shop (photo credit: Berghaus Organ Company) 16′ Gedeckt (existing, 61pipes) inventory, Casavant, 56 pipes) 8′ Open Diapason (existing, 61 pipes) 16′ Violone (façade, existing, 32 pipes) 8′ Chimney Flute (existing, 61 pipes) 16′ Bourdon (existing, 44 pipes) 8′ Salicional (existing, 61 pipes) 16′ Gedeckt (fr Sw) 8′ Voix Celeste (TC, from inventory, 8′ Octave (ext 16′) Wangerin, 49 pipes) 8′ Bass Flute (ext 16′) 8′ Aeoline (from inventory, Estey, 8′ Still Gedeckt (Sw 16′) 61 pipes) 4′ Choral Bass (ext 16′) 4′ Harmonic Flute (from inventory, 16′ Contra Fagotto (existing, 44 pipes) Casavant, 61 pipes) 8′ Fagotto (ext 16′) 2′ Flageolet (existing, 61 pipes) 8′ Trumpet (existing, 61 pipes) Full complement of couplers 8′ Oboe (from inventory, Wicks, Peterson ICS-4000 combination action system 61 pipes) Record/Playback feature 8′ Vox Humana (from inventory, Programmable crescendo and Tutti functions Wangerin, 61 pipes) 4′ Clarion (existing, 61 pipes) Three manuals, 33 ranks, 1,909 pipes Tremolo

Reinstallation of the organ has begun. (photo credit: Berghaus Organ Company)

24 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Chelsea Chen; St. Thomas Church Fifth Park Ridge Presbyterian Church This calendar runs from the 15th of the month Avenue, New York, NY 3 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK 24 MARCH Bloomingdale, IL Feb. issue). All events are assumed to be organ Jeremy Filsell; First Church UCC, Nash- recitals unless otherwise indicated and are grouped ua, NH 4 pm within each date north-south and east-west. •=AGO Diana Chou; Woolsey Hall, Yale Univer- chapter event, • •=RCCO centre event, +=new organ sity, New Haven, CT 7:30 pm dedication, ++= OHS event. Benjamin Kolodziej; St. Patrick’s Cathe- Christopher Babcock Michael J. Batcho Information cannot be accepted unless it dral, New York, NY 3:15 pm specifi es artist name, date, location, and hour in White, Lamentations of Jeremiah; Holy Director of Music writing. Multiple listings should be in chronological St. Andrew’s by the Sea, order; please do not send duplicate listings. Trinity Lutheran, New York, NY 5 pm CATHEDRAL OF ST. JOHN Shannon Murphy; Cathedral of St. John Hyannis Port THE DIAPASON regrets that it cannot assume MILWAUKEE responsibility for the accuracy of calendar entries. the Divine, New York, NY 5 pm Edward Landin; St. Thomas Church Fifth Avenue, New York, NY 5:15 pm UNITED STATES Jonathan Vaughn; Washington National East of the Mississippi Cathedral, Washington, DC 5:15 pm Dean W. Billmeyer Christopher Reynolds; Cathedral of St. 15 MARCH Philip, Atlanta, GA 3:15 pm University of Minnesota St. John Paul II High School Choir; St. Alan Morrison; First Baptist Church of Patrick’s Cathedral, New York, NY 1:45 pm Christ, Macon, GA 4 pm Minneapolis 55455 • [email protected] Peter Krasinski, silent fi lm, Ben Hur; St. Nathan Laube; Vanderbilt Presbyterian, Paul’s Episcopal, Greenville, NC 7:30 pm Naples, FL 4 pm Vivaldi, Gloria; Cathedral of St. Philip, At- Henry Glass; St. Michael & All Angels lanta, GA 7:30 pm Episcopal, Sanibel, FL 6 pm Todd Wilson, silent fi lm, Phantom of the Nicholas Schmelter, with piano; Sagi- GAVIN BLACK Byron L. Blackmore Opera; Forrest Burdette Memorial United naw Valley State University, University Princeton Early Keyboard Center Crown of Life Lutheran Church Methodist, Hurricane, WV 7 pm Center, MI 4 pm Bellarmine Schola Cantorum; Calvary 732/599-0392 Sun City West, Arizona 16 MARCH Episcopal, Louisville, KY 3:30 pm www.pekc.org 623/214-4903 Jonathan Ryan, masterclass; Covenant Vincent Dubois; Christ Church Cathe- Presbyterian, Charlotte, NC 9 am dral, Nashville, TN 4 pm Alan Morrison, with trumpet; Spivey Isabelle Demers; Bethel University, Ar- Hall, Clayton State University, Morrow, GA, den Hills, MN 3 pm 3 pm THOMAS BROWN Carson Cooman Bach cantatas and organ works; St. 25 MARCH UNIVERSITY Luke’s Episcopal, Evanston, IL 7 pm Herriman High School Choirs; St. Pat- PRESBYTERIAN CHURCH Composer and Concert Organist rick’s Cathedral, New York, NY 1:45 pm CHAPEL HILL, NORTH CAROLINA Harvard University 17 MARCH Jackson Borges; Presbyterian Homes, ThomasBrownMusic.com www.carsoncooman.com Rosalind Mohnsen; St. Michael’s Epis- Evanston, IL 1:30 pm copal, Marblehead, MA 5 pm Arvid Gast; Brown University, Provi- 26 MARCH dence, RI 4 pm Students from Lebanon Valley College; Charpentier, Miserere; Holy Trinity Lu- Central Synagogue, New York, NY 12:30 pm Your professional card ELBERT ISSELHORST theran, New York, NY 5 pm Vincent Dubois; St. Anne’s Church, D D could appear here! Richard Gress; Cathedral of St. John Washington, DC 7 pm the Divine, New York, NY 5 pm Jane Johnson; Campbellsville Univer- Professor Emeritus Contact: [email protected] Dana Marsh; St. Thomas Church Fifth sity, Campbellsville, KY 12:20 pm University of Iowa–Iowa City or 608/634-6253 Avenue, New York, NY 5:15 pm Colleen Ames; Campbellsville Univer- Jonathan Ryan; Covenant Presbyterian, sity, Campbellsville, KY 8 pm Charlotte, NC 3 pm Dorothy Young Riess; St. Louis King Martin Jean; Trinity Episcopal Cathe- of France Catholic Church, St. Paul, MN dral, Columbia, SC 5:15 pm 12:35 pm STEVEN EGLER JOHN FENSTERMAKER John Fenstermaker; Trinity-by-the-Cove Central Michigan University Episcopal, Naples, FL 4 pm 27 MARCH School of Music TRINITY-BY-THE-COVE Robert Bozeman & Lisa Lewis; Christ Pius X Catholic High School Choir; St. Church Cathedral, Lexington, KY 3:30 pm Mt. Pleasant, MI 48859 Patrick’s Cathedral, New York, NY 1:45 pm NAPLES, FLORIDA Gail Archer; Goshen College, Goshen, Candelight Vespers; Shadyside Presby- [email protected] IN 4 pm terian, Pittsburgh, PA 7 pm Sharon Peterson; Loyola University, Robert Myers; Trinity Lutheran, Cleve- Chicago, IL 3 pm land, OH 12:15 pm Norberto Aaron Tan; University of St. Thomas, St. Christine Kraemer; St. Luke’s Episco- Paul, MN, 3 pm pal, Evanston, IL 11:30 am Susan Goodson Guinaldo 19 MARCH 28 MARCH Emanuel United Church of Christ His Music Gedymin Grubba; St. Louis King of James Johnston, with cello; Christ Manchester, Michigan See—Listen—Buy France Catholic Church, St. Paul, MN Episcopal, Bradenton, FL 12:15 pm www.GuinaldoPublications.com 12:35 pm Choir of King’s College, Cambridge; St. Paul Catholic Cathedral, St. Paul, MN 8 pm 20 MARCH A Professional Card in James Kennerley; Merrill Auditorium, 29 MARCH Portland, ME 7:30 pm Academic Chamber Choir of Uppsala; The Diapason STEPHEN HAMILTON Candelight Vespers; Shadyside Presby- Battell Chapel, Yale University, New Haven, terian, Pittsburgh, PA 7 pm CT 7:30 pm For rates and digital specifi cations, recitalist–clinician–educator Robert Myers; Trinity Lutheran, Cleve- Waukesha West High School Choirs; St. contact Jerome Butera land, OH 12:15 pm www.stephenjonhamilton.com Patrick’s Cathedral, New York, NY 1:45 pm Christine Kraemer; St. Luke’s Episco- 847/391-1045; [email protected] Upper Arlington High School Symphonic pal, Evanston, IL 11:30 am Choir; St. Patrick’s Cathedral, New York, 21 MARCH NY 4 pm James Guyer; Christ Episcopal, Braden- Students of Manhattan School of Music; ton, FL 12:15 pm Madison Avenue Presbyterian, New York, David Herman NY 7:30 pm 22 MARCH Nicole Keller; Emmanuel Church, Ches- Trustees Distinguished Professor Emeritus of Music and University Organist Katelyn Emerson; St. Stephen’s Episco- ter Parish, Chestertown, MD 7 pm The University of Delaware Q [email protected] pal, Providence, RI 7:30 pm Shawn Dawson & Emily Meixner; Ca- San Clemente High School Choirs; St. thedral of the Assumption, Louisville, KY Patrick’s Cathedral, New York, NY 1:45 pm 7:30 pm Archbishop Jordan High School Choir; St. Vincent Dubois; Trinity United Method- Patrick’s Cathedral, New York, NY 4 pm ist, Huntsville, AL 7:30 pm Gail Archer David Briggs; Longwood Gardens, Ken- David Higgs; Auer Hall, Indiana Univer- nett Square, PA 8 pm sity, Bloomington, IN 8 pm organist Clara Gerdes; Trinity Episcopal, Upper- David Jonies, with Milwaukee Sympho- www.gailarcher.com ville, VA 7:30 pm ny Orchestra, Brahms, Requiem; Marcus Lorraine Brugh, Ph.D. Thomas Heidenreich; Fourth Presbyte- Center, Milwaukee, WI 8 pm Professor of Music Vassar College rian, Chicago, IL 12:10 pm Jackson Borges; Fourth Presbyterian, Barnard College, Columbia University University Organist Jason Moy, harpsichord, with fl ute and Chicago, IL 12:10 pm cello; St. Chrysostom’s Episcopal, Chica- [email protected] Valparaiso, Ind. (212) 854-5096 go, IL 7:30 pm 30 MARCH valpo.edu Jerrick Cavagnaro; Trinity Church on Promotion 23 MARCH 219.464.5084 the Green, New Haven, CT 2 pm SOZO Media Durufl é, Requiem; St. John’s Episcopal, Choir of New College, Oxford, UK; Christ [email protected] [email protected] West Hartford, CT 3 pm & Holy Trinity Episcopal, Westport, CT 5 pm

WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 25 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church King’s College Choir, Cambridge, UK; 6 APRIL New York, NY Syracuse, NY 13203-2816 Washington National Cathedral, Washing- Coro Vocati; Peachtree Road United www.andrewhenderson.net ton, DC 5 pm Methodist, Atlanta, GA 7 pm (315) 471-8451 David Higgs, masterclass; Auer Hall, Indiana University, Bloomington, IN 10 am 7 APRIL David Jonies, with Milwaukee Sympho- Rosalind Mohnsen; St. Anthony of ny Orchestra, Brahms, Requiem; Marcus Padua Catholic Church, New Bedford, MA Richard Barrick Hoskins Center, Milwaukee, WI 8 pm 3 pm Brian Jones Scott Lamlein; St. John’s Episcopal, Director of Music & Organist Director of Music Emeritus 31 MARCH West Hartford, CT 12:15 pm St. Chrysostom's Church Sean Redrow; Trinity Lutheran, Worces- Thomas Ingui; Woolsey Hall, Yale Uni- Chicago TRINITY CHURCH ter, MA 4 pm versity, New Haven, CT 7:30 pm Choir of New College, Oxford, UK; Christ [email protected] St. Andrew Chorale & Orchestra, BOSTON & Holy Trinity Episcopal, Westport, CT 9:30 am worship service Vaughan Williams, Sancta Civitas, Britten, Meg Cutting; Dwight Chapel, Yale Uni- The World of the Spirit; Madison Avenue versity, New Haven, CT 5 pm Presbyterian, New York, NY 3 pm KIM R. KASLING JAMES KIBBIE John Lowe; St. Patrick’s Cathedral, New Kai Krakenberg; Cathedral of St. John D.M.A. The University of Michigan York, NY 3:15 pm the Divine, New York, NY 5 pm Bach, Cantata 150; Holy Trinity Lutheran, Ann Arbor, MI 48109-2085 Buxtehude, Fürwahr, er trug unsere St. John’s University Krankheit; Holy Trinity Lutheran, New York, New York, NY 5 pm 734-764-1591 FAX: 734-763-5097 Julian Wachner; St. Thomas Church Collegeville, MN 56321 NY 5 pm email: [email protected] Phoon Yu; Cathedral of St. John the Di- Fifth Avenue, New York, NY 5:15 pm vine, New York, NY 5 pm Ensemble Galilei; Christ Episcopal, Erik Wm. Suter; St. Thomas Church Fifth Easton, MD 4 pm David K. Lamb, D.Mus. Avenue, New York, NY 5:15 pm Virginius Barkauskas; Washington Na- Karen Schneider Kirner Ken Cowan; Westminster Choir College, tional Cathedral, Washington, DC 5:15 pm Director of Music Princeton, NJ 7:30 pm Marek Kudlicki; Holy Trinity Lutheran, Director, Notre Dame Handbell Choir Nathan Laube; Kimmel Center, Phila- Trinity United Methodist Church Lynchburg, VA 4 pm Assistant Director, Notre Dame Folk Choir delphia, PA 2 pm Karen Beaumont; St. Matthias Episco- New Albany, Indiana Daryl Robinson; Bryn Mawr Presbyte- University of Notre Dame 812/944-2229 pal, Asheville, NC 3 pm rian, Bryn Mawr, PA 2 pm Nathan Laube; Clayton State University, David Christopher; Longwood Gar- Morrow, GA 3 pm dens, Kennett Square, PA 3 pm Patrick Scott; Cathedral of St. Philip, At- Chanticleer; Shadyside Presbyterian, lanta, GA 3:15 pm Pittsburgh, PA 3 pm Musical Stations of the Cross; Peachtree Chelsea Chen, works for choir and or- Road United Methodist, Atlanta, GA 7 pm A.S.C.A.P. gan by Poulenc, Durufl é, and Vierne; Trinity FELLOW, AMERICAN GUILD OF ORGANISTS Lutheran, Camp Hill, PA 4 pm Gail Archer; St. Paul’s Episcopal, Cleve- land Heights, OH 4 pm 345 SADDLE LAKE DRIVE Renée Anne Louprette; Christ Church ROSWELL-ATLANTA, GEORGIA 30076 Christiana Hundred, Wilmington, DE 3 pm Evensong for Passiontide; St. James (770) 594-0949 Gail Archer; St. Joseph Catholic Church, Episcopal Cathedral, Chicago, IL 4 pm Macon, GA 3 pm Aaron David Miller, with trumpet; House Amanda Mole; Cathedral of St. Philip, of Hope Presbyterian, St. Paul, MN 4 pm Atlanta, GA 3:15 pm Jonathan Dimmock; St. Joseph Catho- 8 APRIL lic Cathedral, Columbus, OH 3 pm Stephen Warner, silent fi lm, Our Hospi- Bálint Karosi; Hyde Park Community tality; First Presbyterian, Ypsilanti, MI 4 pm Professor Emeritus – University of Michigan – Ann Arbor United Methodist, Cincinnati, OH 4 pm Professor of Organ for 67 years Nicholas Schmelter; St. Paul’s Episco- 9 APRIL MarilynThe University’s longest-serving faculty memberMason pal, Flint, MI 4 pm Gabriele Pezone; Central Synagogue, Vincent Dubois; First Baptist, Hunts- New York, NY 12:30 pm ville, AL 5 pm Alexander Pattavina; St. Paul the Apos- Michael Hey; Zion Lutheran, Appleton, tle, New York, NY 7 pm A two-inch Professional Card in The Diapason WI 4 pm Fauré, Requiem; Cathedral of St. John the Divine, New York, NY 7:30 pm For information on rates and specifi cations, contact Jerome Butera: 1 APRIL Wesley Roberts; Campbellsville Univer- Ken Cowan, masterclass; Westminster sity, Campbellsville, KY 12:20 pm [email protected] 608/634-6253 Choir College, Princeton, NJ 3 pm Bryan Dunnewald; St. Louis King of France Catholic Church, St. Paul, MN 2 APRIL 12:35 pm Vienna Boys Choir; St. James Episcopal, West Hartford, CT 7 pm 10 APRIL Kenneth Dake; Church of St. Ann & the Matthew Daley; Dwight Chapel, Yale LARRY PALMER Holy Trinity, Brooklyn, NY 1pm PHILIP CROZIER Choir of New College, Oxford, UK; University, New Haven, CT 12:30 pm Candelight Vespers; Shadyside Presby- CONCERT ORGANIST Harpsichord – Organ Church of the Ascension, Knoxville, TN 7:30 pm terian, Pittsburgh, PA 7 pm ACCOMPANIST David Briggs; St. Louis King of France Lisa Lewis; Calvary Episcopal, Louis- Professor of Music, Emeritus ville, KY 12:05 pm 3355 Queen Mary Road, Apt 424 Catholic Church, St. Paul, MN 12:35 pm David Briggs; Cathedral of St. Paul, St. Christine Kraemer; St. Luke’s Episco- pal, Evanston, IL 11:30 am Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas Paul, MN 7:30 pm Canada 3 APRIL 11 APRIL (514) 739-8696 Recitals — Lectures — Consultancies Port Angeles High School Choirs; St. Ann Stephenson-Moe; Christ Episco- Patrick’s Cathedral, New York, NY 1:45 pm pal, Bradenton, FL 12:15 pm [email protected] Candelight Vespers; Shadyside Presby- [email protected] + 214.350-3628 terian, Pittsburgh, PA 7 pm 12 APRIL Margaret Dickinson; Calvary Episcopal, Wahlert Catholic High School Choir; St. Louisville, KY 12:05 pm Patrick’s Cathedral, New York, NY 1:45 pm Christine Kraemer; St. Luke’s Episco- Forestview High School Concert Choir; pal, Evanston, IL 11:30 am St. Patrick’s Cathedral, New York, NY 4 pm Philip Brisson, Dupré, Stations of the announces... 4 APRIL Cross; Cathedral of the Assumption, Louis- East Gaston High School Concert ville, KY 7:30 pm Choir; St. Patrick’s Cathedral, New York, Robin Dinda; Fourth Presbyterian, Chi- 20 Under 30 Nominations NY 1:45 pm cago, IL 12:10 pm Nominations20 Under 30close Class February of 12019 Haydn, Stabat Mater; Church of St. Luke in the Fields, New York, NY 8 pm We will be recognizing 20 young 13 APRIL Three Choir Festival; Peachtree Road Handel, Messiah; Shadyside Presbyte- United Methodist, Atlanta, GA 7 pm men and women whose career rian, Pittsburgh, PA 3 pm Nancy Siebecker; Christ Episcopal, accomplishments place them at Tom Hamilton & Teresa Riffel; Sacred Bradenton, FL 12:15 pm the forefront of the organ, church Heart Music Center, Duluth, MN 2 pm music, harpsichord, carillon, and Choir of New College, Oxford, UK; St. George’s Episcopal, Nashville, TN 7 pm —before 14 APRIL their 30th birthday. 5 APRIL MacMillan, St. Luke Passion; Trinity Lu- Full Score; St. Patrick’s Cathedral, New theran, Worcester, MA 4 pm WinnersVisit TheDiapason.com will be announced in early March, York, NY 1:45 pm Yale Camerata; Church of the Redeemer andfor moreprofi led information in the May and issue. to nominate. Apex Friendship High School Chamber (UCC), New Haven, CT 4 pm Choir; St. Patrick’s Cathedral, New York, Lorelei Ensemble; St. Ignatius Loyola, NY 4 pm New York, NY 3 pm Olivier Latry; Rollins College, Winter Bach, Jesu, meine Freude; Grace Stay up to date on all of the latest industry news and events. Park, FL 7:30 pm Church, New York, NY 4 pm Visit TheDiapason.com regularly. Josiah Hamill; First Presbyterian, Bach, Cantata 182; Holy Trinity Lutheran, Evansville, IN 7 pm New York, NY 5 pm

26 Q THE DIAPASON Q MARCH 2019 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Ken Cowan, choral concert; Westmin- Nicholas Schmelter; First Presbyterian, Southminster Presbyterian Church ster Choir College, Princeton, NJ 7:30 pm Caro, MI 12 noon SHORT HILLS Arlington Heights, IL 60005 Mozart, Requiem; Washington National John Sherer; Fourth Presbyterian, Chi- Cathedral, Washington, DC 4 pm cago, IL 12:10 pm Lakeside Singers; Fourth Presbyterian, Chicago, IL 7:30 pm 15 APRIL ANDREW SCHAEFFER Yale Repertory Chorus; Marquand Cha- DEREK E. NICKELS, DMA pel, Yale University, New Haven, CT 5 pm 27 APRIL Luther Memorial Church (ELCA) Aaron Tan; Dwight Chapel, Yale Univer- Church of the Holy Comforter Ryan Kennedy & Chase Loomer; Wool- Madison, Wisconsin sey Hall, Yale University, New Haven, CT sity, New Haven, CT 2 pm Kenilworth, IL 60043 7:30 pm Grant Wareham; Christ Church, New [email protected] Haven, CT 5 pm Fauré, Requiem; Christ Church Cathe- (847) 251-6120 • [email protected] Recitals — Hymn Festivals dral, Lexington, KY 4 pm 28 APRIL 16 APRIL Choral Evensong; St. John’s Episcopal, Maunder, Olivet to Calvary; Grace West Hartford, CT 5 pm A one-inch Professional Card Preston Smith; St. Patrick’s Cathedral, Jeffrey Schleff, Ed.D. Church, New York, NY 7 pm in The Diapason New York, NY 3:15 pm Organist – Teacher – Consultant 17 APRIL Patrick Pope; Cathedral of St. John the For information on rates and specifi cations, Divine, New York, NY 5 pm Sulphur Public Schools, Sulphur, OK Ken Cowan, Dupré, Stations of the Robert McCormick; St. Thomas Church contact Jerome Butera: Cross; Princeton University Chapel, Princ- United Disciples Christian Church, Richardson, TX Fifth Avenue, New York, NY 5:15 pm [email protected] [email protected] 608/634-6253 eton, NJ 8 pm Nathan Laube; St. Ann’s Church, Wash- ington, DC 3 pm 18 APRIL Chelsea Chen; Stambaugh Auditorium, Leighton, Crucifi xus Pro Nobis; Fourth Youngstown, OH 4 pm JOHN SCHWANDT Presbyterian, Chicago, IL 7:30 pm Sr. Catherine Duenne, OSB; First Pres- STEPHEN SCHNURR byterian, Evansville, IN 1 pm American Organ Institute 19 APRIL Mozart, Coronation Mass; Church of St. Saint Paul Catholic Church Bach, St. John Passion; Fourth Presbyte- University of Oklahoma Agnes, St. Paul, MN 10 am Valparaiso, Indiana rian, Chicago, IL 7:30 pm Aaron David Miller; House of Hope aoi.ou.edu Presbyterian, St. Paul, MN 4 pm 20 APRIL Gail Archer, with bass; Vassar College, 29 APRIL Poughkeepsie, NY St. Michael’s Choir School; St. Patrick’s Cathedral, New York, NY 1:45 pm ROBERT L. 21 APRIL Aaron Tan; Church of the Ascension, Benjamin Sheen; St. Thomas Church Knoxville, TN 7:30 pm SIMPSON Mark Steinbach Fifth Avenue, New York, NY 2:15 pm Timothy Spelbring; Presbyterian Christ Church Cathedral Brown University Bach, Cantata 15; Holy Trinity Lutheran, Homes, Evanston, IL 1:30 pm 1117 Texas Avenue New York, NY 5 pm Houston, Texas 77002 George Fergus; Washington National 30 APRIL Cathedral, Washington, DC 1:30 pm Raymond Johnston; St. Louis King

Haydn, Grosse Orgelmesse; Church of of France Catholic Church, St. Paul, MN ] St. Agnes, St. Paul, MN 10 am 12:35 pm Joe Utterback 23 APRIL David Wagner UNITED STATES ]] ] Students from Vassar College; Central West of the Mississippi www.jazzmuze.com DMA Synagogue, New York, NY 12:30 pm www.davidwagnerorganist.com Capital District Youth Chorale; St. Pat- 203 386 9992 rick’s Cathedral, New York, NY 1:45 pm 16 MARCH Gedymin Grubba; Good Shepherd Cath- 26 APRIL olic Church, Golden Valley, MN 6:15 pm Glen High School & North Davidson 17 MARCH High School Choirs; St. Patrick’s Cathedral, Choir of St. Thomas Church Fifth Ave- Kevin Walters KARL WATSON New York, NY 1:45 pm nue; Church of the Incarnation, Dallas, TX Choir concert; Grace Church, New York, 11 am worship service; 4 pm concert M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH NY 4 pm Stephen Hamilton; First United Method- Barnard-Columbia Chorus, Haydn, The ist, Richardson, TX 7 pm Rye, New York WOODBRIDGE, NJ Creation; Church of the Ascension, New Katelyn Emerson; First Presbyterian, York, NY 8 pm Medford, OR 3 pm John Walker; Shadyside Presbyterian, Oliver Brett; Cathedral of St. Mary of the Pittsburgh, PA 7:30 pm Assumption, San Francisco, CA 4 pm Elizabeth Lenti; Emmanuel Church, Duo MusArt Barcelona (Raúl Prieto Alan G Woolley PhD RONALD WYATT Chester Parish, Chestertown, MD 7 pm Ramírez, organ, & Maria Teresa Sierra, Musical Instrument Research Georgia Boy Choir; Peachtree Road piano); First United Methodist, San Diego, Edinburgh Trinity Church United Methodist, Atlanta, GA 7:30 pm CA 7 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253 M 1909 - Te Deum! . . . praises, blessings, and general A JORUL¿FDWLRQVPDNHWKHVHFRPSRVLWLRQVSDUWLFXODUO\ A two-inch Professional Card in The Diapason splendid. R For information on rates and specifi cations, contact Jerome Butera: C 1910 - Organs and OrchestrasLQDQ\HUDWKHEOHQGRI [email protected] 608/634-6253 H WKHVHYHU\GLIIHUHQWVRXQGVRXUFHVDOZD\VIDVFLQDWHV 1911 - Out BachSHUIRUPDQFHVW\OHVRYHUWKH\HDUVKDYH 2 FKDQJHGEXWWKHJHQLXVRI-6%UHPDLQVDFRQVWDQW ArtistArtist Spotlights Spotlightspotlight s 0 1912 - David Briggs in ConcertWKHWDOHQWHG%ULWLVK 1 UHFLWDOLVWSUHVHQWVDSURJUDPRIWUDQVFULSWLRQVSOXVDQG Artist Spotlights LPSURYLVDWLRQDW9HUL]RQ+DOOLQ3KLODGHOSKLD are available on Your professional card 9 The Diapason website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

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

18 MARCH 3 APRIL 19 APRIL 31 MARCH Choir of St. Thomas Church Fifth Avenue; John Varona; First Presbyterian, Roch- Stainer, The Crucifi xion; St. Mark’s Epis- Stephen Hamilton, Dupré, Stations of First Presbyterian, Tyler, TX 7 pm ester, MN 12:15 pm copal Cathedral, Minneapolis, MN 7:30 pm the Cross; St. Paul Within the Walls, Rome, Wayne Marshall; Benaroya Hall, Seattle, Jillian Gardner; St. John’s Episcopal, Pergolesi, Stabat Mater; St. James Cath- Italy 8:30 pm WA 7:30 pm Tulsa, OK 12 noon olic Cathedral, Seattle, WA 12 noon 3 APRIL 19 MARCH 5 APRIL 28 APRIL Léon Berben; Kreuzkirche, Dresden, Choir of St. Thomas Church Fifth Av- Monica Czausz; St. Andrew’s Episcopal, Germany 8 pm David Briggs; St. Olaf College, North- enue; St. Mark’s Episcopal Cathedral, Amarillo, TX 7:30 pm fi eld, MN 7:30 pm Shreveport, LA 7 pm David Ball; Cathedral of St. Mary of the 7 APRIL Assumption, San Francisco, CA 4 pm Stephen Hamilton; St. Giles Cathedral, 20 MARCH 6 APRIL Edinburgh, Scotland 6 pm Bryan Williams; First Presbyterian, Choir of New College, Oxford, UK; Church INTERNATIONAL Rochester, MN 12:15 pm of the Incarnation, Dallas, TX 7:30 pm 9 APRIL Tallis Scholars; St. James Catholic Cathe- Stephen Hamilton, Dupré, Stations of 21 MARCH dral, Seattle, WA 8 pm 16 MARCH the Cross; St. Salvator’s Chapel, University Choir of St. Thomas Church Fifth Ave- Edwin Higginbottom; St. Saviour’s, St. of St. Andrew, Fife, Scotland 12 noon nue; Christ Episcopal, Little Rock, AR 7 pm 7 APRIL Alban’s, UK 5:30 pm David Higgs; Church of the Incarnation, Ken Cowan; First Presbyterian, Lincoln, 10 APRIL Dallas, TX 7:30 pm 17 MARCH NE 11 am worship service, 3 pm recital Holger Gehring; Kathedrale, Dresden, Thomas Ospital, with accordion; Phil- Choir of New College, Oxford, UK; Germany 8 pm 23 MARCH harmonic Hall, Berlin, Germany 11 am Thomas Ospital, with percussion; Radio Church of the Incarnation, Dallas, TX 11:15 Ken Cowan, with Lisa Shihoten, violin; France, Paris, France 8 pm South Main Baptist, Houston, TX, 5:30 pm am worship service 20 MARCH William Porter; Pacifi c Lutheran Univer- Olivier Latry; Kulturpalast, Dresden, 12 APRIL 24 MARCH sity, Tacoma, WA 3 pm Germany 8 pm Stephen Hamilton; Crail Parish Church, Lee Afdahl; First Presbyterian, Roches- Crail-Fife, Scotland 1:10 pm ter, MN 4 pm 8 APRIL 22 MARCH Musica Sacra; Our Lady of the Atone- David Briggs, masterclass; Gustavus Stephen Hamilton; St. Matthaus 13 APRIL ment Catholic Church, San Antonio, Texas Church, Munich, Germany 7 pm Margaret Phillips; St. Peter’s, St. Al- 4 pm Adolphus College, St. Peter, MN 6 pm Choir of New College, Oxford, UK; ban’s, UK 5:30 pm David Higgs; Christ the King Lutheran, 23 MARCH Grace Episcopal Cathedral, San Fran- Houston, TX 6 pm Michael Rhodes; Victoria Hall Hanley, 16 APRIL cisco, CA 8 pm Adam J. Brakel; Broadway Baptist, Fort Stoke-on-Trent, UK 12 noon Jos van der Kooy, with oboe & alto viol; Worth, TX 7 pm Sue Heath-Downey; St. Paul’s, Dept- Grote Zaalvan Philharmonie, Haarlem, Choral Evensong; Christ Episcopal, Ta- 9 APRIL ford, UK 1 pm Netherands 8:15 pm coma, WA 5 pm David Briggs ; Gustavus Adolphus Col- Stephen Hamilton; Cathedral, Glasgow, Polyphonics; Cathedral of St. Mary of the lege, St. Peter, MN 7:30 pm 24 MARCH Scotland 7:30 pm Assumption, San Francisco, CA 4 pm Stephen Hamilton; Christuskirches, 10 APRIL Kronach, Germany 7 pm 17 APRIL 26 MARCH Lois Marsh; First Presbyterian, Roches- Clare College Choir; St. Margaret’s Epis- Olivier Latry; Kulturpalast, Dresden, ter, MN 12:15 pm 25 MARCH copal, Palm Desert, CA 7 pm Germany 8 pm William McVicker; Reading Town Hall, Stephen Hamilton; Memorial Chapel, 27 MARCH 12 APRIL Reading, UK 1 pm University of Glasgow, Glasgow, Scotland Ruth Benning; First Presbyterian, Roch- Wyatt Smith; University of Puget Sound, 1:05 pm ester, MN 12:15 pm Tacoma, WA 12 noon 26 MARCH Jillian Gardner; St. Martyrs-Canadiens Michael Stephens-Jones; Bloomsbury Church, Québec, Canada 2 pm 31 MARCH 14 APRIL Central Baptist, London, UK 1 pm Jacob Benda; St. Mary’s Cathedral, St. Gail Archer; Cathedral of the Immacu- Gillian Weir, masterclass; Bloomsbury 24 APRIL Cloud, MN 7:30 pm late Conception, Denver, CO 4 pm Central Baptist, London, UK 2:30 pm Martin Sturm; Frauenkirche, Dresden, Isabelle Demers; Bloomsbury Central Olivier Latry; First United Methodist, Monica Czausz; Meyerson Symphony Germany 8 pm Baptist, London, UK 6 pm Shreveport, LA 4 pm Center, Dallas, TX 2:30 pm Lola Wolf, with vocalist; Church of the 26 APRIL Musica Sacra; Temple Beth El, San An- Ascension, Seattle, WA 3 pm 27 MARCH Eleni Keventsidou, with violin; Blooms- tonio, TX 4 pm Samuel Kummer; Frauenkirche, Dres- bury Central Baptist, London, UK 4 pm 2 APRIL Thomas Mellan, with clarinet; Cathedral den, Germany 8 pm Olivier Latry; St. Andrew Presbyterian, of St. Mary of the Assumption, San Fran- Yves Lafargue, with mezzo-soprano & 28 APRIL Denton, TX 8 pm cisco, CA 4 pm alto; Radio France, Paris, France 8 pm Ken Cowan, with violin; Philharmonic Hall, Berlin, Germany 11 am 29 MARCH Michael Hey; Westminster United Simon Gledhill; Bloomsbury Central Church, Winnepeg, MB, Canada 2:30 pm Baptist, London, UK 4 pm Edward Norman, with oboe; Holy Ro- 29 APRIL sary Catholic Cathedral, Vancouver, BC, Wayne Marshall; Royal Festival Hall, Canada 8 pm London, UK 7:30 pm

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Subscribers can view the digital David E. Wallace version of this issue (as well as A N D C O M PA N Y, L. L. C. selected past issues) at our website. Pipe Organ Builders New Organs Visit www.TheDiapason.com Restoration / Renovation / Relocation to experience this! www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

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

BENJAMIN ALARD, Musée des Augus- transcr. Demers; Requiescat in Pace, Sower- NATHAN LAUBE, Basilica of the Sacred JOHN SHERER, Fourth Presbyterian tins, Toulouse, France, October 8: Prelude by; Sonata in c, BWV 526, Bach; Vltava (Ma Heart, Notre Dame University, South Bend, Church, Chicago, IL, September 28: Paean: A and Fugue in d, BWV 549a, Bach; Ber- Vlast), Smetana, transcr. Demers; Two Short IN, September 23: Toccata Septima (Appara- Song of Triumph, Chuckerbutty; Aria, Burk- gamesque, Frescobaldi; Aus tiefer Not, schrei Études, op. 68, Laurin; Aubade, op. 55, no. 1, tus Musico-Organisticus), Muffat; Psalm 24 hardt; March on a Theme by Handel, op. 15, ich zu dir, BWV 1099, Herzlich lieb hab ich Vierne; Carillon de Westminster, op. 54, no. (Tabulatur-Boeck van Psalmen en Fantasyen), Guilmant; Suite for Organ, DeLamarter; Pre- dich, o Herr, BWV 1115, Werde munter, 6, Vierne. van Noordt; Chaconne (Les Indes Galantes), lude and Fugue in D, BWV 532, Bach; Litany, mein Gemüte, BWV 1118, Bach; Vater unser Rameau; Partita diversa sopra Sei gegrüßet, Martinson; Fantasia in E-fl at, Saint-Saëns. im Himmelreich, Böhm; Partita diverse so- STEPHEN HAMILTON, Trinity Epis- Jesu gütig, BWV 768, Bach; Fantasia und pra Ach was soll ich Sünder machen?, BWV copal Church, Longview, Texas, September Fuge über den Choral Ad nos, ad salutarem JOSHUA STAFFORD, Church of Christ 770, Capriccio in honorem Johann Christoph 25: Litanies, JA 119, Le Jardin suspendu, JA undam, Liszt. Congregational, Newington, CT, September Bachii, BWV 993, Prelude and Fugue in C, 71, J. Alain; Aria (Six Pieces), A. Alain; Joie et 23: Sonata Eroïca, op. 94, Jongen; Improvisa- BWV 531, Bach; Point d’orgue sur les grands Clarté des Corps Glorieux (Les Corps Glo- JONATHAN MOYER, Pacifi c Lutheran tion on Nearer, my God, to Thee, Karg-Elert; jeux (Livre d’Orgue), de Grigny. rieux), Messiaen; Choral in E, Franck; Prelude University, Tacoma, WA, September 16: Roulade, op. 9, no. 3, Bingham; Comes Au- and Fugue in c, BWV 546, Bach; Resignation, Batalha de 6o Tom, de Araujo; Ricercar in D tumn Time, Sowerby; Grave-Animato (Sonata STEPHEN BUZARD, Presbyterian Wondrous Love, New Britain, Coe; Prelude (Ricercar Tabulatura), Steigieder; Magnifi cat in c), Whitlock; Overture (Le Nozze di Figaro), Homes, Evanston, IL, September 24: So- and Fugue in B, op. 7, no. 1, Dupré. primi toni, Praetorius; Vater unser im Him- K. 492, Mozart, transcr. Scott; Berceuse à la nata in B-fl at, op. 65, no. 4, Mendelssohn; melreich, BWV 683, Christ, unser Herr, zum mémoire de Louis Vierne, Cochereau. Schmücke dich, o liebe Seele, BWV 654, Bach; THOMAS GAYNOR, Notre Dame Ba- Jordan kam, BWV 685, Aus tiefer Not schrei Fantasy on St. Denio, Improvisation on St. silica, Montréal, QC, Canada, October ich zu dir, BWV 687, Bach; Andante in B-fl at JEREMY DAVID TARRANT, Wichita Clement, Hancock; Prélude et Fugue sur le 19: Grand Dialogue du 5e ton, Marchand; (Bibliothèque de l’Organiste, Suite no. 8), Be- State University, Wichita, Kansas, September nom d’Alain, op. 7, Durufl é. Lieberstraum No. 3, Liszt; Danse Macabre, noist; Pastorale (L’Organiste Moderne, 1ère 25: Prelude in E-fl at, BWV 552i, Bach; Sketch Saint-Saëns. Livraison), Lefébure-Wély; Sonata Pontifi cale in D-fl at, op. 58, no. 4, Canonic Study in a, ELIZABETH & RAYMOND CHENAULT, No. 1, Lemmens; Final (Symphonie II, op. 13, op. 56, no. 2, Canonic Study in E, op. 56, no. River Road Church, Baptist, Richmond, VA, HEY-LIBERIS DUO (MICHAEL HEY, no. 2), Widor. 3, Fugue on BACH, op. 60, no. 3, Fugue on September 30; St. Paul’s School, Concord, organ, & Christiana Liberis, violin), Cathedral BACH, op. 60, no. 5, Sketch in f, op. 58, no. 3, NH, October 5: Choral (Sonate à Deux), Lit- of the Most Blessed Sacrament, Detroit, MI, RAÚL PRIETO RAMÍREZ, First United Schumann; Fugue in E-fl at, BWV 552ii, Bach; aize; Eclogue, Shephard; Allegro for Organ September 30: Allegro (Symphonie V in g, op. Methodist Church, Schenectady, NY, Septem- Variations sur un Noël Angevin, Litaize; Cho- Duet, Moore; The Emerald Isle, Callahan; 42, no. 2), Widor; Chaconne, Vitali; Concerto ber 30: Toccata, Adagio, and Fugue in C, BWV ral, Allegretto, Final (Symphonie VII, op. 42, Shenandoah, White; Phantom of the Opera in E, BWV 1042, Bach; Capriccio, Hakim; Pa- 564, Prelude and Fugue in G, BWV 541, Bach; no. 3), Widor. Medley, Lloyd Webber, transcr. Chenault; A vane, Ravel; Pomp and Circumstance No. 1, Danse Macabre, Rhapsodie, op. 7, no. 1, Saint- Fancy for Two to Play, Hancock; Variations Elgar; Prélude et Fugue sur le nom d’Alain, Saëns; Golliwog’s Cakewalk, Debussy, transcr. JORIS VERDIN, St. Luke Lutheran on Veni Creator Spiritus, Briggs. op. 7, Durufl é. Ramírez; Allegro (Symphony VI in g, op. 42, Church, Ithaca, NY, July 28: Offertoire, G.-F. no. 2), Widor; Choral No. 3 in a, Franck; Dizzy Couperin; Élévation, op. 5, no. 2, Batiste; Pré- PHILIP CROZIER, St. Heinrich Kirche, CHRISTOPHER HOULIHAN, Cathedral Fingers, Confrey, transcr. Ramírez; Finale (So- lude à cinq parties, Lemmens; Andante en Lab Kiel, Germany, August 5: Partite diverse sopra Basilica of the Sacred Heart, Newark, NJ, Sep- nata I in d, op. 42), Guilmant. (Pièces posthumes), Franck; Offertoire en Fa, De Lofzang van Maria, Post; Prière, Morel; tember 16: Passacaglia and Fugue in c, BWV op. 35, Lefébure-Wély; Andante en La mi- Impromptu (op. 54, no. 2), Vierne; Allein Gott 582, Bach; Four Sketches for Pedal Piano, op. JEAN-BAPTISTE ROBIN, Providence neur (Recueil de quatre morceaux), Benoist; in der Höh’ sei Ehr’, BWV 675, Bach; Prae- 58, Schumann; Master Tallis’s Testament (Six United Methodist Church, Charlotte, NC, No. 6 en si mineur (20 Morceaux pour orgue), ludium in d, BuxWV 140, Buxtehude; Postlude Pieces for Organ), Howells; Scherzo (Sym- September 28: Grand Dialogue, Marchand; Chauvet; Élévation, Dubois; Offertoire (Dix pour l’offi ce de Complies, JA 29, Alain; Fan- phonie II, op. 20), Romance (Symphonie IV, Tierce en taille, Couperin; Allegro (Sym- Pièces), Salomé; Troisième Choral, Franck. tasia and Fugue in G, Parry; Scherzo, Toc- op. 32), Toccata (24 Pièces de Fantaisie, op. 53, phonie VI in g, op. 42), Widor; Prelude in cata (Dix Pièces, nos. 8, 4), Gigout; Hommage, no. 6), Vierne. D-fl at, op. 28, no. 15, Chopin; Litanies, Alain; BRADLEY HUNTER WELCH & KEN Rhapsodie sur le nom de Lavoie, Bédard. Clair de Lune, Debussy; The Hands of Time, COWAN, Broadway Baptist Church, Fort Basilique Notre-Dame, Montréal, Québec, MARTIN JEAN, Christ Church Lu- Robin; Toccata (Suite, op. 5), Durufl é. Worth, TX, September 23: Overture (Can- Canada, August 12: Pièce Héroïque, Franck; theran, Minneapolis, MN, September 30: dide), Bernstein, arr. Harmon, Cowan, Prière, Morel; Impromptu (op. 54, no. 2), Vi- Passacaglia in c, BWV 582, Nun komm, der NICHOLAS SCHMELTER, with Tyler Welch; Danse Macabre, Saint-Saëns, arr. erne; Allein Gott in der Höh’ sei Ehr’, BWV heiden Heiland, BWV 599, Bach; Prelude on Kivel, piano, First Congregational Church, Cowan; Larghetto (Serenade for Strings, 675, Bach; Fantasia and Fugue in G, Parry; To Christ Belong, in Christ Behold, Farlee; Saginaw, MI, September 16: Children’s op. 20), Elgar; Toccata (Dix Pièces), Gigout; Rhapsody on a Ground, Statham; Cortège Psalm-Prelude No. 1, op. 32, no. 1, Howells; March, Grainger; Vorspiel (Hänsel und Gre- Fantasy and Fugue on Genevan Psalm 47, op. et Litanie, op. 19, no. 2, Dupré; Hommage, Sonata I, Hindemith; Partita on St. Anne, tel), Humperdinck; Rondo in D, op. 175, no. 62, Laurin; Final, op. 21, Franck; Improvisa- Bédard; Variations sur un Noël, op. 20, Dupré. Manz; Joseph est bien marié, Balbastre; Lobt 1, Gurlit; Lord of the Dance, Mine Eyes Have tion on Nearer, my God, to Thee, Karg-Elert; Gott, ihr Christen, allzugleich, Buxtehude; Seen the Glory, Rainey; Petite Suite, L 65, De- Variations on a Shaker Melody from Appala- ISABELLE DEMERS, Cathedral Church Herzliebster Jesu, Brahms; Christ ist erstan- bussy; Allegro, Andante (Concerto, op. 103), chian Spring, Copland, arr. Lerner, Cowan, of St. John, Albuquerque, NM, September den, op. 11, Schroeder; Choral Variations on Shostakovich; Variations on a Theme by Paga- Welch; Festive Overture, op. 96, Shostakov- 9: Harry Potter Symphonic Suite, Williams, Veni Creator, Durufl é. nini, Lutoslawski. ich, arr. Cowan, Welch.

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 29 Classifi ed Advertising

POSITIONS AVAILABLE PUBLICATIONS / RECORDINGS PUBLICATIONS / RECORDINGS ELECTRONIC ORGANS FOR SALE

Wanted: Organists visiting Maui. Lahaina’s Celebrate the New Year with the strains of a Certifi ed appraisals—Collections of organ Ahlborn-Galanti SL300, 3 manuals, 39 stops, Holy Innocents Episcopal Church invites visit- venerable hymn tune and the pealing of change- books, recordings, and music, for divorce, full AGO pedalboard. Great home/practice ing organists to play its Beckerath Positiv organ ringing bells: a Carillon-Toccata on St. Anne is estate, gift, and tax purposes. Stephen L. Pinel, organ. Purchased new in 1996 by retired profes- at Sunday services. Built in 1972 by Rudolf von available now as a complimentary online issue Appraiser. 629 Edison Drive, East Windsor, NJ sional organist, maintained in mint condition. Beckerath and then-apprentice Hans-Ulrich from Fruhauf Music Publications. The 12-page 08520-5205; phone: 609/448-8427; email: slpor- Located in SE Wisconsin. Buyer to haul. $8999 Erbslöh for Honolulu’s Lutheran Church, the 408- letter sized PDF booklet includes notes and 10 [email protected]. OBO. For information: 309/255-1214 or email pipe Shrankpositiv has a 54-note “split” manual, pages of music, offered as a fresh alternative [email protected]. 30-note pedal, 11 stops, 8 ranks, and 6 registers. for enterprising organists in search of an uplift- The Organ Historical Society announced the Holy Innocents acquired the instrument in 1977 ing postlude or special recital feature. A visit publication of its 2019 Pipe Organ Calendar. HYBRID ORGANS FOR SALE and moved it to Maui where it has been played to FMP’s home page bulletin board at www. The calendar features organs by Wolff, Schudi, by parish musicians such as Carol Monaghan frumuspub.net will provide a link to the PDF fi le’s Noack, Bedient, Sipe-Yarbrough, Fisk, Hook & and visiting artists including Angus Sinclair of download page. Pipe/digital instrument available. Wicks/Allen Hastings, Redman, Kern, and others. Available Canada and Dalibor Miklavcic of Slovenia. The 2008 with custom English console and façade. now from the OHS e-Shoppe: $18 members ($21 instrument is extremely responsive and fi lls the 11 pipe ranks; 64 digital ranks. Mint tonal and worship space beautifully. The parish community Raven has released a new recording by non-members), https://organhistoricalsociety.org/ physical condition. Immediately available. Com- is “exemplary in its hospitality to all visitors,” and Jeremy Filsell, Gaston Litaize, Music pour product/ohs-2019-calendar/?v=7516fd43adaa plete brochure email [email protected] or that especially includes visiting organists. For orgue (OAR-147). Filsell plays the 64-rank call 803/359-6352. information: 808/661-4202; holyimaui.org. Aeolian-Skinner at the Church of the Epiphany, The new Nordic Journey series of CD record- Washington, D.C., where he is Director of Music ings reveals premiere recordings of symphonic and Organist. Works include Final from Messe PIPE ORGANS FOR SALE PUBLICATIONS / RECORDINGS organ music—much of it still unpublished—from pour tous le temps; Variations sur un Noël Nordic composers, played by American organist Angevin; Final; Arches; Épiphanie; Prèlude et James Hicks on a variety of recently restored 26-rank Casavant pipe organ for sale. Orgues Létourneau is offering a 22-stop Casavant Marche Fantastique by Richard Ellsasser. Danse Fugée; Reges Tharsis; Final from Messe Swedish organs. It’s a little bit like Widor, Reger Frères pipe organ (Opus 2295 from 1955) for This piece has had an interesting history as pour Toussaint; and eight of the 24 Préludes and Karg-Elert, but with a Nordic twist. Check sale. This electro-pneumatic instrument is cur- recounted fron the 1952 LP notes: “Conjectures Liturgiques. $15.98 postpaid worldwide from it out at www.proorgano.com and search for the rently in storage at the Létourneau shops and is of what inspired it have brought forth a host of RavenCD.com. term “Nordic Journey.” imaginative suggestions from critics and public available for purchase in “as is” condition for US alike ranging from ‘a picture of inebriation’ to ‘a $45,000 with its original three-manual console. parade of bedbugs.’” From a music journal in Organa Europae calendars featuring famous The Tracker—The Organ Historical Society Likewise, Létourneau would be pleased to pro- vide a proposal to rebuild this instrument, taking 1963: “Fantastic, yes, but never to the point of pipe organs of Europe; years 1969 to 1977. quarterly journal includes news and articles into account any desired changes to the stoplist grotesquerie. This imaginative, piquant, colorful, $10.00 each. 219/662-0677, [email protected]. about the organ and its history, organ build- as well as installation costs, voicing, casework ers, exemplary organs, and regional surveys and often humorous Marche may well be used as required, and rebuilding the three-manual in a recital as an encore . . .” Ha! I personally of instruments. Both American and European Raven has released a new recording by Harry console with a new solid-state switching system. cannot help but smile when I hear it! michaels- organ topics are discussed, and most issues van Wijk featuring a transcription of Bedrich The organ requires approximately 360 sq. ft. with musicservice.com 704/567-1066 run at least 40 pages with many illustrations and ′ Smetana’s The Moldau and several other previ- 15 ceilings. For more details, visit www.letour- photographs. Membership in the OHS includes ously unrecorded works on the 1933 E. M. Skin- neauorgans.com, email info@letourneauorgans. a subscription to The Tracker. Visit the OHS Web ner organ at Girard College Chapel (OAR-979). com or call Andrew Forrest at 450/774-2698. Foreshadows of the Cross. For the ambitious site for subscription and membership informa- organist. Stunning, powerful. Extraordinary The program includes Edwin H. Lemare’s edition tion: www.organhistoricalsociety.org. drama and profound emotional content. Look of Josef Rheinberger’s Organ Sonata No. 4, 1874 Hutchings-Plaistead. 2 manuals, 11 stops. up “Agnus Dei” for composer’s recording of this Tango and Fandango by Margreeth de Jong, and Good restorable condition. Free to a good home. and fi ve other equally powerful works, at www. pieces by Guilmant, Mozart, Bossi, and Franck. Check out THE DIAPASON’s May issue for informa- Boston area. Contact John Bishop, the Organ guinaldopublications.com. $15.98 postpaid worldwide from RavenCD.com. tion about the 20 Under 30 Class of 2019! Clearing House, [email protected].

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

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PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE SERVICES / SUPPLIES

Rieger 23-rank mechanical pipe organ for 33-rank Wicks, Opus 3585 (1956) for sale. Casavant Frères Opus 3818, 2004. 3-manual Releathering all types of pipe organ actions sale. Two 61-note manuals and 32-note AGO Three-manual and pedal drawknob console, drawknob, 52 ranks, E/P action in excellent play- and mechanisms. Highest quality materi- concave, radiating pedals. 1,221 pipes, manual duplexed to 60 playing stops. Exposed Great, able condition. Scottsdale, AZ. Steve Beddia, als and workmanship. Reasonable rates. and pedal couplers, and tremulant; includes 3 expressive Swell and Choir, chamber 22′ wide, 609/432-7876, [email protected]. Columbia Organ Leathers 800/423-7003. separate mixture stops and 2 reed stops. Gen- 10′-6″ deep. Make offer. Christ King Catholic www.columbiaorgan.com/col. tly voiced for a chapel or home use. Compact Church, 2604 N. Swan Blvd., Wauwatosa, WI 1 MISCELLANEOUS FOR SALE design: width: 5′-8 ⁄8″, depth 7′-3¼″, height 53226; 414/258-2604. Organist Bill Lieven, Complete Pipe Organ Services from the Organ 7′-3½″ with separate electric blower 2′ x 2′-1″ [email protected]. ′ Clearing House: 450 vintage pipe organs avail- x 2′-5″. Mechanical key and stop action, slider 16 OSI Metal Diapason (12 pipes), 34 scale ′ able, renovation, tuning, consultation. Other windchest. Reduced to $45,000.00. For more mitered to 12 on two chests with rackings. Residence instrument available, Doug- services include transportation, cleaning and details call 360/945-0425 or see OHS Organ $1,700 OBO. Steve: 609/432-7876, acorgan@ lasville, Georgia. Four manual, six division, comcast.net. renovation of carvings, reredos, liturgical furnish- Data Base, Rieger Orgelbau, Gaspar Schulek hybrid instrument built in 2010. Short montage ings. Call John Bishop at 617/688-9290. john@ Residence. on YouTube by entering “HDG residence organ” organclearinghouse.com. Consoles, pipes and numerous miscellaneous in the browser. Complete stoplist and pictures parts. Let us know what you are looking for. available. Contact M. Proscia, 770/258-3388 or Reuter Antiphonal Organ and console (un- E-mail [email protected] (not comcast), ANNOUNCEMENTS enclosed 3 ranks unifi ed to 25 stop-tab controls, 770/361-2485; [email protected]. phone 215/353-0286 or 215/788-3423. 2 manual and pedal) for sale. Reuter 3 manual THE DIAPASON E-Newsletters are e-mailed and pedal console also for sale (69 draw-knobs, 1929 Holtkamp, two manuals and pedal, 6 monthly to subscribers who sign up to receive 15 tilting tablets), all from Opus 1554, 1967. Can Gothic White Oak Organ Case. 25′ x 25′ x 12′ ranks, 12 stops. Birchwood casework, unusual them. Don’t miss the latest news, featured artists, be purchased separately or together. Make offer, deep. Excellent condition. Spiky towers, lots of Ludwigtone on Swell division. Organ was res- and classifi ed ads—all with photos—some before buyer to remove by April 26, 2019. Contact organ- fi ligree. The Organ Clearing House, 617/688- they appear in print! Visit www.TheDiapason. cued and is currently in storage, Detroit area. ist Julia Tucker for full information and photos, 9290, [email protected]. com and click on Subscribe to our newsletter. For $5,000, 313/829-6602. Valley Presbyterian Church, 6947 E. McDonald assistance, contact Stephen Schnurr, 847/954- 7989, [email protected]. Drive, Paradise Valley, AZ 85253; 480/991-6424, SERVICES / SUPPLIES [email protected]. Pfeffer and Debierre organs. Circa 1860 Pfeffer eight-rank organ, available rebuilt and custom fi n- THE DIAPASON’S new website has an increased Aeolian/Robert Morton-style maroon ished. Also 1884 choir organ by Louis Debierre. capacity for new videos. Go to www.thediapa- 1968 Schantz, opus 890, III Manual, 5 divisions. leather is now available from Columbia Organ Both are pictured on the Redman website: www. son.com and click on videos to see what you’ve Organ is in good condition, console converted to Leathers! Highest quality. 800/423-7003, redmanpipeorgans.com. missed! Visit www.thediapason.com often and solid-state, several additions to original stoplist, www.columbiaorgan.com. keep up to date with all the news items. organ to be removed professionally by new owner prior to new organ installation. Best offer. Lawrence Phelps Casavant Frères, Op. 3075 Do you have a pipe organ that you would Postal regulations require that mail to THE 1980 Milnar organ, 11 ranks on II Manuals and for sale. 2 manuals, 3 divisions, 46 ranks, 29 like to interface with an electronic or digital DIAPASON include a suite number to assure Pedal. Currently in climate-controlled storage. stops. Terraced drawknob console. Mechani- organ? We can interface any digital organ or delivery. Please send all correspondence to: Asking $17,500. Contact Milnar Organ Company cal action. 1969 electronic combination action. any organ console with any pipe organ. For more THE DIAPASON, 3030 W. Salt Creek Lane, Suite for more information on either of these organs. Email [email protected] or call information e-mail [email protected] (not 201, Arlington Heights, IL 60005. www.milnarorgan.com or 615/274-6400. 914/738-5515, ext. 102. Comcast) or call 215/353-0286.

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

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WWW.THEDIAPASON.COM THE DIAPASON Q MARCH 2019 Q 31 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* David Baskeyfield Diane Meredith Belcher Michel Bouvard* Stephen Buzard Aaron Tan 2018 AGO National Competition Winner Available 2018-2020

Chelsea Chen Douglas Cleveland Ken Cowan Monica Czausz Scott Dettra Vincent Dubois*

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

Katelyn Emerson Stefan Engels* Thierry Escaich* Janette FishellDavid Goode* Thomas Heywood*

Choirs Available

Saint Thomas Church New York City (March 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole New College Oxford United Kingdom (March/April 2019) Trinity College Cambridge United Kingdom (September 2019) Notre-Dame Cathedral Paris (April 2020) Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

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