THE DIAPASON SEPTEMBER, 2007
First United Methodist Church Birmingham, Michigan Cover feature on pages 30–31
Sept 07 Cover 1.indd 1 8/10/07 9:14:43 AM Carole Terry University of Washington, Seattle
“A musician’s musician who plays with great elegance, but also, when needed, with fire.” The American Organist
“She had plenty of flair...vigor, bravura, and taste.” Seattle Post Intelligencer
“Organ music for people who thought they didn’t like organ music.” The Dallas Morning News
Phone (860) 560-7800 • (860) 560-7788 Fax Toll-Free (888) 999-0644 US & Canada only concertartists.com • [email protected] through October 28. Concerts take (Divine Word Chapel, Techny). For place on historic organs from the 17th information:
It’s time to plan on advertising in THE The 10th annual Albert Schweitzer DIAPASON 2008 Resource Directory. Organ Festival/USA takes place Sep- Be sure your company is included in the tember 7–9, hosted by First Church of only comprehensive directory and buy- Christ in Wethersfield, Connecticut. er’s guide for the organ and church The festival opens with a concert on Fri- music fields. The Directory is printed in day night, featuring Paul Jacobs, Diane 3 a 5 ⁄4″ x 8″ handbook format and mailed Meredith Belcher, and Frederick with the January issue of THE DIAPA- Hohman. The competition rounds take SON. It features an alphabetical listing of place Saturday, and Sunday’s schedule companies and individuals, with com- includes worship services, a masterclass, plete contact information, including and the awards presentation. For infor- web and e-mail addresses, and a prod- mation: 860/529-1575, ext. 209; uct/service directory.
SEPTEMBER, 2007 3 David Briggs; February 24, Johannes Kerala Snyder, and Christoph Wolff, tions about the organ in the English lan- Unger; April 9, Nancianne Parrella, along with the U-M faculty. For infor- guage in alternating years. The first NVENTION is one of with violinist Jorge Ávila and cellist mation:
4 THE DIAPASON the EMA annual meeting during the artists for excellence in early music out- in Stuttgart, also won the £500 audi- Corrections & clarifications Boston Early Music Festival on June 15 reach and/or educational projects for ence prize. The recital program by Michel Bou- in Boston. children or adults. The ensemble per- The £2,500 second prize went to vard (Organ Recitals, July 2007, p. 32), Mary Springfels received the Howard forms music from the early Baroque South African Rudy de Vos, 26, who is listed the wrong composer for Trois Mayer Brown Award for lifetime through the Romantic eras, and pro- currently studying at the Eastman Danses; it should read Alain. achievement in the field of early music. duces the Sarasa Chamber Music Series School of Music. The winner of the Musician-in-residence at the Newberry in Cambridge and Concord, Massachu- £800 Douglas May Award for a com- Sebastian Bach and the organ— Library since 1982, she is founder and setts, and summer concerts based in petitor giving the best performance on another testimony to a living director of the Newberry Consort and a Putney, Vermont. the festival’s own Collins organ, but not legacy senior lecturer at both the University of Early Music America also presented wining another prize, went to Bálint Most DIAPASON readers are aware Chicago and Northwestern University. scholarships to five outstanding stu- Karosi, 28, from Hungary. that since his 21st birthday in 2006, Sarah Mead received the Thomas dents. Among this year’s winners is key- A special €1,000 prize to mark the Felix Hell has performed the complete Binkley Award for outstanding achieve- boardist Hsuan Chang, a graduate stu- 100th anniversary of the birth of the organ works of J. S. Bach on three ment in performance and scholarship by dent at Indiana University, who will blind French organist Jean Langlais, who seperate occasions: in his native Ger- the director of a university or college attend the Tafelmusik Baroque Sum- died in 1991, was won by Linda Sitková, many, at the Peabody Institute in Balti- Collegium Musicum. This year she cel- mer Institute. 26, from the Czech Republic. The prize more, Maryland, and in “The ebrated her 25th year directing the For more information, contact Early was donated by Langlais’ widow and was Bach/Christmas City” of Bethlehem, Early Music Ensemble at Brandeis Uni- Music America at 206/720-6270 or presented by festival judge Lynne Davis, Pennsylvania. The German project versity, where she also frequently serves 888/SACKBUT, or visit who was a pupil of Langlais in Paris. enjoyed packed houses and standing as a guest choral conductor. She is the
ConcertArtistCooperative thth 20ANNIVERSARY
Sabin Levi Yoon-Mi Lim Ines Maidre Mary Mozelle David F. Oliver Organist/Harpsichordist/Carillonneur/ Organist Organist/Pianist/Harpsichordist Organist/Recording Artist Organist/Lecturer/ Lecturer/Recording Artist 2004 NYACOP Winner Associate Professor of Organ Associate Organist Recording Artist Organist and Composer in Residence Director of Music Grieg Academy of Music The National Presbyterian Church College Organist First Christian Church of Independence Fairlawn Presbyterian Church Bergen, Norway Washington DC Assistant Professor Assistant Music Director Columbus, Indiana “The Sights & Sounds Department of Music Shireinu Choir of Kansas City of the Pipe Organ” Morehouse College Kansas City, Missouri Atlanta, Georgia
Larry Palmer Roman Perucki Gregory Peterson Stephen Roberts Clair Rozier Harpsichordist/Organist Organist/Lecturer/Recording Artist Organist Organist/Harpsichordist/Lecturer Organist/Lecturer Professor of Harpsichord and Organ Director, Frederic Chopin College Organist and Instructor of Organ Director of Music Meadows School of the Arts Polish Baltic Philharmonic Assistant Professor of Music Western CT State University St. David's Episcopal Church Southern Methodist University International Organ Music Festival Luther College Director of Music Wayne, Pennsylvania Dallas, Texas J.P. Sweelinck Organ Music Competition Decorah, Iowa St. Peter Church Organist, Oliwa Cathedral Danbury, Connecticut Gdansk, Poland
Lisa Scrivani-Tidd Michael Stefanek Heinrich Walther Jane Watts Duo Majoya Organist/Lecturer Organist Organist/Clavichordist/Virginalist/ Organist Organ and Piano Assistant Professor of Music Director of Music Recording Artist Exclusive Recording Artist Recording Artists SUNY at Jefferson Aldersgate United Methodist Church Faculty, University of Music Priory Records Marnie Giesbrecht and Joachim Segger Watertown, New York Redford, Michigan Freiburg, Germany First RCO Performer of the Year Professors of Music University Organist Faculties, Church Music Schools Organist of the Bach Choir University of Alberta St. Lawrence University Heidelberg and Rottenburg London, England The King’s University College Canton, New York Germany Edmonton, Alberta, Canada
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
SEPTEMBER, 2007 5 know I learned a lot from watching him the choirs, directing the training choir, Sacred Music at Union Theological play. People kept telling me how surprised coordinating the guest choir program, Seminary, each granted “with distinc- they were to see me, a kid, at yet another and founding and directing Cathedral tion.” In 2002 he was named concert, but for me it was like being in a special club. I kept seeing the same nice Voices, the cathedral’s new volunteer 2002–2003 Performer of the Year by people and we were all enjoying the music choir. Before working at the cathedral, the New York City chapter of the together and talking about it at intermis- he completed graduate studies at the American Guild of Organists. sion and afterwards. Felix was extremely University of Michigan in choral con- Frederick Swann, who turns 76 this nice to me. He even showed me some cool ducting, organ performance, and church fall, is keeping a busy recital schedule card tricks after the very last concert. One music, having studied with Robert Glas- in his “retirement.” Among the recitals man who watched him do these tricks said gow, Jerry Blackstone, and Theodore this fall are the following: September 9, that he now knew how Felix played all the Morrison. Hanoian has recently finished University of Redlands, Redlands, CA; Bach pieces so beautifully: it was magic! a recording of the complete organ works 9/16, Immaculate Conception, Tow- And so, the legacy is passed on yet of Johannes Brahms to be released in son, MD; 9/18, First Presbyterian, St. again, one young person at a time! the coming months on the JAV label. Petersburg, FL; 9/23, First Congrega- —George Boyer tional, Columbus, OH; October 14, Organist, director of music, Hosmer Hall, SUNY, Potsdam, NY; Park Avenue United Methodist 10/16, St. Stanislaus, Buffalo, NY; Church, New York City 10/19, Providence Presbyterian, Fair- Chorusmaster, Allentown Symphony fax, VA; 10/26, All Saints, Worcester, Orchestra Chorus MA; 10/28, Mechanics Hall, Worces- Musical Director, Bel Canto Singers ter, MA; November 2 and 4, St. Luke’s and The Summer Harmony Men’s Chorus Cathedral, Portland, ME.
Rory Lipkis Appointments Here & There newspaper and radio interviews in which Felix spoke the praises of our beloved instrument, testimonies such as the following flooded in. Here we have the reaction of a 10-year-old to the per- formance of a 21-year old, born in the year of the 300th birthday of the great music master. It begins with an intro- duction by the father of the young Bach/Hell fan, Dr. Larry Lipkis, Profes- Frederick Swann sor of Music at Moravian College. Frederick Swann has been appoint- We received a notice in the mail about ed University Organist, Artist in Resi- the Felix Hell concert series and immedi- dence, and Artist Teacher at the Uni- ately became subscribers. My wife Linda and I are both very involved with the Bach versity of Redlands, where he is com- Choir of Bethlehem—she as an alto in the mitted to helping the university restore choir, and I as a member of the Board of its organ program. He currently holds Managers and pre-concert lecturer—and the office of National President of the our children are both fledgling musicians American Guild of Organists, and serves who have already had significant encoun- as Organist Emeritus of the Crystal ters with Bach. We figured this would be Cathedral, and Organ Artist-in-resi- an entertaining way to spend a few family Scott Hanoian dence at St. Margaret’s Episcopal evenings together. Rory, our 10-year old who has been studying organ for about a Church in Palm Desert, California. year but is a veteran concert attendee, Scott Hanoian has been appointed In 2001, after completing a 60-year Heinrich Christensen quickly became enamored of the experi- Director of Music and Organist at career as a church organist, Swann ence and made it his personal mission to Christ Episcopal Church in Grosse retired from church work in order to Heinrich Christensen is featured attend all ten concerts! As a musicologist, Pointe Farms, Michigan. In addition to devote his full time to concertizing. His on a new recording on the C. B. Fisk I appreciated how thoughtfully Felix put serving as the church’s organist and career has included posts as organist at organ at King’s Chapel, Boston (Arsis together the programs to create musical choirmaster, he will direct an active the Riverside Church in New York City SACD 402). The program includes variety and liturgical sense. Each concert music program that includes the Choir (1957–1982), the Crystal Cathedral Bruhns, Praeludium in e; Bach, Sonata was amazing and revelatory in its own way, and one had to marvel at Felix’s remark- of Men and Boys, Choir of Men and (1982–1998) and First Congregational in C, BWV 529, Toccata and Fugue in d, able technique, maturity and musicality. Girls, and Christ Church Chorale, a Church of Los Angeles (1998–2001). In BWV 538; Pinkham, A Flourish, a Ten-year-old Rory writes: community-based choir that sings major addition to his prominent church posi- Vision and a Commandment; Madsen, choral-orchestral works throughout the tions, he was for ten years chair of the Three Chorale Preludes; Laukvik, Suite; I feel Felix Hell’s concert series was an year. He will also oversee the annual organ department at the Manhattan and Mozart, Andante, K. 616. For infor- inspiration to all organists. I have just Christ Church Concert Series, which School of Music and served on the fac- mation:
6 THE DIAPASON
Waterbury AGO chapter. On Thursday and Friday, prior to the public concert, Ms. Gómez will present three concerts for Waterbury public school fifth-grade students. These concerts at First Con- gregational Church, now in their twelfth year, have introduced more than 30,000 young people to the organ. Ms. Gómez was born into a musical Long Island family, and began studying organ privately with Bronson Ragan of the Juilliard School at 16. In 1977, she married a Mexican businessman and moved to Mexico City, where, after studying with prominent musicians, she began her career as music editor, organ recitalist, and recording artist. She has both revived historic works and com- Janette Fishell missioned new works. In 2001, she was named founding president of Organistas Janette Fishell, D.Mus, was hon- de México. ored by East Carolina University as the first recipient of that institution’s Cen- tennial Award for Excellence, “in recog- nition of ambition, as evidenced by an innovative and entrepreneurial mindset, (l to r) Marshall Yaeger, David Ogletree, John Weaver, Cameron Carpenter, of critical analysis that defies the con- Douglas Marshall, Richard Torrence, Michael Barone (photo by Len Levasseur) ventional wisdom, and action that leads to a creation that is beneficial to the John Weaver was honored at a Marshall & Ogletree, builder of the larger community.” In bestowing this reception hosted by Torrence & Trinity Church organ. honor, Chancellor Steven Ballard noted Yaeger following Cameron Carpenter’s The entire festival, which includes Professor Fishell’s commitment to July 5 concert to open the Trinity Nathan Laube and Tom Trenney, is building and maintaining a strong pro- Church Conservatory Stars Organ Fes- webcast live and on-demand at gram in organ performance and sacred tival. Dr. Weaver was head of the
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8 THE DIAPASON LAVISH APPOINTMENTS
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On Piston Capture: Allen Organ Company LLC • 150 Locust Street, P.O. Box 36, Macungie, PA 18062-0036 Pedal Divide Phone: 610-966-2202 • Fax: 610-965-3098 Zimbelstern E-mail: [email protected] • Web site: www.allenorgan.com Works on the program include 1920 in Prague, Janacek was the last stu- and studying organ playing with Ann “Andante Rustico” (Sonata Cromatica), dent of professor Bedrich Antonin Wie- Gilman, Richard Griffin, and G. Hunt- Here & There Yon; Baroques, Bingham; “Fanfares” dermann at the Prague Conservatory. ington Byles. In 1983 he was appointed (Suite I), Hampton; Le Jardin Sus- Already in his student years he made a organist of the Second Church of pendu, Alain; and pieces by Charles name for himself as a brilliant organ vir- Christ, Scientist in Hartford, a position Breitkopf & Härtel has announced Edgar Ford, Frank Howard Warner, H. tuoso. In 1948, due to severe changes in he held for 24 years, where he very the publication of Bach’s Mass in B Leroy Baumgartner, Mendelssohn, political events, he did not return from much enjoyed playing the beautiful Minor, BWV 232, in a “definitive ver- Brahms, Buxtehude, Jakob Praetorius, a concert trip to Scandinavia and settled three-manual 1929 Skinner organ, Opus sion” edited by Joshua Rifkin. The new Hanff, and J. S. Bach. in southern Sweden. From there he 793. Gordon also recorded organ music edition draws on all relevant sources to Timothy Edward Smith has served continued his concert activities, not only and accompanied soloists for the AFKA restore the Mass to its original condi- First Congregational since 2003. A in Scandinavian countries, but also in label on that instrument. tion, eliminating the additions by C.P.E. native of Cape Cod, Massachusetts, he Western Europe (he played several Well known for his facility with the Bach. Rifkin was joined by Alfred Dürr, has appeared twice with the Boston times at the Royal Festival Hall in Lon- English language, he amused his friends who provided a piano-vocal score and Symphony Orchestra under Seiji Ozawa don) and in the USA. Later he was with original and outrageous stories fea- organ part characterized by textual and has played recitals for eleven active as a church organist in several turing fictitious characters that were just authenticity and idiomatic keyboard national conventions of the Organ His- Swedish churches, notably in the cathe- plausible enough to have been taken writing. For information: torical Society. He is also an organ- dral of Lund, from 1965 until 1985. from real life. Gordon’s sense of humor
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12 THE DIAPASON
Apply that same question to cameras the provision that asserted its loyalty to (mine has more mega-pixels than yours), the King of England. In the wind . . . automobiles (mine has more horsepower In 1770, just 28 years after Georg by John Bishop than yours), or cell phones (mine’s a Frederick Handel’s Messiah was pre- CHANGE IS INEVITABLE. camera, a calculator, a calendar, an alarm miered in Dublin, Ireland, it received its clock . . . ). How much more can they American premiere at Trinity Church. Is it real? offer before they stop getting better? Today’s spectacular and highly regarded Fifteen or twenty years ago there was Many of us in the organbuilding Trinity Choir is heard on many record- GROWTH IS OPTIONAL. an ad campaign for Memorex® cassette world are devoted to the pipe-organ- ings. Their annual performances of Mes- tapes in which various setups were cre- technology of the early 20th century— siah are legendary throughout the city. ated to compare “live” music with what Ernest Skinner considered ade- Bernard Holland of the New York Times { recorded music to see whether both quate console equipment should be wrote, “All the ‘Messiah’ outings to would break a piece of fancy stemware. good enough for anyone. But let’s come in the next two weeks will have to A popular singer would be featured remember that hundreds of terrific work hard to match this one.” And in ARTISTRY IS CRITICAL. offering a terrible, powerful high note, Hook organs were replaced by Skinner’s 2005, the Times called Trinity’s perfor- and inevitably the glass would shatter. new-fangled electric things where the mance of the great oratorio, “the ‘Messi- What did it prove? organist was 40 feet away from the ah’ to beat.” (Now there’s an image!) { I’ve heard some singers who could instrument. What makes the early elec- What a wonderful heritage. make me cringe, but how plausible is it tro-pneumatic pipe organ the ideal? On September 11, 2001, Trinity that the actual, acoustic human voice How many organbuilders and organists Church assumed an essential national would break a glass? Conversely, I won- disdained Skinner’s innovations as role by chance of place. Located adja- INTEGRITY AND AN INFORMED der if any other recorded sound played superfluous or unnecessary? “If God cent to the World Trade Center, the back with enough wattage would break had intended us to push pistons we church and its people were thrust into POINT OF VIEW,SINCE 1917 the glass—a hummingbird’s wings for would have been all thumbs.” At what the center of that tragic story. St. Paul’s example or a cat on a hot tin roof. I think point in the development of any tech- Chapel, part of Trinity’s “campus” and the Memorex demonstration was at least nology does one take a snapshot and located a couple blocks away, became { a little bit disingenuous, and of course declare the ideal, after which there’s no an inspiring comfort station for firefight- we heard the whole thing through what- need for further development? ers and other emergency workers. ever speakers came with our television Through the ensuing months, as the set. Television advertisements for televi- Electronics in the worship space rubble was unraveled, the chapel was sions imply that what you see on the It’s more than 50 years since church- staffed by the people of the church who screen may be better than real life, but es began purchasing electronic organs provided food, refreshment, and a rest- again, your appreciation of the ad is lim- to replace pipe organs. I think many, ing place for the rescue workers. The ited by the quality of your present TV. even most of us will admit that the 30- response of the clergy, staff, and parish- The American Heritage Dictionary and 40-year-old models that are still ioners to that national catastrophe was (Houghton Mifflin Company, 2000) laboring along are pretty poor. While as inspirational as it was essential. defines the word virtual: “1. Existing or they have pipe organ names on their At the moment of the attack, a service resulting in essence or effect though not stop tablets, they never did sound like was in progress in Trinity Church, the in actual fact, form, or name . . . ” and organs. They were cheaply made and organ blower was running, and the great “2. Existing in the mind, especially as a not durable. A church I served as music cloud of dust that filled the entire neigh- product of the imagination.” director had a 20-year-old electronic in borhood found its way into the organ. It I introduce the word virtual in this the chapel that wasn’t in tune, according was later determined that the organ Reuter Organ Co. context of what I might call the “unreal- to the technician couldn’t be tuned, and could not be used without extensive ity of reality.” In recent years we’ve needed parts that weren’t available. cleaning and renovation. A temporary 1220 Timberedge Road been given the phrase virtual reality, Have you ever tried to get a three-year- solution was offered. Douglas Marshall Lawrence, KS 66049 defined in the same dictionary as “a old computer repaired? and David Ogletree, dealers of Rodgers computer simulation of a real or imagi- While it’s always risky to generalize, it organs in New England, had been 785/843-2622 nary system that enables a user to per- seems to me that the average church developing the “Virtual Pipe Organ,” www.reuterorgan.com form operations on the simulated sys- that was once proud of owning a modest using a technology they named tem and shows the effects in real time.” pipe organ is inclined to buy an elec- PipeSourced® voices. A large instru- An oxymoron is not a person addicted tronic console that emulates a 60- or 70- ment using this technology was installed to painkillers, it’s a “rhetorical figure in stop “real” organ. What sense does it at Trinity Church as a temporary solu- which incongruous or contradictory make to have an “organ” with 32′ tion while the church researched the terms are combined.” To my ears, virtu- sounds, batteries of reeds, and sec- condition of the Aeolian-Skinner. al reality is an oxymoron. ondary and tertiary choruses in a sanc- A year or so after the Virtual Pipe tuary that seats fewer than 200 people? Organ was installed, I attended a service Let’s be real. Is it so you can play music that was to hear the instrument and was We might imagine that Bach would intended for buildings ten times the impressed by the volume and intensity have stopped at 175 cantatas if he had size? It’s a violation of scale, an anom- of the sound. The massive building was been subject to phone calls from the aly, and artless expression. As I wrote a filled with the sound of an organ. There clergy, or Mozart’s 30th symphony couple months ago, “the Widor” doesn’t was no distortion. People were singing, would have been his last had he been work in every church. and I’m willing to bet that many of them distracted by television, or—God for- were well satisfied, even thrilled by the bid—video games. But simple things The Virtual Pipe Organ sound. I had not expected to be con- like hot water in the house and electric Trinity Church (Episcopal), Wall vinced that the Virtual Organ would lights are taken for granted, and more Street, New York, is a prominent, beau- really sound like a pipe organ. In fact complicated things like computers have tiful, historically significant edifice that I’m not sure how I could eliminate the become something close to necessities. houses a large and vibrant parish with bias of a lifetime as an “acoustic organ I’m in favor of technology. The other day an extraordinary music program. guy.” As full and intense as the sound of I stumbled over a box of detritus stored According to the church’s website the Virtual Organ was, it was not the in an organ chamber by a long-gone
14 THE DIAPASON There are few musical presentations that it was a significant number of hun- two years New York City was the country’s more expensive than a symphony dreds of thousands of dollars. capital. Above his pew is an 18th-century orchestra (except opera and ballet in Is it true stewardship of a church’s oil painting of the Great Seal of the Unit- On Teaching ed States, which was adopted in 1782. which the symphony orchestra is com- resources to spend such a volume of Directly across the chapel is the Gover- by Gavin Black bined with the theater). A hundred seri- money on artifice? For centuries, Chris- nor’s pew, which George Clinton, the first ous musicians on stage in a 300-million- tians have given their all trying to make Governor of the State of New York, used dollar concert hall require important their worship spaces approach their when he visited St. Paul’s. The Arms of organization to sustain, but we don’t respect for their faith. Huge treasures the State of New York are on the wall hear a move to replace that experience were spent in 12th-century France above the pew. with digital sampling. We want to hear building cathedrals that still inspire us. Among other notable historical figures the real thing. The symphony orchestra Fortunes have been spent on stained- who worshiped at St. Paul’s were Prince William, later King William IV of England; and the pipe organ are special in our glass that fills church interiors with mag- Lord Cornwallis, who is most famous in this culture because they’re so expensive. I ical, mystical light. Trinity Church Wall country for surrendering at the Battle of don’t mean that the money itself is Street is a spectacular edifice with beau- Yorktown in 1781; Lord Howe, who com- impressive—but that the money repre- tiful vaulted ceilings, stained-glass win- manded the British forces in New York, sents how majestic the expression is. dows, carved wood architectural ele- and Presidents Grover Cleveland, Ben- In conversations with church mem- ments and furniture. Hundreds of jamin Harrison, and George H. W. Bush. bers I frequently hear people say that important preachers, humanitarians, the sound of a digital instrument is and politicians have spoken there. To St. Paul’s Chapel stands as a shrine for “good enough” for the untrained ear. walk inside is to respect the care and all that happened in that neighborhood One might respond, unless your fiancée vision with which the place was created. and to this country on September 11, is a jeweler, why bother with a real dia- To walk inside is to find respite from a 2001. This is also not a place for artifice. mond? She’ll never know the difference. frenetic city and inspiration from all that In his Apologia, Dr. Burdick reports, I don’t want to eat a chemically pro- has happened there. To walk inside is to “Because of insurance matters after duced substitute for lobster. I want the worship. This is not a place for artifice. 9/11, there was no question that we’d real lobster, and for goodness sake, As I’ve spoken about Trinity Church, have to wait five to seven years for a don’t mess with the butter! I encourage you to read about St. Paul’s decent replacement pipe organ, during I read on Marshall & Ogletree’s web- Chapel at
Trinity Church is proud of its role in developing the “virtual pipe organ,” which could only exist in this new century because of the continuing exponential growth of computer speed and memory. Without the brilliance of Douglas Mar- shall and David Ogletree, whose research began in 1997 to develop an entirely new approach to the digital organ, we could never have achieved an instrument such as this. Furthermore, without Trinity Church having taken advantage of its historic opportunity by daring to consider such an interim instrument, the music world would not now have this dramatic new 21st century success: like an automobile with horsepower but no horses, a virtual pipe organ with musical potentials beyond anyone’s imagination.
There’s little doubt that Trinity’s Aeo- lian-Skinner organ was not as distin- guished as many other instruments pro- duced by that firm. (It’s at least a little ironic that there’s agreement that Trini- ty’s Aeolian-Skinner organ was less than great, but it’s replaced by something Compact and easy-to-use with based on sampling “vintage Aeolian- intro/hymn and playlist capabilities Skinners.”) There’s no doubt at all that the Virtual Pipe Organ represents but a fraction of the cost of commissioning a Real Organ. After all, we live in the age Available on a wooden stand of the seven-figure organ. There’s no doubt that Trinity Church has realized a or in a drawer significant short-term economy by elim- inating the immense maintenance bud- www.johannus.com get required by a large pipe organ. In fact, Dr. Burdick reports that they had been spending $56,000 annually to care for the Aeolian-Skinner—a specious argument in that there are many much larger and much older organs that are maintained effectively for less money. The organ world rumor-mill, that most the revolution active of subcultures, has reported many JOHANNUS different numbers representing the cost of the Virtual Organ. I don’t know what the actual price was, but it’s safe to guess
SEPTEMBER, 2007 15 subject of the column is teaching— tions or becoming a touring virtuoso. ever studied pedal-playing with me Princeton University from 1977 to 1979, and specifically the teaching of organ, harp- (Though very early on indeed I decided have used it. However, the priority is as organist and senior choir director at Hills- sichord, keyboard-playing as such, and, that I wanted someday to record the the student’s needs, not the exercise or borough Reformed Church in Millstone, New to some extent, anything having to do complete organ music of Bach!) I was a my own routine. Jersey, from 1988 to 1994. Gavin Black’s prin- cipal teachers were Paul Jordan and the late with music and musicianship. I will bit of a late-bloomer as a player, and it This column will be addressed to sev- Prof. Eugene Roan. Gavin may be reached by draw on my experience—fast approach- may have been partly my insecurity eral sorts of people all at once: very cen- email at
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16 THE DIAPASON below, which is for handbell choir with Stella coeli–Salve porta paradise, and Augsburg Fortress, 0-8006-7554-1, The piano music is busy; however, there a simple unison choir singing in only Gaude virgo gratiosa. The handbell and $1.75 (M). are sections for unaccompanied choir. about 25% of the arrangement. This percussion music is included separately The handbell part is included sepa- The music incorporates the song From arrangement of Amazing Grace really in the score. Percussion includes tam- rately in the score and doubled in the the Rising of the Sun, and the melody puts the focus on the handbells and is bourine or hand drum with optional organ for performance without the may be sung by a children’s choir in var- the perfect setting for their conductor improvised finger cymbals. The hand- bells. The choral music, on two staves, is ious places throughout the anthem. to be the director. bells have very few notes and create an an easy syllabic setting of the 6th-centu- The amount of repertoire for the atmospheric quality, often merely play- ry text in English. The organ part is also Gloria, Debra Lynn. SAB, piano, combined groups has increased signifi- ing two sustained notes. Both percus- on two staves, with registration sugges- and handbells, Santa Barbara Music cantly over the past two decades. Pub- sion and handbell parts are easy enough tions, and functions completely as Publishing, SBMP 480, $1.45 (M-). lishers have recognized the growth of to be played by choir members. Very accompaniment for the voice. A separate handbell part (480.1) will handbell ensembles and have been ethereal music with Latin texts taken be needed since it is not included in the quite responsive to them. Although from Renaissance collections of music The Lord Is My Light and My Sal- score; the handbells may be used in most of the repertoire for combined dating from the 13th–15th centuries. vation, Robert J. Powell. SATB, addition to the piano or as a replace- choirs is of a sacred nature, there are Highly recommended. organ and 3 octave handbells, Con- ment for it. Only a Latin text is used. composers who are setting secular texts cordia Publishing House, 98-3695, The music is somewhat contrapuntal with bell accompaniment. The beauty of Handbells plus organ $1.60 (M-). with unaccompanied choral section. the bells is immediate and should not be The handbells play block chords, usu- Easy music. limited to church performances; Psalm 34: Drink in the Richness of ally as a contrasting filler between although small in number, community God, Michael Joncas. SATB, organ, choral phrases; this part is included sep- Handbells and unison choir handbell choirs do exist. In the past year and 21 handbells, GIA Publications, arately on the back of the choral score. I’ve heard concerts involving bell choirs G-4915, $1.40 (E). The choir is on two staves with one Amazing Grace, Malcolm C. Wilson. with a community orchestra, a brass After a soloist (cantor) sings the extended section without accompani- Unison (or solo instrument) and 3–5 quartet, and with solo piano; none was refrain, it is then repeated by the choir ment; the easy music is in unison for the octave handbells, Beckenhorst for a church service. and assembly. There are four verses, first verse. Useful for most types of Press, HBSE2, $4.95 (M+). For those churches having a handbell which are sung by various combinations church ensembles. This is a setting for a large, experi- choir that contributes regularly to wor- of voices, and each refrain also returns enced handbell choir, and the addition ship services, it is strongly recommend- in a variety of musical arrangements. Handbells plus piano of the unison melody is a wonderful way ed that at least once a year the reper- Handbells play throughout; their music to feature the handbells. Almost no toire should include a work with the is published separately (G-4915 INST) Psalm 113, Gary Alan Smith. SATB, rehearsal time will be needed for the vocal choir. This is certain to enhance and is relatively easy. The assembly piano, and handbells, Gamut Music choir, and this would be an excellent the weekly church service and be wel- refrain is on the back cover for easy of Abingdon Press, 0687495210, choice for the handbell director to con- comed by a grateful congregation. Be duplication. $2.00 (M). duct both groups for a worship service. reminded of the words of the early 19th- The handbell music is indicated in The various possible combinations of century English essayist and poet, Prayer of St. Benedict, Robert Ben- the keyboard score and a separate part bells (26, 34, or 42) are indicated in the Charles Lamb, who said, “Bells, the son. SATB, organ, and 24 handbells, is available at
SEPTEMBER, 2007 17 adaptable to diverse ensembles. There of Josef Rheinberger. Richard Tan- was later at Trinity Episcopal Church in the much better known settings of S. S. are separate parts included at the end ner, director; Greg Morris, organ. Princeton, New Jersey. Mr. Bertalot Wesley with which, indeed, with its for the choir or reed instrument, plus an Lammas Records LAMM 156D, brought what the leaflet accompanying soaring treble part it has a great deal in additional (optional) part for Highland
18 THE DIAPASON harmonies of the Tavener composition out the benefits of a choral foundation. Archer reflects the threefold symbolism formed by one of the world’s best are something that it has in common And third, they show how the trend of the holy day by playing in the manner orchestras and virtuoso organists, and with the work that follows and completes toward multiple choirs in English cathe- of a Bachian trio sonata. on one of the world’s great new concert the recording: another Magnificat and drals, involving women and girls as well The second type of improvisation, the hall organs, Dobson Opus 76. This Nunc Dimittis written for King’s Col- as, but not instead of, the traditional loose fantasy that may or may not end release was created from live perfor- lege, Cambridge, Herbert Howells’s men and boys, can enrich the music pro- with a conclusive cadence, is illustrated mances of the inaugural events of May Collegium Regale setting, composed in gram and showcase particular composi- in Archer’s Advent improvisation based 2006 when the new Fred J. Cooper 1944. This has also become a standard tions in a most effective way. on Veni Emmanuel. This is a dynamical- Memorial Organ was unveiled in part of the repertoire over the last 60 —John L. Speller ly powerful imploration of the coming of Philadelphia’s Verizon Hall at the Kim- years, and provides a fitting conclusion St. Louis, Missouri the Savior, and could serve well, for mel Center for the Performing Arts. to the first compact disc. instance, as the music for the procession Reportedly the largest concert hall organ Josef Rheinberger is remembered of the choir and clergy into the chancel of this generation, it has 125 ranks, 6938 today mostly for his organ music, but he Sounds Spontaneous: Improvisations at the start of a service. Bednall’s 13- pipes, and boasts enormous pitch and was nevertheless the composer of no Through the Church’s Year by Mal- minute improvisation on the Gregorian dynamic ranges. Its extensive palette of fewer than twelve masses, the first of colm Archer and David Bednall. chant Victimae paschali combines the colors thrills the listener with full-throat- which, a simple mass for three voices, Lammas Records LAMM 176D, formal scheme (ternary form) of a con- ed foundations, shimmering mixtures, was written at the remarkably early age
SEPTEMBER, 2007 19 Fantasy in G minor, BWV 542, perhaps scale and the final chords of this great ception, nos. 2 in B-flat, 4 in F, and 6 in slow-moving pedal part. The 16ths then reflecting Poulenc’s association of the work are sounded, one knows why con- B-flat have just three (in volume two the pass to the RH on the Choir, the LH organ with the church, perhaps influ- cert halls need great pipe organs. movements are numbered). A wide vari- marked for Swell Oboe. At bar 72 the enced by his so-called “mystical experi- There’s nothing that can compare! ety of writing is encompassed in the six RH eighth notes on the Choir against ences” after a 1936 pilgrimage to Notre- This recording has it all, and I highly concerti, from the dotted rhythms of the the Swell (less the Oboe) move at bar 84 Dame de Rocamadour. It doesn’t take recommend it even if you have other Larghetto that opens no. 1 to the scintil- to both hands on the Great (to the long, however, for Poulenc to call upon recordings of these popular works. The lating 16th notes in the allegros. No. 1 Sesquialtera) for a few bars, bar 88 all his diverse musical language. At its orchestra’s performance is impeccable, concludes with an andante in 3/8, the being marked Choir (presumably for first performance in December 1938 for and Latry’s technique is clean and flaw- 32nd notes warning against too fast a both hands). At bar 109 we have Swell a private audience in the salon of the less throughout. But don’t try listening tempo, and the final allegro of no. 2 is with reeds coupled to Great Diapasons dedicatee, the Princesse de Polignac, to this CD in your car with all that ambi- specifically marked “ma non Presto,” with p and f markings, the piece con- the organist was Maurice Duruflé and ent road noise, or you’ll be constantly again including several 32nd-note runs. cluding with three bars of the LH on the the conductor was Nadia Boulanger. It fiddling with the volume knob to accom- An attractively melodic Siciliano in 12/8 Swell reed beneath the Choir Harmon- was not until the following June that it modate the huge dynamic range. Rather, leads to a gigue-like Presto to make an ic Flute. This attractive, not too received its first public performance in settle into a comfortable chair in front of excellent conclusion to no. 5. demanding piece is presented in an easy the Salle de Gaveau in Paris. Again, your home or office sound system—turn While the printing is clear, the almost to read text, but there is hardly any Duruflé was the soloist, but the conduc- off all phones—and settle down for 79 complete lack of editorial comments information on the composer’s life and tor this time was Roger Désormière. On minutes and 11 seconds of pure musical means, regrettably, that the enthusiastic achievements and none on the work in this recording Maestro Eschenbach magic. It doesn’t get any better than this. player who is not well versed in the peri- question and its origin. occasionally defers to somewhat more —John Obetz od will not find answers to questions J. G. Albrechtsberger (1736–1809) relaxed tempi in the slower sections relating to registration—particularly in was a most prolific composer of fugues, than one often hears, now and then those passages marked “senza organo” or leaving many such collections in print. pushing the faster ones beyond the where there are indications of orchestral Well known in his time as a teacher, he composer’s suggestions, but the perfor- New Organ Music instruments such as viols or violins—and numbered Beethoven among his stu- mance is compelling and satisfying how the very few marked ornaments dents, was highly regarded by Haydn, throughout. The beautiful and refined (including examples of the beat in the and succeeded Mozart as assistant colors of the Dobson organ are heard to G. F. Handel: Six Concertos for first and second movements of no. 2 and Kapellmeister at St. Stephen’s Cathe- great advantage in this performance, Harpsichord or Organ, Op. 4 (two the first movement of no. 4) are to be dral in Vienna. The six fugues in this set one of the most memorable moments volumes), HAOM004/8, $13.50 played, nor will he or she find any assis- were published posthumously, and occurring in the 26 measures immedi- each. tance on filling in the harmonies accord- exhibit the same combination of melod- ately preceding the final outburst. Here, Samuel Sebastian Wesley: Holswor- ed to the figured bass or how to interpret ic, rococo writing and learned counter- as the organ’s purring célestes and gen- thy Church Bells for the Organ, such comments as “Org. Solo ad libitum” point as many of his earlier sets. All of tle 32′ are heard in duet with the HAOM021, $13.50. in bar 10 of the first movement of no. 1 the fugues have indications of “senza orchestra’s solo violist, one understands J. G. Albrechtsberger: Six Fugues and at the head of the third movement and/or con pedale,” although how these why this work has remained so popular for Organ or Pianoforte, HAOM020, of the same concerto. There is no infor- could have been performed on the with the general public. $25.00. mation on the origin of many of these average contemporary Austrian organ The Saint-Saëns symphony places All edited by Greg Lewin; published concerti—only nos. 1 and 4 are original with its short-compass pedalboard is the Dobson organ in yet another role, by Hawthorns Music and obtainable pieces, nos. 2 and 3 draw on the trio unclear. Also featured is the instruction that of collaborator as opposed to in the USA from Magnamusic Dis- sonatas of op. 2, no. 5 is an arrangement “tasto,” which indicates hands only. soloist. True, it has a couple of solo pas- tributors, Inc. of a recorder sonata, and no. 6 was orig- There are several tricky passages that sages, notably the Poco adagio that
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20 THE DIAPASON a specification of a contemporary Aus- sources. Pachelbel’s music was range up to four flats (the F minor vari- ticularly thorough and there are several trian organ would have helped the play- extremely popular well into the 19th ant mentioned above) and three sharps pages of facsimiles. In Volume 5 there is er to make an informed choice of how century with many individual pieces (ricercar in F-sharp minor and fugue in a table enabling players to compare best to use what is available to avoid featuring in manuscripts compiled dur- A major). Belotti’s numbering of pieces with that anachronisms. A discussion of the terms ing his life right up until Ritter’s collec- The already-issued volumes 3 and 4 in the editions of Gurgel (Peters) and con/senza pedale and tasto would have tion of ca. 1870, as well as printed edi- contain the first and second series of Zászkaliczky (Bärenreiter); apparently also been most helpful, as would a brief tions from Estienne Roger ca. 1710, up Magnificat fugues from a manuscript Gurgel’s no. 24 on the 1st Tone is attrib- guide towards the possible interpreta- to Franz Commer’s anthology of organ preserved in Berlin; here in volume 5 uted to Johann Michael Bach in the tion of ornaments—at the time Gottlieb music published in 1839. Several pieces Belotti has edited the remaining fugues source. Belotti splits one double fugue Muffatt’s publication with his table of also exist in an autograph collection for the Magnificat that are found in on the 6th Tone into three separate ornaments was still very much in use in bought from the master by his pupil Add. MS 31221 in London. A lengthy works, but this still leaves overall a total Vienna. The editor’s brief comments in Johann Eckelt. description of the manuscript and its of 90 fugues in this category, and almost the introduction about adding orna- Volume 2, entitled Fugues, contains contents makes fascinating reading. The 125 in total. The Gurgel edition in two ments and harmonic filling would sure- 32 pieces, the first eleven being taken music presented here includes fugues on volumes of the non-Magnificat works ly have been far more valuable if ampli- from the now lost Sandburger manu- six of the church tones, ten on the 1st, does have the advantage of including fied accordingly. script, 12–22 from the London manu- one on the 2nd, three on the 3rd, four on preludes, fantasias, toccatas, fugues and I have commented in a previous script, and the remainder from various the 3rd tone transposed, four on the 6th ciaconas under the one cover, but for review in The Diapason (August 2007) of sources—in total some 22 individual and four on the 8th tone. There are also those who have yet to discover Pachel- five titles from Hawthorns Music on sources were consulted. An appendix 25 bars of an unfinished fugue on the 1st bel’s keyboard works (many of these some of the shortcomings of this edition presents three further pieces that tone and a complete bicinium in C mod- pieces are manualiter and sound equally in my personal opinion, and unfortu- Michael Belotti considers of doubtful elled after the similar work, no. 3 on the well on harpsichord and especially clavi- nately these apply also to the four titles authorship, two of them emanating from 2nd tone included in Volume 3 chord), Belotti’s two volumes together reviewed here. The Albrechtsberger vol- the Mylau Tabulaturbuch; a fragment in (although this piece does have passages with the other two volumes of the Mag- ume contains a general introduction in A minor is completed by the editor. The in three parts). nificat fugues will be well worth pur- which the editor states his aims as being introduction discusses the sources in What would have been useful, per- chasing and will provide the player with to produce performing editions that pre- detail, explaining the editor’s decision to haps, would have been a repeat of the a first-class introduction to the contra- sent a modern version of the information include in this volume six of the fugues comments regarding Seiffert’s monu- puntal repertoire of central Germany in available to the original players, and they included in previous modern editions as ment edition of 100 years ago on how he the 17th century, pedals being required are to be considered as modified urtext belonging to those on the Magnificat selected the sequence of the pieces, as in only a few places. editions, not comparative or scholarly (three more, including two found only in well as Belotti’s excellent concise and All are relatively short, most covering editions. In this he is generally quite suc- Anne Marlene Gurgel’s edition, will be helpful section on the Magnificat and no more than three pages in clearly cessful inasmuch as these editions are included in Volume 10). the organists’ duties at Vespers in a his- printed type (five systems to a page, well produced, and at a reasonable price The three ricercare are of an overall torical context at Pachelbel’s church of most having only three bars per system), they do provide a clean text with just a high standard, especially the F-sharp St. Sebaldus, Nuremberg. From this we providing excellent practice in contra- few easily spotted and corrected mis- minor and the C minor based on the glean that the organ is to be heard six puntal works for the less experienced prints; but surely more remains to be ascending chromatic tetrachord in which times in all during the alternatim perfor- organist; however, these are no amiable done to provide the inexperienced per- a second subject is then combined with mance with the choir. The 26 fugues miniatures, several of them have runs in former with the means to interpret these the first; a short version in D minor is printed here contain much material that thirds and care must be taken especially pieces as sensitively as possible from a included. The ricercar based on the is useful today in liturgical settings. The when the voices pass from hand to hand standpoint of historical knowledge ascending hexachord has several oppor- subjects include repeated notes (taken to ensure no breaks in continuity—many rather than enthusiasm alone. tunities for the subject to be given out in to extremes in no. VIII.11), the ascend- are still suitable for post-service volun- Each of these volumes could have the pedals. The fugue in D minor, no. ing chromatic fourth (no. I.16). Two are taries. It is to be hoped that Michael included extra biographical and piece- 27, is based on the descending chromat- in a gigue-like 12/8 (nos. III.14 and Belotti’s project will enable Pachelbel’s related information without overloading ic tetrachord. Double fugues in D minor VI.12). music to regain the popularity it held for the page for the modern performer, who (no. 8) and G (no. 19), included as Mag- Although for those who already know his contemporaries and successors but is at a distance of some two or three cen- nificat fugues in previous editions, are the fugues in these two volumes from which seems, despite several complete turies removed from the time of compo- both well worth studying. other modern editions there are no new sets of recordings, certainly from its sition, in which so many facets of perfor- Three further fugues are given in pieces here apart from the variants and absence in recitals in England during his mance practice are no longer automati- variants in different keys including no. Böhme’s Prelude in F in Volume 2, and anniversary year, to have been lost in the cally at the fingers of teachers. 6 in the rare key of F minor, and a dif- the bicinium in Volume 5, this edition is past 50 years; I await future volumes ferent prelude to no. 24 in C (in Belot- highly recommended for its re-evalua- with great interest. Johann Pachelbel: Complete Works ti’s edition the different ending from tion of the sources and painstaking com- —John Collins for Keyboard Instruments, Volume 2: the Berlin manuscript is added to the parisons. The critical commentary is par- Sussex, England Fugues and Volume 5: Magnificat text, unlike the Gurgel edition where it Fugues from the London MS. Edited is relegated to the critical commentary) by Michael Belotti, Wayne Leupold as well as the prelude by Johann Chris- CHRIST CHURCH UNITED METHODIST WL600176/177, tian Böhme to no. 2 in F; these are wel- Louisville, Kentucky
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SEPTEMBER, 2007 21 Boston 2007: Early Music “A La Carte” Larry Palmer
“Feast of the Gods,” the 282-page pro- gram book of the Boston Early Music Festival listed a bountiful smorgasbord of musical offerings from which each visitor to this biennial early music ex- travaganza could construct an individual menu. Stellar offerings at prime after- noon, evening, and late evening times carried the cachet (and fi nancing) of the Festival proper; ancillary events, spon- sored (but not paid for) by the BEMF organization, included a plethora of “fringe” concerts (I counted a total of 79 this year) as well as the displays compris- ing the exhibition, where much of the business of early music is conducted. Inexpensive housing was available once again at the spartan, but convenient, “Little Building,” an Emerson College dormitory, ideally located on Boylston Street at Tremont, across from the Bos- ton Common. The Cutler Majestic The- atre, home to BEMF opera productions, Stubbs and O’Dette (photo credit: Robin Johnson) is just around the corner; the Radisson Hotel, site of the exhibition, only several blocks away. A congenial group of play- ers and visitors met and conversed each Psyché marquee (photo credit: Robin John- morning at the bountiful breakfasts, in- son) cluded with the modest room charge. “Fringe” concerts are often good in- the Paulist Center where clavichordist dicators of the quality of early music Judith Conrad played an hour of Mu- performance around the country: a few sic for the Holy Grail by Juan Bautista of the groups selected from venues far Cabanilles on a triple-fretted clavichord distant from Boston were the Chicago- by Andreas Hermert (Berlin, 2003) after based Trio Settecento, with harpsichord- an instrument by Georg Woytzig (1689). ist David Schrader; Colorado soloists The concert, a benefi t for the Iraq Fam- from the Chamber Orchestra based ily Relief Fund, gave one the opportuni- in Denver, with harpsichordist Frank ty to acquire a “Clavichordists for World Nowell; and two groups from Texas: the Peace” tee shirt. Who could resist? Ms. University of North Texas Baroque Or- Conrad’s informal presentation of the chestra and Singers (Lyle Nordstrom, Spanish master’s learned counterpoint, director), who presented two programs, intermingled with kinetic dances ap- and Fort Worth-based Texas Camerata, propriate to the Valencian ecclesiastical with rising (Lone-) star soprano Ava rubric for Corpus Christi celebrations Pine, drew another capacity audience to (“twelve dances on the altar” required) its program at Emmanuel Church’s inti- delighted her capacity audience of 30 in mate, but resonant, neo-Gothic Lindsey the intimate third-fl oor library. Chapel, the site of many festival events. An overfl ow audience greeted Long After the Camerata performance on Island’s Stony Brook Baroque Players Concertmaster Robert Mealey, Stubbs and O’Dette with the BEMF Orchestra ac- Wednesday afternoon I was eager to in the Radisson exhibition room of The knowledge applause. (photo credit: Robin Johnson) sample some music produced by others, Harpsichord Clearing House. Arthur starting with my fi rst-ever attendance at Haas’s student ensemble was this year’s co-directors Steven Stubbs and Paul mirror, elicited a collective gasp, as did a BEMF late-night program, German winner of Early Music America’s grant for O’Dette (playing baroque guitars and the evocative red lighting of the scenic keyboardist Alexander Weimann’s bringing a student early music ensemble theorbos) and concert master Robert underworld. “Apollonian” themed concert at New to BEMF. In a program based on the Mealey, the group didn’t miss a musical So many motives in Thomas Corneille’s England Conservatory’s Jordan Hall. A Follia, 19 players showed their prowess nuance. The ecstatic audience insisted on opera libretto seemed to foreshadow technically diffi cult banality by the singu- in a variety of pieces by Uccellini, Marco an encore, a reprise of the Tambourins works to come: the forbidden question- larly named composer, “Tubel [London, da Gagliano, Dario Castello, Falconieri, from Rameau’s Dardanus. ing of a lover’s name and a swan boat exit 1789],” featured fast cross-hand passages Merula, and Locatelli. Mezzo-soprano The same orchestra starred in Jean- (Lohengrin); constructing a suitable pal- at the harpsichord. Pachelbel’s Aria Se- Christine Free captured the text-driven Baptiste Lully’s 1678 opera Psyché, ace for the gods (Rheingold); a vengeful baldina (Nürnberg, 1699), on a chamber moods and poignant heartbreak of Mon- receiving its North American premiere queen raging in coloratura (The Magic organ, was played so percussively that teverdi’s Lamento d’Arianna. Nine play- performances. Strong keyboard contin- Flute); or a required trip to Hades to the chiffy Gedeckt stop sounded more ers sizzled in Vivaldi’s Follia Variations uo realizations by Kristian Bezuidenhout rescue the beloved (Orfeo): even though glockenspiel than fl ute. Mozart’s “Jupi- (Sonata XII, RV 63), with fi ne continuo (harpsichord) and Peter Sykes (harp- hearing this work for the fi rst time, one ter” Symphony, in Weimann’s transcrip- support from harpsichordist Tami Morse sichord and organ), with the plucked felt quite at home in operatic terri- tion for fortepiano, was an amazing tour and baroque guitarist Jim Smith. strings of O’Dette and Stubbs, stellar tory. A unit set served the action well: de force of notes, but left one thankful The superb BEMF Orchestra, out of strings and woodwinds, and most inven- high hedge-ringed garden, fronted by for the composer’s orchestration. While the pit and on stage, played Thursday’s tive percussion playing, including the a wrought-iron fence and ornate gates. lyric passages worked beautifully on Paul 8 o’clock sell-out concert in Jordan Hall. “human” wind machine (a whistle) ma- The eight folding panels were opened McNulty’s splendid Anton Walter-styled Presenting orchestral music from the nipulated by Marie-Ange Petit anchored and shut as needed by four footmen. fortepiano, fast and full episodes were operas of Jean-Philippe Rameau and a a spectacular production. Memorable Baroque gesture, appropriate choreog- amazing, but unsatisfying. complete performance of The Judgment stage moments, many accomplished raphy, vibrant costumes: I heard more A short Thursday morning walk to the of Paris, a pastoral by John Eccles, the by “deus ex machina” arrivals and de- than one listener remark that the “Festi- north end of the Common, past Free- best baroque band in the land displayed partures, proved remarkably modern val had got this one absolutely right.” dom Trail Revolutionary-period cos- its musical precision and exquisitely fi ne in concept (the solo singers wore seat Karina Gauvin stormed her way tumed guides and their clients, led to tuning. Under the leadership of festival belts as they were fl own from or to the through the vocal histrionics of the jeal- fl y space above the stage). The sudden ous Venus. Carolyn Sampson was a sweet appearance of an adult L’Amour (replac- and vocally secure Psyché. Boy soprano ing the young Cupid), through a double Frederick Metzger negotiated the part of
1184 Woodland St. SW, Hartville, Ohio 44632 330-966-2499 www.keggorgan.com
22 THE DIAPASON
Sept 07 pp. 22-23.indd 22 8/10/07 9:28:51 AM The Andreas Hermert clavichord (photo credit: Judith Conrad)
Zuckermann’s new Moermans copy (photo credit: Zuckermann Harpsichords International)
young Cupid with aplomb. Three black- Ridgway. Tribute was paid also to harp- Judith Conrad at the clavichord (photo credit: Judith Conrad) clad Furies (Zachary Wilder, Jason Mc- sichordist and author Howard Schott Stoots, and Olivier Laquerre), in black (1923–2005) in graceful words from wide-bustled gowns à la Mary Todd Lin- Paul Cienniwa. coln, were appropriately demonic. On the instrument front there was Earlier on Friday the organ took much excitement generated by a new center stage in an all-day mini-festival, double-manual harpsichord built by Early Keyboard Journal The Organ as a Mirror of Cultural Zuckermann Harpsichords Internation- Change. The morning sessions, at his- al, based on the 1642 Hans Moermans, toric Old West Church, celebrated the formerly in the collection of the late 1971 C. B. Fisk organ (with its hand- Rodger Mirrey (London), now in the DEVOTED TO THE ORGANOLOGY, some Appleton case), in music of France Russell Collection (Edinburgh). The PERFORMANCE PRACTICES, AND LITERATURE at the time of Lully, with compositions design, to drawings by R. P. Hale with by d’Anglebert, de Grigny, Chaumont, Peter Watchorn’s input and musical fi n- OF EARLY KEYBOARD INSTRUMENTS Dandrieu, Corrette, and both Louis and ishing, provides a replica of an instru- François Couperin. Two Lully overtures ment that may be the earliest expressive (transcribed from the operas Bellerophon double harpsichord to survive. (For Published annually by and Cadmus) celebrated BEMF’s poster more complete information, see The Southeastern Historical Keyboard Society composer. The stylish players were Jan
SEPTEMBER, 2007 23
Sept 07 pp. 22-23.indd 23 8/10/07 9:29:20 AM Healing in the Christian Assembly The 59th session of the Institute of Liturgical Studies Cheryl E. Dieter
eeting on the campus of Valparaiso MUniversity in northwest Indiana, the Institute of Liturgical Studies annu- ally gathers pastors, church musicians, liturgical artists, lay worship leaders, and scholars of worship and liturgy for study and reflection on the church’s ongoing worship renewal. This year’s institute, held April 16–18, focused on healing in the context of the church’s worship. A renewed interest in the healing arts in our own time provides a context for the church’s ongoing engagement with the multiple ways healing occurs in and around the Christian assembly. Worship is always a highlight at this annual meeting, and this year was no Martin E. Marty exception, with themes of healing inter- woven throughout all of the worship services. In fall 2006, both the Lutheran Church–Missouri Synod and the Evan- gelical Lutheran Church in America published new hymnals, Lutheran Ser- vice Book (LSB) and Evangelical Lutheran Worship (ELW), respectively, and the chapel at Valparaiso University is one of the few places where both hymnals are used. This provided a unique worship environment for the institute, and both hymnals were used extensively for worship, introducing attendees to many of the new “gems” in these two hymnals. As in past years, plenary sessions served as focal points of the institute, Arthur W. Frank with speakers addressing a variety of issues related to healing. In a departure from recent years, however, two plenary speakers (Martin E. Marty and Arthur W. Frank) shared the podium over a two-day period, with one presenting a series of mini-topics and the other responding. Martin E. Marty is Fairfax M. Cone Distinguished Service Profes- sor Emeritus of the History of Modern Christianity in the Divinity School at the University of Chicago and the Commit- tee on the History of Culture at the Uni- versity of Chicago. Arthur W. Frank is The children’s choir from Immanuel Lutheran Church in Valparaiso sang at the Professor of Sociology, University of Wednesday Eucharist. Calgary, Canada. Together they addressed the topic “Awe, Response, piano and organ leading, and for training Special musical events have long been and the Generosity of God in Liturgical Lizette Larson-Miller cantors in their expanding role. Lisa a part of the Institute of Liturgical Stud- Action.” Generosity, they maintain, Dahill, assistant professor of worship ies experience. In 2005, the first Truem- begins in welcome: a hospitality that through some elements of history, the- and Christian spirituality, Trinity per Memorial Concert was held during offers whatever the host has that would ology and ritual, taking into considera- Lutheran Seminary, Columbus, Ohio, the institute. This annual concert honors meet the need of the guest. tion the scriptural challenge, the living led a seminar entitled “Silence and the the memory of David Truemper, direc- Two other plenary speakers tradition of the church, and the human Word,” which explored various prayer tor of the institute from 1979 until his addressed topics related to healing. and cultural reality of ritual actions. forms. Participants also discussed means death in 2004. This year’s concert pre- Christoffer Grundmann, John R. Eck- Continuing a more recent tradition, of encouraging contemplative practice sented a new dramatic work, Innocents, rich Professor of Religion and the Heal- four pre-institute seminars were offered within liturgy as well as in personal a setting of the libretto “Rachel Weeping ing Arts at Valparaiso University, pre- on Monday afternoon. Lorraine Brugh, prayer for clergy and laity. Craig Satter- for Her Children: A War Oratorio” by sented a theological reflection on the director of the Institute of Liturgical lee, assistant professor of homiletics at Walter Wangerin, Jr., with music by church’s ministry of healing in the con- Studies, presented a workshop on “The the Lutheran School of Theology at Dennis Friesen-Carper. Wangerin cur- text of worship. Lizette Larson-Miller, Changing Face of Song,” which exam- Chicago, led a very practical workshop rently holds the Emil and Elfrieda associate professor of liturgical leader- ined the newer additions to current wor- on preaching entitled, “What’s Good Jochum Chair at Valparaiso University, ship and dean of the chapel, Church ship resources. Participants were invited About This News?” Both Lutheran Ser- where he teaches courses on literature, Divinity School of the Pacific, examined to learn techniques for leading multicul- vice Book and Evangelical Lutheran worship, and creative writing, and serves the church’s ministry with the sick tural hymnody, for deciding between Worship offer new core rites for the sick as writer-in-residence. Friesen-Carper is and dying. Mark Strobel, pastor of St. Reddel Professor of Music at Valparaiso Mark’s Lutheran Church, Fargo, North University, where he conducts the sym- Dakota, presented a workshop on “Pas- phony, opera, oratorio, and musical the- Built in the 21st Century toral Practice: Rites for the Sick and atre, and teaches composition. In addi- Dying,” which focused on the pastoral tion to professional and student soloists, Installations in the United States perspective and practice of healing and the work featured the Valparaiso Uni- United Congregational Church - Little Compton, Rhode Island 2001 commendation of the dying in both LSB versity Symphony Orchestra, Chorale, Church of the Epiphany - Miami, Florida 2002 and ELW. James Wetzstein, associate Kantorei, and Bach Choir as well as the United Lutheran Church, Mt. Lebanon - Pittsburgh, Pennsylvania 2002 director of the Institute of Liturgical Southlake Children’s Choir. Cathedral of the Immaculate Conception - Kansas City, Missouri 2003 Studies, addressed the issue of worship Next year’s institute, scheduled for Brigham Young University - Rexburg, Idaho - fourth division addition 2004 space in his hands-on seminar entitled, March 31–April 2, 2008, will have as its Phillips Church, Phillips Exeter Academy - Exeter, New Hampshire 2004 “Creative Discontent: Strategies for theme, “Liturgy in the Public Square.” First Presbyterian Church - Naples, Florida 2004 Change in the Place of Worship.” Plenary speakers include Gordon Lath- Immanuel Baptist Church - Little Rock, Arkansas 2005 Workshops provided opportunities rop, Cynthia Moe-Lobeda, and William Friendship Missionary Baptist Church - Charlotte, North Carolina 2006 for dialogue related to both theological Cavanaugh. For more information on ~ Coming Soon ~ and practical issues as well as introduc- the Institute of Liturgical Studies, visit Johns Creek Baptist Church - Alpharetta, Georgia • Wesley Chapel - Elkton, Maryland tion of new worship materials. Both of
24 THE DIAPASON 1932 Kimball Restoration by Reuter Organ Company— Minot State University David Engen
Introduction story above the stage fl oor, the triangu- W. W. Kimball of Chicago emerged in lar chambers speak directly into the hall. the 1920s and 1930s as a major builder The large shutter openings hold a double of quality pipe organs, both “classic” height shutter front. Acoustics are typi- and “theatre” in style. [See R. E. Cole- cal of a modest-sized theater, having a berd, “Three Kimball Pipe Organs in “ring” but no distinct reverberation. Missouri,” The Diapason, September This layout is problematic for perfor- 2000.] In 1932, Minot Teachers College mances with a chorus on the stage due (now Minot State University,
SEPTEMBER, 2007 25
Sept 07 pp. 25-29.indd 25 8/10/07 9:32:49 AM Original As Restored GREAT GREAT 16′ Diapason 16′ Geigen Diapason Choir 8′ Diapason I (40) 61 pipes 8′ First Diapason 61 pipes 8′ Diapason II (44) 61 pipes 8′ Second Diapason 61 pipes 8′ Doppel Floete 61 pipes 8′ Doppel Flute 61 pipes 8′ Concert Flute 8′ Concert Flute Choir 8′ Dulciana 8′ Dulciana Choir 4′ Octave 61 pipes 4′ Octave 61 pipes 4′ Flute 4′ Concert Flute Choir 2-2/3′ Grave Mixture 122 pipes 2-2/3′ Twelfth 61 pipes 2′ Super Octave 61 pipes Mixture IV prepared 8′ Trumpet 61 pipes 8′ Trumpet 61 pipes 8′ Tuba prepared Tremolo Tremolo Chimes Chimes MIDI SWELL SWELL 16′ Bourdon 97 pipes 16′ Rohr Bourdon 97 pipes 8′ Diapason (42) 73 pipes 8′ Diapason 73 pipes 8′ Chimney Flute 8′ Rohr Bourdon extension 8′ Salicional 73 pipes 8′ Salicional 73 pipes 8′ Voix Celeste 61 pipes 8′ Voix Celeste (tc) 61 pipes 8′ Spitz Flute Celeste 134 pipes 8′ Flute Dolce 73 pipes 8′ Flute Celeste (tc) 61 pipes 4′ Octave Diapason prepared Pipes of lower Swell: Corno d’Amour on the right, tapered Flute Celeste in 4′ Flute 4′ Harmonic Flute extension foreground 2-2/3′ Nazard 2-2/3′ Nazard extension 2′ Flautino 2′ Flautino extension to recapture the crowds, many clergy sign in changes so future parts will be 1-3/5′ Tierce extension have resorted to “modern ensembles” better and last longer. Full Mixture IV prepared and “blended worship,” aiming at a new Reuter is a small company with its 16′ Double Trumpet 97 pipes 16′ Double Trumpet 85 pipes common denominator that theoretically roots in the heartland, and its people 8′ Trumpet 8′ Harmonic Trumpet extension 8′ Corno d’Amour 73 pipes 8′ Corno d’Amour 73 pipes attracts the young. The organ is often not exhibit the common Midwestern traits 8′ Vox Humana 61 pipes 8′ Vox Humana 73 pipes part of the equation. of honesty and hard work. Their phi- 4′ Clarion 4′ Trumpet Clarion extension Interest in the pipe organ is thus wan- losophy is inspired by the musical pos- Tremolo Tremolo ing in Minot as it is in many communi- sibilities that present themselves with Vox Tremolo Vox Tremolo ties. The small community of organists, each project. They seek to build a solid MIDI all of whom have made their primary liv- and reliable product based on their own ing in other occupations, heroically came experiences with electro-pneumatic ac- CHOIR CHOIR to the aid of the university’s Kimball and tions, yet informed by the benefi ts of 16′ Double Dulciana 97 pipes 16′ Double Dulciana 97 pipes 8′ Geigen Principal 73 pipes 8′ Geigen Principal 73 pipes helped in the fund-raising. computerized drafting and scientifi c in- 8′ Concert Flute 85 pipes 8′ Concert Flute 85 pipes quiry. Some examples of this are: 8′ Dulciana 8′ Dulciana extension Reuter today • Adapting the Blackinton-style slider 8′ Unda Maris 61 pipes 8′ Unda Maris (tc) 61 pipes In its 90-year history the Reuter Organ chest where suitable. 4′ Geigen Principal extension Company of Lawrence, Kansas (
26 THE DIAPASON
Sept 07 pp. 25-29.indd 26 8/10/07 9:33:16 AM Upper Swell (Trumpet 16′ 8′ 4′ unit). Note triangular ceiling, showing the shape of Lower Great; Doppel Flute in foreground. Note the new stainless steel tuning the chamber. slides.
Project organizers not only wanted to ized.” After cleaning, voicers checked tuning slides, look new. Even the wood ment to offstage storage, with just a few return the organ to like-new condition, the pipes and made only minor changes. pipes, with a new coat of lacquer, could wires to connect to a convenient recepta- but they also wanted a reliable instru- Fortunately, the organ had suffered from be mistaken for new. New leather on all cle backstage. Reuter is justifi ably proud ment that will serve the current and fu- “benign neglect” and was essentially as exposed reservoirs is clean and supple, of the result. ture needs of the college. To that end, Kimball had left it. and the key action is fast and crisp. The The restoration shows a few minor a genuine restoration was neither desir- The organ stands today in excellent new console is beautiful and convenient changes from the original tonal design. able nor practical. The console, for in- condition. The clean pipes, with shiny to play. It has built-in wheels for move- The biggest change was converting the stance, was not salvageable. Reuter and the planners undertook the following, as detailed in the contract: ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD AAATFEE DBO R DYERCASAVANT FISK GARLAND GOULDING & WOOD HENDRICKSON FRERES DOBSON R. 1. Releather all wind chests, including note pouches (1541), primaries (447), stop actions (15). (Reuter carefully re- produced leather thickness under OHS guidelines. All pouch springs were re- BOODY turned to their original notes. When winded there were no ciphers.) 2. Replace stop action connectors and all pitmans (903). 3. Releather Chime action. 4. Releather Harp action. 5. Releather expression motor power pneumatics (20) and primaries. 6. Releather tremolo motors (4). 7. Releather concussion bellows (4). 8. Replace all chest magnets (943). 9. Replace all tuning slides on metal Butter fl ue stops with new stainless slides. 10. Repack all tuning stoppers on wood pipes. Doesn’t Claim 11. Repair tuning scrolls on reed stops. 12. Make necessary repairs to any to damaged pipes. 13. Provide miscellaneous replace- ments for missing pipes, made to match. Taste Like (Only a few were missing.) 14. Clean and revoice all reed stops (5), with new tongues as needed. (In Margarine! fact, the reeds were in such good condi- tion after cleaning that they needed only minor changes.) 15. Clean all metal pipes. 16. Clean all wood pipes and parts and give all a new coat of lacquer. 17. Build a new 3-manual console with a movable platform and storage closet offstage. 18. New microprocessor solid-state switching and combination action. 19. New DC power supplies (organ, console). 20. At the suggestion of a consultant early in the project a digital 16′ exten- sion for Choir Geigen Diapason notes It’s not about fooling your ears. 1–12 was proposed. (A new unit action replaced the straight action. Reuter re- tained the original action so it can be re- It’s about thrilling your soul! stored easily in the future if desired.) A Reuter crew moved the many parts, already in storage, to the shop in Law- To receive information about pipe organs rence. There were no drawings of the layout, and none of the Reuter crew and recognized pipe organ builders had ever seen the organ assembled in A write or call toll free 1-800-473-5270 its Minot home. They undertook to re- P assemble everything and succeeded in or on the web @ www.apoba.com fi guring it out. The crew carefully mea- O Associated Pipe Organ Builders of America sured everything, including the rise of B the various bellows, before releathering. A P.O. Box 155 • Chicago Ridge, Illinois 60415 At the start of the work, plant manager Robert Vaughan told the crew that their & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT charge was to restore all parts to like- new condition, in the style of the original NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP Kimball work. It was not to be “Reuter-
SEPTEMBER, 2007 27
Sept 07 pp. 25-29.indd 27 8/10/07 9:33:39 AM 8′ Geigen Principal of the Choir from a straight stop into a unit stop, thus making it available at several pitches on both the Great and Choir. All parts from the origi- nal confi guration are in storage, according to OHS guidelines, so it could be restored as a straight stop again in the future.
Rededication Diane Bish played a dedication con- cert on October 19, 2004 to mark com- pletion of the project. The well-received program adequately showcased the many colors in this small organ:
Now Thank We All Our God, Karg-Elert Jesu, Joy of Man’s Desiring, Bach Toccata and Fugue in D Minor, Bach Bolero de Concert, Lefébure-Wély Carillon de Westminster, Vierne Jubilation Suite, Gordon Young Three Hymn Improvisations, arr. Bish Nimrod (“Enigma” Variations), Elgar Toccata (Symphony V), Widor
In remarks and in the program text, the organ was presented to the community as complete. Impressions Kimball was one of the top build- ers of the era. Beautifully made pipes sit on a solid mechanism. It is no sur- prise, then, that this organ holds many lovely sounds. The strings probably are the most satisfying to our ears today. The Sali- cional and its Celeste are gems, both of construction and of sound. The ta- pered Flute Dolce and its Celeste are ravishing in their beauty. Coming in Minot Kimball partially assembled in the Reuter shop third is the delicate Dulciana and its fl at Unda Maris. pitches and scales. There is a principal There are just a few fl utes on this or- chorus on the Great, with double 8′s, a gan. Most interesting is the Choir Con- 4′, and the original Grave Mixture now cert Flute, of Melodia form in the tenor available as independent 2-2/3′ and 2′. range, but double length and over-blow- There is no mixture in the organ. The ing in the melodic range. It mimics the Swell has its own 8′ as does the Choir. orchestral fl ute, yet its tone is mild. The The Pedal has a 16′ Wood Diapason. round but delicate Swell Rohr Bourdon Note in the original dedication program is the real workhorse, having to provide the scaling of some of the manual diapa- six pitches in the Swell. The true solo sons. Great Diapason I is scale 40, Swell fl ute is the Doppel Flute of the Great. Diapason is scale 42, and Great Diapa- There are eight diapasons of various son II is smaller at scale 44.
• Respect for Tradition • Vision for the Future • Passion for Reliability Signatures of Reuter crew • Enabled with Innovative Technology WE BELIEVE BACH WOULD APPROVE. How About You?
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Bottom of a windchest undergoing restoration
Five reeds occupy positions on all of many ranks to even them out. This or- three manual divisions. The Swell Vox gan was designed to play period litera- Humana and Choir Clarinet are soft and ture and transcriptions, but it simply isn’t typical of the period. The Swell Corno big enough to move the volume of air in d’Amour, in the shape of a trumpet, the room. A tubby Pedal Diapason, a re- produces the sound of an oboe but with fi ned but small Great Diapason chorus, PIPE ORGAN CONTROL SYSTEM slightly more body. Perhaps because of and one dominating reed do not make Virtuoso its unifi cation at three Swell pitches and much of an overwhelming impression three Pedal pitches, the large and dark in the room. At a recent performance WWW.IOTI.COM Swell Trumpet dominates the organ. of the Saint-Saëns Organ Symphony 877.GO2.IOTI & 877.462.4684 Through no fault of Reuter, the organ with the local orchestra, some listeners is somewhat disappointing in the room. wondered when the organ was going to Reuter did, in fact, bring up the trebles come in! This comment may have more
28 THE DIAPASON
Sept 07 pp. 25-29.indd 28 8/10/07 9:34:03 AM Great upper (Choir) chest and Harp, view looking up the ladder toward the ceiling. Tuning records on the Swell wall, including signature of installer Harry Iverson. Clarinet in foreground lower left; Pedal Open Diapason (wood) on the right. When the chamber was painted, this section of the wall was retained.
to do with the Kimball orchestral voicing sider to be the classics of the organ liter- ture where, just a few years later, teacher Moen, and Gary Stenehjem for behind the than with its effect in the room. A simi- ature. It came from a different philoso- salaries would be cut by 40% and faculty scenes information about the project. Thanks lar comment was heard following a per- phy—but it was built like a tank! would be required to live on campus. also to the staff of Reuter, and especially to JR formance of the same symphony by the The rebirth of an organ department They had the foresight to acquire a top- Neutel and Robert Vaughan who gave a de- Minnesota Orchestra with the 120-rank appears to be on the horizon (there are quality organ, also built in the Midwest, tailed tour of the Reuter shop. Minneapolis Auditorium Kimball, which 3–4 beginners now), and the organ can which served for many decades before had no problem making a big impression serve admirably for teaching the basics unavoidable wear required a restoration. David Engen holds a Bachelor of Music degree in Church Music, Magna cum Laude, by itself! of technique. Its lovely and subtle colors The Reuter Organ Company we know from St. Olaf College (1971), Master of Arts Is it fair to criticize this organ from a are appropriate for teaching and the fun- today, founded just over a decade before in Organ Performance and Pedagogy from 21st-century perspective for being some- damentals of trio playing, hymn playing the Kimball’s construction, is a company the University of Iowa (1973), and Master of thing it was never intended to be? Prob- and registration. Should the department of individuals sharing a similar back- Science in Software Design and Development ably not! It came out of the theatre or- grow, however, teaching the larger rep- ground. It seems fi tting that time should from the University of St. Thomas (1988). He gan era when the “classics” were largely ertoire, organ history, and registration bring the two together. Their meeting is a Senior Manager in Sales and Marketing IT transcriptions from the orchestral reper- would be a challenge. The faculty would was mutually worthwhile: Reuter gained at Seagate Technology in Bloomington, Minne- toire. Note the literature Barnes played need to rely on the use of nearby (and experience from one of the top organ sota, and owns David Engen & Associates, Inc., at the fi rst dedication, which included larger) church organs. This idea is not builders of the early 20th century, and maintainers of pipe organs in the Twin Cities Tchaikovsky, de Falla and Wagner. Yet new, and there are several large organs Minot got what is essentially a new or- area and western Wisconsin since 1983. He is this is clearly not a theatre organ. Unlike not far from the campus. gan. The community of Minot will be a member of the Kimball Organ Steering Com- mittee for the City of Minneapolis, contributes its much larger brother in Minneapolis, much richer for it. Q occasionally to various music journals, consults there are no complete diapason and reed Conclusion on organ design, and is webmaster for the Twin choruses, and unifi cation provides most In spite of the Great Depression, the Thanks are due to Prof. Charles Dickson Cities Chapter of the American Guild of Or- of the upperwork. It is a baby symphonic community leaders of Midwestern Minot of Minot State University for his 1985 draft ganists (
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SEPTEMBER, 2007 29
Sept 07 pp. 25-29.indd 29 8/10/07 9:34:28 AM Cover feature
Raising the roof will not be by drawing the sound of the chancel necessary organ rearward to support congrega- tional singing. Schoenstein & Co. Opus 147 According to Bethards, “The biggest First United Methodist Church, concern in a church organ is to have a Birmingham, Michigan large variety of different tone qualities. There are two reasons for this. First, the Fact: An organ’s most important stop organ is played by and heard by the same is the room in which it plays. people week after week, year after year. Lesser-Known Fact: Improvement To sustain musical interest, the sound opportunities exist for churches with can’t be the same all the time. Second, poor acoustics that go beyond dismissing a good choir sings just about every kind the carpet and pew cushions. of choral music written. This demands great subtlety in accompaniment with When First United Methodist different tone colors at a multitude of Church of Birmingham, Michigan re- volume levels.” ceived a generous gift for the replace- Eight-foot diapasons of various types ment of its aging Möller organ, the were used throughout to provide richness church quickly realized a careful study and warmth of tone in both melody and of all aspects of the sanctuary should bass pitch. The old organ overemphasized be undertaken. It was felt the new in- upperwork, and the effect of the ensem- strument, as well as their entire wor- ble was harsh. With the goal being an ef- ship experience, would benefi t from an fect of nobility, full choruses were main- improved acoustical environment. tained, but less upperwork was planned and more foundational stops were added Church renovation to lower the tonal center of gravity and Our fi rst visit to Birmingham found Schoenstein Opus 147, First United Methodist Church, Birmingham, Michigan provide contrasting color. Note the Great a 1952 building of fi ne materials that (photo credit: Chris Hall) with its four eight-foot stops, a Harmonic enveloped an acoustically dead sanctu- Flute and Gamba in addition to the Open ary. Jack Bethards, Schoenstein & Co. Diapason and Bourdon. President and Tonal Director, reported True string stops of varied character that “When I fi rst looked at this room, complement each division, with an addi- I wondered if there was any hope. The tional hybrid or muted Corno Dolce in the room had hardly any resonance, and Swell. A wide variety of fl utes were em- there were frequency hot spots that add- ployed with the emphasis on full and dou- ed a kind of harshness to musical tone. ble-length open construction rather than Worst of all, it was tough to sing in the half-length stopped fl utes that are less suc- room because people felt isolated from cessful in rooms with drier acoustics. one another.“ Solo reeds, including the Oboe and The new organ could only achieve its Clarinet, are more orchestral in char- potential if the acoustic of the building acter than the old organ. There are were improved. Every possible idea was four chorus reeds, ranging in volume discussed, including raising the roof to from mezzo forte of the Choir Trum- increase cubic volume. This would have pet, through the Swell Trumpet and added millions of dollars to the project, Contra Fagotto’s forte to the Tuba’s and it was hoped that signifi cant enough fortissimo, vital especially for festive improvement could be attained through services and weddings. less invasive methods. Schoenstein’s double expression sys- Ultimately a plan of action was decid- tem is used in the Swell organ. The ed upon to: softest and loudest stops of the division • Install a beautiful and refl ective are grouped in the Inner Swell cham- hard-tile fl oor in the chancel. ber, behind a second set of expression • Install new chancel walls with in- shades controllable by a separate shoe. creased organ tone-opening area. This allows for very smooth and dra- • Change the height of the chamber matic crescendos with a minimum of ceilings to eliminate sound-defeat- Antiphonal (photo credit: Chris Hall) stop changes. ing pockets. The new instrument is six ranks • Install an Electronic Refl ected En- smaller than the old, but projects far ergy System (ERES) by the Jaffe- more effectively due to its energized Holden Company. tone that enables more effective egress from enchambered installations. The The project also grew in scope to ad- highest wind pressure on the previous dress other needs: organ was four inches; this pressure • Improve sight lines for the congre- is still found in the new unenclosed gation by raising the chancel fl oor, Great. Five inches is the lowest pres- along with other changes enabling sure for enclosed stops. Enchambered fl exibility for a variety of programs in offset basses are on still higher pressure addition to Sunday morning worship. to further help them project, as are the • Install an improved, quieter, HVAC unenclosed Pedal Subbass and Double system. Open Diapason (the bottom octave of • Updates to lighting, the public address which is an Open Wood). system, walls and fl oor coverings. The double-enclosed Swell chorus reeds and Mixture are on ten inches, The result is one of the fi nest sanctu- as is the Choir Tuba. As Jack Bethards ary renovations we have seen. The refl ec- points out, “Pressure does not neces- tive fl ooring in the chancel has provided sarily affect loudness, but it certainly a pleasant natural bloom of resonance, affects carrying power and smoothness and the Jaffe-Holden system has added of tone. A selection of stops that are a tasteful and subtle acoustical ambiance highly energized in tone and, therefore, only otherwise possible with a roof rais- can project their sound over a long dis- ing. The new HVAC system is accurate, tance, is one of the keys to a successful well balanced, and above all, silent. The enchambered organ.” improved temperature and humidity control will positively affect the stability Console (photo credit: Chris Hall) Fact: An organ’s most important stop and longevity of the organ. The renova- is the room in which it plays. tion team did a magnifi cent job of fresh- “With all of the elements working organ is designed to accompany the Lesser-Known Fact: The design el- ening up and improving the visual ele- together to enhance music, a logi- church service.” ements that favor acoustical projection ments of the room. cal question would be why was a new The new organ (three manuals, 38 also favor the variety of tone needed in organ necessary? Certainly the sound voices, 46 ranks) has a vastly different a church organ. Fact: An organ’s most important stop of the old organ would have been effect in the room from the previous is the room in which it plays. enhanced, but would it have been instrument, despite its similar physical Todd Wilson played the organ dedi- Lesser-Known Fact: A properly de- enough to solve the various musical layout. The unenclosed Great is divid- cation concert in November 2005. signed and built organ can make a room problems that faced Doris and Chris ed on either side of the altar and takes Other recent recitalists in the church’s sound better than its acoustic. Hall (organist and director of music advantage of its favorable location, Live at First concert series include respectively) when they called us in speaking down the axis of the church. Frederick Swann, Doris Hall, and The Schoenstein organ to study the situation? Simply put, The Choir is located in one side chan- Tom Trenney. In the organ dedication program the old organ was designed to match cel chamber and the Swell in the other. As is nearly always the case, the suc- notes, Jack Bethards addressed the or- a particular approach to a limited part A small Antiphonal division across the cess of this project is due to the efforts gan and its relationship to the church. of the organ solo repertoire; the new balcony wall complements the organ of too many people to name in this lim-
30 THE DIAPASON
Sept 07 pp. 30-31.indd 30 8/10/07 9:35:10 AM The unenclosed Great and Pedal The Choir chorus reeds and fl ue work divisions (photo credit: Chris Hall) (photo credit: Chris Hall)
ited space. We had wonderful support in PEDAL (In Display with Great) every area and would like to especially 32′ Resultant 16′ Double Open Diapason 12 pipes thank the church staff and the dedicat- ′ ed volunteers who worked under organ 16 Sub Bass 32 16′ Contra Viola (Choir) committee chairperson Dale Parker and 16′ Bourdon (Swell) project manager Darrell White. We are 8′ Principal 32 also appreciative of the church’s fi ne mu- 8′ Diapason (Swell) The enclosed Choir division (photo credit: Part of the fl ue work of the Outer Swell sicians, Doris and Chris Hall, who make 8′ Flute (Great) Chris Hall) (photo credit: Louis Patterson) the new organ shine. 8′ Viola (Choir) And raising the roof was not necessary. 8′ Bourdon (Swell) 4′ Fifteenth 12 —David Beck ′ Installation crew leader & 4 Flute (Great) 16′ Ophicleide (Choir) assistant voicer 16′ Contra Fagotto (Swell) Schoenstein & Co. 8′ Tuba (Choir) 8′ Fagotto (Swell) Cover photo by Chris Hall; other pho- 4′ Clarinet (Choir) tos by Chris Hall and Louis Patterson Couplers Great to Pedal First United Methodist Church, Birming- Swell to Pedal ham, Michigan Swell to Pedal 4′ Three manuals and pedal Choir to Pedal 38 voices, 46 ranks Choir to Pedal 4′ Electric-pneumatic action Swell to Great 16′ GREAT (II – In Display) Swell to Great 16′ Contra Viola (Choir) Swell to Great 4′ 8′ Open Diapason 61 pipes Choir to Great 16′ 8′ Harmonic Flute 61 Choir to Great 8′ Gamba 61 Choir to Great 4′ 8′ Bourdon 61 4′ Principal 61 Swell to Choir 16′ 4′ Spire Flute 61 Swell to Choir 2-2⁄3′ Twelfth 61 Swell to Choir 4′ 2′ Fifteenth 61 2′ Mixture (III–IV) 187 Antiphonal on Pedal 8′ Tuba (Choir) Antiphonal on Great 8′ Trumpet (Choir) Antiphonal on Choir 8′ Clarinet (Choir) Chimes (Deagan in Choir box) Echo on Swell 25 tubes Echo on Choir SWELL (III – Enclosed) Note: Antiphonal and Echo intramanual cou- 16′ Bourdon (wood) 12 pipes plers read through intermanual couplers. 8′ Open Diapason 61 8′ Stopped Diapason (wood) 61 8′ Echo Gamba 61 Mechanicals 8′ Gamba Celeste (TC) 49 Solid state capture combination action with: 8′ Corno Dolce 49 100 memories (Stopped Diapason bass) 61 pistons and toe studs 4′ Gemshorn 61 Programmable piston range for each mem- 4′ Harmonic Flute 61 ory 2′ Flageolet 61 Multiple Crescendo and Full Organ pro- 8′ Oboe 61 grams Tremulant 5 Reversibles including Full Organ Stops Under Double Expression Adjustable bench 2′ Mixture (III–IV) H 209 16′ Contra Fagotto H 61 Mixture Compositions 8′ Trumpet H 61 Great 2′ (III–IV) H = Heavy Wind C1 D15 B36 G#45 Swell 16′ 15 12 The Inner Swell chorus reeds (photo credit: Louis Patterson) Swell Unison Off 19 15 12 Swell 4′ 22 19 15 12 22 19 15 CHOIR (I – Enclosed) 16′ Contra Viola 12 pipes Swell 2′ (III–IV) 8′ Viola Pomposa 61 C1 B24 F#43 C#50 8′ Viola Celeste 61 15 12 8 8′ Concert Flute (wood) 61 19 15 12 8 8′ Lieblich Gedeckt 49 22 19 15 12 (Concert Flute bass) 22 19 15 4′ Fugara 61 4′ Lieblich Flute 12 Choir 2′ (II–III) 2-2⁄3′ Nazard (from Lieblich Flute) C1 A22 D#52 2′ Harmonic Flute 61 15 12 1-3⁄5′ Tierce (TC) 42 19 15 12 2′ Mixture (II–III) 173 22 19 15 8′ Trumpet 61 8′ Clarinet 61 Tonal analysis of manual voices Tremulant Pitch summary 16′ Ophicleide H 12 16′ 5 13% 8′ Tuba H 61 8′ 19 50% 4′ Tuba Clarion H 12 4′ 6 16% H = Heavy Wind 2-2⁄3′ 1 3% Choir 16′ 2′ 6 15% Choir Unison Off Above 2′ 1 3% Choir 4′ 38 100% ANTIPHONAL (Floating – In Tonal families Display) Diapasons 14 37% 8′ Open Diapason 61 pipes Open Flutes 7 18% 8′ Dulciana (Bourdon bass) 49 Stopped Flutes 5 13% 8′ Bourdon 61 Hybrids 1 3% 4′ Principal 61 Strings 5 13% Antiphonal 4′ Chorus Reeds 4 11% Color Reeds 2 5% ECHO (Prepared) 38 100% The Inner Swell chorus reeds looking through to the Outer Swell (photo credit: Louis Patterson)
SEPTEMBER, 2007 31
Sept 07 pp. 30-31.indd 31 8/10/07 9:35:32 AM New Organs
Dobson Pipe Organ Builders, is located on the right. The manuals have Lake City, Iowa mechanical action and a detached and Kenilworth Union Church, reversed console placed in front of the Kenilworth, Illinois left case; the Pedal has electric action. Dobson Pipe Organ Builders, Lake Margaret Kemper is the church’s City, Iowa, has completed its Op. 81 for organist. Aubrey Swift of OKW Archi- Kenilworth Union Church in Kenil- tects directed the renovation, while Carl worth, Illinois. The church’s previous Giegold of Kirkegaard Associates served Möller organ, built in 1986, was tonally as acoustical consultant. and mechanically unsatisfactory. Its —John Panning poor quality indicated that expensive repairs lay ahead, and the church decid- Photo credit: Lynn Dobson ed that a new instrument of better GREAT (58 notes) design and construction represented a ′ wiser use of its resources. 16 Bourdon 8′ Prestant Building an organ for a divided 8′ Chimney Flute chancel location is fraught with diffi- 4′ Octave culties. Space is at a premium, with 4′ Spire Flute 2 clergy, musicians, altar furniture, 2 ⁄3′ Twelfth handicap ramps and organ all vying for 2′ Fifteenth 3 ′ the same scarce real estate. Such place- 1 ⁄5 Seventeenth 1 1 ⁄3′ Mixture IV ment also challenges the projection of ′ the organ’s sound into the church, 8 Trumpet Chimes since the organ does not directly face Swell to Great the nave or transept. Many worshipers therefore hear the organ’s sound only SWELL (58 notes, expressive) after one or more reflections from 8′ Gedackt building surfaces, which is why renova- 8′ Salicional tions undertaken to improve the 8′ Celeste FF 4′ Principal acoustics were so important. ′ Since the church’s architectural 4 Traverse Flute 2′ Piccolo design strongly recalls historic English 1 1 ⁄3′ Larigot parish churches, a case of modern 2′ Mixture IV design would appear out of place. 16′ Bassoon Inspired by a 19th-century organ in the 8′ Oboe parish church of St. Mary Magdalene in Twyning, Gloucestershire, England, PEDAL (32 notes) 16′ Subbass Op. 81 has two symmetrical façades that ′ are constructed of white oak and are 16 Bourdon (Gt) 8′ Prestant enriched with painted accents and 24- 8′ Gedackt (ext, Subbass) karat gold leaf. The wood’s dark color 4′ Choralbass (ext) comes not from an applied stain but 16′ Trombone from a process called fuming, during 8′ Trumpet (ext) which the naturally occurring tannins in Great to Pedal the wood are oxidized and darken upon Swell to Pedal exposure to strong ammonia vapors. The Great and Swell are located in Tremulant the case to the left of the altar; the Pedal Zimbelstern
Karl Wilhelm Inc., Mont St-Hilaire, pipes. Tuning is according to a tempera- Quebec, Canada ment by Bach/Kellner, which yields Asbury United Methodist Church, seven pure fifths. The metal façade Livermore, California pipes are 70% tin and 30% lead, metal This new 24-stop, two-manual organ, flute pipes are 40% tin and 60% lead. A Opus 159 for Karl Wilhelm Inc., was gilded Zimbelstern with 8 bronze bells made possible by benefactors and con- is also installed. The dedication recital tributors from the congregation. The was given by Susan Jane Matthews from organ committee was chaired by Allen Grace Cathedral, San Francisco. Schell who is also the organist. Twelve —Karl Wilhelm years following the completion and GREAT (56 notes) dedication of the new Asbury sanctu- ′ ary, the installation of this organ marks 16 Bourdon 8′ Principal the completion of an important project 8′ Rohrflöte for the congregation. 4′ Octave The self-contained organ is located in 4′ Spitzflöte 2 the front of the sanctuary. The casework 2 ⁄3′ Quinte is made of solid white oak, compatible 2′ Superoktave 3 ′ to this modern church. For seismic rea- 1 ⁄5 Terz 1 1 ⁄3′ Mixtur IV sons, the top of the organ is firmly ′ attached to the wall and rafter behind. 8 Trompete The organ consists of three divisions: SWELL (56 notes) the Great which is above the impost, the 8′ Salicional Swell behind the louvers, and the Pedal, 8′ Celeste TC which is with the Great except the Sub- 8′ Hohlflöte bass 16′ and Posaune 16′, which are of 4′ Principal poplar wood and are behind the main 4′ Rohrflöte organ. The playing action is direct 2′ Waldflöte 1 ′ mechanical (suspended tracker); stop 1 ⁄3 Larigot 1′ Scharf III action is also mechanical. There are one 8′ Oboe manual coupler and two pedal couplers. Tremolo The natural keys are plated with cow bone and the sharps are ebony. The PEDAL (30 notes) pedalboard is concave radiating, 30 16′ Subbass notes. The instrument has one wedge- 8′ Offenflöte shaped bellows and a winding configu- 4′ Choralbass 16′ Posaune ration that creates a flexible wind effect. ′ Altogether there are a total of 1,441 8 Trompete (Gt)
Send materials for “New For information on sponsor- Organs” to Jerome Butera ing a color cover of THE DIAPA- (photos, hi-res jpg or tif files; SON, contact Jerome Butera, text as Word document): 847/391-1045; e-mail:
32 THE DIAPASON Bert Adams, FAGO Calendar Park Ridge Presbyterian Church PATRICK ALLEN Park Ridge, IL GRACE CHURCH
Ludger Lohman, masterclass; St. Paul’s Pickle Piano & Church Organs NEW YORK This calendar runs from the 15th of the Episcopal, Greenville, NC 9 am Bloomingdale, IL month of issue through the following month. John Weaver; Porter Center for Performing The deadline is the fi rst of the preceding Arts, Brevard, NC 3 pm month (Jan. 1 for Feb. issue). All events are David Arcus; Front Street United Methodist, assumed to be organ recitals unless other- Burlington, NC 4 pm Christopher Babcock wise indicated and are grouped within each Frederick Swann; First Congregational, Co- WILLIAM AYLESWORTH date north-south and east-west. •=AGO chap- lumbus, OH 4 pm ter event, • •=RCCO centre event, +=new or- Michael McGhee; Cathedral of St. Philip, At- St. Andrew’s by the Sea, gan dedication, ++= OHS event. lanta, GA 3:15 pm, Choral Evensong 4 pm D. M. Scott Hyslop, with choir, hymn festival; St. Hyannis Port Information cannot be accepted unless it Lorenz Lutheran, Frankenmuth, MI 4 pm EVANSTON, ILLINOIS specifi es artist name, date, location, and •Adria Cary; St. Mary’s Church, Port Wash- St. David’s, South Yarmouth hour in writing. Multiple listings should be in ington, WI 3 pm chronological order; please do not send du- plicate listings. THE DIAPASON regrets that 24 SEPTEMBER it cannot assume responsibility for the accu- Douglas Bruce; Elliott Chapel, The Presbyte- racy of calendar entries. rian Homes, Evanston, IL 1:30 pm
25 SEPTEMBER Seung-Lan Kim; St. Luke’s Chapel, Medical UNITED STATES University, Charleston, SC 12:15 pm East of the Mississippi Julian Bewig; Church of St. Louis, King of France, St. Paul, MN 12:35 pm 15 SEPTEMBER Christa Rakich, masterclass; St. Giles Epis- 26 SEPTEMBER copal, Northbrook, IL 10 am Ken Cowan; Bristol Chapel, Westminster Choir College, Princeton, NJ 7:30 pm Dean W. Billmeyer 16 SEPTEMBER Chandler Noyes; Methuen Memorial Music 28 SEPTEMBER Hall, Methuen, MA 3 pm Chandler Noyes, silent fi lm accompaniment; University of Minnesota Karen Beaumont; Cathedral of St. Patrick, Methuen Memorial Music Hall, Methuen, MA 8 pm New York NY 4:45 pm Tom Trenney; Westminster Presbyterian, Minneapolis 55455 • [email protected] Alan Morrison; Bomberger Hall, Ursinus Col- Buffalo, NY 8 pm lege, Collegeville, PA 4 pm Cj Sambach; First Baptist, Henderson, NC 9 +Frederick Swann; Immaculate Conception, am, 11 am, 1 pm INformances Towson, MD 7:30 pm Stephen Schaeffer; Cathedral Church of the James Vivian; St. James’ Church, Hender- Advent, Birmingham, AL 12:30 pm sonville, NC 5 pm +Thomas Murray; Nichols Concert Hall, Mu- THOMAS BROWN David Chalmers Carol Williams; Fort Johnson Baptist, sic Institute of Chicago, Evanston, IL 8 pm UNIVERSITY Concert Organist Thomas Trotter, with orchestra; Overture Charleston, SC 6 pm Hall, Madison, WI 7:30 pm PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Scott Montgomery; The Charleston Baptist Temple, Charleston, WV 3 pm CHAPEL HILL, NORTH CAROLINA Orleans, MA 29 SEPTEMBER Bill Callaway; Cathedral of St. Philip, Atlanta, Nigel Potts; United Methodist Church, Bay GA 3:15 pm, Choral Evensong 4 pm Shore, NY 7 pm Ralph Tilden; First United Methodist Church Thomas Trotter, with orchestra; Overture of Union County, Blairsville, GA 4 pm Hall, Madison, WI 8 pm Choral Evensong; Christ Church Cathedral, STEVEN EGLER Central Michigan University Lexington, KY 5 pm 30 SEPTEMBER DELBERT DISSELHORST •Handbell Festival; St. Mark’s United Church Douglas Bruce; Cathedral of St. Patrick, New First Presbyterian Church of Christ, New Albany, IN 2 pm York NY 4:45 pm A. MUS. D. Mt. Pleasant, Michigan 48858 Christa Rakich; St. Giles Episcopal, North- Stephen Rapp; Christ Church, New Bruns- UNIVERSITY OF IOWA brook, IL 4 pm SOLO Shelly-Egler wick, NJ 6:30 pm RECITALS Flute and Organ Duo Music of the Baroque; First United Methodist, Aaron David Miller; Calvary Episcopal, Pitts- Evanston, IL 7:30 pm burgh, PA 4 pm Tom Trenney; St. James’ Cathedral, Chicago, Cj Sambach; First Baptist, Henderson, NC IL 4 pm 9:15 am INformance, 4 pm recital John Mitchener; Boone United Methodist, JOHN FENSTERMAKER ELLEN KURTZ 17 SEPTEMBER Boone, NC 4 pm Scott Montgomery; St. Michael’s-in-the-Hills Music of the Baroque; Harris Theater, Chi- TRINITY-BY-THE-COVE FUNK cago, IL 7:30 pm Episcopal, Toledo, OH 7 pm M.Mus., A.A.G.O. Chanticleer; St. Peter in Chains Cathedral, 18 SEPTEMBER Cincinnati, OH 3 pm NAPLES, FLORIDA Concord, California Frederick Swann; First Presbyterian, St. Pe- Rachel Gragson; Cathedral of St. Philip, At- tersburg, FL 7:30 pm lanta, GA 3:15 pm, Choral Evensong 4 pm James Metzler; Park Congregational, Grand Maxine Thevenot; First United Methodist, Rapids, MI 12:15 pm Grand Rapids, MI 7 pm Organist / Pianist Cathy Rodland; Church of St. Louis, King of Thomas Trotter, with orchestra; Overture CHRISTOPHER France, St. Paul, MN 12:35 pm Hall, Madison, WI 2:30 pm Michael Gailit [email protected] GARVEN 19 SEPTEMBER 1 OCTOBER •Aaron David Miller http://www.gailit.at Organist & Music Director Mark Bani; St. Vincent Ferrer Church, New , workshop; Calvary Epis- copal, Pittsburgh, PA 4 pm York, NY 7:30 pm St. Augustine’s Church Church of the Good Samaritan Ann Labounsky, with orchestra; Church of Drew Rutz; Cathedral of St. John the Evange- Conservatory / University (Vienna) Paoli, Pennsylvania the Epiphany, Pittsburgh, PA 8 pm list, Milwaukee, WI 12:15 pm 2 OCTOBER 20 SEPTEMBER William Gudger; St. Luke’s Chapel, Medical John M. Gearhart III Mary Mozelle, with trumpet; National City University, Charleston, SC 12:15 pm Robert Glasgow Christian Church, Washington, DC 12 noon Michael Stefanek; Park Congregational, B.A., M.Mus. Joseph Gramley, percussion; West Liberty Grand Rapids, MI 12:15 pm St. John the Divine (Episcopal) Professor Emeritus State College, West Liberty, WV 7:30 pm John Salveson; Church of St. Louis, King of Choral Evensong; Cathedral of St. Philip, At- France, St. Paul, MN 12:35 pm 2450 River Oaks Blvd. The University of Michigan lanta, GA 5:45 pm Houston, TX 77019 Ann Arbor 3 OCTOBER 21 SEPTEMBER Cj Sambach; First Congregational, Searsport, Paul Bisaccia, piano, with soprano; First ME 9 am, 11 am INformances and Franklin Street Presbyterian, Baltimore, David Hurd; Church of the Holy Apostles, MD 8 pm New York, NY 7:30 pm JAMES HAMMANN Tom Trenney; Centenary United Methodist, Julian Bewig; Cathedral of St. John the Evan- Antone Godding Richmond, VA 7:30 pm gelist, Milwaukee, WI 12:15 pm DMA-AAGO Erik Suter; St. Francis in the Fields, Harrods Leon Nelson; First Presbyterian, Arlington Nichols Hills Creek, KY 7:30 pm Heights, IL 12:10 pm United Methodist Church University of New Orleans Oklahoma City Chapel of the Holy Comforter 22 SEPTEMBER 4 OCTOBER Ludger Lohmann, seminar; St. Paul’s Episco- Cj Sambach; First United Methodist, Belfast, pal, Greenville, NC 7:30 pm ME 9 am, 11 am INformances John Gouwens, carillon; The Culver Acad- LORRAINE BRUGH, Ph.D. emies, Culver, IN 4 pm 5 OCTOBER Cj Sambach; First United Methodist, Belfast, A two-inch ME 7 pm INformance 23 SEPTEMBER Harald Vogel; Marquand Chapel, New Haven, Associate Professor Choral Evensong; Christ Episcopal, Pough- Professional Card CT 8 pm University Organist keepsie, NY 5 pm Paul Jacobs; Bishop Janes United Methodist, Kent Tritle, with baritone; Church of St. Igna- Basking Ridge, NJ 8 pm in The Diapason tius Loyola, New York, NY 4 pm Jeannine Jordan; Old Presbyterian Meeting Valparaiso University Justin Hartz; Christ Church, New Brunswick, House, Alexandria, VA 8 pm Valparaiso, IN For information on rates and NJ 6:30 pm Erik Suter; Trinity Lutheran, Akron, OH 8 pm www.valpo.edu specifi cations, contact: Ann Labounsky; Duquesne University School Uwe Karsten Gross; Elliott Chapel, The Pres- of Music, Pittsburgh, PA 2:15 pm byterian Homes, Evanston, IL 7:15 pm Jerome Butera David Higgs; St. David’s Episcopal, Wayne, 219-464-5084 PA 3 pm 6 OCTOBER [email protected] Paul Bisaccia, piano, with soprano; Trinity Lu- Yale Schola Cantorum, with Piffaro; Marquand [email protected] 847/391-1045 theran, Camp Hill, PA 4 pm Chapel, New Haven, CT 8 pm
SEPTEMBER, 2007 33
Sept 07 pp. 33-37.indd 33 8/10/07 1:00:27 PM Paul Jacobs, masterclass; Westminster Pres- Bradley Hunter Welch; Monroe Street United byterian, Dayton, OH 2 pm Methodist, Toledo, OH 7 pm WILL HEADLEE Harry H. Huber David Jernigan; Cathedral of St. Philip, At- D. Mus. 7 OCTOBER lanta, GA 3:15 pm, Choral Evensong 4 pm 1650 James Street Judith Conrad; St. Anthony’s, New Bedford, Choral Evensong; Cathedral Church of the Ad- Kansas Wesleyan University, Emeritus MA 3 pm vent, Birmingham, AL 4 pm Syracuse, NY 13203-2816 University Methodist Church Rossina Vrionides de Gómez; First Church, Paul Jacobs; Westminster Presbyterian, (315) 471-8451 Waterbury, CT 4 pm Rockford, IL 3 pm SALINA, KANSAS Choral Evensong; Grace Church, New York, •Christopher Herrick; Concordia University, NY 4 pm Mequon, WI 3:30 pm Felsted, Jonah; Holy Trinity Lutheran, New MICHELE JOHNS York, NY 5 pm 16 OCTOBER Brian Jones Federico Andreoni; Christ Church, New Lasse Eriksen, with choir; King’s Chapel, A.Mus.D Brunswick, NJ 6:30 pm Boston, MA 12:15 pm Director of Music Emeritus Jeannine Jordan; Monumental Methodist, Simon Preston, Poulenc Organ Concerto; Organ — Harpsichord Portsmouth, VA 4 pm Symphony Hall, Boston, MA 8 pm The University of Michigan TRINITY CHURCH Thomas Dressler; Old Salem Visitor Center, + Frederick Swann; St. Stanislaus, Buffalo, School of Music BOSTON Winston-Salem, NC 3 pm NY 7 pm The Chenaults; John Knox Presbyterian Charles Farley; St. Luke’s Chapel, Medical Church, Greenville, SC 3 pm University, Charleston, SC 12:15 pm Paul Jacobs; Westminster Presbyterian, Day- Clive Driskill-Smith; St. Simons Presbyterian, ton, OH 4 pm St. Simons Island, GA 8 pm KIM R. KASLING JAMES KIBBIE Alvin Blount; Cathedral of St. Philip, Atlanta, Olivier Latry; Savage Chapel, Union Univer- GA 3:15 pm, Choral Evensong 4 pm D.M.A. sity, Jackson, TN 7:30 pm The University of Michigan Choral Evensong; Christ Church Cathedral, John Hamersma; Park Congregational, Grand St. John’s Univeristy Ann Arbor, MI 48109-2085 Lexington, KY 5 pm Rapids, MI 12:15 pm 734-764-1591 FAX: 734-763-5097 Craig Cramer; Organ Hall, University of Notre Diana Lee Lucker; Church of St. Louis, King Collegeville, MN 56321 Dame, South Bend, IN 8 pm email: [email protected] of France, St. Paul, MN 12:35 pm 9 OCTOBER 17 OCTOBER Brink Bush; King’s Chapel, Boston, MA Martin Jean; The Interchurch Center, New 12:15 pm York, NY 6 pm David K. Lamb, D.Mus. Mark Bani; Central Synagogue, New York, NY Winchester Cathedral Choir; Cathedral of St. Director of Music/Organist Richard Litterst 12:30 pm John the Evangelist, Cleveland, OH 7:30 pm Paul Jacobs; Church of St. Mary the Virgin, Gary Wendt; First Presbyterian, Arlington First United Methodist Church First Church of Christ, Scientist New York, NY 8 pm Heights, IL 12:10 pm Columbus, Indiana Tom Trenney; Peachtree Presbyterian, At- 812/372-2851 Rockford, Illinois lanta, GA 7 pm 18 OCTOBER Lawrence Archbold; Church of St. Louis, Choral Evensong; Cathedral of St. Philip, At- King of France, St. Paul, MN 12:35 pm lanta, GA 5:45 pm
10 OCTOBER 19 OCTOBER BETTY LOUISE LUMBY John Scott; St. Vincent Ferrer Church, New The Chenaults; First Presbyterian, Lockport, David Lowry York, NY 7:30 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD NY 7:30 pm DSM • FAGO Michael Batcho, with trombone; Cathedral John Scott; St. Luke’s Episcopal, Lebanon, 1512 BLANDING STREET, COLUMBIA, SC 29201 UNIVERSITY OF MONTEVALLO of St. John the Evangelist, Milwaukee, WI PA 7 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY 12:15 pm Peter Richard Conte; National City Christian ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Christine Kraemer; First Presbyterian, Arling- Church, Washington, DC 7:30 pm ton Heights, IL 12:10 pm Nigel Potts; St. Paul’s Parish, K St., Washing- ton, DC 7:30 pm 11 OCTOBER + Frederick Swann; Providence Presbyterian, Simon Preston, Poulenc Organ Concerto; Fairfax, VA 7:30 pm Symphony Hall, Boston, MA 8 pm Jeremy Bruns; St. Paul’s Episcopal, Alexan- James R. Metzler Stephen Hamilton; Queens College, Queens, dria, VA 8 pm NY 12:15 pm Johnny Bradburn; Christ United Methodist, David Hurd, masterclass; Christ Church, Ma- PARK CONGREGATIONAL CHURCH Greensboro, NC 7:30 pm con, GA 10 am Clive Driskill-Smith; First Congregational, GRAND RAPIDS, MICHIGAN Sarasota, FL 7:30 pm 12 OCTOBER Winchester Cathedral Choir; St. George’s Simon Preston, Poulenc Organ Concerto; Episcopal, Nashville, TN 8 pm Symphony Hall, Boston, MA 1:30 pm Donald Sutherland; Northminster Baptist, Paul Jacobs; Trinity College, Hartford, CT Jackson, MS 7:30 pm William H. Murray 7:30 pm Charles Callahan; First-Trinity Presbyterian, Marek Kudlicki; Holy Trinity Catholic Church, Laurel, MS 7:30 pm A.S.C.A.P. Utica, NY 7 pm FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. David Higgs & Todd Wilson; St. Paul’s Epis- 20 OCTOBER copal, Rochester, NY 8:30 pm 345 SADDLE LAKE DRIVE William Ness, with harp and fl ute; Memorial Choir of St. Thomas Church, New York City; ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas Congregational, Sudbury, MA 7:30 pm Bridgehampton Presbyterian, Bridgehampton, (770) 594-0949 •Donald Filkins, improvisation workshop; First NY 7 pm Presbyterian, Wappingers Falls, NY 10 am Olivier Latry; Trinity Episcopal, Solebury, PA Todd Wilson; Verizon Hall, Philadelphia, PA 7:30 pm MARILYN MASON 3 pm Gillian Weir, masterclass; Peabody Conser- •Charles Callahan, masterclass/workshop; CHAIRMAN, DEPARTMENT OF ORGAN vatory, Baltimore, MD 7 pm First-Trinity Presbyterian, Laurel, MS 10 am UNIVERSITY OF MICHIGAN David Hurd; Christ Church, Macon, GA 7:30 ANN ARBOR pm 21 OCTOBER “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it Gerre Hancock; First United Methodist, John- Chandler Noyes, with vocalist; Methuen Me- son City, TN 8 pm with awesome technique and a thrilling command of its daring writing.” morial Music Hall, Methuen, MA 3 pm ensemble amarcord; St. James Episcopal, The American Organist, 1980 Winchester Cathedral Choir; All Saints Episco- Fairhope, AL 7:30 pm pal, Richmond, VA 7:30 pm 13 OCTOBER Jeremy Bruns; Abingdon Episcopal, White Simon Preston, Poulenc Organ Concerto; Marsh, VA 5 pm Mary Mozelle LARRY PALMER Symphony Hall, Boston, MA 8 pm Olivier Latry; St. John United Methodist, Au- Frederick Swann, lecture/demonstration; gusta, GA 3 pm Associate Organist Eric Dombrowski; Cathedral of St. Philip, At- Professor of Hosmer Hall, SUNY Potsdam, Potsdam, NY 3 pm lanta, GA 3:15 pm, Choral Evensong 4 pm The National Clive Driskill-Smith; Trinity Lutheran, Lans- Cj Sambach; Epworth United Methodist, To- Harpsichord and Organ Presbyterian Church dale, PA 7:30 pm ledo, OH 3 pm Washington, DC Gillian Weir, masterclass; Peabody Conser- Alan Morrison; Hyde Park Community United Meadows School of the Arts vatory, Baltimore, MD 2 pm Methodist, Cincinnati, OH 4 pm 703.898.9609 Choral Music of Herbert Howells; Cathedral of Choral Evensong; Christ Church Cathedral, SOUTHERN METHODIST UNIVERSITY St. Philip, Atlanta, GA 7:30 pm Lexington, KY 5 pm www.PipeOrganPro.com ensemble amarcord; Temple Theatre, Viro- Britten, St. Nicolas; Cathedral Church of St. “The Sights and Sounds Dallas, Texas 75275 qua, WI 7:30 pm Paul, Detroit, MI 4 pm David Higgs; First Baptist, London, KY 3 pm of the Pipe Organ” Musical Heritage Society recordings 14 OCTOBER Thomas Murray; Christ Church Cathedral, Frederick Swann; Hosmer Hall, SUNY Pots- Nashville, TN 4 pm dam, Potsdam, NY 3 pm David Lamb; Ancilla College, Donaldson, IN Marek Kudlicki; St. Joseph’s Catholic Church, 3 pm Camillus, NY 5 pm Janette Fishell & Colin Andrews; Kenilworth Patrick Allen, with Baroque oboe and trum- Union Church, Kenilworth, IL 5 pm A four-inch pet; Grace Church, New York, NY 4 pm Olivier Latry; Washington National Cathedral, 22 OCTOBER Professional Card Washington, DC 5 pm Anthony Newman; Church of the Holy Trinity John Weaver; The Episcopal Church of the (Episcopal), New York, NY 8 pm in The Diapason Redeemer, Baltimore, MD 5 pm Janette Fishell & Colin Andrews; Elliott Todd Wilson; Myers Park Baptist, Charlotte, Chapel, The Presbyterian Homes, Evanston, IL NC 3 pm 1:30 pm No additional charge for photos Robert Bates; St. James Parish, Wilmington, NC 5 pm 23 OCTOBER John Walker; Duke University Chapel, Dur- Martin Rein; King’s Chapel, Boston, MA 12:15 For information on rates and specifi cations, contact ham, NC 5 pm pm Mary Mozelle; First United Methodist, Braden- Winchester Cathedral Choir; St. Thomas Jerome Butera, 847/391-1045 ton, FL 4 pm Church, New York, NY 7:30 pm [email protected] Paul Bisaccia, piano; Moorings Park, Naples, Olivier Latry; Dimnent Chapel, Hope College, FL 4 pm Holland, MI 7:30 pm
34 THE DIAPASON
Sept 07 pp. 33-37.indd 34 8/10/07 1:00:57 PM Raymond Johnston; Church of St. Louis, 29 OCTOBER King of France, St. Paul, MN 12:35 pm Sietze de Vries; Second Presbyterian, Rich- mond, VA 7:30 pm LEON NELSON 24 OCTOBER Organized Rhythm, organ and percussion; DOUGLAS REED Nigel Potts; St. Bartholomew’s, New York, NY Tennessee Valley Unitarian Universalist, Knox- FIRST PRESBYTERIAN CHURCH 7:30 pm ville, TN 8 pm ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Music of the Baroque; Harris Theater, Chi- Handel, Belshazzar; St. Ignatius Loyola, New NORTH PARK UNIVERSITY York, NY 8 pm cago, IL 7:30 pm EVANSVILLE, INDIANA William Aylesworth; First Presbyterian, Ar- CHICAGO, IL 60625 lington Heights, IL 12:10 pm 30 OCTOBER Affabre Concinui; Ebenezer Lutheran, Colum- 26 OCTOBER bia, SC 7:30 pm Tom Trenney, silent fi lm accompaniment; Joy Schroeder; Park Congregational, Grand Stephen G. Schaeffer ROBERT L. Merrill Auditorium, Portland, ME 8 pm Rapids, MI 12:15 pm D.M.A. Chandler Noyes, silent fi lm accompaniment; James Callahan; Church of St. Louis, King of Methuen Memorial Music Hall, Methuen, MA 8 pm France, St. Paul, MN 12:35 pm The Cathedral Church SIMPSON Frederick Swann; All Saints, Worcester, MA Christ Church Cathedral 8 pm 31 OCTOBER of the Advent 1117 Texas Avenue Affabre Concinui, masterclass; Mansfi eld Uni- Dorothy Papadakos, silent fi lm accompani- Birmingham, Alabama 35203 Houston, Texas 77002 versity, Mansfi eld, PA 1 pm, concert 7 pm ment; St. Bartholomew’s, New York, NY 7:30 pm Winchester Cathedral Choir; Washington Na- Affabre Concinui; Kassab Hall, Hyman Fine tional Cathedral, Washington, DC 7:30 pm Arts Center, Florence, SC 8 pm Janette Fishell; Trinity Episcopal, St. Augus- Pierre Pincemaille; All Saints’ Chapel, The Stephen Tappe tine, FL 7:30 pm University of the South, Sewanee, TN 7:30 pm Paul Hale; First Presbyterian, Evansville, IN Rich Spantikow; First Presbyterian, Arlington Organist and Director of Music Joe Utterback 7 pm Heights, IL 12:10 pm Saint John's Cathedral COMMISSIONS & CONCERTS Jeff Weiler, silent fi lm accompaniment; Music •Buxtehude, Membra Jesu; St. Mary’s Church, Denver, Colorado Institute of Chicago, Evanston, IL 8 pm Port Washington, WI 7 pm 732 . 747 . 5227 Mark Konewko; Cathedral of St. John the www.sjcathedral.org 27 OCTOBER Evangelist, Milwaukee, WI 12:15 pm +Daniel Sansone, with orchestra; Cathedral of Mary Our Queen, Baltimore, MD 7:30 pm UNITED STATES 28 OCTOBER West of the Mississippi Marcia Van Oyen David Wagner Frederick Swann, wih choir and brass; Me- DMA chanics Hall, Worcester, MA 6 pm 15 SEPTEMBER First United Methodist Church, Paul Jacobs, masterclass; First Lutheran, Madonna University Joan Lippincott; First Presbyterian, Ilion, NY Plymouth, Michigan 3 pm Fargo, ND 10 am, recital 4 pm Livonia, Michigan Ted Barr, with choir; The Presbyterian Church, Gerre Hancock, improvisation masterclass; mvanoyen.com [email protected] Irvington-on-Hudson, NY 4 pm Ed Landreth Auditorium, Texas Christian Univer- Robert Ridgell; Cathedral of St. Patrick, New sity, Fort Worth, TX 10 am York NY 4:45 pm Bach, Cantata 80; Holy Trinity Lutheran, New 16 SEPTEMBER SALLY SLADE WARNER, AAGO, ChM York, NY 5 pm Andrew Peters; Second Presbyterian, St. Thomas Murray; Thomson Alumnae Chapel, Louis, MO 4 pm Kevin Walters Carillonneur Wilson College, Chambersburg, PA 3 pm Paul Jacobs; First Lutheran, Fargo, ND 4 pm The Chenaults; Highland Park Presbyterian, Winchester Cathedral Choir; St. Stephen’s M.A., F.A.G.O. St. Stephen’s Church, Cohasset, MA Dallas, TX 7 pm Episcopal, Wilkes-Barre, PA 4 pm Joseph Galema, with brass and chorus; Ca- Phillips Academy, Andover, MA Stephen Hamilton; Trinity Church, Bethle- Rye, New York det Chapel, USAF Academy, CO 3 pm Recitals hem, PA 4 pm Julia Brown; Central Lutheran, Eugene, OR Affabre Concinui; St. James Episcopal, Lan- 7 pm caster, PA 4 pm David Hatt; Cathedral of St. Mary of the As- Erik Suter; Trinity Lutheran, Hagerstown, MD sumption, San Francisco, CA 3:30 pm 4 pm +Vierne, Messe Solenelle; Cathedral of Mary 18 SEPTEMBER Karl Watson Cherie Wescott Concerts • Masterclasses • Coaching Our Queen, Baltimore, MD 7:30 pm Paul Jacobs, masterclass; Snow Center for Ronald Wise; Boone United Methodist, the Performing Arts, Rexburg, ID 10:30 am, re- ST. RAYMOND’S CHURCH Boone, NC 4 pm cital 7:30 pm 405/942-3958 Richard Rhoads; St. Andrew’s On-the-Sound PARKCHESTER e-mail: [email protected] Episcopal, Wilmington, NC 5 pm 21 SEPTEMBER Maxine Thevenot; St. Peter’s Episcopal Ca- Alan Morrison; All Saints Episcopal, Fort thedral, St. Petersburg, FL 3 pm Worth, TX 7:30 pm Ken Cowan; Westbrook Park United Method- ist, Canton, OH 4 pm 22 SEPTEMBER Davis Wortman Perimeter Flutes; Cathedral of St. Philip, At- James Welch; Bethania Lutheran, Solvang, RONALD WYATT lanta, GA 3:15 pm, Choral Evensong 4 pm CA 1 pm Tom Trenney, silent fi lm accompaniment; St. James’ Church Trinity Church University of Louisville, Louisville, KY 7 pm 23 SEPTEMBER Steven Wente; St. Lorenz Lutheran, Franken- Ken Cowan; Graham Tyler Memorial Chapel, New York Galveston muth, MI 4 pm Park University, Parkville, MO 3 pm Music of the Baroque; First United Methodist, E. Ray Peebles; First United Methodist, Evanston, IL 7:30 pm Shreveport, LA 3 pm Olivier Vernet; Court Street United Methodist, Paul Jacobs; St. Martin’s Episcopal, Houston, Charles Dodsley Walker, FAGO Rockford, IL 7 pm TX 3 pm Peter Richard Conte; Weidner Center for the Maxine Thevenot; Cathedral of the Mad- Artist-in-Residence Founder/Conductor Performing Arts, Green Bay, WI 2 pm eleine, Salt Lake City, UT 8 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John A radio program for the king of instruments SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581 S PHILIP CROZIER E #0736 - Imaginary Beings…reading notes from a page is ORGAN DUO one thing, but improvising something new, ‘out of thin P 3355 Queen Mary Road, Apt 424 air’, is a remarkable skill. Montreal, H3V 1A5, P. Quebec T Canada E #0737 - A Class Act in Columbus (OH)…the new 66-stop (514) 739-8696 tracker organ by Paul Fritts at St. Joseph Cathedral joins M Fax: (514) 739-4752 Iain Quinn Maxine Thevenot this city’s already rich local instrumental resources. Director of Associate Organist- B [email protected] Cathedral Music Choir Director E #0738 - A Fugue Too Far?…take a trip with counterpoint, R and follow each voice as the aural weave becomes both intricate and engaging. DAVID SPICER 2 First Church of Christ #0739 - In An Autumn Mood…we gauge the shift of Wethersfi eld, Connecticut Carol Williams 0 seasons with a curious collection of compositions in 0 changing harmonic colors. 7 San Diego Civic Organist
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
SEPTEMBER, 2007 35
Sept 07 pp. 33-37.indd 35 8/10/07 1:01:20 PM David Hatt; Cathedral of St. Mary of the As- Craig Cramer; St. Andrew Lutheran, Beaver- 22 OCTOBER Jan Van Mol; Cattedrale di S. Stefano, Biella, sumption, San Francisco, CA 3:30 pm ton, OR 7:30 pm Erik Suter; Bates Recital Hall, University of Italy 9 pm Carol Williams; Balboa Park, San Diego, CA Texas, Austin, TX 7 pm Olivier Vernet; Église Très-Saint-Nom-de-Jé- 2 pm 11 OCTOBER Julia Brown; Beall Concert Hall, University of sus, Montréal, QC, Canada 3 pm Anthony & Beard, trumpet and organ; St. Oregon, Eugene, OR 8 pm 30 SEPTEMBER Mary Catholic Church, Littleton, CO 7:30 pm 24 SEPTEMBER Gregory Peterson; Union Sunday School, 23 OCTOBER Christoph Krummacher; Kirche Langhen- Clermont, IA 2:30 pm 13 OCTOBER Todd Wilson; First Presbyterian, Wichita, KS nersdorf, Germany 6 pm Sven-Ingvart Mikkelsen; Episcopal Church of VocalEssence; Ted Mann Concert Hall, Min- 7:30 pm Kerry Beaumont; Coventry Cathedral, Cov- the Ascension, Seattle, WA 4 pm neapolis, MN 8 pm, also 10/14, 4 pm ensemble amarcord; Hampton School of Mu- entry, UK 1 pm Allan Blasdale; Cathedral of St. Mary of the sic, Moscow, ID 7:30 pm Assumption, San Francisco, CA 3:30 pm 14 OCTOBER 25 SEPTEMBER •William Porter, hymn sing; St. Mark’s Luther- Aaron David Miller, hymn festival; St. John’s 26 OCTOBER Michel Bouvard & Jan Willem Jansen; Dom, an, San Francisco, CA 4 pm Lutheran, Minneapolis, MN 4 pm James Welch; Church of Jesus Christ of Lat- Freiberg, Germany 8 pm +John Walker; First Congregational, Palo Angelo Castaldo; Cathedral of St. Mary of the ter-day Saints, Scottsdale, AZ 7 pm Hayo Boerema; Orgelpark, Amsterdam, Neth- Alto, CA 4 pm Assumption, San Francisco, CA 3:30 pm Ann Labounsky, works of Langlais; Old First erlands 8:15 pm William Peterson; Bridges Hall of Music, Po- George Baker; Grace Cathedral, San Fran- Presbyterian, San Francisco, CA 8 pm mona College, Claremont, CA 3 pm cisco, CA 4 pm 26 SEPTEMBER Carol Williams; Balboa Park, San Diego, CA Dong-ill Shin; St. James’ Episcopal, Los An- 27 OCTOBER Babette Mondry; Minato Mirai Hall, Yokoha- 2 pm geles, CA 6 pm Pierre Pincemaille; Festival Concert Hall, ma, Japan 12:10 pm Elisabeth von Trapp, soprano; Empire The- Round Top, TX 3 pm Hansjürgen Scholze, with orchestra; Kath- 1 OCTOBER ater, Stockton, CA 4 pm Ann Labounsky, workshop; Old First Presby- Joseph Adam, lecture/demonstration; Bena- edrale, Dresden, Germany 8 pm James Welch terian, San Francisco, CA 9 am roya Hall, Seattle, WA 12:30 pm ; Church of Jesus Christ of Lat- John McGreale; Alexandra Palace, London, ter-day Saints, Danville, CA 7 pm UK 7:30 pm 28 OCTOBER Matthew Martin; Westminster Cathedral, Lon- 2 OCTOBER ensemble amarcord; Christ the King Lutheran, 15 OCTOBER don, UK 7:30 pm Cherie Wescott, works of Buxtehude; St. Houston, TX 5 pm •Hymn festival; Orangewood Presbyterian, Paul’s Episcopal Cathedral, Oklahoma City, OK Scott Montgomery; Lagerquist Hall, Pacifi c Phoenix, AZ 4 pm 7:30 pm Lutheran University, Tacoma, WA 3 pm 27 SEPTEMBER Douglas Cleveland; Church of the Good Sa- Paul Weber, with chorus and orchestra; St. 19 OCTOBER 5 OCTOBER maritan, Corvallis, OR 4 pm Wenzel, Naumburg, Germany 7:30 pm Elisabeth von Trapp, soprano; St. Barnabas Olivier Latry; First Presbyterian, Topeka, KS Michael Pelzel; Cathedral of St. Mary of the Alessio Corti; Dom, Freiberg, Germany 8 pm Episcopal, Bainbridge Island, WA 7 pm 7:30 pm Assumption, San Francisco, CA 3:30 pm Keith Hearnshaw; Christchurch Priory, Dor- Elisabeth von Trapp, soprano; Community set, UK 12:30 pm 6 OCTOBER Lutheran, Las Vegas, NV 7 pm 29 OCTOBER The Suspicious Cheese Lords; Cathedral Ba- John Scott; Trinity Episcopal Cathedral, Port- 28 SEPTEMBER silica of St. Louis, St. Louis, MO 8 pm 20 OCTOBER land OR 7:30 pm Irene Greulich; St. Wenzel, Naumburg, Ger- Elisabeth von Trapp, soprano; St. Barnabas Las Cantates; Keller Hall, University of New many 12 noon, also 9/29, 9/30 Episcopal, Bainbridge Island, WA 7 pm Mexico, Albuquerque, NM 7:30 pm 30 OCTOBER Christoph Brossert; St. Wenzel, Naumburg, Elisabeth von Trapp, soprano; First Presby- August Knoll; Union Sunday School, Cler- Germany 7:30 pm 7 OCTOBER terian, Las Vegas, NV 7 pm mont, IA 2:30 pm Christopher Stembridge; Kirche Helbigsdorf, Bradley Hunter Welch; Plymouth Park United Jeannine Jordan, workshop; First Methodist, Helbigsdorf, Germany 6 pm Methodist, Irving, TX 6 pm Toledo, OR 9 am 31 OCTOBER Michael Gailit; Cathedral, Lausanne, Switzer- Paul Tegels; Lagerquist Hall, Pacifi c Lutheran James Welch; St. Mark’s Episcopal, Palo land 8 pm University, Tacoma WA 3 pm 21 OCTOBER Alto, CA 8 pm Jean-Paul Imbert; Chiesa di S. Maria della Christoph Tietze; Cathedral of St. Mary of the ensemble amarcord; St. Helena Cathedral, MT John Scott; The Meyerson Symphony Center, Pace, Pralungo, Italy 9 pm Assumption, San Francisco, CA 3:30 pm 7:30 pm Dallas, TX 8 pm Stephen Binnington; Worksop Priory, Work- James Welch; Cohan Center, California Poly- Douglas Cleveland; Seattle First Baptist, Se- sop, UK 7:30 pm technic State University, San Luis Obispo, CA 3 pm attle, WA 3 pm INTERNATIONAL Emanuele Cardi; Cathedral of St. Mary of the 29 SEPTEMBER 8 OCTOBER Assumption, San Francisco, CA 3:30 pm Irénée Peyrot; St. Nicolai, Döbeln, Germany Langlais celebration; Trinity Episcopal, Santa 15 SEPTEMBER Joseph Adam; Benaroya Hall, Seattle, WA 4 pm Barbara, CA 3:30 pm Mario Duella, with trumpets; Chiesa di S. Ma- 7:30 pm Jean-Pierre Lecaudey; Dom, Freiberg, Ger- Sonoma Chanson; Knox Presbyterian, Santa ria Vergine Assunta, Ghemme, Italy 9 pm many 8 pm 12 OCTOBER Rosa, CA 5 pm Nicholas O’Neill; St. George’s Cathedral Hans-Ola Ericsson; St. Katharinen, Oppen- Douglas Cleveland; The United Churches of Paul Jacobs; First Congregational, Los Ange- Southwark, London, UK 1:05 pm heim, Germany 7 pm Olympia, Olympia, WA 7:30 pm les, CA 4 pm 16 SEPTEMBER Mario Duella; Chiesa di Sant’Eurosia, Pralun- Christopher Cook; St. John’s Cathedral, Bris- go Sant’Eurosia, Italy 9 pm Barbara Dennerlein; Orgelpark, Amsterdam, ORGAN BUILDERS bane, Australia 3 pm Thomas Wilhelm, with brass; St. Katharinen, Netherlands 8:15 pm Oppenheim, Germany 7 pm Geoffrey Morgan; St. Michael & All Angels, Gilberto Fischli; Santuario di Sant’Euseo, West Croydon, UK 12 noon L. W. BLACKINTON THE NOACK ORGAN CO., INC. Serravalle Sesia, Italy 9 pm Carlo Curley; Bridlington Priory, Bridlington, and associates, inc. MAIN AND SCHOOL STREETS Ourania Gassiou; Westminster Cathedral, UK 6 pm GEORGETOWN, MA 01833 London, UK 4:45 pm www.noackorgan.com Alex Mason; St. Matthew’s, Wimbledon, UK 380 FRONT ST. 7:30 pm Member: Associated Pipe Organ Builders of America EL CAJON, CA 92020 18 SEPTEMBER Lee Ward; St. John the Evangelist, London, Angelo Castaldo; St. Lawrence Jewry, Lon- UK 7:30 pm don, UK 1 pm Paul Hale; Grantham Parish Church, martin ott pipe Grantham, UK 4:30 pm 19 SEPTEMBER organ Peter Yardley-Jones; Blackburn Cathedral, 30 SEPTEMBER company Blackburn, UK 1 pm inc. Nigel Kerry; St. Michael & All Angels, West David di Fiore; Assumption of Virgin Mary Ca- Croydon, UK 1:10 pm thedral, Roznaza, Slovak Republic 3 pm 1353 Baur Boulevard Helmuth Luksch; Chiesa di S. Michele Arcan- St. Louis, Missouri 63132 Andrew Reid; Grosvenor Chapel, London, (314) 569-0366 UK 7 pm gelo, Cavaglià, Italy 9 pm Philip Rushforth; Albert Hall, Nottingham, UK 20 SEPTEMBER 2:45 pm NEW INSTRUMENTS Nico Declerck, harmonium; Orgelpark, Am- Nigel Kerry; Westminster Cathedral, London, MAINTENANCE sterdam, Netherlands 8:15 pm UK 4:45 pm RESTORATIONS Parkey David Davies; St. Martin’s, Dorking, UK 1 pm OrganBuilders Angelo Castaldo; St. Margaret Lothbury, 2 OCTOBER 974 AUTUMN DRIVE London, UK 1:10 pm Jaroslav Tuma; Orgelpark, Amsterdam, The ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs ABR 847-395-1919 Geraint Bowen; Hereford Cathedral, Her- Netherlands 8:15 pm F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 PIPE ORGANS FAX 847-395-1991 eford, UK 7:30 pm Suite 150-285 Fax 770-368-3209 www.fabryinc.com 3 OCTOBER Duluth, Georgia 30096 www.parkeyorgans.com 21 SEPTEMBER Holger Gehring; Kreuzkirche, Dresden, Ger- Mario Duella, with trumpets; Chiesa dei SS. many 8 pm Hupalo & Repasky Giulio ed Amatore, Cressa, Italy 9 pm Robert Munns; St. Michael & All Angels, West Francesca Massey; Birmingham Cathedral, Croydon, UK 1:10 pm Pipe Organs Birmingham, UK 1 pm Mark Wardell; St. Stephen Walbrook, London, 4 OCTOBER 1785 Timothy Dr. Unit 4 UK 12:30 pm Francesca Massey; Kidderminster Town Hall, San Leandro, Calif. 94577-2313 Robert Quinney; St. Peter’s Limpsfi eld, Kidderminster, UK 1:10 pm 510 483 6905 Limpsfi eld, UK 7:30 pm Per Ryden; St. Margaret Lothbury, London, www.hupalorepasky.com Mari Kodama, with instrumentalists; Romsey UK 1:10 pm 4820 Bristol Valley Road, 14424-9309 Abbey, Romsey, UK 7:30 pm 5 OCTOBER 22 SEPTEMBER sound INSPIRATION Kurt Tschan; Cathédrale, Lausanne, Switzer- Mami Sakato; Minato Mirai Hall, Yokohama, ORGANBUILDING & RESTORATIONS land 7 pm Japan 2 pm 3165 Hill Road Acoustical Design & Testing • Organ Consultation & Diego Innocenzi, with Ensemble Alternatim; Hansjörg Albrecht; Kirche Nassau, Freiberg, Eagleville, TN 37060 Inspection • Organ Maintenance & Tuning • Sound & Video Cathédrale, Lausanne, Switzerland 8 pm (615) 274-6400 Germany 6 pm Dennis, Derek, Jeff, Todd and System Design, Evaluation & Training Mario Duella, with trumpets; Chiesa Anne Chollet; Cathédrale, Lausanne, Swit- Greg Milnar and Associates zerland 9 pm www.riedelassociates.com • (414) 771-8966 dell’Immacolata Concezione, Portula, Italy 9 pm email: [email protected] Anne-Claude Burnand-Mauri; Cathédrale, www.milnarorgan.com E-mail: [email protected] Ashley Marshfi eld; All Saints Parish Church, 819 NORTH CASS STREET•MILWAUKEE, WI 53202 High Wycombe, UK 12 noon Lausanne, Switzerland 10 pm Peter Wright; St. Margaret’s, Blackheath, UK Keith Hearnshaw; Bournville Friends Meeting 7:30 pm House, Birmingham, UK 1 pm White Blower Mfg., Inc. Paul Hale; Quorn Parish Church, Quorn, UK Daniel Cook; Romsey Abbey, Romsey, UK _ 7:30 pm A. David Moore, Inc. 2540 Webster Road 7:30 pm TRACKER ORGAN DESIGNERS & BUILDERS Lansing, Michigan 48917 23 SEPTEMBER 6 OCTOBER Jean Ferrard; St. Petri, Freiberg, Germany +Mario Duella; Chiesa di San Francesco, Ver- HC 69 Box 6, North Pomfret, Vermont 05053 1-800-433-4614 2 pm gano (NO), Italy 9 pm Ralf Bibiella 802/457-3914 ; St. Katharinen, Oppenheim, Alexander Binns; Halifax Parish Church, www.whiteblowermanufacturing.com Germany 6 pm Halifax, UK 12 noon
36 THE DIAPASON
Sept 07 pp. 33-37.indd 36 8/10/07 1:01:48 PM 7 OCTOBER Emma Gibbins; St. Michael & All Angels, Robert Crowley; Westminster Cathedral, West Croydon, UK 1:10 pm London, UK 4:45 pm Jeffrey Makinson; The Temple Church, Lon- Organ Recitals don, UK 1:15 pm 9 OCTOBER STEPHANIE BURGOYNE and WIL- de; Nazard (Suite Française), Ave Maria–Ave Keith Hearnshaw; Warwick Road URC, Cov- 18 OCTOBER LIAM VANDERTUIN, St. Jude’s Anglican Maris Stella (Trois Paraphrases Gregori- entry, UK 1:15 pm Burkhardt Meyer-Janson; St. Margaret Loth- Church, Brantford, ON, Canada, May 4: ennes), Incantation pour un jour Saint, Lan- bury, London, UK 1:10 pm 10 OCTOBER Trumpet Voluntary in D, Johnson; Allegro glais; Praeludium Circulare, Adagio, Final (Concerto in g), Graun; Andante (Sonata in (Symphony II), Widor. Hansjürgen Scholze; Frauenkirche, Dresden, 19 OCTOBER Germany 8 pm d), Merkel; Cantabile (Symphonie No. 6), Keith Hearnshaw; Usk Priory, Monmouth- Widor; Toccata in G, Dubois; Charlie Dog David Davies; St. Michael & All Angels, West shire, UK 7:30 pm ARTHUR LAMIRANDE, Cathedral of Croydon, UK 1:10 pm Blues, Dinda. St. Patrick, New York, NY, April 29: Ex- Colin Walsh; The Temple Church, London, 23 OCTOBER sultet, Kropfreiter; Trois Méditations sur UK 1:15 pm Martin Stacey; St. Lawrence Jewry, London, ROBERT DELCAMP, Dom, Trier, Ger- la Saint Trinité, Langlais; Rhapsodie du UK 1 pm many, May 29: Notre Dieu est une puissante Pâques, Piché. 11 OCTOBER forteresse, Post Benedictionem, Adoration Siu-Wai Ng; St. Matthew’s Westminster, Lon- (Livre oecuménique), Langlais; Praeludium 24 OCTOBER JAMES R. METZLER, King’s College don, UK 1:05 pm e-moll, BuxWV 142, Ich ruf zu dir, BuxWV Chapel, Cambridge University, Cambridge, Eri Niiyama; Minato Mirai Hall, Yokohama, 196, Toccata F-Dur, BuxWV 156, Buxtehude; Japan 7 pm UK, May 5: Marche de Fête, Büsser; Andante 12 OCTOBER Grand Air, Fantaisie ou Caprice, Delalande; Johannes Strobl; Kreuzkirche, Dresden, Ger- Sostenuto (Symphonie gothique), Widor; Fan- Paul Hale; Finningley Parish Church, Finning- Sonate in C-Dur, K.200, Sonate in a-moll, K. many 8 pm tasia in G, BWV 572, Bach; Chant héroïque ley, UK 7:30 pm 188, Scarlatti; Suite Médiévale en forme de David Hirst; St. Michael & All Angels, West messe basse, Langlais; improvisation. (Neuf Pièces), Langlais; Adagio (Troisième Croydon, UK 1:10 pm 13 OCTOBER Symphonie) Vierne; Improvisation sur le Te James Lancelot; Victoria Hall, Hanley, Stoke- Deum, Tournemire, arr. Durufl é. 25 OCTOBER RONALD EBRECHT, Glinka Museum of on-Trent, UK 12 noon Musical Instruments, Moscow, Russia, March Martin Ellis; St. John the Evangelist, Upper David Trendell, with choir; St. Marylebone, M. BRETT PATTERSON, Pacifi c Luther- London, UK 7 pm 25: Scherzo, op. 2, Durufl é, arr. Ebrecht; Ag- Norwood, UK 6:30 pm nus Dei, McTee; Scherzo, Bernal-Jimenez; an University, Tacoma, WA, May 13: Corrente Adrian Gunning; St. Margaret’s, London, UK Sonata III, op. 25, van Eyken; Prélude Reli- Italiana, Cabanilles; Nun komm, der Heiden 7:30 pm 28 OCTOBER Heiland, BWV 659, Concerto in a, BWV 593, Phillip Gearing; St. John’s Cathedral, Bris- gieux, Jenkins; Cod Piece (Fish Music), Al- Jonathan Melling; All Hallows by the Tower- bright; Passacaglia, BWV 582, Bach. Bach; Pastorale, Vierne; Suite Medievale, London, UK 3 pm bane, Australia 3 pm Langlais. Ken Cowan; St. Andrew’s Memorial Presbyte- Paul Jacobs; St. Agnes Church, La Chine, rian, Port Credit, ON, Canada 7:30 pm QC, Canada 3 pm CAROLYN SHUSTER FOURNIER, SS. Peter & Paul Church, Lewiston, ME, April CAROL WILLIAMS, Heinz Memorial 14 OCTOBER 31 OCTOBER 11: Fantasy and Fugue in g, BWV 542, Bach; Chapel, Pittsburgh, PA, April 22: Fantasia Daniel Roth; St. Katharinen, Oppenheim, Samuel Kummer; Frauenkirche, Dresden, Sonatina (Actus Tragicus, BWV 106), Bach, in c, BWV 562, Bach; Voluntary for Double Germany 6 pm Germany 8 pm transcr. Isoir; Liebster Jesu, wir sind hier, Organ, Z 719, Purcell; Overture to Egmont, Stephanie Burgoyne; St. Jude’s Anglican, Keith Hearnshaw; Collegiate Church of Holy BWV 731, Bach; Grand Chorus in D, op. 18, Beethoven, arr. Stewart; Mozart Changes, Brantford, ON, Canada 2:30 pm Cross, Crediton, UK 7:30 pm no. 1, Guilmant; Organ Piece in g, Chauvet; Gardonyi; Theme from Palladio, Trumpet- Malcolm Riley; St. Michael & All Angels, West Choral III, Franck; Short Canon, Boulanger; ing Organ Morgan, Jenkins; Toccata (Gothic 15 OCTOBER Croydon, UK 1:10 pm Cloches, Fournier; Wondrous Love, Pinkham; Suite, op. 25), Boëllmann; En Bateau, De- Stephen Farr; All Souls, Langham Place, Lon- Peter Barley; The Temple Church, London, Westminster Carillon (24 Fantasy Pieces, vol. bussy, trans. Roques; Carillon de Westmin- don, UK 7:30 pm UK 1:15 pm 3, op. 54), Vierne. ster, op. 54, Vierne; The Washington Post, David Dunnett; Alexandra Palace, London, Sousa, arr. Williams; The Entertainer, Joplin, 17 OCTOBER UK 7:30 pm MARK KING, Notre-Dame Cathedral, arr. Williams; Sabre Dance, Khachaturian, Matthias Dreißig; Kathedrale, Dresden, Ger- Nicolas Kynaston; Westminster Cathedral, Paris, France, May 6: Trumpet Tune, Carter; arr. Williams; Toccata “Store Gud, vi lover many 8 pm London, UK 7:30 pm Praeludium in D Dur, BuxWV 139, Buxtehu- deg,” Kleive.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera Dia_1ColumnInchAd.ai 4/5/05 10:13:38 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
Visit The Diapason website: www.TheDiapason.com
CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December paragraph “want ad” style. First line only of each ad in bold face type. Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER Display classifi ed advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the Ad Copy ______advertisement. ______Regular Classifi ed, per word $ .90 Regular Classifi ed minimum 18.00 ______Display Classifi ed, per word 1.25 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. Orders will be accepted for one, two, three, four, fi ve, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to designate Name ______Phone ______appropriate classifi cation to advertisements, and to reject the insertion of advertising Address ______Total Enclosed ______deemed inappropriate to this magazine. City/State ______Zip ______E-mail ______
SEPTEMBER, 2007 37
Sept 07 pp. 33-37.indd 37 8/10/07 1:02:12 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS POSITIONS PUBLICATIONS/ PIPE ORGANS AVAILABLE AVAILABLE RECORDINGS FOR SALE
The Schantz Organ Company is expanding its QLF Custom Pipe Organ Components has Bedient “Lincoln” practice organ, Opus 62, service and tuning department to include addi- openings for qualifi ed fi ne woodworkers to join Harpsichord Technique: A Guide to 1999. Manual I: Rohrfl ute 8, Manual II: Gedackt tional two-person teams. We have an opening for our staff in Rocky Mount, VA. Wages commen- Expressivity, 2nd edition with CDs, 8, Pedal: pull-down from II. Mechanical action. a person with tuning and mechanical repair ex- surate with experience. 540/484-1133, or e-mail by Nancy Metzger. Still available and Fits under 8′ ceiling. White oak case. Located perience. We will consider persons we can train. [email protected]. still the practical hands-on choice! near New Haven, CT. $35,000 (purchaser to Wages based on experience. Benefi ts include www.rcip.com/musicadulce. pay relocation costs). [email protected]; paid health insurance, 401K pension plan, and 203/481-8139. profi t sharing. Send inquiries to Schantz Organ Goulding & Wood, Inc., of Indianapolis, is seek- Company, PO Box 156, Orrville, OH 44667. ing area representatives in various regions, par- The OHS Catalog is online at www.ohscatalog. ticularly the Southeast and Mid-Atlantic states. org. More than 4,000 organ and theatre organ CDs, 1969 Reuter, Opus 1679, 33 ranks, 3 manuals Responsibilities and payment, including fi nder’s books, sheet music, DVDs and VHS videos are and pedal, currently installed in original loca- Goulding & Wood, Inc., of Indianapolis, is fees and commissions, are negotiable based listed for browsing and easy ordering. Use a link for tion, good service and recital instrument, could seeking a service technician for immediate em- on prior experience. Please inquire in writing, adding your address to the OHS Catalog mailing list. be rebuilt or used as basis of new instrument. ployment. A minimum of three years prior ex- including a résume, either via e-mail to jason@ Organ Historical Society, Box 26811, Richmond, Buyer to remove. Asking $47,500 or best offer. perience is required. Starting salary well above gouldingandwood.com or to 823 Massachusetts VA 23261 E-mail: [email protected]. For information call Homer at 480/205-1857, industry standards. The successful applicant Avenue, Indianapolis, IN 46204. e-mail [email protected] or visit will have general knowledge of various action www.centralumc.com/yourti6530.html. designs, extensive tuning background, and HARPSICHORDS/ strong interpersonal skills. Voicing skills a plus. PUBLICATIONS/ Please submit résumés or requests for more CLAVICHORDS Moller “Artiste” 2-manual pipe organ. Eleven information to: 823 Massachusetts Avenue, RECORDINGS stops, 2 1/2 ranks, fi ts under 8′ ceiling, excellent Indianapolis, IN 46204. Fax: 317/637-5236, Harpsichords from the workshop of Knight condition, walnut case, asking $5,000. 916/783- e-mail: [email protected], web: Blessed Assurance, Were You There, Vernon. Authentic replicas of historic instru- 4953; [email protected]. www.gouldingandwood.com. Just a Closer Walk, plus two others in taste- ments carefully made and elegantly decorated. ful duets for organ and piano. See samples at 8201 Keystone, Skokie, IL 60076. Telephone www.michaelsmusicservice.com. 704/567-1066. 847/679-2809. Web site: 2003 custom-built tracker pipe organ. Two Organ Technician: Full-time position available www.vernonharpsichords.mykeyboard.com. manuals, 13 ranks. Excellent organ for music for a highly motivated individual to assist with re- room or chapel setting. 8′ wide, 8′ deep, 12′ high building, installation, and service of new and re- Refl ections: 1947-1997, The Organ Department, at top of façade. Demonstration CD available. built pipe organs. Qualifi ed candidates will have School of Music, The University of Michigan, edited PIPE ORGANS Contact 607/847-9950 or [email protected] for a minimum of three years of industry experience by Marilyn Mason & Margarete Thomsen; dedicated additional details and specifi cation. and must be willing to travel. Offering competitive to the memory of Albert Stanley, Earl V. Moore, and FOR SALE benefi ts package including retirement and health Palmer Christian. Includes an informal history-mem- insurance. Reply Box SE-9072, THE DIAPASON. oir of the organ department with papers by 12 current A college in Nashville closed its music program Three-manual, 47-rank organ for sale. Mostly and former faculty and students; 11 scholarly articles; in 1988 and is offering two practice organs for Stinkens pipework from the 1970s plus some sale (a 2-manual and pedal Schlicker and a 2- older ranks from Kimball (1912). Organ includes reminiscences and testimonials by graduates of the ′ ′ David M. Storey, Inc. has an immediate open- department; 12 appendices, and a CD recording, manual and pedal Zimmer and Sons). Contact Pedal 16 Bombarde and metal 16 Principal. ing for a technician/shop worker with 3–5 years “Marilyn Mason in Recital,” recorded at the National Milnar Organ Co. 615/274-6440 or www.milnar- The three-manual console has been refi tted with experience. This is an excellent opportunity to Shrine of the Immaculate Conception in Washington, organ.com for details. all solid-state components and new keyboards join and grow with this rapidly expanding firm DC. $50 from The University of Michigan, Prof. Marilyn and includes 58 drawknobs and 15 coupler tabs. engaged in maintenance and quality rebuild- Mason, School of Music, Ann Arbor, MI 48109-2085. Original blower and ventil chests will need to ing projects. The small size of the company Two manual and pedal 8-rank Wangerin pipe be replaced. Organ scheduled to be removed presents the opportunity of learning a broad organ for sale. In good condition in the Detroit in July 2007. Specifi cations and details on our variety of skills. Competitive wage and excel- Request a free sample issue of THE DIAPASON metro area. Currently located in a private resi- website: www.bondorgans.com. lent benefit package. 300 West Lafayette Ave- for a student, friend, or colleague. Write to the dence but originally from a small rural church. nue, Baltimore, MD 21217. E-mail dms1518@ Editor, THE DIAPASON, 3030 W. Salt Creek Lane, Asking $5,000. Buyer to remove. Please call aol.com or fax résumé to 410/889-2155, attn: Suite 201, Arlington Heights, IL 60005; or e-mail: before 10 pm Eastern Standard Time. 248/356- Classifi ed Ads must be prepaid and may be or- David or Richard. [email protected]. 0896; [email protected]. dered for 1, 2, 3, 4, 5, or 6 months.
FOR SALE — Historic 1948 Holtkamp Organ glück newyork orgaNbuilders 3 manuals, 42 stops, 50 ranks Located in Cleveland, Ohio 170 Park Row, Suite 20A Contact: Judith Gilmore New York, NY 10038
Phone: 216/383-1921 212.608.5651 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
A.E. Schlueter Pipe Organ Co. HE IAPASON Visit T D New Organs Rebuilding and Additions Organ Maintenance Zimbelsterns website at Bells, Chimes and Control Systems TheDiapason.com 770-482-4845 800-836-2726 www.pipe-organ.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
38 THE DIAPASON
Sept 07 pp. 38-39.indd 38 8/10/07 1:03:19 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
PIPE ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Koehnken and Grimm (1870) 40-rank organ, 68-note 8′ Orchestral Oboe, 7 1/2″ wind, ca. Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- rebuilt in 1970, in excellent condition; available- 1958, $500. Call 303/671-6708, 9–9 MST. livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic for $21,000. Call 313/861-7500 for specifi cations organs.com. action. Removal and installation service avail- and details. able. Full warranty. Skinner, Casavant and Atlantic City Pipe Organ Co.—72-rank, 4- Kimball specialty. Spencer Organ Company, manual and 3-manual drawknob consoles or- The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation ELECTRONIC ORGANS gan for sale. Encompasses a 1973 and 1940s organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, Moller with many upgrades and additions and tonal work. Finest materials, expert work- www.spencerorgan.com. FOR SALE by OSI. Trivo reeds installed in mid 1980s manship. K.E.M. Pipe Organ Builders, Austin, with Peterson combination action. In play- TX. 800/792-8180. Rodgers Westminster 890 pipe augmented or- able condition—can be split into two organs. RELEATHERING: also Pipe Organ Re- gan. Currently in use. Three-rank, antiphonal pipe Three-rank Moller Artiste/Sputnik—$5000 or building, Repair and Maintenance Service augmentation. Separate subwoofer and vectored best offer. Visit http://mywebpages.comcast. Highest quality organ control systems since in New England area. Years of experience, horn assembly, six channels of amplifi cation, and net/acorgan. E-mail: [email protected]. 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, eight speakers. Recently upgraded and ready Phone 609/641-9422. action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- for immediate installation. Serial #89042. Price are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail pricing, custom software to meet all of your [email protected]. $35,000 or best offer. Contact Duncan Foster Vintage consoles, pipes, relays, mag- requirements. For more information call Westa- 714/473-0143. nets and numerous miscellaneous parts. cott Organ Systems, 215/353-0286, or e-mail Let us know what you are looking for. E-mail [email protected]. Austin actions recovered. Over 30 years [email protected] (not comcast), phone experience. Units thoroughly tested and fully REED ORGANS 215/353-0286 or 215/788-3423. guaranteed. Please call or e-mail for quotes. FOR SALE Columbia Organ Leathers sells the fi nest Technical assistance available. Foley-Baker, leathers available for organ use. We sell pre- Inc., 42 N. River Road, Tolland, CT 06084. Laptops, Pocket PCs and Tuning Software— punched pouches and pre-assembled pouches, Phone 1-800/621-2624. FAX 860/870-7571. No pumping required. Two-manual, 2.5- tune harpsichords and pianos. Herb Huestis, and we specialize in custom releathering ser- [email protected]. octave pedalboard, 2-stage electric blower. 1502–1574 Gulf Road, Point Roberts, WA vices. Call today for a catalogue. 800/423-7003 Hand-crank option. Good condition, nice 98281. Phone 604/946-3952, e-mail: hhuestis@ or e-mail: [email protected]. sound, good practice instrument or for small mdi.ca. Computer tuning software is sensitive to Flue pipes in metal and wood–Mixtures chapel. 36″ deep, pedalboard adds 18″, 57″ 1/10 cent, much greater than dial tuners. Over ″ and upperwork are available from stock tall, 80 wide. $500 or best offer. 503/287-7143. 100 programmable temperaments. Check it out Need help with your re-leathering or specify custom orders to meet your [email protected]. on www.tunelab-world.com. Pocket PC Ipaq exact requirements. Tuning Sleeves with 3650 with shareware tuning software, $150, project? All pneumatics including Austin. Over 45 years experience fl are–Order complete sets ready to install includes stand, power supply and shipping. or bulk quantities in each diameter. These 8x10x2 small Toshiba laptop used for shop tun- (on the job assistance available). Mason and Hamlin reed organ, 10 stops plus 615/274-6400. sleeves are guaranteed to fi t and will not forte stop and octave coupler, with bench. Excel- ing: $200 including shipping. Requires external tarnish or corrode. For excellent quality, lent condition. Best offer. Nelson, 847/367-5102 microphone which is included. Spreadsheets of great pricing and timely delivery contact: or 312/304-5287. historical tunings showing both aural and elec- International Organ Supply, P.O. Box 401, tronic tuning data, $18 including shipping. Im- ALL REPLIES Riverside, IL 60546. 800/660-6360. FAX prove your tuning skills! TO BOX NUMBERS 708/447-0702. MISCELLANEOUS FOR SALE It’s not too early to think about advertis- that appear ing in The Diapason 2008 Resource Di- Postal regulations require that mail rectory—the only comprehensive direc- without an address Large 2-manual 1990 Casavant console. tory and buyer’s guide to products and should be sent to: to THE DIAPASON include a suite num- Solid oak. SSL combination action, ebony/ services for the organ and church music fi elds. ber to assure delivery. Please send rosewood/bone keyboards, 53 rosewood draw- THE DIAPASON The directory is mailed with the January is- all correspondence to: THE DIAPASON, knobs, 10 rosewood couplers. Two swell shoes sue of THE DIAPASON. Advertising deadline is 3030 W. Salt Creek Lane, Suite 201 plus crescendo, many toe studs. Excellent November 1. For further information, contact 3030 W. Salt Creek Lane, Suite 201, condition. Photos on request. Asking $20,000. editor Jerome Butera: phone 847/391-1045, Arlington Heights, IL 60005 Arlington Heights, IL 60005. 302/463-9843; [email protected]. e-mail [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC Charles W. McManis NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam “Three Generations at Organ Building” TUNING & SERVICE 1070 N.E. 48th Court CHARLOTTE, NORTH CAROLINA 28218 FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of fi rst issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
SEPTEMBER, 2007 39
Sept 07 pp. 38-39.indd 39 8/10/07 1:04:02 PM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young