THE DIAPASON JULY, 2011
Hendricks Avenue Baptist Church Jacksonville, Florida Cover feature on pages 30–31
July 2011 Cover.indd 1 6/9/11 1:25:13 PM James David Christie Peter Richard Conte Isabelle Demers Clive Driskill-Smith David Enlow Jeremy Filsell S. Wayne Foster
Christopher Houlihan David Hurd Paul Jacobs Martin Jean Bálint Karosi Huw Lewis Bruce Neswick
Nigel Potts Mary Preston Raúl Prieto Ramírez Jean-Baptiste Robin John Rose John Scott Dong-ill Shin
CONCERTARTISTS.COM 72:(5+,//5(&25',1*6&20
Herndon Spillman Carole Terry Johannes Unger Konstantin Volostnov Bradley Welch William Whitehead The Chenaults
Thomas Flippin Organized Rhythm Paulsson & Canning Due Solisti Duo MusArt Chanson
Elisabeth von Trapp Tin Pan Alley Alive Peter Fletcher Duo Noire Paul Bisaccia Steinbach & Helvey True North Brass
July 2011 pp. 2-19.indd 2 6/9/11 1:26:26 PM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 7, Whole No. 1220 JULY, 2011 James McCray choral article I feel like I’m having a conversation with Established in 1909 ISSN 0012-2378 Thank you so much for the very infor- you. You have a friendly, open-minded, An International Monthly Devoted to the Organ, mative article by James McCray, “The and good-humored approach to things the Harpsichord, Carillon, and Church Music Evolution of American Choral Music: that is very refreshing to read. You seem Roots, Trends, and Composers,” in the to have a passion for sharing knowledge May issue. It provides much information and experience and writing about it in a about neglected periods in this country’s very engaging way. CONTENTS Editor & Publisher JEROME BUTERA [email protected] church music. I would suggest only one Please keep up the great work! 847/391-1045 addition to the words devoted to Dud- Charles Clancy FEATURES ley Buck: In a graduate class in church Walnut Creek, California Birds, Bells, Drums, and More in Associate Editor JOYCE ROBINSON music, I vividly recall Dr. Luther Noss, P.S.: I don’t recall if these were on Historical Italian Organs, Part 1 [email protected] Dean of the Yale Graduate School of your list of tools, but among my indis- by Fabrizio Scolaro, English translation 847/391-1044 by Francesco Ruffatti 20 Music, emphasizing that Dudley Buck pensable tools are a small articulated Contributing Editors LARRY PALMER became one of the fi rst full-time church mirror and a fl ashlight that is small Ayo Bankole’s FESTAC Cantata: Harpsichord musicians in this country. This estab- enough to hold between the teeth. A Paradigm for Intercultural Composition lished a tradition of professional church (Sounds like a bad idea but works if you by Godwin Sadoh 25 JAMES MCCRAY musicians that continues to this day. need both hands free.) J. L. Krebs: Choral Music Buck also was one of the fi rst non-Eu- Borrower Extraordinaire ropean fi gures of importance to the an- It is with some trepidation that I pick by Jonathan B. Hall 28 BRIAN SWAGER Carillon them repertoire in this country. up a pen (mouse) to correct someone Carl B. Staplin, Ph.D., AAGO as knowledgeable as John Bishop. But NEWS & DEPARTMENTS JOHN BISHOP Professor Emeritus of Organ and his explanation of why a fl ue pipe’s tun- Editor’s Notebook 3 In the wind . . . Church Music ing changes with temperature (“In the Letters to the Editor 3 Drake University, Des Moines, Iowa wind,” May 2011) is, I believe, incor- Here & There 3, 4, 6, 8, 10, 12 GAVIN BLACK rect: “When the air gets less dense, On Teaching Appointments 6 Sacred Heart Roman Catholic sound waves need less energy and they Nunc Dimittis 8 Reviewers James M. Reed Church, Ingersoll, Ontario shorten. When the sound waves short- On Teaching by Gavin Black 12 John L. Speller We would like to thank and acknowl- en, the pitch increases.” John M. Bullard edge our associates and colleagues from The wavelength is determined by In the wind . . . by John Bishop 14 Jay Zoller Keates-Geissler Pipe Organs for their the length of the pipe and this does Charlie Steele REVIEWS help and support on the restoration at not change. What does change is the Jan-Piet Knijff Sacred Heart Roman Catholic Church speed of sound, which increases with Music for Voices and Organ 16 in Ingersoll (“Here & There,” The temperature. Hot air molecules are fast New Recordings 17 Diapason, May, p. 10). Please note the molecules. Since frequency = speed/ Book Reviews 18 THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt memory system was supplied by SSL wavelength, frequency increases as tem- New Organ Music 19 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. and not Westacott. We apologize for the perature increases. Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 incorrect information. John Coenraads NEW ORGANS 32 MSG RLY. E-mail:
No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses or for the same course offered subsequently. Here & There
The Basilica of the National Shrine of the Immaculate Conception, Editor’s Notebook Washington, DC, presents its summer organ recital series: July 3, Roland Stang- ier; 7/10, William Atwood; 7/17, Russell In this issue known prelude and fugue of Gottfried Weismann; 7/24, Richard Fitzgerald; In this issue of The Diapason, Fab- Kirchhoff, by Maxim Serebrennikov; an 7/31, Donald Fellows; August 7, Gerhard rizio Scolaro takes a detailed look at introduction to the works of Giuseppe Weinberger; 8/14, Paul Murray; 8/21, the many unusual sound effects found Gherardeschi, by Sarah Mahler Kraaz; Leo Abbott; 8/28, Federico Andreoni. in historical Italian organs: birds, bells, and much more. For information: drums, and more. Godwin Sadoh ex-
JULY, 2011 3
July 2011 pp. 2-19.indd 3 6/9/11 1:27:23 PM Lunchtime Organ Recital Series The René Clausen Choral School prize of the audience (CHF 500). There 2011 takes place in Appleton, Kaukauna, takes place July 23–27 at Concordia Col- is no age limit; deadline for applications Menasha, and Neenah, Wisconsin, orga- lege, Moorhead, Minnesota. Faculty is August 26. The jury includes Luigi nized by Frank Rippl, Wednesdays from includes René Clausen, Janet Glaván, Ferdinando Tagliavini, Michael Belotti, 12:15–12:45 pm (except for Friday, July Michael Culloton, Abbie Betinis, and Jörg-Andreas Bötticher, Bernard Coudu- 15): July 4, Frank Rippl, Trinity Lu- Matthew Culloton. For information: rier, François Delor, François Espinasse, theran, Appleton; 7/6, David Bohn, First
Noack organ, Shrine of Our Lady of Beckerath organ, St. Paul Cathedral Guadalupe, La Crosse, Wisconsin February 12 masterclass: Noah Landis, Richie Gress, Colin Lynch, Madsen St. Paul R.C. Cathedral, Pitts- Lozuaway-McComsey, TJ Boynton, Zach Steinhauer, and Anna Philbrick The Shrine of Our Lady of Guada- burgh, Pennsylvania, presents the sum- lupe, La Crosse, Wisconsin, presents its mer recital series on its restored Bec- The Young Organist Collaborative summer recital series: July 10, Delbert kerath organ: July 17, Edward Moore; of Portsmouth, New Hampshire has Disselhorst; 7/24, Christopher Stroh; 7/24, J. Christopher Pardini; August 7, provided scholarships for organ study to August 14, Patrick Burkhart; 8/28, Dean Stephen Schnurr; 8/14, Donald Fel- youth aged 11–16 in New Hampshire, Whiteway. The programs feature the lows; 8/21, Kathy Sacco; 8/28, Dan- Southern Maine, and Northern Mas- shrine’s 2008 three-manual, 54-rank iel Sañez. For information: 412/621- sachusetts for nine years. The program Noack organ. For information: 6082;
4 THE DIAPASON
July 2011 pp. 2-19.indd 4 6/9/11 1:30:05 PM Colin Andrews Cristina Garcia Banegas Adam J. Brakel Emanuele Cardi Sophie-Véronique Shin-Ae Chun Adjunct Organ Professor Organist/Conductor/Lecturer Organist Organist/Lecturer Cauchefer-Choplin Organist/Harpsichordist Indiana University Montevideo, Uruguay St. Petersburg, Florida Battipaglia, Italy Paris, France Ann Arbor, Michigan
Maurice Clerc Leon Couch Joan DeVee Dixon Laura Ellis Henry Fairs Faythe Freese Interpreter/Improviser Organist/Lecturer Organist/Pianist Organist Organist Professor of Organ Dijon, France Ithaca, New York Frostburg, Maryland Gainesville, Florida Birmingham, England University of Alabama
Johan Hermans Tobias Horn Michael Kaminski Angela Kraft Cross Tong-Soon Kwak David K. Lamb Organist/Lecturer Organist Organist Organist/Pianist/Composer Organist Organist/Choral Conductor Hasselt, Belgium Stuttgart, Germany Brooklyn, New York San Mateo, California Seoul, Korea Columbus, Indiana
Brenda Lynne Leach Yoon-Mi Lim Ines Maidre Katherine Meloan Scott Montgomery Anna Myeong Organist/Conductor Assoc. Prof. of Organ Organist/Pianist/Harpsichordist Organist Organist/Presenter Organist/Lecturer Baltimore, Maryland SWBTS, Fort Worth, TX Bergen, Norway New York, New York Champaign, Illinois University of Kansas
S. Douglas O'Neill David F. Oliver Larry Palmer Gregory Peterson Ann Marie Rigler Stephen Roberts Organist Organist/Lecturer Harpsichord & Organ Luther College Organist/Lecturer Western CT State University Salt Lake City, Utah Atlanta, Georgia Southern Methodist University Decorah, Iowa William Jewell College Danbury, Connecticut
Brennan Szafron Marina Tchebourkina Michael Unger Elke Voelker Eugeniusz Wawrzyniak Duo Majoya Organist/Harpsichordist Organist/Musicologist Organist/Harpsichordist Organist/Musicologist Organist Organ/Piano/Harpsichord Spartanburg, South Carolina Paris, France Rochester, New York Speyer, Germany Charleroi, Belgium U of Alberta, King's UC www.ConcertArtist Cooperative.com Founder and Director, Beth Zucchino, Organist/Harpsichordist/Pianist 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
July 2011 pp. 2-19.indd 5 6/9/11 1:30:27 PM The American International Cho- han Philharmonic, presented an “Or- ral Festival and Competition took gan Week” on the Qintai Klais organ, in place May 4–8 in Reno-Tahoe. The Wuhan, Hubei Province, China. The trio grand prize went to the Mt. San Anto- presented four evenings of organ works nio College Singcopation, directed by by Bach, Mozart, Schumann, Vierne, Bruce Rogers. The choir also received a Widor, Durufl é, Chelsea Chen, and oth- special prize for the outstanding perfor- ers, as well as the organ symphonies of mance of Testimony, arranged by Kerry Saint-Saëns and Guilmant, to more than Marsh. The festival included lectures 4,000 concertgoers. by Aida Swenson, Bob Chilcott, and George Vance, and a workshop by Jo-Mi- chael Scheibe. Nearly 400 singers from the USA, South America, and Asia par- ticipated in the festival and competition, which was sponsored by Interkultur. For information:
Magnifi cat Ifjúsági Korus
The 13th International Choir The choir Ady Endre Gimnázium Competition and Festival Budapest Leánykara from Hungary received a Rooftop toast at Times Square took place April 17–21. More than 50 special prize for their performance. The choirs from eleven countries, includ- conductor prize was handed to Cseri In three consecutive evenings in early Hohman was assisted by associate engi- ing groups from Sweden and Ven- Zsófi a, conductor of the choirs Erkel Fe- May, David Enlow (a member of the or- neer Leon Giannakeff. ezuela, competed. The winner of the renc Vegyeskar and SZTE ZMK Vox Uni- gan faculty at the Juilliard School in New A champagne toast was raised by all grand prize was the Hungarian wom- versitatis Szegediensis (Hungary). York City) recorded the organ works of involved in celebration of the comple- en’s choir Magnificat Ifjúsági Korus, The jury awarded 29 golden, 19 sil- César Franck at the Church of St. Mary tion of Enlow’s new Franck recording, directed by Szebellédi Valéria. The ver, and fi ve bronze diplomas. Winning a the Virgin (Episcopal). The church spans on the rooftop patio of James Kennerly’s second special prize, the Rezsö Lantos golden diploma qualifi es for “The Cham- the entire block between 46th and 47th apartment at the Church of St. Mary the Prize, sponsored by the Lantos foun- pions Competition” of the World Choir streets in midtown Manhattan, just off Virgin, New York City. Pictured (left to dation, went to Nemes József, conduc- Games in Cincinnati in 2012 or for the Times Square. The sessions covered the right) are David Enlow, James Kennerly tor of the choirs Lautitia Gyermekkar Champions Round of the World Choir twelve major organ works of Franck as (resident musician at St. Mary the Virgin), and Lautitia Ifjúsági Vegyeskar (both Championships. For information: found in the Dover Edition score. Pro Larry Trupiano (organ technician), Fred- from Hungary).
A Celebration! A revolution in the music industry occurred in 1971 when the Allen Organ Company introduced the world’s first digital musical instrument! Innovation Craftsmanship
To celebrate Allen’s 40th year as the world leader of digital music, Allen designed Special 40th Anniversary Models with today’s most advanced organ technology at very special celebration prices! Reliability Customer Dedication
Watch the Special 40th Anniversary Video at www.allenorgan.com/anniversary
Allen Organ Company, 150 Locust Street, Macungie, PA 18062 (610) 966-2202 www.allenorgan.com Arts Center, Eastport; St. Mark’s Episco- Becker moved to Belleville, Illinois, pal, Waterville; and St. Thomas’ Episco- in 1912 to serve as organist at St. Peter’s pal, Camden. Cathedral (1913 Estey organ) and pub- Mueller holds degrees from the Uni- lished 50 compositions. Relocation in versity of Maine (jazz composition) and 1915 took the Becker family to Alton, Il- the University of Notre Dame (organ, linois, where he taught, composed, and sacred music), where he was a student was organist at the 1893 Hook & Hast- of Craig Cramer, and currently serves as ings organ of the Cathedral of Sts. Peter the director of music at the First Con- and Paul, publishing nearly 100 more gregational Church of Camden, Maine. compositions during 15 years. In 1930, He also plays guitar in The Muellers, a Becker became the organist at Blessed nationally known family bluegrass group, Sacrament Cathedral in Detroit, play- with whom he has toured throughout ing the 1925 Casavant; in 1942 he moved North America. Their fourth album, to St. Alphonsus Church in Dearborn, The Muellers, was released in 2009. In Michigan, where he served as organ- August, he will begin doctoral studies in ist on the Austin organ until retirement organ at the Eastman School of Music as in 1952 at the age of 70. Among René a student of David Higgs. Becker’s oeuvre are 152 scores for solo organ. For information: William H. Schutt, AAGO (1908–
Damin Spritzer
Damin Spritzer has recorded a Ra- ven CD of organ works by René Louis Becker. Spritzer recorded the music on a large Cavaillé-Coll organ built in 1890 using most of the pipes of the four-man- ual 1789 Jean-Baptiste Isnard organ in the Church of Saint-Salomon-Saint-Gre- goire in Pithiviers, France. This is the fi rst recording of the organ following a Tom Mueller 2008 restoration. René Louis Becker (1882–1956) In 2010, Tom Mueller performed the was born and educated in Strasbourg, Dr. Vernon Wolcott and members of the Northwest Ohio Chapter of Sigma Al- complete organ works of Johann Sebas- France, and immigrated to America in pha Iota alumnae. Wolcott is in the middle; to the right is Dr. Wallace DePue, a tian Bach in a series of seventeen con- 1904 to join his older brothers Lucien previous recipient. certs in his native state of Maine. At the and Camille in St. Louis, where they age of twenty-fi ve, Mueller is one of the established the Becker Bros. Conserva- Vernon Wolcott, adjunct professor emony was held in the organ studio of youngest organists of his generation to tory of Music in 1905. During nine years of organ at Bowling Green (Ohio) State the Moore Musical Arts Center, where accomplish this feat. Performance ven- in St. Louis, he married, published 59 University College of Musical Arts, was he played Mozart’s Adagio and Allegro, ues included, among others, the Basilica compositions for various instruments, initiated as a “Friend of the Arts” by the K. 594, on the 1979 Beckerath organ. Dr. of Sts. Peter and Paul, Lewiston; First taught in Kenrick Seminary, and per- Northwest Ohio Chapter of Sigma Alpha Wolcott taught organ and related courses Parish Church, Brunswick; the Eastport formed frequently. Iota alumnae on April 9, 2011. The cer- for 47 years before retiring in 2009.
RONALD CAMERON BISHOP Consultant Pipe Organs Digital Enhancements All-digital Instruments 8608 RTE 20, Westfield, NY 14787-9728 Tel 716/326-6500 Fax 716/326-6595
8 THE DIAPASON
July 2011 pp. 2-19.indd 8 6/9/11 1:32:20 PM
and the Ann Arbor Area Piano Teacher’s Sebron Yates Hood Jr., 79 years ranks, all of which have been retained Guild. Ash accompanied many soloists old, died December 17, 2010, in Myr- Here & There and revoiced. Updates were made to and substituted at various churches as tle Beach, South Carolina. He began the console, with a 32-level combina- choir director, organist, and pianist. playing piano for the Matthews Baptist tion action, MIDI with playback and Church in Matthews, North Carolina, Bedient Pipe Organ Company dedicated synthesizer. A Zimbelstern George Evans Boyer died March 16 while in high school; he received his is completing their Opus 86 for First and Chimes were installed in the chan- in Pennsylvania. He was 64. A graduate bachelor’s degree in music from Ers- United Methodist Church in Alexan- cel area of the church. New ranks have 2 of St. Clair High School, West Chester kine College in 1953, and an MSM in dria, Louisiana. Earlier this spring, the been added, including a 2 ⁄3′ Nazard, II University (1969), and Temple Univer- 1955 from Union Theological Semi- Bedient crew traveled to Alexandria to Cymbal, and an 8′ Schalmei, bringing sity (1974), Boyer was director of choral nary in New York City, where he stud- remove the congregation’s 1967 Opus the total number of ranks to 18. The activities at William Allen High School ied with Vernon deTar. From 1955–65 1489 Aeolian-Skinner organ and ship it dedication recital was performed by in the Allentown School District from Hood served as organist and choirmas- back to the Nebraska facility. Bedient Joshua Brodbeck of Columbus, Ohio, 1970–2000, and local sales representa- ter at Sardis Presbyterian Church in has updated the original two-manual for a capacity crowd. For information: tive of the Allen Organ Company follow- Charlotte, North Carolina, and at Trin- electro-pneumatic console with Harris
10 THE DIAPASON
July 2011 pp. 2-19.indd 10 6/9/11 1:35:08 PM 10090113_Johannus_adv_246x360_DIA_FC.indd 2 4/20/11 3:21 PM 150th anniversary of his most famous minster—it was 1983—I had to play my However, I have seen the imposition organ at St. Sulpice in Paris, so we’ve audition partly from memory. This was a of a need to memorize do actual harm. seized the opportunity to make this fi lm. On Teaching requirement for the organ performance Literally all of the auditions, juries, and Crowd-funding allows people all around by Gavin Black program, though not for organists ap- student recitals that I have ever heard the world to contribute directly to this plying to the church music program. I that were performed from memory production and be part of the fi lm-mak- was unaccustomed to memorizing, and have included memory slips—some- ing process. It gives us the resources to I worked very hard at it. In the end, at times small, sometimes large—or pas- make this fi lm with complete creative the audition, I had a brief memory slip sages that were clearly executed in a freedom.” For information:
the first Sunday of Check out Classifi ed Ads on THE DIAPASON website—complete with each month at wrti.org photos! www.TheDiapason.com
12 THE DIAPASON
July 2011 pp. 2-19.indd 12 6/9/11 1:36:03 PM The people who work for Monarke are passionate about building organs. A team of designers, cabinet makers, sound engineers and musicians harmo- niously create unique instruments time and time again.
Each Monarke organ is individually created based on customer requirements. The instrument is careful- S`ÄUL[\ULK[VP[ZLU]PYVUTLU[;OPZTHRLZH4VUHYRL organ beautiful to look at and great to listen to.
Keplerlaan 2, 6716 BS Ede, The Netherlands, telephone: 011 31 318 63 74 03 www.johannus.com from memory is playing of a higher or- like a good idea for technical or musical And with the eye for measuring der. “She was the fi rst to play the works reasons, and so on; but that this intense comes the need for accuracy as you of so-and-so from memory,” “he had study should be for its own sake and for In the wind . . . measure. Say you’re making a panel memorized such-and-such repertoire by the sake of the performance, not for the by John Bishop for an organ case. It will have four the time he was 14.” Feats like this are sake of leading to full memorization. frame members—top, bottom, and two impressive because they are diffi cult, Those who advocate memorization sides—and a hardwood panel set into and there is no reason not to acknowl- are right that the greatest source of dados (grooves) cut into the inside edg- edge the work of people who accomplish wrong notes, insecurity, and hesitant, es. The drawing says that the outside them. (By the way, however, they also get unconvincing playing is not knowing dimensions are 1000mm (one meter) by more notice than they might otherwise, what is coming up next. Too strong a re- 500mm (nice even numbers that never simply because they can be described liance on reading—only half-learning a happen in real life!). The width of the objectively. If we try to say that “she was piece and expecting to fi ll in the rest by frame members is 75mm. You need to the fi rst to play the works of so-and-so in quasi-sight reading in performance—is cut the sides to 1000mm, as that’s the an absolutely riveting manner” there is a trap into which many of us fall, experi- overall length of the panel. But the top no way to establish objectively that this enced players as well as students. It does and bottom pieces will fi t between the is actually true.) We are still just slipping not often result in good performances. I two sides, so you subtract the combined around the question of whether playing would suggest avoiding that trap in the width of the two sides from the length from memory is in any way better—or, most direct way—by insisting to one’s of the top and bottom and cut them ac- for our purposes here, whether asking self and to one’s students that pieces be cordingly: 500mm minus 75mm minus students to play from memory really studied thoroughly and carefully. It is, 75mm equals 350mm. helps them to become better players. looking at it one way, overkill and per- You make a mark on the board at Some observers report seeing per- haps a distraction to relate that process 350mm—but your pencil is dull and formers—both students and others— of thorough study to the act of playing your mark is 2mm wide. Not paying at- playing pieces with their eyes intently, from memory. The opposite of reading tention to the condition of the pencil or almost frantically, following the music, a piece that is ill prepared is, I would the actual placement of the mark, you clearly needing that music to teach them say, reading a piece that is extremely cut the board on the “near” side of the the notes as they play. In fact, most of us well prepared. Measure up mark and your piece winds up 4mm too know that this is common, that it always For some people, the act of studying a When I was an apprentice working short. The fi nished panel will be 496mm creates bad and insecure performances, piece well will indeed lead naturally and in Oberlin, Ohio, we had a particularly wide. Oh well, the gap will allow for ex- and that it is a sign of poor preparation. apparently automatically to the musical bad winter, with several heavy storms pansion of the wood in the humid sum- However, in itself this doesn’t prove or text of the piece actually being memo- and countless days of diffi cult driving mer. But wait! It’s summer now. In the even really suggest that performing from rized and the printed music’s becoming conditions. As part of our regular work, winter your panel will shrink to 492mm, memory is the solution to this problem, unnecessary. There is, most obviously, my mentor Jan Leek and I did a great and the organist will have to stuff a although it points to the fact that some nothing wrong with this. However, there deal of driving as we serviced organs folded bulletin into the gap to keep the people misuse the circumstance of play- is also nothing wrong with the more throughout northeastern Ohio and panel from rattling each time he plays ing from music. common scenario in which even very western Pennsylvania. Jan owned a full- low AAA# of the Pedal Bourdon (unless thorough study of the music does not size Dodge van—perfect for our work as it’s raining). The bottom line of learning lead to real, note-perfect memorization. it was big enough to carry windchests, You can see that when you mark a So this all comes back to the same I would encourage teachers and students big crates of organ pipes, and long measurement on a piece of wood, you thing: that anyone who wants to play a to be comfortable with that. enough inside to carry a twelve-foot must make a neat clean mark, put it just piece should take on the responsibility of Next month I will continue this dis- stepladder with the doors closed, if the at the right point according to your ruler, learning that piece extremely thoroughly, cussion, talking about some of what I top step was rested on the dashboard and remember throughout the process and that anyone who wishes to become consider to be benefi cial ideas that have near the windshield. All those merits on which side of the mark you want to an accomplished player must get into the arisen from the tradition of memoriza- aside, it was relatively light for its size make your cut. If you know your mark habit of studying all pieces thoroughly tion, such as studying music away from and the length of its wheelbase, and it is true and the length will be accurate and well. Much of what I have written the keyboard, and also discussing the was a simple terror to drive in the snow. if the saw splits your pencil mark, then about over the last several years—in role of sight reading, some of the pit- There can’t have been another car so split the pencil mark when you cut! particular the methods of analyzing and falls that reading presents, and ways to anxious to spin around. I’ve had the privilege of restoring learning counterpoint and the technique avoid them. Jan started talking about buying a four- several organs built by E. & G.G. Hook, of paying attention to elements, small or § wheel-drive vehicle, and one afternoon and never stop delighting at the preci- large, that recur in any piece—has been as we returned from a tuning, he turned sion of the 150-year-old pencil marks geared towards helping people to know On a completely different matter: I into a car dealership and ordered a new on the wood. The boys in that shop on their pieces very well musically by the have recently had a fascinating conversa- Jeep Wagoneer—a large station wagon- Tremont Street in Boston knew how to time that they have learned the notes. tion with several friends on the follow- shaped model. He wanted it to have a sharpen pencils. Much of the rest of what I have writ- ing question: who was the musician that sunroof, but since Jeep didn’t offer one Another little tip—use the same rul- ten—about pedal learning, slow practic- you have heard live in performance he took the car to a body shop that would er throughout the project. As I write, ing, paying attention to hand choices and who was born the earliest? This led to install one as an aftermarket option. As there’s a clean steel ruler on my desk more—has been geared towards making quite an interesting and far-ranging dis- we left the shop, Jan said to the guy, “I that shows inches with fractions on sure that the physical side of playing will cussion about time and history, and the work with measurements all day—be one edge and millimeters grouped by be secure enough that a player can take reach of living memory. I would like to sure it’s installed square.” It was. tens (centimeters) on the other. It’s an advantage of what he or she has learned open that discussion up to a wider group. Funny that an exchange like that English ruler exactly eighteen inches by getting to know the piece really well, I encourage anyone reading this to think would stick with me for more than thirty long, and the millimeter side is fudged that is, not be distracted from it by physi- about your own answer to that question, years, but it’s true—organbuilders work to make them fi t. The last millimeter is cal problems or insecurity. and to e-mail it to me at
www.mander-organs.com Organ Clearing House Imaginative Reconstructions www.organclearinghouse.com or call John Bishop at 617-688-9290
14 THE DIAPASON
July 2011 pp. 2-19.indd 14 6/9/11 1:41:36 PM my career, I’ve never seen a saw that will cut a piece of wood a little longer. The guy who comes up with that will quickly be wealthy (along with the guy who invents a magnet that will pick up a brass screw!). My wife Wendy is a literary agent, with a long list of clients who have fascinating specialties. In dinner-table conversations we’ve gone through prize-winning poets, crime on Mt. Everest, multiple person- alities, the migration of puffi ns, fl ea mar- kets, and teenagers’ brains (!). Her client Walter Lewin is a retired professor from the Massachusetts Institute of Tech- nology, who is famous for his rollicking lectures in the course Physics 8.01, the Measuring mouth height most famous introductory physics course in the world. On the fi rst page of the in- to width, and the scale as a ratio of the troduction to his newly published book, pipe’s diameter to its length. If I supply For the Love of Physics: From the End diameter and actual width of the mouth, of the Rainbow to the Edge of Time—A the voicer can use the Archimedian Con- Journey Through the Wonders of Phys- stant (commonly known as π - Pi) to de- ics, Lewin addresses his class: “Now, termine the mouth-width ratio, and so all important in making measurements, on, and so forth. which is always ignored in every col- Here’s where I must admit that my lege physics book”—he throws his arms knowledge of organ voicing is limited to Lots of trays of pipes to be measured wide, fi ngers spread—“is the uncertainty whatever comes from working generally of measurements . . . Any measurement as an organbuilder, without having any The width of the mouth of an organ foot pipe. A two-foot Principal pipe with that you make without knowledge of training or experience with voicing. My pipe means little or nothing if it’s not diameter of 45mm might have a mouth the uncertainty is meaningless.” I’m im- colleagues who know this art intimate- related to another dimension. Using the that’s 40mm wide—that’s a mouth- pressed that Professor Lewin thinks that ly will run circles around my theories, width as a ratio to the circumference width roughly 2/7 of the circumference, inaccuracy is such an important part of and I welcome their comments. From of a pipe gives us a point of reference. on the wide side for Principal tone. the study of physics that it’s just about my inexpert position, I’ll try to give you For example, a mouth that’s 40mm wide The formula is: diameter (45) times π the fi rst thing mentioned in his book. some insight into why these dimensions might be a wide mouth for a two-foot (3.1416) divided by mouth-width (40). The thickness of my pencil lines, my are important. pipe, but it’s a narrow mouth for a four- In this case, we get the circumference choice of the ruler, and the knowledge about where in the line the saw blade should go are uncertainties of my mea- suring. If I know the uncertainties, I can limit my margin of error. I do this every THESE FIRMS ARE time I make a mark on a piece of wood. BUILDER MEMBERS And by the way, if you’re interested at all in questions like “why is the sky blue,” NORTH ANDOVER ORGAN COMPANY you’ll love Lewin’s book. And for an add- BEDIENT PIPE ORGAN COMPANY ed bonus you can fi nd these lectures on YouTube—type his name into the search BERGHAUS PIPE ORGAN BUILDERS,INC. box and you’ll fi nd a whole library. Lewin AMERICA’S is a real showman—part scientist, part BIGELOW & CO.ORGAN BUILDERS eccentric, all great communicator—and BOND ORGAN BUILDERS,INC. his lectures are at once brilliantly infor- PREMIER mative and riotously humorous. BUZARD PIPE ORGAN BUILDERS, LLC Now about that panel that will fi t into C.B. FISK,INC. the dados cut in the frame members. ORGAN BUILDING Given the outside dimensions and the CASAVANT FRÈRES width of the four frame pieces, the size of the panel will be 850mm x 350mm & SERVICE FIRMS DOBSON PIPE ORGAN BUILDERS (if your cutting has been accurate). But GARLAND PIPE ORGANS,INC. don’t forget that you have to make it oversize so it fi ts into the dado. 7.5mm GOULDING & WOOD,INC. on each side will do it—that allows for seasonal shrinkage without having the HENDRICKSON ORGAN COMPANY panel fall out of the frame. So to be HOLTKAMP ORGAN COMPANY safe, cut the dados 10mm deep allowing a little space for expansion, and cut the The Pipe Organ KEGG PIPE ORGAN BUILDERS panel to 865mm x 365mm—that’s the space defi ned by the four-sided frame LÉTOURNEAU PIPE ORGANS plus 7.5mm on each side, which is 15mm NOACK ORGAN COMPANY,INC. on each axis. Nothing to it. Performance measured in Now that you’ve all had this little or- PARSONS PIPE ORGAN BUILDERS ganbuilding lesson, look at the case of a centuries, not years... PASI ORGANBUILDERS,INC. good-sized organ. There might be 40 or 50 panels. That’s a lot of opportunity for PATRICK J. MURPHY & ASSOCIATES INC. error and enough room for buzzing pan- els to cover every note of the scale. The Original Green Solution. PAUL FRITTS & CO.ORGAN BUILDERS § QUIMBY PIPE ORGANS,INC.
For the last several days I’ve been RANDALL DYER & ASSOCIATES,INC. measuring and recording the scales and dimensions of the pipes of a very large SCHANTZ ORGAN COMPANY Aeolian-Skinner organ that the Organ SCHOENSTEIN & CO. Clearing House is preparing to reno- vate for installation in a new home. I’m TAYLOR & BOODY ORGANBUILDERS standing at a workbench with my most accurate measuring tools while my col- league Joshua Wood roots through the pipe trays to give me C’s and G’s. Josh lays the pipes out for me, I measure the SUPPLIER MEMBERS inside and outside diameters, thickness A.R. SCHOPP’S SONS,INC. of the metal (which is a derivative of the inside and outside diameters—if outside HARRIS PRECISION PRODUCTS diameter is 40mm and the metal is 1mm thick, the inside diameter is 38mm. I OSI - TOTAL PIPE ORGAN RESOURCES take both measurements to account for PETERSON ELECTRO-MUSICAL PRODUCTS,INC. uncertainties.), mouth width, mouth height, toehole diameter, etc. As I fi n- SOLID STATE ORGAN SYSTEMS ish each pipe, Josh packs them back into 1-800-473-5270 www.apoba.com the trays. With a rank done, we move the tray and fi nd another one. Now you know why I’m thinking about measure- ments so much today. When studying, designing, or mak- the highest standards of integrity, quality and craftmanship in pipe organ building ing organ pipes, we refer to the mouth- width as a ratio to the circumference, the cut-up as a ratio of the mouth’s height
JULY, 2011 15
July 2011 pp. 2-19.indd 15 6/9/11 1:42:03 PM the desired height of the pipe’s foot, etc. ing scale that measures either inside or The pipemaker receives the chart and outside dimensions. The LED readout Music for voices starts cutting metal. Let’s go back to gives me the dimensions in whatever our two-foot Principal pipe. Diameter form I want—I can choose scales that and organ is 45mm. Speaking length is two feet, give inches-to-the-thousandth, inches- by James McCray which is about 610mm. Let’s say the to-the-sixty-fourth, or millimeters-to- height of the foot is 200mm. The pipe- the-hundredth. I’m using the milli- maker needs three pieces of metal—a meter scale, rounding hundredths of a Ten respected American compos- rectangle that rolls up to become the millimeter up to the nearest tenth. As ers of sacred choral music resonator, a pie-shaped piece that rolls good as my colleagues are and as accu- up into a cone to make the foot, and a rately as they might work, they’re not I was born out of due time in the sense circle for the languid. going to discern the difference between that by temperament and talent I should For the resonator, multiply the di- a mouth that’s 45.63mm wide from one have been more suited for the life of a small Bach, living in anonymity and com- ameter by π: 45 x 3.1416 = 141.37mm that’s 45.6mm. posing regularly for an established service Two tapered pipes—both speak the (this time I’m rounding it to the hun- And as accurately as I try to take and for God. same pitch, one wide scale with wide dredth)—that’s the circumference of the record these measurements, what I’m —Igor Stravinsky (1882–1971) mouth, one narrow scale with narrow pipe, so it’s the width of the pipemaker’s measuring is hand made. I might no- Dialogues and a Diary, 1963 mouth rectangle. Cut the rectangle circumfer- tice that the mouth of a Principal pipe ence-wide by speaking-length-long: is 16.6mm high on one end and 16.8mm Not all choir directors pay enough at- of 141.372mm. Round it off to 141, di- 141.37 x 610. high on the other. A difference of .2mm tention to the sacred choral composer. vide by 40 (mouth-width), and you get For the foot, use the same circumfer- can’t change the sound of the pipe that On some Sunday church bulletins, the 3.525, which is about 2/7 of 141. Each ence and the height of the foot for the di- much—so I’ll record it as 16.7. I know title of the work is clearly displayed, but time I adapt the number to keep things mensions of the piece of pie: 141.37mm the uncertainties of my measurements. the composer’s name is not provided. simple, I’m accepting the inaccuracy of x 200. I adapt each measurement at least twice Often, in preparations of the music, my measurements. Roll up the rectangle to make a tube (rounding to the nearest tenth and adapt- almost no attention is given to enlight- The mouths of Flute pipes are usually that’s 45mm in diameter by 610 long, and ing for uneven mouth-height) in order to ening the choir about the composer, narrower (in ratio) than those of Princi- solder the seam. ensure its accuracy. Yikes! the poet, or even the original source of pals. Yesterday I measured the pipes of Roll up the piece of pie to make a cone § the Scripture. While singers recognize a four-foot Flute, which had a pipe with that’s 45mm in diameter at the top and names such as Bach or Mozart, they the same 40mm mouth-width, but the 200mm long, and solder the seam. Earlier I mentioned how people who need to be informed about less famil- diameter of that pipe was about 55mm. Cut a circle that’s 45mm in diameter work with measurements all the time iar composers. Ask yourself, “Have I That’s a ratio of a little less than 1/4. The and solder it to the top of the cone, then develop a knack for judging them. I’ve discussed or even mentioned the com- difference between a 2/7 mouth and solder the tube to the whole thing. (I will been tuning organs for more than 35 poser or arranger in rehearsals?” a 1/4 (2/8) mouth tells the voicer a lot not discuss how to cut the mouth or form years, counting my way up tens of thou- An interesting organizational change is about how the pipe will sound. the toehole.) sands of ranks of pipes, listening to and to put the name of the composer, instead And remember, those diameters are But Professor Lewin’s adage reminds correcting the pitches, all the time reg- of the title, on the chalkboard for the a function of the scale, the ratio of the us that no pipemaker is ever going to be istering the length of the pipes subcon- choir members to arrange the order of diameter to the length. My two example able to cut those pieces of metal exactly sciously. With all that history recorded, if the music for the rehearsal. That simple pipes with the same mouth width are 141.37mm wide. That’s the number I got I’m in an organ and my co-worker plays gesture makes singers more cognizant of very different in pitch. The Principal from my calculator after rounding tens- a note, I can reach for the correct pipe whose music they are singing. Choir di- pipe (45mm in diameter) speaks middle of-thousandths of a millimeter down to by associating the pitch with the length rectors are urged to spend a few minutes C of an eight-foot stop, while the Flute hundredths. You have to understand the of the pipe. focusing on the composer, the author of with the 40mm mouth speaks A# above uncertainty of your measurements to get π (pi) is a magical number—that Ar- the text, and the scriptural source, so the middle C of an eight-foot. any work done. chimedes ever stumbled on that number choir has a more comprehensive under- § § as the key to calculating the dimensions standing of the music. of a circle is one of the great achieve- The ten composers whose settings are You can imagine that the accuracy of As I take the measurements of these ments of the human race. How can it be reviewed here have published numerous all these measurements is very impor- thousands of organ pipes, I record them possibly be true that πd is the circum- works for church choirs in the past few tant to the tone of an organ. The tonal on charts we call scale sheets—one sheet ference of a circle while πr2 is the area? years. Their choral settings are popu- director creates a chart of dimensions for each rank. I refl ect on how impor- Here’s another neat equation. A perfect lar and receive frequent performances for the pipes of an organ, including all tant it is to the success of the organ that cone is one whose diameter is equal to in various denominations throughout these various dimensions for every pipe, this information be accurate. I’m using its height. The volume of a perfect cone America each week. As a fellow church plus the theoretical length of each pipe, a digital caliper—a neat tool with a slid- is exactly half that of a sphere with the choir director and published composer, same diameter. How did we ever fi gure I have developed great respect for their that one? creative musical spirit. Their music de- There are no craftsmen in any trade serves your consideration. INCE 1979, we have who understand π better than the organ- Usually their anthems are practical, yet pipemaker. When you visit a pipe shop, tastefully designed. Their conservative designed and built over you might see a stack of graduated metal styles are crafted so that the text receives 120 new pipe organs for rectangles destined to be the resonators a clear musical setting that illuminates S of a rank of pipes. The pipemaker knows the words. Accompaniments are helpful clients in Australia, Austria, π as instinctively as I can tell that the fi rst to the choir and interesting for keyboard- New Zealand, England, millimeter on my ruler is too big. Imag- ists. Often these composers create excit- ine looking at a tennis ball and guessing ing settings with additional instruments, Canada and the United States. its circumference! especially brass quartet. These works Our instruments, whether § generate an emotional uplift for the sing- ers and the congregation, and are often tracker or electric action, have When you’re buying measuring tools, used on special occasions such as Easter been praised for their rugged you must pay attention to accuracy. and other high holy days. construction, comfortable Choose an accurate ruler by comparing Several of these composers are organ- Opus 116 three or four of them against each other ists who bring a distinctive character to consoles, responsive key and deciding which one is most accurate. the accompaniments. All seem to have Choose an accurate level by comparing strong keyboard skills as evidenced in actions and tonal integrity. three or four of them. You’ll be surprised their settings. Most are employed as New cases, keyboards, how often two levels disagree. Just as church musicians, which adds even more windchests, reservoirs and mathematics gives us the surety of π, so relevance to their sacred music. When physics gives us the surety of level. There reviewing music for your church choir, pipes are all built from raw is only one true level! remember their names; in most instanc- materials within our two I’ve been showing off all morning es you will fi nd their works to be solid about how great I am with measurements settings that merit performance. workshops located in Saint- in theory and practice, so I’ll bust it all up A future column will be devoted to Hyacinthe, Québec. Our team with another story about van windshields. another ten composers, and these will I left the shop to drive to the lumberyard not be American. The names below will of experienced builders also to pick up a few long boards of clear yel- be familiar to most of our readers, but restores and rebuilds older low pine. They had beautiful rough-cut if not, get acquainted with their music. boards around thirteen feet long, eight You will be doing a favor for your choir instruments to make them and ten inches wide, and two inches and your congregation. sound and play better than ever. Opus 118 thick. Each board was pretty heavy, and as they were only roughly planed, it was Father of Light, Craig Courtney. easy to get splinters from them. I put the SATB and piano, Beckenhorst Press, fi rst one in the car, resting the front end BP 1832, $1.75 (M). on the dashboard right against the wind- Susan Boersma’s text is based on LÉTOURNEAU PIPE ORGANS shield. Perfect—the door closed fi ne, Psalm 56. The music is slow but with a let’s get another. I slid the second one up steady pulsating beat in the accompani- on the fi rst, right through the windshield. ment; this later changes to keyboard ar- USA Canada Good eye! Q peggios. There is a brief unaccompanied 1220 L Street NW 16 355, avenue Savoie passage and an optional soprano solo. Suite 100 – Box 200 St-Hyacinthe, Québec The choral parts are on two staves, with Washington, DC J2T 3N1 Request a free sample copy of the fi rst two pages for women in unison. 20005-4018 Tel: 450-774-2698 The Diapason for a friend, Sensitive music. Tel: 800-625-PIPE Fax: 450-774-3008 student, or colleague. Fax: 202-737-1818 [email protected] Jerome Butera I Love the Lord, David Conte. SATB [email protected] www.letourneauorgans.com 847/391-1045 and organ, E.C. Schirmer Music Co., [email protected] No. 7370, $1.95 (M). This well-crafted anthem uses a text
16 THE DIAPASON
July 2011 pp. 2-19.indd 16 6/9/11 1:42:54 PM based on Psalm 116. The andante tem- one has a short keyboard introduction, a clearly understands and cherishes this Tonestykker, op. 22, Niels Gade; Two po, used throughout, is established with brief unaccompanied section, and closes magnifi cent organ. I cannot fi nd a bet- Preludes, Selim Palmgren; Larghetto, gentle fl owing lines in the organ. There with a fl owing “Amen.” There are litur- ter transcription of these variations, and Áskell Másson; Variasjoner over “Med are several modulations, and the block- gical suggestions for each of the Martin Dyke’s skill in the art, coupled with his Jesus vil eg fara,” op. 4, Knut Nystedt; chord setting frequently has unaccom- Luther prayers. This is very pragmatic stellar playing, is comparable to that of Sonata, op. 38, Otto Olsson. panied singing with mild dissonances. music, and the two prayers could be the previously unchallenged mastery of Iain Quinn is Welsh by birth and Warm and lovely music. performed separately. David Briggs (whose Mahler Fifth tran- studied organ with Nicholas Kynaston, scription from Gloucester Cathedral Thomas Murray, William Porter, and Jubilate Deo, arr. Hal Hopson. SATB Faithful Is God, Joseph Martin. SATB should grace every self-respecting or- John Weaver. He was formerly director and organ, Augsburg Fortress, 978- and keyboard with optional instru- ganist’s bookcase). Listening to Dyke’s of music at St. John’s Episcopal Cathe- 1-4514-0166-1, $1.75 (M). mental orchestration, Hope Publish- performance of his own transcription, dral in Albuquerque, and is currently Although most of the Latin text is ing Co., C 5672, $2.05 (M). one could easily be forgiven for think- director of music at the College of St. based on original music that is rhyth- Instruments needed include winds, ing these variations had originally been Hilda & St. Bede, Durham University, mic and festive, the English text is set to strings, and electric bass; there is also written, by the master, for the organ and director of the Durham University the melody Lasst Uns Erfreuen (All a performance accompaniment CD (C rather than orchestra, and should you Chamber Choir. He has recorded four People That on Earth Do Dwell). Much 5672C). The choral parts are on two buy only one CD this year, it ought to Chandos compact discs on various Eng- of the melody is in unison or two parts. staves, with some brief divisi in the wom- be this top-drawer disc. lish cathedral organs, each of which is Using two languages in the same anthem en’s music. The style is bold, with several —James M. Reed devoted to the music of a particular re- (macaronic) is not unusual, but is effec- strong unison passages for the choir. The Bergen, Norway gion. This one, the second that Quinn tive. The organ part is on two staves and work ends with a loud alleluia and fi nal has recorded on the Coventry Cathedral helps drive the rhythm. This work will statement of the text. organ, is devoted to organ music from thrill the congregation. Tender Is The North. Iain Quinn Denmark, Finland, Iceland, Norway, plays Nordic Organ Music on the Or- and Sweden. Lord, Thou Hast Searched Me (Psalm gan of Coventry Cathedral. Chandos Built to replace the Willis organ in 139), Howard Helvey. SATB, violin, New Recordings compact disc CHAN 10581; the old Coventry Cathedral that was de- and piano, MorningStar Music Pub-
JULY, 2011 17
July 2011 pp. 2-19.indd 17 6/9/11 1:43:19 PM new cathedral in 1962. It is perhaps the on an old folk hymn from the Sunnmøre tant fantasias for viols, was a pioneer in man (The Masses and Motets of William fi nest work of Cuthbert Harrison, who region of Norway, Med Jesus vil eg fara keyboard music, a great madrigalist, and Byrd, 1981). was managing director of Harrison & (“With Jesus will I travel”). Seven of the contributed to the early development of In 1997 John Harley published an Harrison between 1945 and 1975, and eight variations are quiet and introspec- theatre music. Church musicians know important book on William Byrd, aptly has four manuals and pedals with 74 tive, and give Iain Quinn a wonderful him from such popular anthems as Ave described by an American reviewer as speaking stops. The instrument is not, opportunity to demonstrate many of the Verum Corpus with its ‘unprepared’ “the defi nitive Byrd reference for many however, an easy one to record, and the softer registers of the Coventry organ. dominant seventh chord in the middle, years to come . . . a model for scholars recording engineers Peter Newble and The fugal last variation is played, by con- Sing We Merrily unto God Our Strength, in all fi elds of Renaissance historical in- Robert Aitken deserve special commen- trast, on full organ. and the diffi cult but hauntingly beautiful vestigation.” That book, revised and reis- dation for having done an excellent job of Otto Olsson (1879–1964) is the only Christmas madrigal in fi ve parts, Lulla- sued in 1999 (William Byrd: Gentleman recording this particular compact disc. composer on this recording who was by, My Sweet Little Baby of 1588. Ernest of the Chapel Royal), is the foundation Jan Sibelius (1865–1957) is better primarily an organist, perhaps the out- Walker called that piece “one of the most upon which this book is built. Harley de- known for his orchestral music than for standing Swedish organist of his day. His exquisitely tender and delicate blossoms scribes his new book as “a series of es- his organ works, but he did in fact write output of compositions for the organ is in all music.” The keyboard pieces for says” that amplify information about the a total of seven compositions for organ, comparatively large and includes some both harpsichord and organ, collected social context of Byrd’s life, his youthful mostly in connection with a Masonic fi endishly diffi cult music, like his Ber- in My Ladye Nevell’s Booke [of virginal musical training, and the emergence of lodge of which he was organist. Two of ceuse, Sestetto and Fantasia Cromatica, music] and The Fitzwilliam Virginal his music in adulthood from a series of these compositions are included on the full of thumbing down, double pedaling, Book, are well loved. Experienced choir overlapping family, business, and social Coventry compact disc, and both are etc. He might perhaps be characterized directors know that Byrd’s often-ethereal networks. Harley examines these net- rather majestic compositions that de- as the Edwin H. Lemare of Sweden. vocal music demands the hard resonant works and Byrd’s navigation within and serve to be better known. The next three He is represented on this recording by surfaces and reverberant interiors of among them. In the process, he provides works on the compact disc, the Three his Organ Sonata, op. 38 of 1909, which stone cathedrals to be truly effective, valuable biographical insight and con- Tone Pieces, op. 22 by Niels Gade (1817– occupies almost a third of the disc, and even sublime. It is apt to die in American jecture about the individuals who com- 1890), are probably the only ones on the reminds me in some ways of the organ churches with dry boudoir acoustics. prised them. recording that are well known and widely music of Edward Elgar. It is, like all This is a scholarly book for scholars. Two sections of contents, each contain- played in North America. Again, howev- the music on this CD, extremely pleas- One-half of every single page is devoted ing fi ve chapters, deal exclusively with er, they represent only a fraction of Niels ant. Iain Quinn is to be congratulated to footnotes, digressions, and documen- “Musicians.” Part 1 focuses on Byrd’s own Gade’s total output for the organ. It goes for producing such a fi ne recording of tation, which fact only increases the personal family background, his early life without saying that Iain Quinn’s perfor- Nordic organ music, but I suspect—as in book’s value. It is fascinating because the as a chorister at St. Paul’s Cathedral, and mance of them on the Coventry organ is many ventures of this kind—he is only sources cited are given in their original his musical apprenticeship. Part 2 depicts fi rst rate. No. 2 in particular allows us to scratching at the surface of all the fi ne Elizabethan spellings, syntax, and style. Byrd as a Gentleman of the Chapel Royal, hear some of the softer registers on the stuff that is out there. This can be off-putting to modern read- his recusancy as a loyal Roman Catholic Coventry organ, including an extremely —John L. Speller ers who may not be used to deciphering befriended, respected, and protected by pretty fl ute. St. Louis, Missouri Shakespeare, but Harley is careful to Queen Elizabeth, the establishment of his Another Finn, Selim Palmgren (1878– make clear the meaning and importance career and reputation, his business inter- 1951) is best known for his piano music, of his quotations. Their inclusion con- ests as landowner and publisher, and the but he did produce an album of organ tributes to the Renaissance atmosphere fi nal years of his life at Stondon Massey, pieces, his Opus 23. Two preludes from Book Reviews of Byrd’s lifetime and historical milieu— Essex. Between these two parts lies a sec- this are included on the recording. While and his remarkable music. tion, “Merchants,” dealing with the world both Sibelius and Palmgren were approx- This is a very rich, well-written book. of commerce embracing Byrd and several imate contemporaries of Ralph Vaughan The World of William Byrd: Musi- In place of a half-tone frontispiece, Har- interesting personages in his business life, Williams, it is noteworthy that their com- cians, Merchants and Magnates, ley provides a terse, solitary quotation such as William Burd [sic] the Mercer, positions are written in a much more con- by John Harley. Farnham, Surrey that serves as a portentous watchword Thomas Smythe, brothers Symond and servative style. Both the Palmgren pieces (England): Ashgate Publishing Ltd., for the whole book: “By the incessant John Byrd, Philip Smyth, Robert Broughe, are miniatures, amounting to around only and Burlington, Vermont: Ashgate collection of minutiae, information of Robert Dow the Elder, Ferdinando Hey- a minute each in length. The fi rst has a Publishing Co., 2010. ISBN 978-1- real value is almost invariably elicited” bourne, and Richard Candelar. certain affi nity with some of Liszt’s qui- 4094-0088-2; 306 + xvii pp., $114.95; (Halliwell, 1848). True enough, as Har- The fi nal section of contents is entitled eter compositions.
18 THE DIAPASON
July 2011 pp. 2-19.indd 18 6/9/11 1:43:55 PM Fourteen Chorale Preludes: A Guide to used to introduce the hymn; a harmo- Ayres’s Toccata Duo won second prize New Organ Music Liturgical Improvisation, by Wolfgang nization, which can be an alternate har- in the AGO’s Organ Spectacular compe- Rübsam. Augsburg Fortress Press, monization for congregational singing; tition for organ and one C-instrument ISBN 978-0-8066-9803-8, $25.00, and four to six creative variations of the (2008), but his catalogue also features Fantasy on TERRA BEATA, by Craig
JULY, 2011 19
July 2011 pp. 2-19.indd 19 6/9/11 1:47:38 PM Birds, Bells, Drums, and More in Historical Italian Organs, Part 1 Fabrizio Scolaro, English translation by Francesco Ruffatti
t is a general belief that the stop naissance—one of the most extraordi- I composition of historical Italian or- nary and rich periods in the history of gans is rather standardized, based on a humankind—was fl ourishing in Italy. series of principal-scaled stops forming The splitting of the territory into many the Ripieno, and enriched by one or different states ruled by marquises, two fl utes. In many cases and especial- dukes, princes, and kings—all very rich ly for certain historical periods, this is and prosperous, all competing with each a correct assumption; however, excep- other to obtain the work of the most fa- tions abound. mous artisans and artists—produced an Organbuilding has been greatly infl u- artistic level that is among the highest enced by the peculiar Italian geographi- in all of art history. The names of the cal confi guration, by its very interesting painters, sculptors, and artists in general history, and its political fragmentation that one would have then encountered into a number of states, to the point that in the squares, churches, and palaces even a small distance between two cit- throughout Italy are the same names ies or two areas often exhibited marked that we encounter today in the most fa- differences in organbuilding practices. mous museums. It is obvious that such A notable example of this is the coex- intense artistic and economic activity istence, around the middle of the 18th would attract artists and artisans from century, of two organbuilding schools, other European countries. What was featuring drastic differences in the tonal happening in the fi gurative arts had its character of their instruments: one in the parallel in music as well. The names of city of Venice and the other in the Lake Costanzo Festa, Giovanni Pierluigi da Garda territory, two areas that are geo- Palestrina, and Claudio Merulo were graphically very close. mixed with those of Adrian Willaert, Ja- The Italian organ did not crystallize its kob Arcadelt, and Orlando di Lasso, to tonal structure, as many believe. Quite mention just a few, the latter all coming to the contrary, it remained open to in- from northern Europe. fl uences coming from across the Alps, In organbuilding, the work within by incorporating new stops, mechanical Italy of artisans coming from across the features or accessories, and special ef- Alps helped enrich the tonal spectrum fects that ended up becoming common of the Italian organ, and infl uenced the even in smaller instruments. A notable local organbuilding schools. The foreign aspect of this is the presence of acces- organbuilders brought with them from sories and special effects. The use of the their original countries the effects and tremulant, of ingenious systems imitating accessories, but also different pipe types, birds (sometimes of different species) or such as stopped pipes, for example, and of singing insects, the rolling of drums, these new features and ideas were read- and the sound of shepherds’ bagpipes is ily adopted by local organbuilders. mentioned in a number of texts, not nec- As we will see, during that period the essarily connected to organ music. Here new special effects (tremulant, rolling are a few examples: drum, and nightingale) were systematically Photo 1. Valvasone, Duomo del SS. Corpo di Cristo: registration chart probably introduced from the north to the south of suggested by Vincenzo Colombi, written around 1558, entitled Tutti li modi di The organs built by Vincenzo the Flem- Italy, even to already-existing instruments. suonar con l’Organo (All the methods of playing the organ). The last line mentions ish, the fi rst located in the Cathedral of Or- the registration “flauto con il fiffaro,” where the term fiffaro indicates the tremulant vieto played by Gio. Pizzoni, the second in The Tremulant (L. Stella archives). S. Pietro at Gubbio and played by Grisos- tomo Rubiconi; they both deserve being The introduction of the tremulant greatly praised, and in particular the one in (tremolo in Italian, also referred to by the organist (or, in other words, by A further name for the same instrument S. Pietro, which in addition to 12 contin- in the past as tremolante, tremolare, the wind absorption), while the “closed” was Flauto alemanno or Flauto alla to- ued organ stops [meaning Principal-scaled tremolli) in an organ requires a rather system is effective only when a few disca (or tudisca), meaning fl ute in the stops extended for the entire keyboard’s simple mechanism. Two types were notes are played, but loses its speed German style.11 One of the most valued compass], is enriched by the presence of used in the Renaissance and in succes- and depth as the wind consumption is characteristics of such stops was the vi- an equal number of stops imitating stopped sive centuries: the open wind tremulant increased by pulling more stops or by brato: Martin Agricola, in 1545, in the and open Flutes . . . Drums, Tremulant, 1 (also called lost wind tremulant) and the playing big chords, to the point of losing fourth edition of his work Musica instru- and Nightingales . . . . closed wind tremulant. its effect completely. mentalis deudsch, calls the transverse . . . there is a precious and rare organ, In the fi rst case, a pallet, to which a During the restoration of the 1519 or- fl utes Schweitzer Pfeiffen, and writes comprising 2,800 pipes, with 40 stops, the spring or a weight is applied, is located gan built by Giovanni Piffero, located in that it is good practice to use them with sound of which imitates that of Trompettes, externally over an opening in the wind- the Palazzo Pubblico at Siena, one of the oscillating breath.12 Timpani, the song of birds . . . .2 line or in the windchest. When the pal- oldest examples of the introduction of One of the fi rst sources on the use of let is released and made free to move, an open wind tremulant in an Italian or- the tremulant is the registration chart . . . In the organ of S. Giustina in Padova the pressure inside the wind system gan was found.5 Starting from this date, written or dictated, probably in 1558, by one hears the Trompette, and the Viola, will try to push the pallet open, while evidence of the manufacturing of organs organbuilder Vincenzo Colombi for the the Violin, and also the song of various birds . . . .3 the spring or weight installed over the with tremulants, or of their additions to organ in Valvasone, where the use of the pallet will react by applying a contrast- existing instruments, becomes more and “fl auto along with the fi ffaro”13 is sug- The purpose of this article is to pres- ing force. The result is an oscillation of more frequent in instruments located gested. (Photo 1) The tremulant is there ent the history of such effects and acces- the pallet, which determines a periodic throughout the Italian peninsula. called fi ffaro, thus exchanging the end sories in Italian organs and to provide release of wind out of the system and a In 1561, Massimiliano da Udine in- result (the imitation of the transverse suggestions for their use in musical per- resulting periodic pressure drop, which cluded the tremulant in the contract for fl ute) with the means to obtain it. formances, on the basis of documents, in turn creates the undulating effect in the organ for the Sisters of San Daniele As mentioned above, Silvestro Col- books written by scholars and compos- the sound. This was the most common in Venice, an instrument that no longer liga in 1561 promised to manufacture a ers of organ music, and also by nota- system during the Renaissance. exists.6 During the same year, in Sicily, Flauto alla todisca with its tremulant. tions in musical manuscripts (few in ear- In the second case (the closed wind Silvestro Colliga included a “Flute in the Similarly, in other contracts for Sicilian lier times, but which became more and system), the pallet is installed inside the German style with its Tremulant” for the organs, in almost every case where fl utes more abundant and specifi c later on). A windline to stop the wind fl ow. When organ of S. Antonio Abate in Palermo.7 with stopped pipes are mentioned—to further source is the Tabelle di Regist- the tremulant is not active, the pallet is In 1570, the Venetian organbuilders imitate the fl utes alla todisca, or of Ger- razione (registration charts) that a small pulled up in the open position and the Emiliano and Giulio Zacchino were con- man style—the tremulant appears as number of organbuilders wrote and left wind can fl ow without restrictions. The tracted to restore the new organ in the well.14 It is therefore clear that it was rath- with their instruments, as instruction device is activated by releasing the pal- Basilica of S. Antonio in Padova, and, er common practice among organists to manuals to prevent registration mistakes let, which, by falling down in the closed among other things, to update the fi ffari imitate the transverse fl ute by combining or to suggest the best ways to utilize position, tends to prevent the wind from (meaning the tremulant) to modern prac- the fl ute stop (whether made of stopped their instruments. fl owing. This creates a periodic oscilla- tices.8 In 1577, the brother organbuilders pipes or not) with the tremulant. How- While a wide variety of sources has tion of the pallet, pushed open by the Vittore and Federico Federici restored ever, we need to wait until the beginning been consulted, it is, however, almost wind rushing through, but the pallet be- the organ in the Cathedral of Feltre, and of 1600 in order to fi nd texts of wider dif- inevitable to have left out some of them. ing heavy enough to try to return itself among the repairs needed, they included fusion, containing specifi c indications on Italy is extremely rich in this respect, with to the closed position by gravity. The a modifi cation of the tremulant to make the use of tremulants in pipe organs. its large number of organbuilding schools resulting wind instability creates the un- it reproduce the effect of the fi ffaro.9 In 1608, Costanzo Antegnati wrote and the variety of instruments that still dulating effect. This system is very close, These last two citations are particular- L’arte organica. In the portion of this trea- exist or that existed in the past, but for if not identical, to the one described a ly important to help us understand one tise that deals with registration practices, which we still have documentation. Many few centuries later as Tremblant doux by of the most frequent uses of the tremu- he explains that the tremulant can be documents (contracts, descriptions) are Dom Bedos.4 lant in musical performances. used with the Principale alone, but only certainly yet to be discovered in the ar- The two types of tremulant produce It is fi rst of all necessary to note that when playing slowly and without diminu- chives of churches and monasteries. two different effects on the sound of the in Italy in the 16th and 17th centuries, tions, in order to accompany motets with The starting point that I have chosen instrument: The “open wind” system the term fi ffara or fi ffaro was used with few voices or to play softly.15 Later on, for this research is the fi rst part of the has an oscillating frequency that is inde- reference to the transverse fl ute (also Antegnati provides another indication sixteenth century. At that time, the Re- pendent of the number of notes played then called traversa or fi ffaro traverso).10 on the use of the tremulant, stating that
20 THE DIAPASON
July 2011 pp. 20-24.indd 20 6/9/11 1:48:39 PM it can be used with the Ottava and the Flauto in Ottava, or (proposing the reg- istration suggested by Vincenzo Colombi 50 years before) even with the Flauto in Ottava alone, again specifying that it is necessary to avoid fast playing or rapid phrasing. He had previously noted that those who play rapidly with the use of the tremulant show bad taste16 because such an accessory confuses the sound when notes are played at a fast pace. In 1610, Claudio Monteverdi, in his music for the Vespers,17 expressly re- quests for the organ—which provides the basso continuo—the registration of Principale and tremulant,18 from the end of the 11th to the 19th measure of Versus 3 “[quia respexit] humilitatem ancillae suae” of the II Magnifi cat a sei voci. It is to be noted that the same verset in the Photo 2. A four-pipe Uccelliera (Nightin- primo Magnifi cat had been orchestrated gale), in its more common form. with two real fi ffare (then two trombones and subsequently two blockfl utes),19 new instruments. The sound of the new while the organ was accompanying with stop, which played in the treble section the Principale alone: once again, it is of the keyboard, was better, richer, and quite evident that the tremulant is used more interesting than the simple me- to imitate the “affetto” or the sensation chanical oscillation of sound. However, in created by the transverse fl utes. 1718 it is possible to fi nd yet another cita- Photo 3. The beautifully decorated organ by Nicola Abbate, 1780, in the church In 1622, Girolamo Diruta explains tion on the use of the tremulant: it can be of SS. Annunziata at Venafro (Isernia); restoration by Fratelli Ruffatti, 2003. This the use of the tremulant in the course found in the registration table of the or- instrument contains a number of special effects and controls, among which is a of his dialogue Il Transilvano,20 saying gan built by W. Hermans in 1650 for the pair of rare Nightingales. that the second tone makes the harmony Cathedral of Como. It includes a com- melancholy, and it requires the Princi- plete description of the instrument and The Nightingale mid-1500s, they continue until 1880 pale (by itself) with the tremulant, while quite a few suggestions on the use of the The Nightingale—literally translated without interruption all over the Italian the fourth tone makes it lamentevole stops. At #45 of the list in the chart, one in Italian as Usignoli, but normally re- territory from north to south, as evi- (mournful), mesta (sad) and dogliosa reads “Voce Umana, Principale e Tremo- ferred to with the more generic term dence that such effects were held in high (grievous), and this effect is obtained lo,” where the Voce Umana is in this case Uccelliera (song of birds) and sometimes esteem by the organbuilders who manu- by the Principale with the tremulant or a reed stop (a Vox Humana). Later on, in also called, in various linguistic variants, factured them, and by their clients. a Flute stop played in the appropriate the paragraph entitled “For the music,” stortis philomelis,23 ocellj, risignoli,24 ros- One of the fi rst traces of such a de- range of the keyboard and with the cor- it is explained that such a Voce Umana signoli, usignoli, passeri (sparrows), ca- vice is connected to Vincentio Beltramo, rect melodic behavior. As one can see, can be used with the tremulant in the narini (canaries)—is uniform in its con- who came from the Burgundy region of Diruta narrows down, or redefi nes, the bass portion of the keyboard, while the struction features: it consists of a series France, and who in 1544 signed a con- use of the tremulant, by associating it to Principale and Tromba are played in the of two or more pipes mounted upside tract for a new organ for the church of the basic tone (second or fourth) of the treble section, or the contrary (left hand down, with the ends of their resonators San Nicola at Tortoreto (Teramo), in the music being played, and to the character with the Principale and Tromba, right submerged in water. (Photos 2, 3 and 4) Marche region, mentioning the Nightin- that such tone gives to the pieces (mel- hand with Voce Umana and tremulant). When the pipes play, the wind coming gale among the other stops.25 ancholy, mournful, sad, grievous). Such combinations are made possible by out of the resonators sets the water in In 1569, Lodovico Arnoldo, a Flem- Toward the end of the 16th century, the presence of two manuals. As a con- motion, and this creates an effect on the ish organbuilder, restored the organ at with the advent of the Voce Umana stop21 clusion for the long series of registration sound of the pipes that very realistically the Pieve di S. Maria in Gemona, add- (a principal-scaled rank of pipes beating suggestions, the registration table states simulates that of singing birds. ing, among other things, the Nightin- with the Principale), once again called that “the tremulant can be used at the Traces of the presence of nightingales gale, as noted in the letter of payment.26 Fiffaro, the tremulant gradually disap- discretion [of the organist], when one, even in important instruments are nu- One could mention a number of other peared from the tonal compositions of two or at most three stops are played.”22 merous. Starting from just before the locations and organbuilders, because,
RIE BLOOMFIELD ORGAN SERIES 2011-2012 JEHAN ALAIN 1911-1940 “The American Festival” September 28, 29, 30, 2011 ŢWichita State University Ţ8JDIJUB ,4ŢWiedemann Hall - Marcussen Organ
Celebrating the 100th anniversary of the birth of Jehan Alain. Keynote speaker: AURELIE DECOURT, PhD, noted musicologist and author, niece of Jehan Alain, daughter of Marie-Claire Alain. Featuring the complete organ works of Jehan Alain played by former students of Marie-Claire Alain. Presentations on the Alain/Romainmoutier organ, Alain editions, performance practice, registration. An all-Alain concert with music for voice, strings, winds, piano. An evening on the New York Paramount Wurlitzer at Century II by Jim Riggs celebrating the 100th anniversary of the “big band era”
For more information, contact: Lynne Davis Ann & Dennis Ross Endowed Faculty of Distinction Associate Professor of Organ XXXMZOOFEBWJTOFUŢXXXBNFSJDBOBMBJOGFTUJWBMDPNŢMZOOFEBWJT!XJDIJUBFEV
JULY, 2011 21
July 2011 pp. 20-24.indd 21 6/9/11 1:48:59 PM contracts for the manufacturing of new organs, the rolling drum (in Italian Tam- buro, but also called timpano, gran tim- pano, timballone, rollante, rullo, tambur- ro a ruolo, tuono, tremolo) is very often found in conjunction with the tremulant and the nightingales. It seems, in fact, that in most cases the three effects were all installed together. As we have seen for the tremulant and the nightingales, the installation of the drum was also rather simple, even in already-existing instruments. In the 16th and 17th centuries, it normally con- sisted of a couple of pipes of 6 or 8 feet especially dedicated to this effect. They played together at close but not identi- cal frequencies, thus producing a promi- nent beat that resembled rolling drums. In later years, when pedal stops began to appear in pipe organs,38 in order to avoid the construction of such additional Photo 4. The two Uccelliere (Nightingales) in the Venafro organ. Their round shape pipes and thus save space and money, is rare and unusual. The one on the left is original. A second, identical unit (right) Photo 5. Church of S. Michele Arcan- a number of pipes of the Contrabasso was missing, and had to be rebuilt during the restoration of the instrument. gelo, Vignole (Pistoia); organ by Pietro, Giustina and Giosuè Agati, 1979, re- were made to play together by means of stored by Fratelli Ruffatti in 1990. Tuscan a special mechanism, producing a very as stated above, almost everywhere al- chart for the organ in Orvieto built by organs of this period normally incorpo- realistic effect. ready-existing or brand-new organs Vincenzo Fulgenzi.27 It was written by rated a number of special effects for the In some 19th-century organs of the were equipped with such a device. Vittore Federici from Belluno (men- performance of opera-style music. Lombard school, in which the drum Its installation is very simple: a hole is tioned above for his work in the Cathe- sound is produced by 3, 4, or 6 dedicat- made in a windline, or in an accessible dral of Feltre). In 1602 he was hired to istration notations; below are a few that ed pipes, it is even possible to increase location at the windchest, and a stop perform some maintenance work on the mention the use of the Nightingale. In the intensity of sound: by pressing the control is installed to allow the organist instrument and he was asked to give his the Messa per Organo in Elafà, per uso pedal half-way down, only a few pipes to turn the effect on and off at will by suggestions as to its use. He indicated del signor Francesco Baldansi di Prato, will play, thus producing the “normal” opening or closing the wind. Often the that the use of the Nightingale was ap- 1813, in the fi rst verset for the Gloria the rolling drum; pressing the pedal all the Nightingale is located at the foot of the propriate in the “Battles,” to be used in nightingales are called for twice.33 way down will cause all pipes to play at façade pipes, and in some cases several conjunction with the Contrabassi (24′), In the Sonata per Organo a guisa di once, thus producing the effect called of them can be found within one instru- the Ottava di Contrabassi (12′), the banda militare che suona una Marcia, Gran Timpano or thunder.39 In the 19th ment, one for each section of the façade Tromboni, the Flauto in Quintadecima one fi nds the following requested reg- century it is possible to fi nd a variety of when the same is divided, as is often the (6′), all of the manual stops, and Cuck- istration:34 Reed stops, Flauto in Selva, “drums” within the same instrument, ob- case in Renaissance-style instruments. oo.29 Another suggestion concerning the and [Flauto] in 8a, Flautino Basso and tained through different combinations of In this case, the series of nightingales is use of the Uccelliera (birdsong) can be Timpani (rolling drum) played in the 16′ and 8′ pipes playing together.40 operated by a slider similar to that of the found in the registration chart for the loud passages but staccato, and nightin- One of the fi rst traces of a rolling other stops. Once the slider is activated, Willem Hermans organ, built in Rome gales where expressly indicated. One of drum in an organ dates from 1543, when each nightingale unit starts to operate in 1666 for the church of S. Apollinare, the latest indications for the use of this Giovanni Paolo Contini used it in the as soon as one or more façade pipes in which contains the suggestion to regis- effect can be found in the Pastorale, organ at the church of San Francesco the corresponding section is played. The ter the combination “Flauto in 8a. Ros- dated 1850, by another composer of the in Montepulciano;41 subsequent traces end result, when playing a scale on the signollj.” In the same chart, which most Gherardeschi family, Luigi (1791–1871), abound and can be found all over the façade pipes, is that of birds singing at likely Hermans himself wrote, we also who, in two instances, suggests adding Italian peninsula, thus giving us an idea random from one side to the other of fi nd a rather generic suggestion as to the the nightingales to the initial registra- of how widespread these effects were. the instrument.27 use of the effects in that organ: that “The tion, which comprises Principali, Ottava It is possible to state that between 1550 In 1797, Pietro Agati built the organ tremulant, drums and nightingales be soprana, Flauti e Trombe.35 and the second half of the 1800s, drum (restored in 1990 by Fratelli Ruffatti) used at the discretion of the organist,”30 Judging from the indications that have stops (Rollante, Timpano, Thunder, for the Church of S. Michele Arcangelo leaving total freedom to the organist as been found, it seems prudent to con- Earthquake42) were almost always pres- at Vignole, in Tuscany (Photo 5), where to their use in music. clude that the tendency was to use the ent in organs built in Italy, just like the the Usignoli can be found. In later peri- A further indication, this time in Nightingale when lower pitch registers Principale or the Flute stops. ods such devices appear mostly in organs northern Italy, can be found in the organ are used in contrast with higher pitched The fi rst suggestions for using the built in central and southern Italy. For of the Cathedral of Como, built in 1650 ones, to introduce it in the andante drum come from Vittore Federici for example, in 1881–1882 the Serassi broth- by the same Hermans. In the already movements and in compositions such as the organ in Orvieto: he describes a ers of Bergamo, in cooperation with Casi- mentioned chart, under number 24 we the pastorali, and therefore in conjunc- registration to play a battaglia with the miro Allieri, built their largest instrument fi nd the combination: “Flauto in Ottava, tion with softer stops, but also as a rein- drum in the German style,43 which we ever for the Cathedral of San Giorgio in Drum, Nightingales.”31 forcement in combinations using reeds have already mentioned under the sec- Ragusa Ibla (restored in 1987 by Fratelli Around the turn of the 19th century, and color stops. tions dealing with the nightingales. The Ruffatti). Among the special effects, still we fi nd a similar indication for the use Other effects were made to imitate association of the drum with pieces de- at this late stage in history can be found a of the nightingales, this time without the song of different species of birds: scribing battles is obvious, a type of per- Nightingale, in this case a very large one, the drum, in the registration chart of the “Nightingales, Cricket fi rst, Cricket formance which, according to Adriano consisting of 12 pipes! It must have been the Tronci family, organbuilders active second, Titmouse birds and Sparrows” Banchieri, was “commonly allowed on specially requested by the customer, since in Tuscany, who proposed the use of the of Giuseppe Bonatti (1716) at San Tom- Easter Sunday . . .” with reference to the the Serassi brothers had stopped manu- Flute and the Nightingale for the “an- maso Cantuariense in Verona,36 or the verses “Mors et vita duello confl ixere mi- facturing such devices by that time. dante movements.”32 “Canaries and Cuckoo birds” in a speci- rando” (“Death and life have struggled”) On the suggested use of the Nightin- A much more varied and interest- fi cation by Giovan Battista Piaggia for of the Gregorian sequence Victimae pas- gale in repertoire, little information can ing use can be found in the music of an organ in the Cathedral of Bolzano chali laudes.44 be found until the beginning of 1600; it Giuseppe Gherardeschi (1759–1824), (1752).37 The use of such effects obvi- Willem Hermans, both in the in- is a fact, however, that it was widely used, a Pistoia-born musician from whom a ously follows the same indications given structions for the use of the organ in since we have evidence of its presence in large number of compositions survive, for the nightingales. the Como Cathedral, built in 1650, and pipe organs from the middle of the 16th expressly composed for use on the late for the organ in the German College in century on. 18th–early 19th century Tuscan organ. The Rolling Drum (or Thunder) Rome (1666), suggests “Flauto in 12a One of the fi rst sources that indicates Many of these works (most still unpub- In examining documents that refer to Tamburrj,”45 the resulting sound being a its use can be found in the registration lished) include extremely detailed reg- modifi cations of existing instruments, or beautiful imitation of a military fl ute or
22 THE DIAPASON
July 2011 pp. 20-24.indd 22 6/9/11 1:49:54 PM “practical manual for the students who are learning the use of the organ.” Cas- telli was the equivalent of today’s CEO of the Fratelli Serassi factory, one of the most notable organbuilding families op- erating between the 18th and the end of the 19th century.51 In the chapter titled “tremolo” [sic], he deals with the rolling drum, and he describes its use in a more elaborate and creative way than other organbuilders ever did. He explains that it is used pre- dominantly during the last few chords of a piece. He continues by stating that it is also “pleasant in the piano passages” by pressing the pedal for a longer or shorter time as required by the piece, making sure, however, that the volume of the solo part on the manuals is prominent enough. It must also be used on the weak beats of held chords. However, after stat- ing that a “judicious application” must be used, he cautions the organist “not to overuse it in the piano passages.”52 Photo 6. Partial view of the registration chart by Gaetano Callido, 1792, glued above the music rack of the organ in the church The example by Vincenzo Petrali, of S. Stefano at Monte S. Giusto (Macerata); restoration by Fratelli Ruffatti, 2001. The second column shows a registration for which illustrates the use of the drum the “Ripieno ad uso di Marcia” (full organ registration for use in marches), which includes the “tamburro battuto.” Since this (no. 16), an attachment to Castelli’s instrument (and in general all Callido organs) only includes a rolling drum consisting of several Contrabasso pipes playing text, is self-explanatory: the piece opens at once, the term “battuto” (from battere = to hit or to strike) does not refer to the actual percussion of a real bass drum, but with two held notes of the drum, sepa- rather to the imitation of its effect, which is achieved by playing the corresponding pedal a tempo, without holding it down. rated by a pause; the keyboard section follows, with a registration including a Flagioletto, very similar to one of the Gherardeschi of Pistoia, written be- An interesting series of suggestions the Principale and the Voce Umana, registrations suggested 100 years later by tween 1800–1820, where, in the same and recommendations on the use of the during which the drum is not activated, Dom Bedos, even if the French builder fashion, it was requested that the timpa- drum is contained in the book by Giovan- until the musical theme is introduced, specifi es the use of two 2′ fl utes in place no (drum) be played staccato, together battista Castelli, which was adopted by underlined by two more “held notes.” 2 46 50 of one 2 ⁄3′ Flute. with a loud registration. the Conservatory of Music in Milan as a Subsequently the drum is activated on An interesting aspect in the use of Plein Jeu V Trompette Royale 8 the drum is the type of mechanism by GREAT ORGAN Piccolo d’amore 2 which it is activated. If the organbuilder 7”w/c Contra Posaune 16 Trompette Militaire 8 Etherial Mixture III has provided a pedal, the drum can be Double Diapason 16 Heckelphone 16 Tuba Sonora 8 Waldhorn 16 used rhythmically, by pressing the pedal Bourdon 16 Harmonic Trumpet 8 Orchestral Trombone 8 Vox Humana 8 in sequence. In some cases, however, First Diapason 8 Cornopean 8 Cornetto di Bassetto 8 Corno d’amore 8 the drum is activated by a stop knob, Second Diapason 8 Oboe 8 Bassoon 8 Echo Clarion 8 in which case the use can only be con- Harmonic Flute 8 English Horn 8 Orchestral Oboe 8 Celestial Harp tinuous, or else the player will have to Clarabella 8 Vox Humana 8 English Horn 8 Chimes resort to the help of a registrant. The lat- Stopped Flute 8 Clarion 4 French Horn 8 ter, more archaic method can be found Violoncello 8 Hautbois Octaviante 4 Orchestral Horn 8 PEDAL ORGAN in several instruments built in different Gemshorn 8 Octave Tuba 4 Open Wood 32 times and regions of Italy, for example: CHOIR ORGAN Harp an organ built in 1735 at the Church of Gemshorn Celeste 8 Sanft Bass 32 SS. Filippo e Giacomo in Erbezzo (Ve- Quint 5 1/3 7”w/c Contra Bourdon 32 rona) by Gaetano Amigazzi, a builder First Octave 4 Flute Conique 16 STRING ORGAN Holz Principal 16 of the Lake Garda and Verona area in Second Octave 4 Contra Viola 16 7”w/c Diapason 16 northern Italy; and an organ by Nicola Flute Couverte 4 Geigen Principal 8 Double Viole, II 16 Geigen Principal 16 Abbate, built in 1780 for the Church of /LHEOLFKÀ|WH Viola de Gambe 8 Violes d’Orchestre II 8 Bourdon 16 SS. Annunziata in Venafro (Isernia).47 Tenth 3 1/5 Quintaten 8 Violes d’Orchestre II 8 Lieblich Gedeckt 16 As one can see, while in most organs Twelfth 2 2/3 Chimney Flute 8 Violins, II 8 Soubasse 16 throughout Italy the drum was being ac- Super Octave 2 Flute Conique 8 Violas d’Amour II 8 Violone 16 tivated by a pedal, a few builders were :DOGÀ|WH Flute Celeste 8 Violes Sourdine II 8 String Celeste II 16 still continuing to build it with archaic Seventeenth 1 3/5 Ducliana 8 Octaves Violes II 4 Viola 16 systems. Thus one must recognize that Unda Maris 8 Viole d’Amour 4 there are no general rules in Italian or- Mixture IV-VI Flute Conique 16 ganbuilding practices, and that the or- Fourniture V Principal 4 Cornet de Violes III Dulciana 16 ganist’s interpretation of a musical piece Scharf IV Viola d’Amour 4 Vox Humana 8 Quint 10 2/3 when utilizing this effect should also take Double Trumpet 16 Flute d’Amour 4 Principal 8 into account the most common organ- Trumpet 8 :DOGÀ|WH CELESTIAL ORGAN Octave 8 building practices in the area where the Tromba 8 Nasard 2 2/3 7”w/c Gedeckt 8 music was composed. Clarion 4 %ORFNÀ|WH Contra Salicional 16 Violoncello 8 In 1790–1792, Girolamo Zavarise, an- Orchestral Horn 8 Tierce 1 3/5 Diapason 8 Violes Celeste II 8 other builder of the Lake Garda school Harp 8 Larigot 1 1/3 +RKOÀ|WH Bass Flute 8 of organbuilding, in the registration chart 6LIÀ|WH 1st Unda Maris II 8 Flute Conique 8 for the organ of Selva di Cadore (Bellu- SWELL ORGAN Plein Jeu IV 2nd Unda Maris II 8 Dulciana 8 no), writes that “the drum is played by 7”w/c Zimbel III Aeoline 8 Twelfth 5 1/3 gently striking the pedal and must not be Baryton 16 Voix Celeste II 8 held for a long time, otherwise it creates Contra Geigen 16 Super Octave 4 disturbance.”48 This indicates that the Lieblich Gedeckt 16 French Horn 8 Octave 4 Choral Bass 4 action for the drum allowed the organist Contra Dulciana 16 Clarinet 8 Harmonic Flute 4 Clarabella 4 to use this effect at will, by means of a Diapason 8 Oboe d’Amour 8 Flauto Mistico II 4 Nachthorn 4 pedal. In fact, in the Veneto region and Holzgedeckt 8 Trompette 8 Rauschquint II %ORFNÀ|WH in Lombardy, the rolling drum is pre- Chimney Flute 8 Regal 8 1st Vox Humana 16 Klein Oktav 2 dominantly activated by the last pedal at Harmonic Flute 8 Rohr Schalmei 4 1st Vox Humana 8 Grand Cornet V the right hand side of the pedalboard. =DUWÀ|WH Harp 8 2nd Vox Humana 8 Cymbale IV Likewise Gaetano Callido, the famous Flute Celeste, II 8 2nd Vox Humana 4 Ophicliede 32 late 18th-century Venetian organbuilder, Quintadena 8 SOLO ORGAN Celestial Harp 8 Contra Bombarde 32 left many registration charts (Photo 6), Violin 8 10”w/c Chimes Contra Bassoon 32 all indicating the use of the rolling drum, Bourdon 16 Tromba 8 where this effect is referred to as “drum Viole de Gambe 8 Bombarde 16 to be played a tempo,”49 clearly indicat- Viole Celeste 8 Diapason 8 Trombone 16 ing a change in musical taste. In all these Salicional 8 *URVVÀ|WH ECHO ORGAN Posaune 16 suggestions, the drum appears in the Voix Seraphique 8 'RSSHOÀ|WH 7”w/c Baryton 16 registration for the characterization of a Aeoline 8 Orchestral Flute 8 Quintaten 16 Bassoon 16 march, which required the Principale, Dulciana 8 Dulz Flute 8 KeraulophoneECEIVE 8 BombardeD 8 the Ripieno stops, the Flauto in XII, the Dulciana Celeste 8 Gamba 8 Cor de Nuit 8 Trombone 8 Cornetta (a Tierce rank in the treble), the First Octave 4 Gamba Celeste 8 MelodiaAPRIL - 17 2011 8 Bassoon 8 Tromboncini (a Regal stop), the Pedal Violoncello 8 Lieblich Gedeckt 8 ′ Second Octave 4 Clarion 4 Tromboni (8 ) and Contrabbassi (the key- Flauto Traverso 4 Octave 4 Faluto Dolcissimo 8 Rohr Schalmei 4 board being permanently coupled to the Chimney Flute 4 Flute Ouverte 4 Flute Celeste 8 pedals). It is therefore a mélange, which Dulcet 4 =DXEHUÀ|WH Viola da Gamba 8 GAL PEDAL ORGAN included all of the organ stops except the th R Flauto in Ottava and Voce Umana. Dulcet Celeste 4 Harmonic Stopped 12 2 2/3 Viole Aetheria 8 Contra Bourdon 32 I have earlier described the registra- Rohr Nasat 2 2/3 Piccolo 2 Vox Angelica 8 Diapason 16 tion for the Sonata per Organo a guisa Piccolo 2 Terzian II )HUQÀRHWH Bourdon 16 di Banda Militare che suona una Marcia Tierce 1 3/5 Fourniture IV Violetta 4 Viola da Gamba 16 (Organ Sonata in the mode of a Military Larigot 1 1/3 Bass Trombone 16 Dulcet 4 Salicional 16 Band playing a March) by Giuseppe Sesquialtera V Bass Clarinet 16 Dulcet Celeste 4 Principal 8
JULY, 2011 23
July 2011 pp. 20-24.indd 23 6/9/11 1:50:14 PM the weak beats of the closing measures for the organ at S. Nicola a Tortoreto 1981, Pàtron) (Biblioteca di cultura organaria referring to Parus Major, Cinciallegra, or Tit- e organistica), VI, pp. 9 and 74. mouse bird) has been reconstructed with two of the piece. (Teramo). The name may have indicated 10. “Italis Traversa vel Fiffaro.” See M. stopped pipes. The two action levers rise and Consequently, an orchestral use of this a complete reed stop; however, since im- Praetorius, Syntagma Musicum II, De Or- close the stoppers, thus simulating the typical effect should be established, and, follow- mediately before in the same document ganographia (Wolfenbüttel, 1619, Holwein; song of the bird (information kindly provided ing an accurate analysis of the musical he had mentioned the Trombecte stop, it facsimile Kassel, 1958, Bärenreiter) (Docu- by Umberto Forni). piece to be played, it is appropriate to is likely that, in the case of the bagpipe, menta musicologica, 1. Reihe, XIV), p. 35. 37. R. Lunelli, Studi e documenti di storia or- also use it, without going overboard, in he meant them to be only an effect. 11. As late as the 19th century T. Monzani, a ganaria veneta (Firenze, 1973, Olschki), p. 216. a wider spectrum of situations, beyond This device was particularly common famous builder of transverse fl utes born in Ve- 38. In earlier instruments the pedalboard allegro movements or marches. It must in organs built in central and southern rona but working in London, still uses the term only acted as a pull-down device for the fi rst “German” to defi ne the transverse fl ute. He keys of the keyboard, and no dedicated pedal be emphasized that this device was com- Italy well into the nineteenth century. wrote the treatise Instruction for the German stops were present. monly found throughout Italy and that One reed pipe, usually with a short Flute (London, 1801, Monzani & Cimador). 39. G.P. Calvi, Istruzioni Teorico-Pratiche consequently it would be a good practice wooden resonator, could be easily ac- 12. M. Agricola, Musica instrumentalis per l’Organo (Milano, 1833, Bertuzzi), p. 5, to imagine a broader and more articulate tivated by means of a stop control, and deudsch (facsimile, Leipzig, 1896, Breitkopf and G. Castelli, Norme generali sul modo di use of the drum when performing Italian left on to play continuously. In some & Härtel), p. 171. trattare L’Organo Moderno. Cogli esempi in organ literature. instruments two of these pipes, at dif- 13. During the month of June of that year he musica del Maestro Vincenzo Antonio Petrali It is also interesting to mention a cu- ferent pitches, can be found, but always signed a payment receipt for having installed (Milano, Lucca, 1862), p. 13. riosity: Giuseppe Verdi, who began his individually controlled. These pipes can the “fi ffaro.” See L. Stella–V. Formentini, 40. In the organ installed in the Sanctuary L’organo di Valvasone nell’arte veneziana del of S. Maria di Campagna in Piacenza, built musical life by playing the organ in his be tuned at different pitches according Cinquecento (Udine, 1980, Ribis), p. 96, doc. by the Serassi brothers in 1825 and 1838, the parish church, and who took music les- to the need; having two of them instead 19, and L. Stella, “Vincenzo Colombi organ- following such devices are present: the Tim- sons from two organists, Pietro Baistroc- of one, of different sizes, expanded the aro a Venezia e la sua attività,” in L’Organo, ballone (four wooden pipes playing G-1, A-1, chi and Fernando Provesi, must have tuning range without creating excessive XXXIX (2007), pp. 47–49. B-1, and C1), the Rollante (again four pipes, had a good knowledge of the effect of the speech or volume problems. The notes 14. Zaccaria, Organi e organari in Sicilia, but of different size, corresponding to B1, C2, rolling drum and of its construction. In normally produced by these pipes rotate Docc. 27, 29, 30, pp. 137–139. C#2, and D2), and a rombo (composed of eight fact, in the fi rst scene of Act 1 of Otello, around the keys used for musical com- 15. “…quando si vol cantare motetti con wooden pipes from D1 to A1), which is acti- he requires that the organ on stage hold positions named Pastorale: G, F, D, and poche voci, & anco suonando delicatamente, vated in conjunction with the Turkish Band. si può anco con il tremolante, ma adaggio, & See O. Mischiati, L’organo di Santa Maria di the fi rst three notes of the pedalboard C. They simulated the continuous sound senza diminuire.” See C. Antegnati, L’arte or- Campagna a Piacenza (Cassa di Risparmio di (C, C#, D) for numerous measures. It of the bagpipe’s Bourdon, and music in ganica (Brescia, 1608, F. Tebaldino), c. 8 r. Piacenza, 1980), p. 34. is a dramatic beginning with “lightning, pastorale style would be improvised over 16. “…perché rende confusione & è segno 41. R. Giorgetti, Organi ed Organari a thunder, hurricane,” as specifi ed in the this background sound. This can be done che non hanno gusto di quello che fanno.” See Montepulciano (Firenze, 1994, Giorgi e introductory description; it is a natural today as well, of course, or a pastorale C. Antegnati, L’arte organica (Brescia, 1608, Gambi), p. 89. storm, which anticipates the emotional piece can be played that is compatible F. Tebaldino), c. 7 v. 42. Information kindly provided by Fran- turmoil of the leading character. The with one of the keys produced by the 17. C. Monteverdi, Sanctissimae Virgini cesco Ruffatti. In the Serassi organ of the Ca- three held notes in fact reproduce the bagpipe effect. Q Missa senis vocibus ac Vesperae pluribus de- thedral of Ragusa Ibla, there are fi ve tin pipes, effect of thunder quite faithfully. cantandae… (Venezia, 1610, R. Amadino). constituting the central section of the façade, Notes 18. “Principale e tremolare,” Monteverdi, approximately from C1 to E1 of a Principale Sanctissimae Virgini. 16′, and therefore of very large size (and ex- The Bagpipe 1. A. Banchieri, Conclusioni nel suono 19. L.F. Tagliavini, “Il Fiffaro o Registro del- pensive!), expressly and exclusively dedicated The narration of the birth of Christ dell’organo (Bologna, 1609, Rossi), “Quinta le Voci umane. Origine ed evoluzione dei reg- to this particular variant, more terminologi- conclusione dilucidata,” p. 14. istri ‘battenti’,” in L’Organo, XXXIII (2000), p. cal than anything else, of rolling drum. It is in the Gospel according to Luke tells 2. Descritione delle Feste…Per le nozze del us that among the fi rst to come to the 113, and “Registrazioni organistiche nei Mag- to be noted that Sicily, whose inhabitants are Ser[enissi]mo Pr[incipe] Odoardo Farnese… nifi cat dei ‘Vespri’ Monteverdiani,” in Rivista traditionally rather superstitious, is an area manger was a group of shepherds. The con la Ser.ma Pr.ssa Dorotea Sofi a (Parma, nativity representations obviously incor- Italiana di Musicologia, II , 2 (1967) (Atti del of intense volcanic activity, often subject to 1690), p. 24. Convegno di studi dedicato a C. Monteverdi, earthquakes, and therefore the presence of porated such features (the fi rst nativity 3. A. Conti, “Trattato dell’imitazione,” in Siena 28–30 Aprile 1967), pp. 365–371. the “Earthquake” among the organ’s special scene was created in 1223 at Greccio, in Prose e poesie, II (Pasquali, Venezia, 1756), 20. G. Diruta, Seconda parte del Transilva- effects possibly had a dual purpose—as a mu- the region of Umbria, by St. Francis of p. 109. no, Libro quarto (Venezia, 1622, A. Vincenti), sical effect and as a good luck charm! Assisi), and it is clear that the shepherds 4. Dom Bedos de Celles, L’art du facteur p. 22: “Discorso sopra il concertar li registri 43. “…A fare una battaglia con un tamburo d’orgues (Paris 1766–1778, L.F. Delatour), Pl. dell’organo” (“discussion of the use of the or- alla todescha…” See also B. Brumana, G. Cilib- who participated would carry with them XLIX , plate 9. the typical musical instruments of their gan stops”). erti, Orvieto, una cattedrale e la sua musica 5. P. P. Donati, “Note sul restauro,” in 21. In addition to sporadic earlier examples, (1450–1610) (Firenze, 1990, Olschki), p. 276. tradition: bagpipes and reed fl utes, or L’organo di Giovanni Piffero, 1519, del ciaramelle. A large number of paintings the stop Fiffaro, later called Voce Umana, 44. A. Banchieri, L’organo suonarino, Op- Palazzo Pubblico di Siena (Siena, 1983, is unmistakably documented from 1581, era Ventesima quinta (Venezia, R. Amadino, also testify to this tradition. The style Periccioli), p. 14. the year of construction of the organ at San 1611), “Quarto registro, Discorso dell’autore,” of the pastorale, literally “shepherd’s 6. “Tremolli.” See G. Vio, “Documenti di Giuseppe in Brescia, by organbuilder Gra- p. 41. This suggestion does not appear in the song,” is directly inspired by the songs of storia organaria veneziana,” in L’Organo, XIV ziadio Antegnati in cooperation with his son 1605 edition (Opera terza decima). the shepherds and by their musical in- (1976), p. 37. Costanzo. See Tagliavini, “Il Fiffaro o Registro 45. Culley, “Organari fi amminghi,” p. 222. 7. “…fl auto alla todisca cum soi tremo- delle Voci umane,” pp. 109–248. 46. Bedos de Celles, L’art du facteur d’orgues struments. One of the characteristics of lanti.” See G. Dispensa Zaccaria, Organi e the bagpipe—commonly referred to in 22. R. Lunelli, “Descrizione dell’Organo di (Paris, 1766–1778, L.F. Delatour), III partie, organari in Sicilia dal ’400 al ’900 (Palermo, Como e l’attività italiana di Guglielmo Her- XXIII indication, Pour imiter le fl ageolet: “On Italian as cornamusa, but also found as 1988, Accademia nazionale di scienze, lettere müsa, baghet, and piva, just to mention a mans,” in Collectanea Historiae Musicae 2, mettra au grand Orgue la Quarte [de Nasard, e arti), Doc. 24, p. 134. 1956, p. 276. 2′] & la Doublette [2′]; & au Positif les deux 8 few of the original dialect-derived names 8. “…reducendo fi faros tremulos ad 23. Th. Culley, “Organari fi amminghi a S. pieds pour l’accompagnemen,” p. 532. that were given to several instruments, usum modernum…” See also O. Mischiati, Apollinare a Roma – I,” in L’Organo V (1964– 47. Both instruments were restored by all similar but sometimes incorporating “Vicende di storia organaria” in Storia della 1967), p. 95. Fratelli Ruffatti in 2003–2004. marginal construction differences—is musica al Santo di Padova a cura di Sergio 24. Zaccaria, Organi e organari in Sicilia, 48. “Il tamburo va suonato a botte, e non te- the presence of at least one Bourdon Durante e Pierluigi Petrobelli (Vicenza, 1990, Doc. 56, p. 163. nuto che disturba.” See also V. Giacobbi and Neri Pozza) (Fonti e Studi per la Storia del 25. “…ocellj…” See also G. Spanziani, O. Mischiati, “Gli antichi organi del Cadore,” pipe, which produces a drone. In the Santo a Padova), X, 6, pp. 163–164. year 1544, Vincentio Beltramo from the L’organo ad Ascoli Piceno dal XV al XIX sec- in L’Organo III (1962), p. 57. 9. “…che sia adaptato il tremolo che faci olo. Capitoli di storia organaria ascolana at- 49. San Servolo martire, op. 287, built in Burgundy region of France specifi es the lo effetto del fi faro.” See also O. Mischiati, 53 traverso i documenti d’archivio e gli strumenti 1791, Buje (Istria). See G. Radole, “L’arte or- Zampogne (bagpipes) in the contract L’organo della Cattedrale di Feltre (Bologna, superstiti (Grottammare, 2001, Stamperia ganaria in Istria,” in L’Organo VI (1968), n. dell’arancio), p. 71 1, p. 94; Collegiata di S. Stefano, Monte San 26. G. Vale, “Contributo alla storia Giusto (Macerata), op. 308, built in 1792, per- dell’organo in Friuli,” in Note d’archivio per sonally recorded; Pieve di S. Maria Assunta, la storia musicale, IV (1927), p. 95. Candide (Belluno), op. 367, built between 27. An example can be found in the organ 1797–1799. See Giacobbi and Mischiati, “Gli of an unknown builder, manufactured in the antichi organi del Cadore,” p. 54 (n. 4). 17th century for the Mother Church of Nica- 50. U. Pineschi, “L’uso dei registri stro (Catanzaro), restored by Fratelli Ruffatti dell’organo Pistoiese nei secoli XVIII e XIX,” in 1981, which has fi ve nightingales, one for in L’Organo XII (1974), p. 10 (n. 8). each of the fi ve sections of the façade. 51. G. Berbenni, “Serassi e l’arte organaria 28. An organbuilder of Flemish origin also fra sette e ottocento,” in I Serassi e l’arte or- known as Vulfangh or Vincenzo Fiamengo. ganaria fra Sette e Ottocento (Atti del Con- See also Th. Culley, “Organari fi amminghi vegno internazionale di studi, Bergamo 21– a S. Apollinare a Roma – I,” in L’Organo V 23 aprile 1995) (Bergamo, 1999, Carrara), (1964–1967), p. 97. pp. 29 and 33. 29. B. Brumana, G. Ciliberti, Orvieto, una 52. Castelli, Norme generali, p. 13. cattedrale e la sua musica (1450–1610) (Fi- 53. G. Spaziani, L’organo ad Ascoli Piceno renze, 1990, Olschki), p. 276. dal XV al XIX secolo. Capitoli di storia or- 30. Culley, “Organari fi amminghi,” no. 2, p. ganaria ascolana attraverso i documenti 223. d’archivio e gli strumenti superstiti (Grottam- 31. Lunelli, “Descrizione dell’Organo di mare, 2001, Stamperia dell’arancio), p. 71. Como,” p. 275. 32. U. Pineschi, “L’uso dei registri Fabrizio Scolaro has studied organ, harp- dell’organo Pistoiese nei secoli XVIII e XIX,” sichord, and composition at the conserva- in L’Organo XII (1974), p. 19. tories of Bologna and Vicenza, and with 33. Ibid., p. 9 (no. 6). Harald Vogel, Michael Radulescu, Luigi 34. Ibid., p. 10 (no. 8). Ferdinando Tagliavini, Monika Henking, 35. Ibid., p. 12 (no. 15). Ton Koopmann, and Jordi Savall. He has 36. The originals were unfortunately lost, been a teacher of organ for several years, and only their stop controls and original labels and is involved in concert activity both as a survived; they were therefore reconstructed soloist and with chamber orchestras. Every during restoration. The two nightingales and Sunday he plays the G. Cipri organ (1556) the passeri (sparrows) are uccelliere built in of the Basilica di San Martino in Bologna. the traditional form, only the number of pipes Since 2000, he has worked in the voicing de- changing (5, 3, and 10, respectively) and the partment of Fratelli Ruffatti, organbuilders type of control (lever with latching notch for of Padova, Italy, as a reed and fl ue voicer the fi rst nightingale and the sparrows, lever and tonal fi nisher, both in the fi eld of histori- without latching notch for the second night- cal restorations and new instruments. ingale). The two crickets are made each with two 1/8′ pipes tuned slightly differently. In this case also the difference is in the action: with This article will be continued. a latching notch for the fi rst, without for the second. The Speranza (local name probably
24 THE DIAPASON
July 2011 pp. 20-24.indd 24 6/9/11 1:51:01 PM Ayo Bankole’s FESTAC Cantata: A Paradigm for Intercultural Composition Godwin Sadoh
FESTAC Cantata No. 4 los, trumpets, euphonium, triangle, and Out of all his numerous compositions, bass guitar, while the Nigerian tradi- the last work written by Bankole shortly tional instruments include sekere (shak- before his untimely death was the FES- ing idiophone or gourd rattle), high- and TAC Cantata No. 4 for soloists, chorus, medium-pitched agogo (hand bell), organ, orchestra, and Nigerian tradi- small and large ikoro (slit-drum), iya- tional instruments. According to Afolabi ilu dundun (talking drum or hourglass Alaja-Browne, the FESTAC Cantata was tension drum), and gudugudu (single- commissioned in 1974 by the Nigerian headed kettle drum). The text of the Broadcasting Corporation in commemo- entire cantata is derived from the Old ration of the Second World Black and Af- Testament (Psalms 14, 24, 53, and 91). rican Festival of Arts and Culture (FES- Indeed, the FESTAC Cantata is a truly TAC).1 The festival took place in 1977 in multicultural composition. Lagos, Nigeria, one year after Bankole’s Structurally, Cantata No. 4 is divided demise. The cantata was actually pre- into twelve sections. The opening in- miered in 1976 at the Cathedral Church strumental overture is written for or- of Christ, Lagos, under the direction of gan, trumpets, fl utes, and clarinets. It is the composer. The soloists included Tope in the style of a typical French overture Williams, bass, and Joy Nwosu Lo-Bami- in three distinct sections, but having a joko, soprano. The choir was from the very slow trumpet fanfare as introduc- Baptist Church in Lagos, where Bankole tion. (See Example 1. Bankole, Over- was the organist and choir director. The ture [from FESTAC Cantata No. 4], cantata is one of Bankole’s most mature mm. 1–21, on page 26.) The fanfare works and represents a summation of his from the Largo introduction transforms entire creative experience in the art of into the principal theme played by the intercultural composition. euphonium in the A section Andante, This composition demonstrates while the fl utes play fast-moving eighth Bankole’s fl uency in both the European notes over the theme. The fl utes’ tune is convention and Nigerian traditional a diminution of the ostinato of the tenor music. The use of Western forms such and bass voices in Fun Mi N’Ibeji Part as overture, fugue, and aria, along with II, another choral work by Bankole. The techniques such as orchestration, con- euphonium plays the principal theme trapuntal devices, chromatic passages, in the bass. The B section, Allegretto, tonal shifting, atonality, pandiatonicism, scored for organ and fl ute solo, is based and polytonality attest to his mastery of on a phrase heard in several keys with Western classical music theory. In terms the use of sequences. From measures of Nigerian traditional practice, Bankole 87 to 95, the principal theme from the draws from his vast experience with vari- A section reappears in modifi ed form. ous types of indigenous creative proce- The A section Andante returns to close dures to bring the music to its cultural the overture, but this time played only roots and attract the Nigerian audience by the organ. to it. The Western orchestra in Cantata The second section of the cantata is No. 4 consists of fl utes, clarinets, picco- a tenor recitative and chorus. The tenor Ayo Bankole at the Guildhall School of Music, London, 1960s
horal music in Nigeria can be broadly his studies at Guildhall, Bankole experi- C divided into two categories: (1) tra- mented with advanced techniques based ditional choral repertoire, and (2) West- on twentieth-century tonality. ern-infl uenced choral works known as After four years of study at Guildhall, Atlanta modern Nigerian art songs. Traditional Bankole proceeded to Clare College, choral singing can be observed in nam- Cambridge University, London, where ing ceremonies, funeral rites, religious he obtained a B.A. degree in music in Chapter, worship, children’s activities, folk tales, 1964. While at Cambridge as an organ royal events, wedding ceremonies, and scholar (1961–1964), Bankole earned AGO at recreational gatherings. The perfor- the prestigious Fellowship of the Royal mance techniques of indigenous choral College of Organists (FRCO), making songs include call-and-response, hand him the second Nigerian after Fela So- clapping, dancing, and instrumental ac- wande to receive the highest diploma Announces companiment supplied by diverse kinds in organ playing given in Great Britain. of drums, iron bells, sekere [maracas], At the end of his training at Cambridge or other types of idiophones such as University in 1964, Bankole received a The bottles, calabash, sticks, and wooden Rockefeller Foundation Fellowship to clappers. On the other hand, Western- study ethnomusicology at the University infl uenced choral works are usually of California, Los Angeles. Taylor Organ performed in churches, colleges and After a brief service at the Nigerian universities, and public concerts. This Broadcasting Corporation (now Federal Competition article discusses the imprint of Euro- Radio Corporation of Nigeria) in Lagos, pean and Nigerian musical elements in he was appointed in 1969 to the position Ayo Bankole’s FESTAC Cantata. of Lecturer in Music at the University of Lagos, where he embarked on in- Short biography depth research on Nigerian traditional Saturday, April 21, 2012 Ayo Bankole was born on May 17, music and presented scholarly papers at 1935, at Jos, in Plateau State of Nige- conferences. At the University of Lagos, Open to individuals born after June 1, 1989 ria. He was a chorister at the Cathe- Bankole combined the roles of music dral Church of Christ, Lagos, in the educator, composer, choral conductor, 1940s, under Thomas Ekundayo Phillips performer, and musicologist. Bankole (1884–1969), the then organist and mas- composed for several musical genres, ter of the music. It was Phillips who gave including organ, piano, choral works, Prize Prize Bankole his early musical training in mu- and solo art songs. He did not write any $10,000 and $5,000 sic theory, piano, and organ. In August purely orchestral pieces, except choral a solo recital 1957, Bankole left Nigeria on a Federal works accompanied by the orchestra. in Atlanta Government Scholarship to study music Unfortunately, Bankole was brutally at the Guildhall School of Music & Dra- murdered by his own half brother in ma, London, where he concentrated on Lagos in 1976, while he was still in his Application deadline piano, organ, and composition. During creative prime. October 11, 2011 For complete details including repertoire, please see www.taylororgancompetition.com
www.agoatlanta.org
JULY, 2011 25
July 2011 pp. 25-27.indd 25 6/9/11 1:51:53 PM Example 1. Bankole, Overture (from FESTAC Cantata No. 4), mm. 1–21 Example 2. Bankole, Chorus (from FESTAC Cantata No. 4), mm. 264–266
tata, the ege or oriki is in praise of God pet employed in this section is capable Almighty. It sings of God’s power over of producing several notes, Bankole as- nature and humankind, and his ability to signs only three notes to it as observed in fulfi ll his promises (this is the choral rec- Nigerian traditional music. Section nine itative sung by the sopranos and altos). closes with the full orchestra playing ff. The ege is chanted by a soprano or tenor Section ten of the FESTAC Cantata is soloist. It is not written down in the score made of multiple chorus units and it is as practiced in the oral tradition of the accompanied by organ, fl ute, bass guitar, Yoruba, and consists of fi ve-verse poetry, and improvised drums. It is structurally with each verse separated by the choral formalized into three main units: recitative of the female voices. A – Soprano solo, tenor solo, SA cho- Section nine of the cantata is an in- rus, and TB chorus (mm. 582–608) strumental Andante scored for trum- B – Duet between soprano and tenor, pet, agogo, triangle, gong, sekere, wood alto solo and chorus (mm. 609–618) solo that is accompanied by organ sings The aria is accompanied with a passaca- block, small and large ikoro, ogido (an- A – Soprano solo, tenor solo, SA cho- “Onare o, enikan o mo, Awamaridi ni” glia theme on the organ and clarinet. The other type of slit-drum), and iya-ilu. rus, and TB chorus (mm. 619–634). (“Nobody knows your ways, they are passacaglia helps to maintain the phras- This is an instrumental interlude in Section eleven of the cantata is writ- mysterious”). The vocal melody starts in ing of the vocal line and to reinforce the the cantata, similar to the “Sinfonia” or ten for a bass solo with chorus. (See C major but modulates to F in m. 136 harmonic progression of the entire mu- “Pastoral Symphony” in Handel’s Mes- Example 3. Bankole, Bass Solo [from to prepare the incoming chorus for its sical fabric. As in most passacaglias, the siah. “Inter” culturalism is further bro- FESTAC Cantata No. 4], mm. 645–654, tonal center. The fi nal chorus is accom- theme moves between the pedal and the ken down in Bankole’s cantata into “in- on page 27.) panied with agogo, playing the popular manuals of the organ. The passacaglia is tra” culturalism. The variety of musical The fi nal section of the FESTAC Can- West African time-line pattern (a.k.a. the coated with various shades of harmonic resources in this section displays an ar- tata is based on Psalm 24. It consists of konkonkonlo rhythm among the Yoruba colors and diverse rhythmic fi gurations ray of instruments from the three major an instrumental introduction and cho- of southwest Nigeria). to embellish the repetitions, develop the ethnic groups in Nigeria: the trumpet ral fugue. The introduction is a fanfare The third section of the cantata is an thematic material, and to create contrast (Algaita) is from the northern region; for trumpets and organ conceived in instrumental Allegro scored for several between each appearance of the theme the gong and ikoro are often found in bitonality, where the trumpet plays in Nigerian traditional instruments, West- in different sections. the music of the Igbo from the southeast D major and the organ is in C major. ern fl utes, and clarinets. It opens with (See Example 2. Bankole, Chorus region, while the sekere and agogo are The choral fugue follows the structure the sekere and agogo, followed by small [from FESTAC Cantata No. 4], mm. commonly featured in the music of the of a standard fugue. The low brass in C ikoro, and later enters large ikoro, gugu- 264–266.) Yoruba region of southwest Nigeria. major introduces the fugue theme from gudu, and fi nally the full orchestra plays The seventh section of the FESTAC Of all the orchestral instruments, the measures 833 to 840. to the end. The fourth section of the Cantata is a chorus, “O nse kisa, Olo- trumpet, agogo, and sekere are more ac- In the exposition, the tenor and bass FESTAC Cantata is a chorus, “Nitori iwo run Oba” (“God the king performs won- tive, playing repetitive rhythmic and me- fi rst sing the subject, while the soprano Oluwa” (“Because of you Lord”) accom- ders”), accompanied with improvised lodic phrases all through. The trumpet and alto sing the answer. (See Example panied by brass, fl ute, euphonium, clari- drumming, sekere, trumpet, and organ. melody consists of a three-note phrase— 4. Bankole, Choral Fugue [from FES- net, and organ. All the instruments come The eighth section is exclusively tra- B, G, D—with the exception of measure TAC Cantata No. 4], mm. 841–851, on in at various points, while the organ plays ditional Nigerian. It demonstrates the 555 where it plays the only E. Most tra- page 27.) In the episode, the SA cho- through the entire section. Section fi ve is composer’s experience, expertise, and ditional fl utes in Africa have three to fi ve rus and soprano solo present the fugue a soprano recitative and duet accompa- musicological research into the tradi- holes, meaning that they can effectively theme in C major. In the keys of G and nied only by organ and sekere. tional music of the Yoruba culture. It is play three to fi ve notes. Additional notes E major, soprano solo and contralto solo Section six is a tenor aria preceded by an ege (a.k.a. oriki, a praise chant) and is can be realized on such instruments by with SATB chorus exchange the fugue a fanfare played by two trumpets. The accompanied only by sere that is shaken overblowing. Bankole understands the theme “Ti Oluwa ni ile” (“The earth is the aria is not consistent with the formal all through the section. Ege is a chant to theory behind the organology of tra- Lord’s”) from measures 920 to 945. The structure of a seventeenth-century aria be performed by an experienced praise ditional African instruments. Thus, in fi nale presents the last entry of the fugue (ABA); rather, it is through-composed. singer. In the eighth section of the can- spite of the fact that the Western trum- theme from measure 1043 in the SATB
AHIGHER L EVEL of E XCELLENCE
Great musicians need extraordinary instruments to deliver magnificent performances.
P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com
26 THE DIAPASON
July 2011 pp. 25-27.indd 26 6/9/11 1:53:21 PM Example 3. Bankole, Bass Solo (from FESTAC Cantata No. 4), mm. 645–654 Example 4. Bankole, Choral Fugue (from FESTAC Cantata No. 4), mm. 841–851
chorus, while the soprano solo, alto solo, Floyd Jr., Samuel. International Dictionary of and tenor solo sing a new phrase, “O nse Black Composers. Chicago: Fitzroy Dear- kisa, Olorun Oba” (“God the king, does born Publishers, 1999. wonders”) over the fugue theme. The trio Sadoh, Godwin. “A Profi le of Nigerian Organ- ist-Composers.” The Organ 82, No. 323 solos close the singing segment with the (Feb–March 2003): 18–23. fugue theme in augmentation. There is ______. “A Profi le of Nigerian Organ- a stretto between the tenor and bass solo ist-Composers.” The Diapason, Vol. 94, in measure 1033. The FESTAC Cantata No. 8 (August 2003): 20–23. closes with an instrumental postlude for ______. “Hybrid Composition: An Bankole at the Italian Embassy, Lagos, Nigeria, 1972 organ, piccolo, fl utes, clarinets, trumpets, Introduction to the Age of Atonality in euphonium, bass guitar, triangle, agogo, Nigeria.” The Diapason, Vol. 97, No. 11 performance, composition, and ethnomusicol- ists Journal, The Hymn, NTAMA, Musical sekere, ogido, and iya-ilu dundun from (November 2006): 22–25. ogy. He is the fi rst African to receive a doc- Times, Vox Humana, and the Contemporary Southern, Eileen. Biographical Dictionary measures 1063 to 1086. of Afro-American and African Musicians. toral degree in organ performance from any African Database. Sadoh’s compositions have London: Greenwood Press, 1982. institution in the world. Sadoh is the author been published, recorded, and widely per- Conclusion Uzoigwe, Joshua. “Nigerian Composers and of six books and his scholarly essays on Ni- formed all over the United States, Canada, Ayo Bankole’s FESTAC Cantata rep- Their Works.” Lagos, Nigeria Daily Times, gerian music appear in various journals and Europe, and Africa. He has taught at numer- resents one of the fi rst experimental at- August 25 and September 1, 1990. magazines, including Africa, Composer-USA, ous institutions such as the Obafemi Awolowo tempts by a twentieth-century composer Living Music, Choral Journal, Organ Ency- University, Nigeria, the University of Pitts- in Nigeria to successfully incorporate Godwin Sadoh is a Nigerian organist-com- clopedia, Percussive Notes, MLA Notes, The burgh, and the University of Nebraska-Lin- Western and indigenous Nigerian instru- poser, pianist, choral conductor, and ethno- Organ, The Diapason, Organists’ Review, coln. Sadoh is presently a Professor of Music ments as well as creative procedures in musicologist with degrees in piano and organ Organ Club Journal, Royal College of Organ- at Talladega College. a large major choral work. Bankole suc- ceeded in creating a truly multi-cultural work that freely conjoins elements of two musical worlds to create such mas- 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ sive choral music. Bankole demonstrates his mastery of Western art music and DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX indigenous Nigerian music in the way 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV that he meticulously crafted this master- piece into one organic entity. The way ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG he shaped and molded the two cultures OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV together in this work shows that Bankole remains a force to be reckoned with in &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK the fi eld of modern Nigerian music and intercultural musical composition.2 Q 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ WKHLQVWDOODWLRQ Notes 1. Afolabi Alaja-Browne, “Ayo Bankole: His Life and Work” (M.A. thesis, University of Pittsburgh, 1981), 74. 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX 2. For further reading on the life and mu- PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW sic of Ayo Bankole, see Godwin Sadoh, Inter- cultural Dimensions in Ayo Bankole’s Music 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations (New York: iUniverse Publishing, 2007). FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions Bibliography Alaja-Browne, Afolabi. “Ayo Bankole: His Solutions for Old Pipe Organs Life and Work.” M.A. thesis, University of Pittsburgh, 1981. De Lerma, Dominique-René. Bibliography of Black Music, Vol. 3: Geographical Stud- ies. Connecticut and London: Greenwood Press, 1982.
Check the latest news, search The Diapason archives, calendar of events, classifi ed ads and more: www.rodgersinstruments.com www.TheDiapason.com
JULY, 2011 27
July 2011 pp. 25-27.indd 27 6/9/11 1:53:55 PM J. L. Krebs: Borrower Extraordinaire Jonathan B. Hall
he free organ works of Johann The fi ve preludes and fugues published Example 1. Opening of prelude, BWV 549 T Ludwig Krebs (1713–1780) are emi- by Zöllner do not display any overstressed nently enjoyable to learn, perform, and evidence of Krebs attempting to emulate listen to. They are available to any well- Bach’s style of writing. In this respect it is perhaps of interest to cite Spitta who re- trained organist willing to invest dutiful marks that, although Krebs was fond of practice. They pose no particular conun- imitating the thematic material and adopt- drums of registration. They please almost ing in full the form of Bach’s works, he nev- any audience. In a nutshell, they’re good ertheless displays a certain originality.2 music. It seems unfair to point out that they simply aren’t as great as the works The impression is given—confi rmed upon of Johann Sebastian Bach, who taught examination of the pieces—that Zöllner Example 2. Opening of Krebs C minor (volume II) two generations of Krebses (Johann got the “most unique” [sic] pieces, and Ludwig and his father, Johann Tobias). Tittel must labor to justify the works that What organ music, after all, is as great as have fallen to him. Both editors sense an Bach’s? The composers certainly refl ect uncomfortable proximity; but it was not a similar idiom—breathe the same air. the job of either to analyze it. The infl uence of teacher on student, and their shared culture, is abundantly clear. Praeludium und Doppelfuge Indeed, it often seems more than Regardless, there are strong echoes of clear. Anyone who is well acquainted Bach in both volumes; perhaps more so with Bach’s free organ works will fi nd in Volume II, but perhaps more interest- more than a shared Zeitgeist with his ingly in Volume I. Consider the Prae- Example 3. Fugue subject, BWV 549 student. One can often identify a clear ludium und Doppelfuge in F minor, Vol- model for a given Krebs work. It is in- ume I, page 16 ff. The parallels between teresting, even amusing, to walk through the prelude and the Prelude in B Minor, the two volumes published by Peters and BWV 544, are immediately apparent. note which Bach works leap to mind on There is a strikingly similar employment page after page. of 32nd notes; there is almost-identical Example 4. Fugue subject, Krebs C minor (volume II) However, a closer look reveals that passagework in the pedals; there is the Krebs’s musical borrowing is far sub- same thinning-out of texture. Above all, tler than it fi rst seems. While certain there is the same high tragic tone. What ideas are clearly taken from Bach, oth- spares the piece the stigma of plagiarism ers are just as conspicuously left out. is, in part, the very different harmonic So much quotation, in such a little 4). The surprise is that the fugue turns Further, in a given piece, there is of- profi le of the opening: where Bach of- space, from such disparate works! It is out to be a double fugue, much closer in ten more than one Bach model in evi- fers dialogue, Krebs restates his theme fair to infer that Krebs was so full of Jo- form and style to the “Legrenzi,” BWV dence. Understanding this is the key to repeatedly, in a lower register each time. hann Sebastian Bach that there wasn’t 574, among others. (This fugue, as well, a really fruitful engagement of Krebs, Texturally, as well as rhetorically, there is always room for himself: so far from “the begins with a repetitive subject.) As we not as a second-rate Bach or copycat, not a great deal of difference. only Krebs in the Bach,” sometimes only have seen before, the prelude-fugue pair but as an original artist, fully a product Meanwhile, the fugue bears no resem- Bach was in the Krebs. does not look to the same model. (almost the only product) of the “Bach blance at all to the B-minor fugue; that I have noticed a general tendency Meanwhile, gone altogether from School.” Though he was pervasively emulative honor goes to the double fugue for Krebs not to use the same model Krebs are the North German stylus infl uenced by his great teacher, this in D minor in the same volume, page 58 for both halves of a prelude-fugue pair. fantasticus sections that feature promi- should not lead us to dismiss his work ff. Here, the theme is constructed of Whether this comments on his sense of nently in all three of his models, the as altogether derivative. It is not. It just conjunct eighth-note motion, like the Bach’s intended pairings or lack thereof, prelude and both fugues. What Krebs sounds that way . . . at fi rst. fugue of 544. This fugue, however, con- is the matter of another study. In gen- consistently omits to borrow is just as tains a remarkable string of quotations in eral, though, he tends not to imitate the intriguing as what he uses—here, the Editions its midst. Starting in measure 192, there pairs as we have received them. I note archaic features of the early Bach can- The best source for the free organ works is an unmistakable parallel to measures a few possible exceptions to this. First, on. There are, for example, no showy is the two-volume Peters edition. The vol- 51–53, inter alia, of the “Wedge” pre- the Prelude and Fugue in E Major, in showers of passagework at the fi nal umes appeared widely spaced in time: lude, BWV 548, followed immediately by Volume I, starting on page 1, is perhaps cadences. The pieces, rather, show a the fi rst, edited by Walter Zöllner, dates a clear reference to the ending measures reminiscent of the F-major toccata BWV marked preference for straightforward, back to 1938; the second, by Karl Tittel, to of the C-minor Passacaglia, just before 540, albeit with antiphonal effects remi- even unsentimental conclusions. 1974. Both editors are a bit nervous about the thema fugatum (measures 194–196 niscent of the “Dorian” toccata BWV So, in Krebs’s C-minor prelude and the family resemblance between Krebs’s in Krebs, 165–168 in BWV 582). Just 538. The fugue, appropriately enough fugue, we have a prelude that clearly ref- works and Bach’s. Zöllner writes: “In the as this latter quotation concludes, the for either model, is cast in a vocal, stile erences a Bach prelude, and a fugue that present selection, we have not included second theme of the double fugue is an- antico fashion, at least up to a point. betrays an intertextual web of references. works which are too obviously founded on nounced: the same material as Bach, at Also, in Volume II, the D-major (page (Intertextual: a term from literary criti- a Bach model . . . ”1 Tittel writes: the same structural point. 1 ff.) seems exuberantly modeled on the cism, applied to music by such theorists G-major, BWV 541, start to fi nish. (This as Robert Hatten. He distinguishes one prelude and fugue has long been the kind of intertextuality, called strategic, author’s personal favorite.) where specifi c quotations or references are marshaled; from another called sty- Prelude and Fugue in C Minor listic, a pervasive and general spirit of In Volume II, some of Krebs’s borrow- reference.3) ings are obvious. Consider his Prelude and Fugue in C Minor, overtly modeled Prelude and Fugue in A Minor on Bach’s C-minor Prelude and Fugue Another prelude-fugue pair of Krebs, (also in D minor), BWV 549/549a. The in A minor (volume II, page 23), shows similarity is clear at the outset, with a the same approach to borrowing. The pedal exordium that is almost directly prelude is easily mapped: it is solidly copied (Examples 1 and 2). Krebs’s fugue based on the Toccata in F, BWV 540. subject, while shorter than Bach’s, uses a The time signature is the same, as is the similar antecedent-consequent, or “ques- opening passagework over a tonic pedal. tion and answer” format (Examples 3 and After some time spent with canonic man-
28 THE DIAPASON
July 2011 pp. 28-29.indd 28 6/9/11 1:55:11 PM Example 5. Fugue subject, BWV 546 through-composed, Krebs simply “fol- achieved, perhaps pointing towards an- lowing his bliss.” other esthetic altogether. Ironically, Krebs has another fugue, But therein also lies a precious insight. formerly attributed to Bach as BWV Anh. A sympathetic student of Krebs should 181, in A minor, which is unmistakably not hold the composer up to comparison Example 6. Fugue subject, Krebs A minor (volume II) indebted to the “Wedge” for its theme with Bach; would you like that standard (Example 9). But to return to the fi rst applied to you? Rather, one should try A-minor fugue: to be sure, Krebs honors to see past the borrowings—the persis- what by his day was a set rule of fugue tent sense of pastiche—and try to hear writing, when he enters his theme in four what Krebs is trying to say. If this can be voices and follows with an episode. The done—if one can hear Krebs despite the Example 7. BWV 548, measures 59–60 basic model of theme–episode–theme echoes—the organist will sense a kin- informs the strictly fugal sections of the dred spirit, and can, I believe, really start work, with a soupçon of virtuosity in the to enjoy this repertoire. middle. (BWV Anh. 181, by contrast, is Johann Ludwig Krebs outlived Bach an orthodox Spielfuge, with neither in- by a good 30 years, and Bach was widely terludes nor ritornelli.) considered conservative, even dated, in his day. In his awkwardness with fugal Differences in contrapuntal form—in his frequent overreaching and treatment lack of formal plan—was Krebs looking Another feature lacking here—as in forward, even as he thought he was look- most of Krebs’s organ works—is any of ing back? the contrapuntal pyrotechnics expected Also, in encountering the organ works Example 8. Krebs A minor, measures 91–92 (Volume II) in Bach. There are no sudden and sur- of Krebs one has an opportunity to hear prising inversions, augmentations, or something much closer to the main- retrogrades. There is no stretto. There stream. What was it really like to go to are none of the superlative eruptions of church in Germany in the long afterglow chromaticism that Bach dishes out so in- of Bach, and hear one of the best prac- imitably in the fi nal bars of so many of his titioners at work, playing with Kraft and best pieces.4 (When, on very rare occa- Feuer? With genius comes a certain iso- sion, Krebs sets a theme in inversion, he lation; Krebs may be more representa- announces it all over again, while calling tive of the norm than the transcendental attention to the technique with a super- Thomaskantor could ever be. scription.5) Whether Krebs lacks the in- There is in Krebs’s music a joy, an clination for harmonic and contrapuntal exuberance, an earnest good nature, that Example 9. Subject, Krebs A-minor fugue, BWV Anh. 181 pyrotechnics, or the chops, is an interest- should be judged on its own merits. The ing question. shadow of a genius makes a brilliant man We do know that, by the time the third almost disappointing. It takes empathy fugal voice has entered in measure 17, to accept the clear Bach references in the piece has yielded up its last surprise, Krebs, and then hear past them to a dis- unless the B section is surprising. We tinctive and strangely fresh voice. Q ual fi gurations, there is—guess what?—a complex architecture. Astoundingly, the cannot evade the implicit judgment of pedal solo! There are many harmonic entire exposition is repeated, sonata-like, Art, which teaches us that it is nobler to Notes divergences between the two, though giving the whole a vast ABA form. In the bring much out of little than the reverse. 1. Preface to Volume I, Edition Peters sequences involving third-inversion sec- B section, the Vivaldian model prevails, It has to be said candidly, if with regret, 4179, 1938. 2. Preface to Volume II, Edition Peters ondary-dominant harmonies are highly with alternations between concertino that this fugue is at least to some extent 8122, 1974. evocative of the model. The piece is well passagework and the ripieno return of an exercise in parvum in multo. 3. Robert Hatten, “The place of inter- crafted and exciting, and would doubt- the subject. Further reiteration of this I have not, by any means, fully explored textuality in music studies,” American Jour- less have a secure place in the canon, if information is needless. the intertextual ground of Krebs’s free nal of Semiotics 3.4 (1985): 69–82. Cited in only we could forget about Bach! While Krebs’s passagework, running organ works. Further examples could Robin Elliott, “Intertextuality in R. Murray So much for the prelude. The fugue is from m. 91 to 116, certainly looks and have been cited; many another paper Schafer’s Adieu Robert Schumann,” Institute another matter altogether. Here Krebs’s feels “Wedge-like,” the resemblance could be written. The question should for Canadian Music Newsletter 1.3 (Septem- borrowing is again very different, much turns out, again, to be only skin-deep. also be asked: how are these pieces dif- ber 2003), 3–12. 4. For examples of “superlative eruptions subtler, and quite interesting. We have For one thing, the fugue’s overall ar- ferent? Critics speak of an emerging clas- of chromaticism,” see the endings of, for ex- nothing even remotely resembling the chitecture is completely different from sical style in Krebs, a new architecture ample, the great Kyrie, Gott, heiliger Geist; fugue that follows the Bach toccata. The that of the “Wedge.” There is no return no longer sure what to do with Baroque the three-verse O Lamm Gottes, unschuldig; A-minor fugue is not a double fugue, to the exposition; the form is not ABA, building materials. There is some truth the Allabreve in D; the Crucifi xus from the nor does it contrast alla breve and stile but ABC. Krebs works with his theme to this. There are passages where Krebs B-minor Mass; the adagiosissimo moment in nuovo. If anything, its theme bears a for a while, takes a break, and then car- almost seems to be marking contrapun- O Mensch, bewein; and others. slight resemblance to BWV 546 (Exam- ries on again, much as if to say, “Now, tal time, far more interested in harmony 5. See, for example, Volume I, p. 66, m. 287. ple 5)—but it lacks the melodic coher- where was I?” But in the B section it- or emotional content. For this author, ence and harmonic promise of its model self, there is neither any symmetry nor much of the previously discussed fugue Jonathan B. Hall, FAGO, ChM, is the au- thor of Calvin Hampton: A Musician Without (Example 6). any returns of the theme. Scalar pas- in A minor (see, in particular, measures Borders and of many articles on the organ and This is not a great, or even particularly sages in the circle of fi fths yield to or- 156 ff.) fi ts this description. Little is ac- sacred music. He is past dean of the Brook- good, subject. The coiled watchspring of namental fi gurations over an ostinato complished of contrapuntal moment; lyn AGO chapter, director of music at Central the Bach theme has been unwound, its pedal. The B section then itself takes an the right-hand part feels almost crude. Presbyterian Church, Montclair, New Jersey, potential energy lost. The main charm of AB form. Meanwhile, the outer wings At times, one almost wishes for a damp- and teaches music theory at the Steinhardt Krebs’s theme consists in its more-than- of the work—sections A and C—are er pedal! Yet a certain mass of sound is School of New York University. fair share of surprises, most of them in- tervallic. In eight measures, we have an augmented second, a diminished fourth, two diminished fi fths, and two octave leaps! But rather than conjure magic from simple means, Krebs offers us a few striking thematic peculiarities up front, and makes comparatively little of them. Similarly, his rhythmic profi le can’t (or won’t) settle between stile antico and a kind of emergent classicism. This theme admits of a real answer in the dominant, yet for some reason Krebs gives it a tonal answer in the subdomi- nant. This choice—which strikes one as capricious—is no borrowed Bachian gambit. If anything, it is a minor mile- stone of changing musical style. Its very capriciousness, like that of the theme, is mannered, an affected neurosis, the handling of a musical form no longer instinctively understood. Finally, the keyboard idiom is noticeably awkward throughout—a marked contrast to the fl uency of the toccata. (One can almost hear Krebs exclaim, “Fugues were sup- posed to be weird!”) Thus far, insofar as borrowing is con- cerned, we have little to go on, except an echo of a quotation and a familiar stylistic context: both strategic and sty- listic intertextuality. But at measure 91, we run abruptly into another Bach model—once again, the “Wedge” fugue (Examples 7 and 8). The “Wedge” is of course the subject of many a study; one of its most-celebrated attributes is its
JULY, 2011 29
July 2011 pp. 28-29.indd 29 6/9/11 1:55:32 PM Cover feature
A. E. Schlueter Pipe Organ Compa- screen was incorporated into the center ny, Lithonia, Georgia section of the upper organ case. Hendricks Avenue Baptist Church, The completed organ is 60 ranks, di- Jacksonville, Florida vided among three manual divisions in The early morning hours of December the chancel and a fl oating Antiphonal 23, 2007 were of signifi cance and great division in the rear of the church. My loss for the Hendricks Avenue Baptist specifi cation and scaling for this instru- Church. Due to contract negotiations ment has its roots in American Classi- with the symphony, the then-locked-out cism, with an emphasis on the English musicians of the Jacksonville Symphony elements found within this stylistic Orchestra performed at Hendricks Av- construct. All of the organ divisions are enue Baptist Church with a “Messiah weighted around 8′ chorus structure. Sing” on the evening of December 22. The Great is designed around a diapason The proceeds of this performance were chorus that has richness and warmth but to benefi t the Health and Welfare fund that still maintains clarity in its phras- of the members of this institution. This ing. The Swell features an independent was the last performance ever held in 8′ Principal, which allows the 8′ Swell the sanctuary. Sometime in the morning string scales to be narrower, since these hours of the 23rd a fi re started and in a stops do not need to provide the core 8′ matter of hours consumed the church to fl ue foundation. The Gemshorn in the the foundation. On the brink of Christ- Choir is generously scaled, with a wide mas, the stunned members and staff as- mouth to support a function in this di- sembled on the church grounds in front vision analogous to a foundational Spitz of the still-smoldering pyre of their sanc- Principal. The mixtures in the enclosed tuary, to console, pray, and plan. From divisions are pitched at 2′ and provide this immeasurable loss they resolved to a logical completion to the enclosed di- bolster their presence in the Jacksonville vision principal choruses. This allows community with a new church and re- completion of the 8/4/2 chorus ladder newed dedication to their ministry. without breaks in pitch or the need for Reverend Dr. Kyle Reese assembled independent 2′ principals as single stop a team to plan and oversee the rebuild- draws. In addition to avoiding the stri- ing of the sanctuary. They vowed to have dency sometimes found in mixtures with the church open no later than December pitches above 1′, this treatment of the 23, 2009, when they would again open mixtures also frees up the 2′ pitch regis- the church to the public with a perfor- ters for independent manual fl utes. mance of Handel’s Messiah. In addition While individually differing in color, to Pastor Reese, key members who were the two enclosed divisions have parallel to play a role in our building an instru- Chancel organ side view fl ue pitch registers for support of choral ment were O’Neal Douglas, chairman of accompaniment. With a large, effective the Sanctuary Renovation Task Force; shade front, these divisions provide am- Bill Mason, organ committee chairman; ple resources of weight and color against Reverend Tommy Shapard, Minister of the human voice. Music and Worship; and Brenda Scott, The organ reeds were designed with organist. A constant presence on this English shallots, which prove much construction project was O’Neal Doug- more favorable in a dryer American las, who served as a living Gantt chart. acoustic. As is our common practice, the He invested untold hours to assure the organ reeds are placed on separate reser- clear communications and coordination voirs, separate tremolos, and individual between all the different trades involved unit electro-pneumatic windchests. This to build this church by the required treatment allows the reeds to be freed completion date. from the strictures of the manual fl ue Lost in the fi re was a three-manual, wind pressures. This allows complete 48-rank Möller that had been installed freedom in scale, shallot design and in 1989. As one of the last instruments treatments, and tongue thickness. With from Möller, it was a very good example a separate tremolo, achieving the correct of their building style and had been well depth and speed on the reed stops does loved by the congregation. Prior to work- not become as elusive as it can some- ing with our fi rm as a sales representa- times be when fl ues and reeds share a tive, Herbert Ridgeley Jr. represented common plenum. the Möller fi rm. He had worked with For a large festive solo voice, the then minister of music Reverend Kend- chancel organ features a high-pressure all Smith on the installation of this Möller English Tuba. This stop is located in instrument. Marc Conley of our staff had the Choir division, and under expressive worked on this instrument when he was control it can be used as a darker ensem- employed by Möller. With these past ble reed when it is dynamically caged. It affi liations, we began the initial discus- is carried down to the 16′ register to ef- sions with the church as they considered Antiphonal organ Trompette En Chamade fectively ground the Pedal division. a replacement pipe organ and evaluated A very complete Pedal division was de- fi rms that might build this instrument. In stoplist and tonal design of an instru- the building was locked in place and key sired, with multiple pitches represented the words of Tommy Shapard, the charge ment. This is true regardless of whether building materials had been ordered. We from 32′ through 4′. Just the 16′ registers of the organ committee was “to design an it be Baptist, Methodist, Presbyterian, had to work with the architect to design alone represent nine of the 24 stops in instrument with a variety of colors and Catholic, Episcopal, or any other de- space for an instrument in a building the Pedal division. In addition to inde- levels of expression available in the new nomination. There are and always will be that was already well defi ned. To allow pendent Pedal registers, full advantage instrument to give our congregation and the subtle and not so subtle differences for an instrument, space would have to was taken of manual-to-pedal duplexes. choir the opportunity to sing together in a church’s worship style. Often in my be created. As a design team, we found The result is a plethora of stops under more vitally and creatively as a worship- professional career I have had a church that if we changed the width of the the organist’s control, with a full range of ping body.” explain their “traditional” worship only hallway access to the baptistery on the colors and dynamics. I will always recall an exchange that to fi nd a worship style that I might per- right and left and had a concrete lentil Early on in the design of this instru- took place early in our meeting with the sonally fi nd to be contemporary, or often poured above the hallway and above the ment, we prepared for a 10-rank An- organ committee. As we talked about a church that describes itself as “contem- baptistery, room could be provided for a tiphonal. Due to the benefi cence of a proposed stoplist, we were fi ve min- porary” to be traditional. The euphemism 43-foot-wide chamber of varying depth several members, the church was able utes into the discussion when Chair- “blended” often used by many churches and elevations. Taking into account the to contract for this “prepared for” item man Mason raised a fi nger and jokingly to describe their music in worship does sloping ceilings in the chambers, we and have it installed with the chancel in- said, “Arthur . . . from this point forward not solve any identity issues either. As a planned a left-to-right division orienta- strument. Visually, the rear organ takes whenever we say Baptist, we want you to builder, it is incumbent upon you to ex- tion of Swell, Great/Pedal, and Choir. its design from the chancel façade. Po- think Presbyterian.” He was referring to perience a church’s worship with your The enclosed divisions of the organ have sitioned between the two cases is an 8′ the landmark III/62 instrument our fi rm own eyes and ears and then really listen tone openings on their front and also on Trompette En Chamade with brass bells. was building at that time for New York to how your client will use the organ in the side openings into the center Great Cognizant of its position in the church Avenue Presbyterian in Washington and their worship. This is the only surefi re and Pedal division. These side openings and the presence of the high-pressure its ties to President Lincoln and theolo- way to refi ne a stoplist and scale sheets provide a coalescence and focus for the English Tuba in the chancel organ, the gian Peter Marshall. (See cover feature, into a cogent amalgam that will allow you enclosed resources into the central axis stop was voiced on a moderate 7½ inch- The Diapason, July 2010.) I came to to design, voice, and tonally fi nish an in- of the instrument. es pressure. By its position, it has pres- fi nd a much deeper meaning in his off- strument that truly serves the vision of The chancel façade is designed to frame ence and lacks the offensiveness that is hand quip. In public and private discus- the church you are working for. the baptistery. The façade is silver with sometimes associated with this stop. The sions, I have heard other builders refer A very real challenge in the design polished mouths and features pipework core of the Antiphonal organ includes a to a “type” of organ they design by de- of this instrument was that the church from the 16′ Principal, 16′ Violone, 8′ Oc- complete 8′ principal chorus, a lyrical 8′ nomination. Personally, I do not believe moved very fast in the design of a build- tave, and 8′ Diapason. The casework has a Gedeckt, and an ethereal pair of 8′ Er- one serves any church well by imprinting ing to assure their December 23, 2009 maple fi nish to match the church furnish- zahler Celestes. their view of any particular denomina- fi rst service. By the time a contract was ings. To support the needs of audio-visual Foundational support for the Antiph- tion—a generic “this is it” approach to signed with our fi rm, the basic design of functions in their ministry, a projection onal division is provided by a Pedal 16′
30 THE DIAPASON
July 2011 pp. 30-31 4C.indd 30 6/9/11 1:57:45 PM ′ tion to our tonal fi nishers, our installa- 4English Tuba (Choir) (non-coupling) Chimes (Choir) tion team included Marshall Foxworthy, Zimbelstern 9 bells Rob Black, Patrick Hodges, Jeremiah Great to Great 4′ Hodges, Kelvin Cheatham, Joe Sedlacek, Tremulant and Wilson Luna. I am thankful for their dedication and the long hours they put CHOIR—Manual I (enclosed) into this project to make sure that our (13 ranks) 16′ Gemshorn 12 pipes tonal ideals for this instrument were not ′ only achieved but exceeded. 8 Hohl Flute 61 pipes 8′ Gemshorn 61 pipes The new sanctuary was fi nally at a 8′ Gemshorn Celeste 49 pipes point of completion by November 16 8′ Flute Celeste II 80 pipes that we were able to begin the installa- (Ludwigtone) tion. The organ was brought up division- 4′ Principal 61 pipes ally to allow autonomous work by our 4′ Spindle Flute 61 pipes staff in multiple divisions. This allowed 2′ Harmonic Piccolo 61 pipes 1 1⁄3′ Quint 61 pipes 40 ranks of the organ to be brought on- ′ line when fi rst heard in public on De- III Choral Mixture 2 183 pipes 8′ Clarinet 61 pipes cember 23, 2009. On this day, our staff (English shallots with lift caps) was able to return home to be with their 8′ English Tuba 61 pipes families during Christmas, and two fam- (non-coupling) ily members, Art Schlueter Jr. and Ar- Tremulant thur Schlueter III, were able to begin Choir to Choir 16′ their Christmas together at the public Choir Unison Off Marc Conley installing Trompette En Chamade pipes in Antiphonal organ opening of this church with Handel’s Choir to Choir 4′ Messiah. Forever in my memory will be SWELL—Manual III (enclosed) standing tall as father and son during (14 ranks) the Hallelujah Chorus. As with all organ 16′ Lieblich Gedeckt 61 pipes projects, there was still work to be done 8′ Geigen Principal 61 pipes to complete and fi nish the organ, but 8′ Viole de Gamba 61 pipes it was a satisfying conclusion to a year 8′ Viole Celeste TC 49 pipes that saw the installation of multiple new 8′ Rohr Flute 12 pipes instruments by our fi rm and the fulfi ll- 4′ Geigen Octave 61 pipes 4′ Nachthorn 61 pipes ment of a promise to this congregation 2 2⁄3′ Nazard TC 49 pipes and community. 2′ Flageolet (from 16′) 24 pipes A fi nal chapter to this story must be 3 1⁄5′ Tierce TC 49 pipes told. To assist their search for an organ- IV Mixture 2′ 244 pipes builder and evaluate plans for a new 16′ Bassoon 61 pipes instrument, the organ committee en- (English shallots with lift caps) gaged local Jacksonville organbuilder, 8′ Trumpet 61 pipes (English shallots) Jim Garvin, as part of their working ′ group. As I developed my proposal for 8 Oboe 12 pipes 4′ Clarion 12 pipes the church, he was a ready translator to Tremulant discuss the minutiae of the organ pro- Swell to Swell 16′ posal—from chest design, stop type, Swell Unison Off material construction, winding systems, Swell to Swell 4′ etc. As a builder, I found it a great plea- sure to work with Jim, who ably served ANTIPHONAL—fl oating division Arthur E. Schlueter III, the late Jim Garvin, and Arthur E. Schlueter, Jr. (10 ranks) as a liaison between the organbuilder ′ and the church. Sadly, during the build- 8 Weit Principal 61 pipes 8′ Gedeckt 61 pipes ing of this instrument Jim began a battle 8′ Klein Erzahler 61 pipes with cancer. Even as he was weakened 8′ Klein Erzahler Celeste 49 pipes by his fi ght with the cancer, he never wa- 4′ Principal 61 pipes vered in his role as consultant through III Mixture 2′ 183 pipes the organ installation and dedication. I 8′ Trompette En Chamade 61 pipes am happy to say that he lived to sing and worship with this instrument. One of our ANTIPHONAL PEDAL 16′ Stille Gedeckt 12 pipes collective proudest moments was at the ′ inaugural organ dedication with Dr. Al 8 Stille Principal 32 pipes Travis. With a solid look in the eye and a PEDAL (7 ranks) fi rm stance, we exchanged handshakes as 32′ Violone (digital) equals who had both worked to the best 32′ Bourdon (digital) of our abilities on behalf of Hendricks 16′ Principal 32 pipes Avenue Baptist Church. Earlier this year 16′ Violone (Great) 16′ Gemshorn (Choir) Jim lost his fi ght with cancer. His funeral ′ was held at Hendricks Avenue Baptist 16 Subbass 32 pipes 16′ Lieblich Gedeckt (Swell) Church, where I again returned to hear 8′ Octave 32 pipes organ and choir, but this time to say 8′ Violone (Great) goodbye. I will forever be grateful for my 8′ Gemshorn (Choir) consultant and colleague I worked with 8′ Bourdon 12 pipes in the completion of this project. Remi- 8′ Gedeckt (Swell) niscent of the way the project started, I 4′ Choral Bass 12 pipes Hendricks Avenue Baptist Church the morning after the fi re once again heard Handel, as Jim’s fi nal 4′ Bourdon 12 pipes 2 ′ request for his service had been the Hal- IV Mixture 2 ⁄3 128 pipes ′ 32′ Posaune (digital) Stille Gedeckt and 8 Stille Principal in The resources of the organ are con- lelujah Chorus. 32′ Harmonics (wired Cornet series) the Antiphonal Pedal division. In addi- trolled by a three-manual drawknob Additional information on our fi rm and 16′ Trombone (ext Tuba) 12 pipes tion to providing foundation for the rear console. Built in the English style, the projects can be viewed at
JULY, 2011 31
July 2011 pp. 30-31 4C.indd 31 6/9/11 1:58:04 PM New Organs 2011 Summer Carillon Concert Calendar by Brian Swager
Albany, New York July 24, Mary Kennedy Albany City Hall, Sundays at 1 pm July 31, Gordon Slater July 24, Elena Sadina Aug 7, Lee Cobb July 31, George Matthew, Jr. Aug 14, Jonathan Lehrer
Alfred, New York Culver, Indiana Alfred University, Davis Memorial Carillon Culver Academies, Memorial Chapel Caril- Tuesdays at 7 pm lon, Saturdays at 4 pm July 5, Monika Kazmierczak July 9, John Gouwens July 12, Toru Takao July 16, Carol Anne Taylor July 19, Karel Keldermans July 23 & 30, Sept 3, John Gouwens July 26, Gordon Slater August 2, Sharon Hettinger Danbury, Connecticut St. James Episcopal Church Allendale, Michigan July 6, Gerald Martindale, 12:30 pm Grand Valley State University, Cook Caril- lon, Sundays at 8 pm Dayton, Ohio July 10, James Fackenthal Deeds Carillon July 17, Timothy Sleep July 24, August 7, 21, 3 pm July 24, Helen Hawley August 27, 2 pm July 31, GVSU Carillon Collaborative September 5, noon August 7, Open Tower September 11, 3 pm August 14, Patrick Macoska Larry Weinstein, carillonneur August 21, Julianne Vanden Wyngaard Denver, Colorado Ames, Iowa University of Denver, Williams Carillon Iowa State University Wednesdays at 7 pm September 24, Arie Abbenes July 6, Koen van Assche July 20, Anne Kroeze Bloomfi eld Hills, Michigan August 3, Carlo van Ulft Christ Church Cranbrook, Sundays at 5 pm August 17, Janet Tebbel July 10, Eddy Mariën & Tom Lee July 17, Toru Takao Detroit, Michigan July 24, Stefano Colletti St. Mary’s of Redford Catholic Church Saturdays at 5:15 pm July 9, Eddy Mariën & Tom Lee Kirk in the Hills Presbyterian Church July 16, Toru Takao Sundays at 10 am and noon July 23, Anna Kasprzycka July 10, Eddy Mariën & Tom Lee July 17, Toru Takao & Kasia Piastowska East Lansing, Michigan July 24, Stefano Colletti Michigan State University, Beaumont Tow- September 4, Dennis Curry er Carillon, Wednesdays at 6 pm July 6, Ulla Laage Centralia, Illinois July 13, Eddy Mariën & Tom Lee Centralia Carillon July 20, Ray McLellan September 3, Jeff Daehn, 2 pm July 27, Stefano Colletti September 3, Linda Dzuris, 2:45 pm August 3, Sally Harwood September 4, Laura Ellis, 2 pm September 4, Carlo van Ulft, 2:45 pm Erie, Pennsylvania September 9, Carlo van Ulft, 7 pm Penn State University, Smith Chapel Kegg Pipe Organ Builders, forts were quite successful, but fell short September 16, Carlo van Ulft, 7 pm Thursdays at 7 pm Hartville, Ohio of allowing these stops to be installed September 23, Carlo van Ulft, 7 pm July 14, Toru Takao First Presbyterian Church, July 21, Karel Keldermans at this time. However, there was some Chicago, Illinois Phoenixville, Pennsylvania money left, and after studying several of July 28, Gordon Slater University of Chicago, Rockefeller Chapel August 4, Sharon Hettinger The new Kegg organ in the First Pres- our organs where we have made a two- Sundays at 6 pm byterian Church of Phoenixville replaces manual specifi cation playable on a three- July 10, Monika Kazmierczak Fort Washington, Pennsylvania an organ that had been pieced together manual console, the committee decided July 17, Brian Tang St. Thomas Church, Whitemarsh with parts mostly from Bartholomay, with to take that option. The plan still calls for July 24, Wylie Crawford Tuesdays at 7 pm some Haskell pipes and other supply adding the prepared stops, but the fl ex- July 31, Stefano Colletti July 5, Geert D’hollander house additions. Although many in the ibility afforded by the third manual can- August 7, Melissa Weidner July 12, Amy Johansen church have a high regard for things his- not be overstated. August 14, Janet Tebbel July 19, Stefano Colletti torical, it became clear that the haphaz- Director of music David Nicol and August 21, Andrew Wetzel July 26, Toru Takao August 2, Lisa Lonie ard installation in the crowded chamber organist Mary Nicol, who also chaired Cohasset, Massachusetts made repair and maintenance of the fail- the organ committee, made our time St. Stephen’s Episcopal Church Gainesville, Florida ing instrument impractical. Even so, the in Phoenixville an absolute delight. Far Sundays at 6 pm University of Florida, Sundays at 3 pm committee expressed a desire to reuse beyond the usual chores of coordinating July 10, Gijsbert Kok July 17, Amy Johansen any old material that could be successful- our work with electricians, heating/AC July 17, Monika Kazmierczak August 14, Jonathan Casady ly incorporated into the new instrument. technicians, and alarm installers, they When dealing with an instrument of did an outstanding job of taking care of celebrated historical merit, the process us as well. There was a steady supply of GREAT CHOIR 16′ Viola (ext #9) 12 pipes 8′ Rohrfl ute Great of proper documentation, conservation, goodies to eat and drink, and recommen- 8′ Solo Diapason III++ 8′ Unda Maris II Great and, when appropriate, careful restora- dations along with directions for many of 1. 8′ Principal 61 pipes 4′ Koppelfl ute Great tion is normally the best course of ac- the local restaurants. As consultant, Dr. 2. 8′ Rohrfl ute* 61 pipes 8′ Clarinet Great (prep) tion. A poorly installed organ of dubi- Gordon Turk served the church well 3. 8′ Dulciana* 61 pipes+ 8′ Gedeckt Swell ous heritage, no matter how old, makes in helping them through some diffi cult 4. 8′ Unda Maris TC* 49 pipes+ 8′ Viola Swell that choice much less clear. When the spots in their decision-making, and also 5. 4′ Octave 73 pipes 8′ Viola Celeste Swell 6. 4′ Koppelfl ute* 61 pipes 4′ Harmonic Flute Swell request comes from a historical per- made helpful suggestions to us during ′ spective, however, with a client wishing the design process and tonal fi nishing. 2 Fifteenth (from #5) 2′ Flute Swell 7. IV Mixture 244 pipes II Cornet Swell to maintain a line of continuity with the The new organ was dedicated on No- 8′ Trumpet (from #15) 8′ Trumpet Swell past, we do everything we can to respect vember 7, 2010, with a recital by Gordon 8′ Clarinet* (prepared) 8′ Oboe Swell that heritage. Turk, and the First Presbyterian Church Tremulant Choir 16, 4 In the Phoenixville organ, we reused six choir giving the premiere performance Chimes (21 bells) Swell to Choir 16, 8, 4 sets of pipes. The 16′ Open Wood Diapa- of Kile Smith’s anthem, Behold, the Zimbelstern (5 handbells) son and the 16′ Subbass are large pedal Best, the Greatest Gift, commissioned Great 16, UO, 4 PEDAL pipes that would indeed have been very for the occasion. Swell to Great 16, 8, 4 17. 16′ Diapason 56 pipes+ expensive to replace. We repaired and —Fredrick Bahr Choir to Great 8 16′ Viola (from #9) *Enclosed separately from Swell 18. 16′ Subbass 44 pipes+ refi nished these pipes, and restored and ++Plays #1, #5, #17 all at 8′ pitch 8′ Octave (from #17) releathered their original windchests as Kegg Pipe Organ Builders 8′ Subbass (from #18) well. The Swell Gedeckt and Harmonic Charles Kegg, President* SWELL 8′ Viola (from #9) Flute are two wood stops that were par- Fredrick Bahr, Tonal Director* 8. 8′ Gedeckt 61 pipes+ ′ ′ 8 Gedeckt (from #8) ticularly charming in the old organ, and Philip Brown 9. 8 Viola 73 pipes 4′ Octave (from #17) 10. 8′ Viola Celeste GG 54 pipes ′ we have retained them as well, replacing Michael Carden ′ 32 Harmonics (derived) only the top two octaves of metal pipes Joyce Harper* 11. 4 Principal 73 pipes 16′ Trumpet (from #15) 12. 4′ Harmonic Flute 73 pipes+ ′ in the Harmonic Flute 2′ extension. The Philip Laakso ′ 8 Trumpet (from #15) 4 Viola (from #9) 4′ Oboe (from #16) Great Dulciana and Unda Maris are very Thomas Mierau* 2 ′ 13. 2 ⁄3 Nazard 61 pipes Great to Pedal 8, 4 likely Haskell pipes from the organ be- Bruce Schutrum 2′ Octave (from #11) ′ Swell to Pedal 8, 4 fore the Bartholomay. Their tone is soft *Members, American Institute of Or- 2 Flute (from #12) Choir to Pedal 8, 4 3 ′ and extremely delicate, a luxury in an or- ganbuilders 14. 1 ⁄5 Tierce 61 pipes 1 ′ gan of this size, but the sound is entirely 1⁄3 Larigot (from #13) +Pipes from previous organ III Mixture (prepared) appropriate in the intimate acoustic of Kegg Pipe Organ Builders ′ 16 Bassoon (from #9 & 16) Three manuals, 21 ranks, 1,324 pipes the renovated sanctuary. 1184 Woodland St., SW 15. 8′ Trumpet 73 pipes The stoplist is laid out for all the nor- Hartville, OH 44632 16. 8′ Oboe 61 pipes mal functions of a two-manual church 330/877-8800 4′ Clarion (from #15) organ. The Great Clarinet and Swell [email protected] Tremulant Mixture are prepared. Fund-raising ef- www.keggorgan.com Swell 16, UO, 4
32 THE DIAPASON
July 2011 pp. 32-37.indd 32 6/9/11 1:59:33 PM Glencoe, Illinois New Haven, Connecticut Chicago Botanic Garden Yale University, Yale Memorial Carillon Mondays at 7 pm Fridays at 7 pm Bert Adams, FAGO July 11, Monika Kazmierczak July 8, Frans Haagen Park Ridge Presbyterian Church PATRICK ALLEN July 18, Brian Tang July 15, Ellen Dickinson Park Ridge, IL July 25, Wylie Crawford (Christmas in July) July 22, Toru Takao & Kasia Piastowska GRACE CHURCH August 1, Stefano Colletti July 29, Melissa Weidner Pickle Piano & Church Organs NEW YORK August 8, Melissa Weidner August 5, Wesley Arai Bloomingdale, IL August 15, Janet Tebbel August 12, Jessica Hsieh & Darren Zhu August 22, Andrew Wetzel August 29, Christine Power Northfi eld, Vermont September 5, Mark Lee Norwich University, Saturdays at 1 pm Christopher Babcock July 9, Gordon Slater Grand Rapids, Michigan July 16, Stefano Colletti Grand Valley State University July 23, Elena Sadina & Sergei Gratchev St. Andrew’s by the Sea, Wednesdays at noon July 30, Hans Uwe Hielscher Hyannis Port July 6, Gordon Slater August 6, George Matthew, Jr. July 13, James Fackenthal St. David’s, South Yarmouth July 20, Timothy Sleep Norwood, Massachusetts July 27, Julianne Vanden Wyngaard Norwood Memorial Municipal Building Mondays at 7 pm July 11, Gijsbert Kok Grosse Pointe Farms, Michigan July 18, Monika Kazmierczak Grosse Pointe Memorial Church July 25, Brian Tang Tuesdays at 7:15 pm August 1, Gordon Slater July 5, Phyllis Webb & church volunteers August 8, Lee Cobb August 15, Jonathan Lehrer Hartford, Connecticut Trinity College Chapel, Wednesdays at 7 pm Ottawa, Ontario July 6, Ellen Dickinson Peace Tower Carillon, weekdays at 11 am July 13, Frans Haagen July 5, Frans Haagen July 20, Toru Takao & Kasia Piastowska July 12, Stefano Colletti July 27, Melissa Weidner July 19, Eddy Mariën August 3, Wesley Arai July 26, Student Recital Dean W. Billmeyer GAVIN BLACK August 10, George Matthew, Jr. Princeton Early Keyboard Center August 17, Jon Lehrer Owings Mills, Maryland University of Minnesota McDonogh School, Fridays at 7 pm 732/599-0392 Jackson, Tennessee July 8, Geert D’hollander First Presbyterian Church July 15, Karel Keldermans Minneapolis 55455 • [email protected] www.pekc.org August 28, 6:45 pm, Jackson Symphony July 22, Stefano Colletti Orchestra and carillon July 29, Toru Takao Kennett Square, Pennsylvania Philadelphia, Pennsylvania Longwood Gardens, Sundays at 3 pm First United Methodist Church of German- Byron L. Blackmore THOMAS BROWN July 17, Stefano Colletti town, Mondays at 7:30 pm UNIVERSITY July 24, Toru Takao July 11, Amy Johansen Crown of Life Lutheran Church July 31, Janet Tebbel, with Bruce Mc- July 18, Stefano Colletti PRESBYTERIAN CHURCH Neel, guitar Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA August 12, 7:30 & 8:30 pm: Cast In Plainfi eld, New Jersey 623/214-4903 ThomasBrownMusic.com Bronze (mobile carillon) Grace Episcopal Church August 14, Carol Jickling Lens August 21, 12:30 pm, Gerald Martindale August 21, Lisa Lonie with the Alexan- der Brass Quintet Princeton, New Jersey Princeton University, Grover Cleveland David Chalmers LaPorte, Indiana Tower, Sundays at 1 pm DELBERT DISSELHORST The Presbyterian Church of LaPorte July 10, Amy Johansen Concert Organist Sundays at 4 pm July 17, Karel Keldermans Professor Emeritus July 24, Lisa Lonie GLORIÆ DEI CANTORES July 17, Carol Anne Taylor University of Iowa–Iowa City August 28, John Gouwens July 31, Toru Takao & Kasia Piastowska Orleans, MA August 7, Carol Jickling Lens Luray, Virginia August 14, Lee Cobb August 21, Ed Nassor Luray Singing Tower August 28, James Fackenthal Tuesdays, Thursdays, Saturdays and Sun- September 4, Doug Gefvert JAMES DORROH, AAGO, PhD STEVEN EGLER days in July, and August at 8 pm, David Breneman, carillonneur Saint Luke’s Episcopal Church Central Michigan University Rochester, Minnesota First Presbyterian Church July 7, Geert D’hollander Mayo Clinic Samford University July 21, Stefano Colletti Mt. Pleasant, Michigan 48858 August 7, 4 pm, Laura Ellis Birmingham, Alabama SOLO Shelly-Egler Madison, Wisconsin Rochester, New York Organ Consultant Organ Recitals RECITALS Flute and Organ Duo University of Wisconsin, Thursdays at 7:30 pm University of Rochester, Hopeman Memo- July 7, Lyle Anderson rial Carillon, Mondays at 7 pm July 14, Lyle Anderson July 11, Toru Takao Organist / Pianist July 21, Sue Bergren July 18, Karel Keldermans July 28, Dave Johnson July 25, Gordon Slater JOHN FENSTERMAKER August 1, Sharon Hettinger Michael Gailit Mariemont, Ohio TRINITY-BY-THE-COVE www.gailit.at Mary M. Emery Memorial Carillon St. Paul, Minnesota offi [email protected] Sundays at 7 pm House of Hope Presbyterian Church NAPLES, FLORIDA Konservatorium Wien University July 10, July 24, August 7, August 21, Sundays at 4 pm University of Music, Vienna September 5, 2 pm, Richard D. Gegner July 10, Anna Kasprzycka July 17, August 14, September 4, Rich- July 17, Margo Halsted ard M. Watson July 24, James Fackenthal July 31, August 28, Richard D. Gegner July 31, Dave Johnson & Richard M. Watson JAMES HAMMANN Sewanee, Tennessee DMA-AAGO Middlebury, Vermont University of the South, Sundays at 4:45 pm Middlebury College, Fridays at 7 pm July 10, John Bordley University of New Orleans July 8, Gordon Slater July 13, 5 pm, Anna Kasprzycka July 15, Stefano Colletti July 17, Richard Shadinger Chapel of the Holy Comforter July 22, Elena Sadina & Sergei Gratchev July 24, Mary McFarland July 29, Hans Uwe Hielscher August 5, George Matthew, Jr. Springfi eld, Massachusetts August 12, George Matthew, Jr. Trinity United Methodist Church ANDREW HENDERSON, DMA July 7, 7 pm, Gerald Martindale WILL HEADLEE Minneapolis, Minnesota Central Lutheran Church, Sundays 11:15 am Springfi eld, Missouri 1650 James Street Madison Avenue Presbyterian Church New York, NY July 10, Anna Kasprzycka Missouri State University, Jane A. Meyer Syracuse, NY 13203-2816 July 17, Margo Halsted Carillon, Sundays at 7 pm July 24, James Fackenthal July 10, Helen Hawley (315) 471-8451 www.andrewhenderson.net August 14, Laura Ellis Montreal, Quebec September 11, Janet Tebbel St. Joseph’s Oratory, Sundays at 2:30 pm July 10, Stefano Colletti Storrs, Connecticut LORRAINE BRUGH, Ph.D. July 17, Eddy Mariën Storrs Congregational Church August 7, Jonathan Hebert & Andrée- July 18, 7 pm, George Matthew, Jr. Anne Doane Associate Professor Toronto, Ontario University Organist Naperville, Illinois University of Toronto, Soldiers’ Tower Naperville Millennium Carillon Wednesdays at 6 pm Tuesdays at 7 pm July 6, Frans Haagen Valparaiso University July 5, Eddy Mariën & Tom Lee July 13, Stefano Colletti Valparaiso, IN July 12, Monika Kazmierczak July 20, Eddy Mariën www.valpo.edu July 19, Brian Tang July 26, Wylie Crawford Valley Forge, Pennsylvania August 2, Stefano Colletti Washington Memorial Chapel, 219-464-5084 August 9, Melissa Weidner Wednesdays at 7:30 pm August 16, Janet Tebbel July 6, Geert D’hollander [email protected] August 23, Andrew Wetzel July 13, Amy Johansen
JULY, 2011 33
July 2011 pp. 32-37.indd 33 6/9/11 1:59:55 PM CALIFORNIA LUTHERAN UNIVERSITY July 20, Stefano Colletti Wellesley, Massachusetts MICHELE JOHNS July 27, Toru Takao Wellesley College, Saturdays at 6 pm August 3, Doug Gefvert July 9, 2 pm, Gerald Martindale A.Mus.D Dr. Kyle Johnson August 10, Carol Jickling Lens July 16, Amy Allport July 23, Lucy Dechene Organ — Harpsichord August 17, Lee Cobb University Organist August 24, Doug Gefvert & Irish Thun- August 6, Daniel Kehoe The University of Michigan rLFKPIOT!DBMMVUIFSBOFEV der Pipes & Drums August 13, Jonathan Lehrer School of Music August 31, James Fackenthal www.callutheran.edu Williamsville, New York Calvary Episcopal Church Victoria, British Columbia Wednesdays at 7 pm Netherlands Centennial Carillon July 6, Gloria Werblow & Joan Sulecki KIM R. KASLING Sundays at 3 pm, July–August July 20, Karel Keldermans Brian Jones Rosemary Laing, Carillonneur July 27, Gordon Slater D.M.A. Director of Music Emeritus August 3, Sharon Hettinger St. John’s University TRINITY CHURCH BOSTON Collegeville, MN 56321 Calendar
Andrea Printy; Old West Church, Boston, MA JAMES KIBBIE This calendar runs from the 15th of the month of 8 pm issue through the following month. The deadline is The University of Michigan Thomas Baugh; Christ Episcopal, Roanoke, the fi rst of the preceding month (Jan. 1 for Feb. VA 7:30 pm Ann Arbor, MI 48109-2085 issue). All events are assumed to be organ recitals ORGAN CONSULTANT 734-764-1591 FAX: 734-763-5097 unless otherwise indicated and are grouped within 27 JULY www.gabrielkney.com each date north-south and east-west. •=AGO chap- Michael Kleinschmidt; Methuen Memorial email: [email protected] ter event, • •=RCCO centre event, +=new organ Music Hall, Methuen, MA 8 pm dedication, ++= OHS event. Gordon Turk; Ocean Grove Auditorium, Information cannot be accepted unless it speci- Ocean Grove, NJ 7:30 pm fi es artist name, date, location, and hour in writ- Mary Lou Peeples; Old Salem Visitor Center, David K. Lamb, D.Mus. ing. Multiple listings should be in chronological order; Winston-Salem, NC 12 noon Director of Music/Organist ARTHUR LAMIRANDE please do not send duplicate listings. THE DIAPA- Frank Rippl & Don VerKuilen; St. Bernard’s SON regrets that it cannot assume responsibility for Catholic Church, Appleton, WI 12:15 pm First United Methodist Church [email protected] the accuracy of calendar entries. Wyatt Smith; Cathedral of St. John the Evan- Columbus, Indiana gelist, Milwaukee, WI 12:15 pm 812/372-2851 www.youtube.com/watch?v=WTkDk-cX1X4 Gerhard Weinberger; Sinsinawa Mound, Sin- UNITED STATES sinawa, WI 7 pm East of the Mississippi 30 JULY Gordon Turk; Ocean Grove Auditorium, David Lowry 15 JULY Ocean Grove, NJ 12 noon Heather & Mark Paisar; First Presbyterian, John Gouwens THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD , carillon; Memorial Chapel, Neenah, WI 7 pm Culver Academies, Culver, IN 4 pm 1512 BLANDING STREET, COLUMBIA, SC 29201 DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY 16 JULY 31 JULY ROCK HILL, SC 29733 Gordon Turk; Ocean Grove Auditorium, Heywood Alexander & Ernie Drown, harp- Ocean Grove, NJ 12 noon sichord and organ, with recorder and fl ute; The Carol Anne Taylor, carillon; Memorial Cha- Randolph Church, Randolph, NH 4 pm pel, Culver Academies, Culver, IN 4 pm Stephen Distad & Robert Frazier; Cathedral of St. Patrick, New York, NY 4:45 pm 17 JULY Donald Fellows; Basilica of the National James R. Metzler Nathan Laube; The Mother Church, Boston, Shrine of the Immaculate Conception, Washing- Park Congregational Church A.S.C.A.P. MA 7 pm ton, DC 6 pm Grand Rapids, Michigan FELLOW, AMERICAN GUILD OF ORGANISTS Edward Moore; St. Paul R.C. Cathedral, Pitts- Jack Mitchener; Interlochen Center for the burgh, PA 4 pm Arts, Interlochen, MI 5 pm www.youtube.com 345 SADDLE LAKE DRIVE Timothy Harrell; Trinity Episcopal, Solebury, ROSWELL-ATLANTA, GEORGIA 30076 Stefano Colletti, carillon; University of Chi- TheCathedralOrganist (770) 594-0949 PA 4 pm cago, Chicago, IL 6 pm Russell Weismann; Basilica of the National Shrine of the Immaculate Conception, Washing- 2 AUGUST ton, DC 6 pm Sophie-Véronique Cauchefer-Choplin; Mer- OUGLAS EILL Lynne Davis; Madonna della Strada Chapel, rill Auditorium, Portland, ME 7:30 pm LEON NELSON D O’N Loyola University, Chicago, IL 3 pm Louise Mundinger, with soprano and viola; Brian Tang, carillon; University of Chicago, Old West Church, Boston, MA 8 pm University Organist Cathedral of the Madeleine Chicago, IL 6 pm North Park University Salt Lake City, Utah 3 AUGUST 19 JULY Hans-Uwe Hielscher; Methuen Memorial Mu- Chicago, Illinois [email protected] 801/671-8657 Stephen Tharp; Merrill Auditorium, Portland, sic Hall, Methuen, MA 8 pm ME 7:30 pm Gordon Turk; Ocean Grove Auditorium, POE students; Old West Church, Boston, MA Ocean Grove, NJ 7:30 pm 8 pm Jeff Verkuilen; Holy Cross Catholic Church, MARILYN MASON Charles Tompkins; Christ Episcopal, Roa- Kaukauna, WI 12:15 pm CHAIRMAN, DEPARTMENT OF ORGAN noke, VA 7:30 pm James Hammann; Sinsinawa Mound, Sin- sinawa, WI 7 pm UNIVERSITY OF MICHIGAN 20 JULY ANN ARBOR Faythe Freese, James Higdon, Jack Mitch- 4 AUGUST “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it ener, Alan Morrison, Peter Sykes, & Todd Wil- Gordon Turk, with orchestra; Ocean Grove with awesome technique and a thrilling command of its daring writing.” son; Methuen Memorial Music Hall, Methuen, Auditorium, Ocean Grove, NJ 7:30 pm The American Organist, 1980 MA 8 pm Joshua Stafford; Ocean Grove Auditorium, 6 AUGUST Ocean Grove, NJ 7:30 pm Exsultemus & Newton Baroque, Telemann Adrian Foster; Church of the Advent, Cape cantatas; Second Church in Newton, West New- SYLVIE POIRIER May, NJ 8 pm ton, MA 8 pm LARRY PALMER Lou Carol Fix; Old Salem Visitor Center, Win- Gordon Turk; Ocean Grove Auditorium, ston-Salem, NC 12 noon Ocean Grove, NJ 12 noon Professor of PHILIP CROZIER Joanne Peterson; All Saints Episcopal, Ap- pleton, WI 12:15 pm 7 AUGUST ORGAN DUO Kirsten Synnestvedt; Sinsinawa Mound, Sin- Harpsichord and Organ Stephen Schnurr; St. Paul R.C. Cathedral, 3355 Queen Mary Road, Apt 424 sinawa, WI 7 pm Pittsburgh, PA 4 pm Gerhard Weinberger; Basilica of the National Meadows School of the Arts Montreal, H3V 1A5, P. Quebec 22 JULY Shrine of the Immaculate Conception, Washing- From Age to Age; Cathedral of St. Paul, St. ton, DC 6 pm SOUTHERN METHODIST UNIVERSITY Canada Paul, MN 7:30 pm Melissa Weidner, carillon; University of Chi- (514) 739-8696 cago, Chicago, IL 6 pm Dallas, Texas 75275 23 JULY Fax: (514) 739-4752 Gordon Turk; Ocean Grove Auditorium, 9 AUGUST Ocean Grove, NJ 12 noon Musical Heritage Society recordings [email protected] James Jones, with trumpet; Merrill Audito- John Gouwens, carillon; Memorial Chapel, rium, Portland, ME 7:30 pm Culver Academies, Culver, IN 4 pm Allison Clark; King’s Chapel, Boston, MA Nathan Laube; First Congregational, Osh- 12:15 pm kosh, WI 12 noon Lee Ridgway; Old West Church, Boston, MA 8 pm 24 JULY J. Christopher Pardini; St. Paul R.C. Cathe- 10 AUGUST A four-inch Professional Card dral, Pittsburgh, PA 4 pm Rosalind Mohnsen; Methuen Memorial Music Richard Fitzgerald; Basilica of the National Hall, Methuen, MA 8 pm in THE DIAPASON Shrine of the Immaculate Conception, Washing- Eric Plutz; Ocean Grove Auditorium, Ocean ton, DC 6 pm Grove, NJ 7:30 pm For rates and specifi cations Ken Cowan; Shepherd of the Bay Lutheran, John Skidmore; St. Joseph Catholic Church, Ellison Bay, WI 7 pm Appleton, WI 12:15 pm contact Jerome Butera Wylie Crawford, carillon; University of Chi- David Jonies; St. John’s Cathedral, Milwau- cago, Chicago, IL 6 pm kee, WI 12:15 pm 847/391-1045 Christopher Stroh; Shrine of Our Lady of David Pitt; Sinsinawa Mound, Sinsinawa, WI Guadalupe, La Crosse, WI 3 pm 7 pm [email protected] 26 JULY 14 AUGUST Jennifer McPherson; King’s Chapel, Boston, Michie Akin, piano & organ; St. Barnabas MA 12:15 pm Episcopal, Berlin, NH 4 pm
34 THE DIAPASON
July 2011 pp. 32-37.indd 34 6/9/11 2:00:51 PM
Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Michael Bower; Cathedral of St. Patrick, New 30 AUGUST York, NY 4:45 pm Ray Cornils, with Kotzschmar Festival Brass; Stephen G. Schaeffer Donald Fellows; St. Paul R.C. Cathedral, Merrill Auditorium, Portland, ME 7:30 pm BEDE JAMES PARRY Pittsburgh, PA 4 pm Lisa Massaglia; King’s Chapel, Boston, MA Recitals – Consultations Paul Murray; Basilica of the National Shrine 12:15 pm of the Immaculate Conception, Washington, DC ALL SAINTS’ CHURCH Cathedral Church of the Advent 6 pm 31 AUGUST Birmingham, Alabama Janet Tebbel, carillon; University of Chicago, Luca Massaglia, with saxophone; Methuen LAS VEGAS, NEVADA Chicago, IL 6 pm Memorial Music Hall, Methuen, MA 8 pm www.AdventBirmingham.org Patrick Burkhart; Shrine of Our Lady of Gua- Gordon Turk; Ocean Grove Auditorium, dalupe, La Crosse, WI 3 pm Ocean Grove, NJ 7:30 pm Ralph & Marillyn Freeman; St. Paul Luther- 16 AUGUST an, Neenah, WI 12:15 pm ROBERT L. Stephen Tappe Dave Wickerham; Merrill Auditorium, Port- Stephen Steely; Sinsinawa Mound, Sinsina- Organist and Director of Music land, ME 7:30 pm wa, WI 7 pm Jen McPherson; Old West Church, Boston, SIMPSON Saint John's Cathedral MA 8 pm Christ Church Cathedral Denver, Colorado UNITED STATES 1117 Texas Avenue www.sjcathedral.org 17 AUGUST West of the Mississippi Houston, Texas 77002 Mark Steinbach; Methuen Memorial Music Hall, Methuen, MA 8 pm Blake Doss; First English Lutheran, Appleton, 15 JULY RGAN USIC OF THE PANISH AROQUE WI 12:15 pm Naomi Shiga; Christ Episcopal, Tacoma, WA O M S B Derek Nickels; Sinsinawa Mound, Sinsinawa, 12 noon WI 7 pm David Troiano Joe Utterback 17 JULY DMA MAPM Leo Abbott; St. Mary’s Cathedral, San Fran- COMMISSIONS & CONCERTS 21 AUGUST 586.778.8035 Kathy Sacco; St. Paul R.C. Cathedral, Pitts- cisco, CA 3:30 pm 732 . 747 . 5227 burgh, PA 4 pm John Karl Hirten; California Palace of the Le- [email protected] Leo Abbott; Basilica of the National Shrine gion of Honor, San Francisco, CA 4 pm of the Immaculate Conception, Washington, DC Carol Williams; Spreckels Organ Pavilion, 6 pm Balboa Park, San Diego, CA 2 pm Nathan Laube; Madonna della Strada Chapel, 18 JULY David Wagner Loyola University, Chicago, IL 3 pm DMA Kevin Walters Andrew Wetzel, carillon; University of Chi- Sal Soria; Spreckels Organ Pavilion, Balboa cago, Chicago, IL 6 pm Park, San Diego, CA 7:30 pm Madonna University M.A., F.A.G.O. Livonia, Michigan 23 AUGUST 21 JULY Rye, New York Chelsea Chen; Merrill Auditorium, Portland, Garrett Collins; St. Boniface Church, San [email protected] ME 7:30 pm Francisco, CA 1 pm Peter Kranefoed; King’s Chapel, Boston, MA 12:15 pm 23 JULY Brandon Santini; Old West Church, Boston, Keith Thompson; California Palace of the Le- MA 8 pm gion of Honor, San Francisco, CA 4 pm KARL WATSON Cherie Wescott Concerts • Masterclasses • Coaching 24 AUGUST 24 JULY Keith Thompson; California Palace of the Le- SAINT LUKE’S Andrew Sheranian; Methuen Memorial Music 405/942-3958 Hall, Methuen, MA 8 pm gion of Honor, San Francisco, CA 9 am Peter Richard Conte; Ocean Grove Audito- Carol Williams; Spreckels Organ Pavilion, METUCHEN e-mail: [email protected] rium, Ocean Grove, NJ 7:30 pm Balboa Park, San Diego, CA 2 pm Derek Nickels; St. Joseph’s Catholic Church, Appleton, WI 12:15 pm 25 JULY R. Monty Bennett; Sinsinawa Mound, Sin- Helmuth Luksch; Spreckels Organ Pavilion, sinawa, WI 7 pm Balboa Park, San Diego, CA 7:30 pm Davis Wortman RONALD WYATT 25 AUGUST 28 JULY Donald VerKuilen; First Presbyterian, Nee- Garrett Collins; St. Boniface Church, San St. James’ Church Trinity Church nah, WI 12:15 pm Francisco, CA 1 pm New York Galveston 27 AUGUST 31 JULY Exsultemus & Newton Baroque, Telemann Gerhard Weinberger; St. Mary’s Cathedral, cantatas; Second Church in Newton, West New- San Francisco, CA 3:30 pm ton, MA 8 pm Carol Williams; Spreckels Organ Pavilion, Charles Dodsley Walker, FAGO Gordon Turk; Ocean Grove Auditorium, Balboa Park, San Diego, CA 2 pm Ocean Grove, NJ 12 noon Artist-in-Residence Founder/Conductor 1 AUGUST Saint Luke’s Parish Canterbury Choral Society 28 AUGUST Christopher Houlihan; Spreckels Organ Pa- 1864 Post Road 2 East 90th Street Daniel Sañez; St. Paul R.C. Cathedral, Pitts- vilion, Balboa Park, San Diego, CA 7:30 pm Darien, CT 06820 New York, NY 10128 burgh, PA 4 pm (917) 628-7650 (212) 222-9458 Federico Andreoni; Basilica of the National 4 AUGUST Shrine of the Immaculate Conception, Washing- Garrett Collins; St. Boniface Church, San ton, DC 6 pm Francisco, CA 1 pm Nathan Laube; Shepherd of the Bay Lutheran, William Webber, C.A.G.O. Ellison Bay, WI 7 pm 6 AUGUST Dean Whiteway; Shrine of Our Lady of Gua- David Hegarty; California Palace of the Le- Organist/Director, First Christian Church, Danville, KY dalupe, La Crosse, WI 3 pm gion of Honor, San Francisco, CA 4 pm Instructor of Music & Religious Studies, Maysville Community College For bookings and fees: Contact Bill at
A Professional Card in The Diapason For rates and digital specifi cations, House Organist contact Jerome Butera The Bushnell Memorial 847/391-1045 Hartford [email protected]
A two-inch Professional Card in The Diapason For information on rates and specifi cations, contact: Jerome Butera [email protected] 847/391-1045
JULY, 2011 35
July 2011 pp. 32-37.indd 35 6/9/11 2:01:16 PM David Gell, with voice, classical guitar, and pi- 17 JULY Jonathan Ryan; Wallfahrtsbasilika, Werl, 5 AUGUST ano; Trinity Episcopal, Santa Barbara, CA 3 pm Craig Cramer; Fredricksborg Castle, Hillerød, Germany 7:30 pm Philip Crozier; Grote Kerk, Breda, Holland Denmark 4 pm Livio Vanoni; Cappella di S. Marta e Chiesa di 8 pm 7 AUGUST Christophe Mantoux; Chartres Cathedral, S. Giacomo, Campertogno, Italy 9 pm Jonathan Ryan; Hauptkirche St. Petri, Ham- Alan Montgomery; St. Mary’s Cathedral, San Chartres, France 4:30 pm Simon Bell; Westminster Abbey, London, UK burg, Germany 6:30 pm Francisco, CA 3:30 pm Mario Duella, with fl ute; Santuario della Ma- 5:45 pm Christophe Mantoux; St. Wenzelskirche, Carol Williams; Spreckels Organ Pavilion, donna delle Grazie, Portula/Novareia, Italy 5 pm Dominique Joubert; Eglise Chalmers-Wes- Naumburg, Germany 7:30 pm Balboa Park, San Diego, CA 2 pm James Metzler; Ely Cathedral, Ely, UK 5:15 pm ley, Vieux-Québec, QC, Canada 6 pm Jacques Boucher, with violin; Chiesa della Beata Vergine Assunta, Scopello, Italy 9 pm 8 AUGUST 18 JULY 26 JULY Esteban Iriarte; Parroquia de San Martin de Robert Plimpton; Spreckels Organ Pavilion, David Aprahamian Liddle; St. Michael’s Robert Quinney; Westminster Abbey, Lon- Tours de Ataun, San Sebastian, Spain 8 pm Balboa Park, San Diego, CA 7:30 pm Cornhill, London, UK 1 pm don, UK 7 pm • •Maxine Thévenot; Central Presbyterian, Jean-Willy Kunz; St. James United Church, 6 AUGUST 14 AUGUST Hamilton, ON, Canada 7:30 pm Montreal, QC, Canada 12:30 pm Gillian Weir; St. Thomas Kirche, Leipzig, Ger- Weston Jennings; St. Mary’s Cathedral, San many 3 pm Francisco, CA 3:30 pm 19 JULY 27 JULY Jonathan Ryan; Dom, Limburg, Germany Carol Williams; Spreckels Organ Pavilion, James O’Donnell; Westminster Abbey, Lon- Maxine Thévenot; St. Michael and All Angels, 4 pm Balboa Park, San Diego, CA 2 pm don, UK 7 pm Jacques Boucher, with violin; Chiesa di S. Nina De Sole; St. James United Church, Mon- Croydon, Surrey, UK 12:30 pm Gillian Weir; Aalborg Domkirke, Aalborg, Giovanni Battista, Alagna, Italy 9 pm 15 AUGUST treal, QC, Canada 12:30 pm Giampaolo di Rosa; Parroquia de Santa Denmark 7:30 pm David Arcus; Spreckels Organ Pavilion, Bal- María de Tolosa, San Sebastian, Spain 8 pm Blair Bailey; St. James’ Anglican Church, Oril- boa Park, San Diego, CA 7:30 pm 20 JULY Loreta Imaz; Santa María la Real de Azkoitia, lia, ON, Canada 12:15 pm Gillian Weir; Holmens Kirke, Copenhagen, San Sebastian, Spain 8 pm Stephanie Burgoyne & William Vandertuin; 19 AUGUST Denmark 12 noon Adrian Griffi ths; Liverpool Cathedral, Liver- Christ’s Church Cathedral, Hamilton, ON, Can- Jonathan Wohlers; Christ Episcopal, Taco- Gillian Weir; Sorø Kirke, Sorø, Denmark 8 pm pool, UK 4 pm ma, WA 12 noon Martin Baker; Westminster Cathedral, Lon- ada 1 pm don, UK 7:30 pm 7 AUGUST 21 AUGUST Tom Loney; St. James’ Anglican Church, Oril- 28 JULY Philip Crozier; Frederiksborg Slotskirke, Den- Carol Williams; Spreckels Organ Pavilion, lia, ON, Canada 12:15 pm Markus Eichenlaub; St. Petri Dom, Bremen, mark 5 pm Balboa Park, San Diego, CA 2 pm Konstantin Volostnov; Christ’s Church Ca- Germany 7 pm Jonathan Ryan; Schlosskirche, Varel, Ger- thedral, Hamilton, ON, Canada 7:30 pm Ennio Cominetti; Chiesa di S. Lorenzo, Sos- many 6 pm 22 AUGUST tegno, Italy 9 pm Walter D’Arcangelo; Chiesa di S. Stefano, Dennis James, silent fi lm accompaniment; 21 JULY Kola Owolabi; Church of St. Andrew and St. Piode, Italy 9 pm Spreckels Organ Pavilion, Balboa Park, San Di- Winfried Bönig; St. Petri Dom, Bremen, Ger- Paul, Montreal, QC, Canada 12:15 pm Alessandro Bianchi; Parroquia del Salvador ego, CA 7:30 pm many 7 pm de Usurbil, San Sebastian, Spain 8 pm Robert Gallagher; St. Matthew’s Westmin- 29 JULY Ádám Kiss; St. Michael’s Abbey, Farnbor- 28 AUGUST ster, London, UK 1:05 pm Jonathan Ryan; Münster, Konstanz, Ger- ough, UK 3 pm, Choral Vespers 4:45 pm Carol Williams; Spreckels Organ Pavilion, Ken Cowan, with orchestra; Centenary United many 8 pm Emmanuel Bernier; Eglise Chalmers-Wesley, Balboa Park, San Diego, CA 2 pm Church, Hamilton, ON, Canada 7:30 pm Grazia Salvatori & Francesca De Santis; Vieux-Québec, QC, Canada 6 pm Chiesa di Santa Maria Vergine Assunta, Vive- 22 JULY 29 AUGUST rone, Italy 9 pm 8 AUGUST Alessandro Bianchi; Chiesa di S. Eurosia, Carol Williams; Spreckels Organ Pavilion, Philip Crozier; Leonhardskirche, Basel, Swit- Colin Walsh; Chiesa di Maria Vergine As- Pralungo/S. Eurosia, Italy 9 pm Balboa Park, San Diego, CA 7:30 pm zerland 6:15 pm sunta, Grignasco, Italy 9 pm Philip Crozier; Marktkirche, Halle, Germany Daniel Roth 8 pm ; Parroquia de San Vicente, San 30 JULY Sebastian, Spain 8 pm INTERNATIONAL 23 JULY Mario Duella; Chiesa di Sant’Anna al Montri- Martyn Noble; Liverpool Cathedral, Liverpool, gone, Borgosesia, Italy 5 pm 9 AUGUST 15 JULY UK 4 pm Sergio Paolini; Chiesa di S. Antonio, Borgo- Massimiliano Guido; Chiesa di S. Michele Bine Bryndorf; St. Saviour’s Church, Oundle, John Kitchen; St. John the Evangelist, Lon- sesia, Italy 9 pm Arcangelo, Rastiglione, Italy 9 pm UK 1 pm don, UK 7:30 pm Anthony Norcliffe; Liverpool Cathedral, Liv- Giampaolo di Rosa; Catedral del Buen Pas- Tom Winpenny, with Abbey Girls Choir; St. Philip Crozier; Marktkirche, Hannover, Ger- erpool, UK 4 pm tor, San Sebastian, Spain 8 pm Albans Cathedral, Oundle, UK 10 am many 6 pm Tim Wakerell; Bloomsbury Central Baptist, James McVinnie; Westminster Abbey, Lon- London, UK 4 pm don, UK 7 pm 16 JULY 24 JULY Philip Crozier; Le Musée Suisse de l’Orgue, Vincent Thévenaz; St. James United Church, Claudia Termini; Basilica Antica, Oropa, Italy Philip Crozier; Dom, Magdeburg, Germany Roche, Switzerland 5 pm Montreal, QC, Canada 12:30 pm 9 pm 4 pm John Scott; Church of St. John the Evange- list, Elora, ON, Canada 2 pm 10 AUGUST Philip Crozier; Sorø Klosterkirke, Denmark 8 ORGAN BUILDERS 31 JULY pm Jonathan Ryan; Basilika St. Marien, Kevelaer, Eugenio Maria Fagiani; Chiesa di S. Sebas- Germany 4:30 pm tiano, Trivero/Bulliana, Italy 9 pm Paul Derrett; Westminster Abbey, London, Alessandro Bianchi; Iglesia de San Ignacio, L. W. BLACKINTON THE NOACK ORGAN CO., INC. UK 5:45 pm San Sebastian, Spain 8 pm and associates, inc. MAIN AND SCHOOL STREETS Wilhelmina Tiemersma; St. James’ Anglican GEORGETOWN, MA 01833 Rich Spotts; Eglise Chalmers-Wesley, Vieux- www.noackorgan.com Québec, QC, Canada 6 pm Church, Orillia, ON, Canada 12:15 pm 380 FRONT ST. EL CAJON, CA 92020 Member: Associated Pipe Organ Builders of America 11 AUGUST 1 AUGUST Tobias Gravenhorst; St. Petri Dom, Bremen, Luigi Muratori; Chiesa dei SS. Giovanni e Germany 7 pm Giuseppe, Mollia, Italy 9 pm martin ott pipe Jonathan Ryan; Marienkirche, Lübeck, Ger- organ many 7 pm company 2 AUGUST Fabio Macera; Chiesa di S. Antonio Abate, inc. Leonardo Ciampa; Chiesa di S. Maurizio, Parrocchia di Brugaro, Cravagliana, Italy 9 pm 7408 Somerset Ave. Vocca, Italy 9 pm St. Louis, MO 63105 Esteban Landart; Iglesia de Iesu de Riberas 314-504-0366 Phone Jon Laukvik; Westminster Abbey, London, de Loyola, San Sebastian, Spain 8 pm 314-569-3879 Fax UK 7 pm Martin Ott [email protected] Thomas Ospital & Yoann Erchoff; Iglesia Orgelbaumeister www.ottpipeorgan.com Kurt-Ludwig Forg; St. James United Church, de Santa María de Deba, San Sebastian, Spain Montreal, QC, Canada 12:30 pm 8 pm Vincent Thévenaz; Church of St. Andrew and NEW INSTRUMENTS 3 AUGUST St. Paul, Montreal, QC, Canada 12:15 pm MAINTENANCE Parkey Leonardo Ciampa; Chiesa di S. Margherita, RESTORATIONS Balmuccia, Italy 9 pm 12 AUGUST 974 AUTUMN DRIVE OrganBuilders Maxine Thévenot; Rosslyn Hill Unitarian Cha- Philip Crozier; Sct. Nicolai Kirke, Rønne, pel, London, UK 7 pm ANTIOCH, ILLINOIS 60002 Distinguished Pipe Organs Bornholm, Denmark 8 pm ABR 847-395-1919 Richard Hansen; St. James’ Anglican Church, F INCY 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Maxine Thévenot; Magdeburger Dom, Mag- PIPE ORGANS FAX 847-395-1991 Suite 150-285 Fax 770-368-3209 Orillia, ON, Canada 12:15 pm deburg, Germany 8 pm www.fabryinc.com Duluth, Georgia 30096 www.parkeyorgans.com Giulio Mercati; Chiesa di S. Bartolomeo, Sco- 4 AUGUST pa, Italy 9 pm Albrecht Koch; St. Petri Dom, Bremen, Ger- many 7 pm 13 AUGUST Pipe Organ Craftsmen & Builders Massimo Andrea Verzilli; Chiesa di S. Maria Jonathan Ryan; Marienkirche, Reutlingen, Hupalo GF delle Grazie, Varallo, Italy 9 pm Germany 8 pm 1785 Timothy Drive, Unit 4 Virgile Monin; Church of St. Andrew and St. Luca Ratti; Chiesa di S. Lorenzo, Crevola, & San Leandro, CA 94577 Paul, Montreal, QC, Canada 12:15 pm Italy 9 pm Repasky Tel: 510 483 6905 www.hupalorepasky.com
sound INSPIRATION
Acoustical Design & Testing • Organ Consultation & Inspection • Organ Maintenance & Tuning • Sound & Video System Design, Evaluation & Training
www.riedelassociates.com • (414) 771-8966 email: [email protected] 819 NORTH CASS STREET•MILWAUKEE, WI 53202
Advertise in A. David Moore, Inc. _The Diapason TRACKER ORGAN DESIGNERS & BUILDERS For rates and digital specifi cations, contact Jerome Butera HC 69 Box 6, North Pomfret, Vermont 05053 847/391-1045 802/457-3914 [email protected]
36 THE DIAPASON
July 2011 pp. 32-37.indd 36 6/9/11 2:01:54 PM David Leahey; Liverpool Cathedral, Liverpool, Felix Hell; Marienkirche, Trier (Pfalzel), Ger- MARILYN KEISER, First Presbyterian UK 4 pm many 7 pm Church, Neenah, WI, February 25: Flourish Vincent Thévenaz; Eglise Chalmers-Wesley, Organ Recitals for an Occasion, Harris; Concerto in F, op. 4, 14 AUGUST Vieux-Québec, QC, Canada 6 pm no. 5, Handel; Prelude on Psalm 130, Vs. 1, Gedymin Grubba; Laurenskerk, Rotterdam, Howells; Introduction and Passacaglia (So- Netherlands 3 pm 24 AUGUST JOHN BROCK, The University of North nata No. 8 in e, op. 132), Rheinberger; Aria: Mario Duella, with oboe; Chiesa di Santa Felix Hell; Frauenkirche, Dresden, Germany Carolina, Greensboro, NC, February 17: “God moves in a mysterious way . . .”, Toccata: Croce, Rassa, Italy 9 pm 8 pm Toccata X (Apparatus Musico-Organisticus), “. . . His wonders to perform” (In Mystery and Keith Hearnshaw; Westminster Abbey, Lon- Stephen Tharp; De Grote of Sint Jacobskerk, Muffat; Capriccio cucu, Kerll; Toccata in c, Wonder), Locklair; If Thou but Suffer God to don, UK 5:45 pm The Hague, Netherlands 8:15 pm Toccata in g, Partita on the chorale ‘Ach, was Guide Thee, Phillips; My faith looks up to Kurt-Ludwig Forg; Eglise Chalmers-Wesley, William Maddox; St. James’ Anglican Church, soll ich Sünder machen’, Pachelbel; Toccata in Thee, Jones; Carillon, Sowerby; Impromptu, Vieux-Québec, QC, Canada 6 pm Orillia, ON, Canada 12:15 pm F, BWV 540, Bach; Paean, Leighton; Deux- Carillon de Westminster (Pièces de Fantaisie, ième Fantasie, Variations on a Theme of Jan- op. 54), Vierne. 16 AUGUST 25 AUGUST nequin, Litanies, Alain. Philip Crozier; St. Johanniskirche, Lüneburg, Klemens Schnorr; St. Petri Dom, Bremen, Germany 7 pm BRIAN LUCKNER, Cathedral of St. Jo- Germany 8 pm JACKIE CRAIG DAHLMAN, CODY seph the Workman, La Crosse, WI, February Jonathan Oldengarm; Church of St. Andrew JOHNSON, & IRENE WALKER, with Don and St. Paul, Montreal, QC, Canada 12:15 pm 18: Praeludium in e, BuxWV 142, Buxtehude; 17 AUGUST Lewis, trombone, and Cody Johnson, bari- Adagio (Symphony No. 3, op. 28), Vierne; David Rosevear; St. James’ Anglican Church, tone, Gulf Shores United Methodist Church, 26 AUGUST Passacaglia, BWV 582, Bach; Choral No. 2 in Orillia, ON, Canada 12:15 pm Gulf Shores, AL, February 13: Toccata and b, Franck; Dieu parmi nous (La Nativité du Felix Hell; Ev.-Luth. Kirche “St. Mauritius”, Fugue in d, Bach; Die Anmut, Die Tapferkeit, Seigneur), Messiaen. 18 AUGUST Frauenpriessnitz, Germany 7:30 pm Telemann; Meditation from Thaïs, Massenet; Christian Skobowsky; St. Petri Dom, Bre- Savior Like a Shepherd Lead Us, Varner; For 27 AUGUST men, Germany 7 pm the Mountains Shall Depart (Elijah), Mendels- JAMES R. METZLER, Fountain Street Gillian Weir; Domkirche, Erfurt, Germany Andrew Sampson; St. Matthew’s Westmin- sohn; After a Dream, Fauré; The Navy Hymn, Church, Grand Rapids, MI, February 25: 7 pm ster, London, UK 1:05 pm arr. Fritchie; Litanies, Alain; Toccata on Psalm Choral No. 3 in a, Franck; Crucifi xion, Résur- Alex Davies; Liverpool Cathedral, Liverpool, Kurt-Ludwig Forg; Church of St. Andrew and rection (Symphonie-Passion), Dupré. UK 4 pm 108, Johnson; Londonderry Air, arr. Ades; I’m St. Paul, Montreal, QC, Canada 12:15 pm Getting Sentimental over You, arr. Burke; Bal- STEPHEN THARP, with Gramercy Brass 28 AUGUST lad, Dance, Jubilee (Images), Utterback. 19 AUGUST Orchestra of New York, Cathedral of Saint Felix Hell; St. Georg, Berka (Thüringen), Ger- Patrick, New York, NY, February 3: Sanctus Philip Crozier; Dorfkirche, Trebbus bei Do- many 7 pm CLIVE DRISKILL-SMITH, St. Mark’s berlug-Kirchhain, Germany 7:30 pm Episcopal Church, St. Louis, MO, February (Messa ‘Salve Regina’), Castagnet, arr. Sac- David Jernigan; Westminster Abbey, London, chi; Open the Gates (The Gates of Justice), Felix Hell; Evangelische Kirche, Fürth i. Oden- UK 5:45 pm 25: Flourish for an Occasion, Harris; Cho- Brubeck, arr. Lambert; Variations on ROUEN, wald, Germany 8 pm Jacques Boucher, with soprano; Eglise ral No. 2 in b, Franck; Fantasia in f, K. 608, Stephen Tharp; Stiftskirche, Stuttgart, Ger- Chalmers-Wesley, Vieux-Québec, QC, Canada Mozart; Fantasia and Fugue in g, BWV 542, Baker; Polishing the Brass (Theme and Ex- many 7 pm 6 pm Bach; Salamanca, Bovet; Variations on a Noël, plorations), D. & C. Brubeck; Symphonic op. 20, Dupré. Suite for organ and brass band: The Fenlands, 20 AUGUST 29 AUGUST Wills; The Year 1812, Festival Overture in E- Felix Hell; St. Maria-Magdalena, Roxheim, Ian Wells; Liverpool Cathedral, Liverpool, UK MARY GIFFORD, The Lutheran Home, fl at, Tchaikovsky, transcr. Kraft. Germany 7 pm 11:15 am Arlington Heights, IL, February 27: March for Philip Crozier; Dorfkirche, Wittmannsdorf bei Joyous Occasions, Peloquin; Gavotte (Holberg KONSTANTIN VOLOSTNOV, Trinity Lübben (Spreewald), Germany 7:30 pm 31 AUGUST Suite), Grieg; The Golden Wedding, Gabriel- College, Hartford, CT, March 4: Toccata, Keith Hearnshaw; Liverpool Cathedral, Liver- Felix Hell; Sankt-Petri-Dom, Schleswig, Ger- Marie; From Olden Times, Noble; Concerto Adagio, and Fugue in C, BWV 564, Bach; pool, UK 4 pm many 8 pm after Vivaldi, BWV 593, Bach; Six Variations Suite, Du Mage; Fantasia in f, KV 608; Fan- Peter Stevens; Westminster Cathedral, Lon- on Whatever God Ordains Is Right, Pachelbel; tasy in A, Cantabile (Three Pieces), Franck; 21 AUGUST don, UK 7:30 pm The Toy Trumpet, Scott; The Dancing Tambou- Fantasia, op. 110, Glazunov; Carillon de Philip Crozier; Stiftskirche, Neuzelle bei John McElhiney; St. James’ Anglican Church, rine, Polla; The Whistler and His Dog, Pryor; Westminster (24 Fantasy Pieces), op. 54, no. Eisenhüttenstadt, Germany 5 pm Orillia, ON, Canada 12:15 pm Toccata and Fugue in d, BWV 565, Bach. 6, Vierne.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera 847/391-1045,
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]
Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 22.00 ______Display Classifi ed, per word 1.35 Display Classifi ed minimum 26.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($26 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $5.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
JULY, 2011 37
July 2011 pp. 32-37.indd 37 6/9/11 2:02:22 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
Organist needed—The Orchard Evangelical Like the harpsichord? Harpsichord Tech- The Organ Historical Society has released Kimball unit console—Most pipes Wangerin, Free Church, based in Arlington Heights, IL, nique: A Guide to Expressivity, second Historic Organs of Indiana, 4 CDs recorded at Lyon & Healy, others. Need the space; daugh- seeks a skilled organist for new campus (and edition, by Nancy Metzger is a hands-on the OHS National Convention in Central Indiana ter and children moving home. Buyer to remove. new Rodgers organ!) in Barrington. 10–15 hours guide for touch and historically informed in July, 2007. Nearly 5 hours of music features $2,000. 219/322-5613. per week; Sunday services 9 am and 10:45 am. performance. www.rcip.com/musicadulce. 31 pipe organs built between 1851–2004, by For more information, contact Dan Wells at Aeolian-Skinner, Skinner, Henry Erben, Felge- 224/764-4016, or [email protected]. maker, Hook & Hastings, Kilgen, Kimball, and 1981 Schantz organ —12 ranks + extension. many more builders. Performers include Ken Exposed Great. Excellent condition. $37,500. Wayne Leupold Editions announces new Cowan, Thomas Murray, Bruce Stevens, Carol For more information, please go to our website, PUBLICATIONS/ publications, including the Clavier-Übung III Williams, Christopher Young, and others. A 40- www.milnarorgan.com. RECORDINGS of the complete Bach organ works, and the page booklet with photos and stoplists is includ- Anthology of Eighteenth-Century Spanish ed. OHS-07 4-CD set is priced at $34.95 (OHS Keyboard Music. New works include compo- members, $31.95) plus shipping. Visit the OHS Martin Pasi pipe organ—Two manuals, 24 Sportive Fauns and three other pieces by sitions by Samuel Adler, Chelsea Chen, Car- Online Catalog for this and over 5,000 other or- stops, suspended-tracker action. $350,000. Web: Dezsö d’Antalffy are offered as a tribute to son Cooman, Pamela Decker, Robin Dinda, gan-related books, recordings, and sheet music: http://martin-pasi-pipe-organ-sale.com; phone: this Hungarian organist who came to America João Wilson Faustini, Calvin Hampton, Dennis www.ohscatalog.org. 425/471-0826. to teach at Eastman (Austin), play in Carn- Janzer, Bálint Karosi, Rachel Laurin, Austin egie Hall (Kilgen) and in Radio City (Wurlitzer). Lovelace, Margaret Sandresky, Larry Visser, michaelsmusicservice.com; 704/567-1066. and many others. Numerous volumes of tran- CD Recording, “In memoriam Mark Buxton 1869 E. & G.G. Hook organ for sale. The organ (1961–1996).” Recorded at Église Notre-Dame scriptions are available, including works by measures 14 ft. wide, 10 ft. deep (with pedal) de France in Leicester Square, London, between and is 20 ft. tall. It has mechanical action, Great, Scott Joplin, Maurice Ravel, and Gioachino Refl ections: 1947–1997, The Organ Depart- 1987 and 1996. Works of Callahan, Widor, Swell, Pedal divisions, two combination pedals, Rossini. For information: 800/765-3196; Grunewald, Salome, Ropartz, and Boëllmann, 15 ranks; removal date January, 2012. $95,000, ment, School of Music, The University of Michi- www.wayneleupold.com. gan, edited by Marilyn Mason & Margarete along with Buxton’s improvisations. $15 post- negotiable. Please contact Stephen Tappe at Thomsen; dedicated to the memory of Albert paid: Sandy Buxton, 10 Beachview Crescent, To- Saint John’s Cathedral in Denver for more infor- Stanley, Earl V. Moore, and Palmer Christian. ronto ON M4E 2L3 Canada. 416/699-5387, FAX mation: [email protected]. Historic Organ Surveys on CD: recorded during 416/964-2492; e-mail [email protected]. Includes an informal history-memoir of the national conventions of the Organ Historical So- organ department with papers by 12 current ciety. Each set includes photographs, stoplists, 1960s Walcker (German) 14-rank tracker and former faculty and students; 11 scholarly and histories. As many organists as organs and Historic Organs of Seattle: A Young Yet Vi- organ. Open toe voicing on 2″ wind pressure. articles; reminiscences and testimonials by repertoire from the usual to the unknown, Arne brant History, the latest release from OHS, is a Reverse console built into case. Footprint is 6′ graduates of the department; 12 appendices, to Zundel, often in exceptional performances on four-disc set recorded at the 2008 OHS national wide by 11′6″ deep (including console and pedal and a CD recording, “Marilyn Mason in Re- beautiful organs. Each set includes many hymns convention, held in the Seattle, Washington stops), 9′10″ tall. All encased with 4′ Principal cital,” recorded at the National Shrine of the sung by 200–400 musicians. Historic Organs of area. Nearly fi ve hours of music feature historic façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- Immaculate Conception in Washington, DC. Indiana, 31 organs on 4 CDs, $34.95. Historic organs by Aeolian-Skinner, Casavant, Hook & quialtera, II–III Mixture. Manual II—8′ Gemshorn, $50 from The University of Michigan, Prof. Organs of Louisville (western Kentucky/eastern Hastings, and Hutchings-Votey, Kilgen, Tallman, 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— Marilyn Mason, School of Music, Ann Arbor, Indiana), 32 organs on 4 CDs, $29.95. Historic Woodberry, Hinners, Cole & Woodberry, plus in- 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and MI 48109-2085. Organs of Maine, 39 organs on 4 CDs, $29.95. struments by Flentrop, C. B. Fisk, and Rosales, in use regularly. Asking $12,000. For recordings Historic Organs of Baltimore, 30 organs on 4 and Pacifi c Northwest organbuilders Paul Fritts, and pictures contact [email protected]. CDs, $29.95. Historic Organs of Milwaukee, Martin Pasi, John Brombaugh, Richard Bond, The OHS Catalog is online at www.ohscata- 25 organs in Wisconsin on 2 CDs, $19.98. His- and many more! Renowned organists Douglas log.org. More than 5,000 organ and theatre toric Organs of New Orleans, 17 organs in the Cleveland, Julia Brown, J. Melvin Butler, Carole 1971 Bosch Organ —Two manuals, 36 ranks, organ CDs, books, sheet music, DVDs and Bayous to Natchez on 2 CDs, $19.98. Historic Terry, Bruce Stevens, and others are featured free standing, encased with detached console. VHS videos are listed for browsing and easy Organs of San Francisco, 20 organs on 2 CDs, in live performances on 24 pipe organs built be- Mechanical key action, electric stop action. Sell- ordering. Use a link for adding your address to $19.98. Add $4.50 shipping in U.S. per entire or- tween 1871 and 2000. Includes a 36-page book- ing price $25,000, re-location and installation the OHS Catalog mailing list. Organ Historical der from OHS, Box 26811, Richmond, VA 23261, let with photographs and stoplists. $34.95, OHS available. For information package contact Fowl- Society, Box 26811, Richmond, VA 23261. E- by telephone with Visa or MasterCard 804/353- members: $31.95. For more info or to order: er Organ Company, Lansing, MI. bmforgans@ mail: [email protected]. 9226; FAX 804/353-9266. http://OHSCatalog.com/hiorofse.html. aol.com; 517/485-3748.
TOTAL PIPE ORGAN RESOURCES
2320 West 50th Street * Erie, PA 16505-0325 (814) 835-2244 * www.organsupply.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:
For Pipe Organ Parts: arndtorgansupply.com Or send for our CD-ROM catalog Arndt Organ Supply Company 1018 SE Lorenz Dr., Ankeny, IA 50021-3945 Phone (515) 964-1274 Fax (515) 963-1215
PEEBLES-HERZOG, INC. 50 Hayden Ave. Columbus, Ohio 43222 Ph: 614/279-2211 • 800/769-PIPE www.peeblesherzog.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
July 2011 pp. 38-39.indd 38 6/9/11 2:03:43 PM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37
PIPE ORGANS PIPE ORGANS MISCELLANEOUS SERVICES/ FOR SALE FOR SALE FOR SALE SUPPLIES
1929 Estey “Minuette” with 3 unifi ed Three small pipe organs for sale. Great pric- Consoles, pipes and numerous miscellaneous Releathering all types of pipe organ actions ranks, a very rare 2-manual instrument in es. For more information, please go to our web- parts. Let us know what you are looking for. and mechanisms. Highest quality materials and a grand piano style case. Completely re- site, www.milnarorgan.com. E-mail [email protected] (not comcast), workmanship. Reasonable rates. Columbia built including case refi nishing and a new phone 215/353-0286 or 215/788-3423. Organ Leathers 800/423-7003. www.columbia blower. $20,000. Contact Box JU-6101, organ.com/col. THE DIAPASON. ELECTRONIC ORGANS SERVICES/ FOR SALE Highest quality organ control systems since SUPPLIES 1989. Whether just a pipe relay, combination Allen Organ, MDC Classic 22 with 2 manuals action or complete control system, all parts 48-rank, 3-manual and pedal pipe organ, and 32-note pedalboard. Original owner. Perfect Aeolian/Robert Morton-style maroon leather are compatible. Intelligent design, competitive 60 stops, 3,000+ pipes, 99-level combination for practice or small church. Superb condition. is now available from Columbia Organ pricing, custom software to meet all of your re- action, Great, Swell, Positive, Echo. With or $1,800 O.B.O. Dearborn, MI. 313/791-0590. Leathers! Highest quality. 800/423-7003, quirements. For more information call Westa- without a 4,200 sq. ft. 4 bedroom home: 20′ cott Organ Systems, 215/353-0286, or e-mail ′ www.columbiaorgan.com. x 55 LR, on 50+ acres, 2 bedroom guest cot- [email protected] tage, lake front, excellent for a retreat, on Great Sacandaga Lake. Saratoga County, MISCELLANEOUS FOR SALE Austin actions recovered. Over 40 years New York. $49,000, or $599,000 for package. experience. Units thoroughly tested and fully ANNOUNCEMENTS Contact K. Othmer at 518/696-5620; e-mail guaranteed. Please call or e-mail for quotes. [email protected]. Theater Organ pipes and parts—Wurlitzer 8′ Technical assistance available. Foley-Baker, Are you receiving THE DIAPASON E-News? Clarinet, $250; Wurlitzer 16′ Diaphone (1–12), Inc., 42 N. River Road, Tolland, CT 06084. $250; Kimball 8′ Post Horn, $900; Kimball 4′ Our newsletter is e-mailed monthly to our reg- Phone 1-800/621-2624. FAX 860/870-7571. istered subscribers; a separate issue each Late-1800s 2-manual Pilcher tracker pipe Concert Flute, $50; Kimball Bass Drum & Cym- [email protected]. organ is available, for just the cost to relo- bal, $100; 2 Kimball tremolos, $25 each; Kim- month sends you our web classifi ed ads. Don’t cate and refurbish. Specification and photo ball combination action with setter-board, $25; miss out! To register, visit www.TheDiapason. at www.pipe-organ.com. Arthur Schlueter, III, stop action chest for a 3-manual organ, $25; 3 com, click on Newsletter, and enter your con- tact information. 800/836-2726. Wurlitzer traps relays, $15. Philadelphia area. Need help with your re-leathering Phone: 610/627-2452. project? All pneumatics including Austin. Over 45 years experience 1969 Möller Double-Artiste. 2 manuals, 9 ′ ′ (on the job assistance available). Postal regulations require that mail ranks (including Mixture and 16 Trompette), 28 Atlantic City Pipe Organ Company—8 Eng- 615/274-6400. stops. Newly releathered and renovated. $44,500 lish Horn, Moller pedal Fagotto with chest, C.S. to THE DIAPASON include a suite num- plus installation. [email protected]; Haskell 16′ Principals, Reeds, Strings. 2-manual ber to assure delivery. Please send 617/688-9290. 3-rank, 5 Walker stops, Peterson relay & action; all correspondence to: THE DIAPASON, fi ts under ′8 ceiling. 10 years old. Ideal for home or small church. 609/641-9422; mywebpages. 3030 W. Salt Creek Lane, Suite 201, Available Summer, 2011. Moller Opus comcast.net/acorgan. ALL REPLIES Arlington Heights, IL 60005. 11546 (1981), 3-manual, 34+ ranks. Pol- ished zinc exposed pipes symmetrically TO BOX NUMBERS set in wood fi nish casework. Chicago area. Spencer Orgoblo—3hp, 10″ wind, $1500; Re- THE DIAPASON’s classified ads are Come try it! Contact Adrienne: 847/816-1468; isner relays and switches (played 3-manual,10- that appear now available on THE DIAPASON [email protected]. rank unit organ), $100. Schulmerich Carillon without an address website—including photographs and Auto Bell roll player with rolls, $250. Philadelphia convenient e-mail links directly to the area. Phone: 610/627-2452. should be sent to: sellers! Visit www.TheDiapason.com 1981 Lauck Residence Organ—2-manual, 3 THE DIAPASON and in the left-hand column, look for ranks, 16′ Gedeckt 97, 4′ Principal 73, 8′ Oboe SPOTLIGHTS, then click on Classified TC 49. Unifi ed to 19 stops. Expression, tremu- Request a free sample issue of The Diapason 3030 W. Salt Creek Lane, Suite 201 Advertisements. Follow the links to the lant, combination action. Natural ash casework: for a student, friend, or colleague. Write to the classifieds that interest you, and click ″ ″ ″ Arlington Heights, IL 60005 94 high, 72 wide, 24 deep. Movable. Presently Editor, The Diapason, 3030 W. Salt Creek Lane, the e-mail button to contact the sellers. being restored. $18,000. Lauck Pipe Organ Co. Suite 201, Arlington Heights, IL 60005; or e-mail: What could be easier? 269/694-4500; e-mail: [email protected]. [email protected].
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Builders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE ORGANBUILDERS INC Own a piece of history! NEW INSTRUMENTS REBUILDS - ADDITIONS TUNING & SERVICE The cover of the 100th Anni- 1070 N.E. 48th Court FT. LAUDERDALE, FL 33334 versary Issue of The Diapason is (954) 491-6852 now available on a handsome 10″x 13″ plaque. The historic cover im- Patrick j. Murphy age in full color is bordered in gold- & associates, inc. colored metal, and the high-qual- organbuilders ity plaque has a marbleized black fi nish; a slot on the back makes it 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 easy to hang for wall display. Made 610-970-9817 • 610-970-9297 fax [email protected] • www.pjmorgans.com in the USA, The Diapason 100th Anniversary Issue commemorative plaque is available for $45, shipping Jacques Stinkens The Organ Clearing House in USA included. $10 discount for PO Box 290786 Organpipes - since 1914 members of the 50-Year Subscrib- Charlestown, MA 02129 ers Club. Order yours today: Flues - Reeds Ph: 617.688.9290 [email protected] Bedrijvenpark "Seyst" Woudenbergseweg 19 E-1 Tel. +31 343 491 122 [email protected] www.organclearinghouse.com 847/391-1045 NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl
JULY, 2011 39
July 2011 pp. 38-39.indd 39 6/9/11 2:04:08 PM Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Chelsea Chen Douglas Cleveland Ken Cowan Dongho Lee 2010 AGO National Competition Winner Available 2010-2012
Scott Dettra Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell
Frédéric Champion Canadian International Organ Competition Winner Available 2009-2011
David Goode* Gerre Hancock Judith Hancock David Higgs Marilyn Keiser Susan Landale*
Jonathan Ryan Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jordan International Organ Competition Winner Available 2010-2012
CHOIRS AVAILABLE
Westminster Cathedral Choir London, UK Jane Parker-Smith* Peter Planyavsky* Daniel Roth* Ann Elise Smoot Donald Sutherland Tom Trenney Martin Baker, Director October 10-24, 2011 SOLD OUT
*=European artists available 2010-2011 and 2011-2012
Thomas Trotter* Gillian Weir* Todd Wilson Christopher Young