THE DIAPASON OCTOBER, 2007
Kernersville Moravian Church Kernersville, North Carolina Cover feature on pages 34–35
Oct 07 Cover 1-B.indd 1 9/12/07 9:47:03 AM 2007 “Jacobs is precisely what the organ scene needs right now.” (Los Angeles Times)
2007 “The instrument’s most unabashed and high- profile supporter.” (MusicalAmerica.com)
2007 “A one-man booster squad for the ‘king of instruments’.” (Grand Rapids Press MI)
2007 “Paul Jacobs is rapidly becoming the best- known organist since E. Power Biggs or Virgil Fox.” (The Columbus Dispatch OH)
2007 “One of the world’s great organists.” (Los Angeles Daily News)
2007 “An exhilarating evening...crisp and elegant and intricate and beautifully detailed under this remarkable musician’s young fingers....encores to send us home uplifted and happy.” (Los Angeles Weekly)
2007 “The reigning virtuoso of the pipe organ.” (Grand Traverse Herald, Traverse City MI)
2007 “Paul Jacobs, a classical organist with rock- star good looks...Extolled for his showmanship and lauded as a virtuoso.” (The Denver Post)
2007 “Dignified showmanship....precision and thrilling abandon.” (The Denver Post)
2007 In His Own Words..... “Music is not just about ‘playing neatly and accurately,’ he said. ‘It should be played in a manner that stirs the soul.’” (The New York Times)
2007 In His Own Words..... “Artists have to present music of the highest caliber that is full of emotion to attract audiences and bring in new listeners....A good instrument is important, but ultimately music comes from the performer and not the instrument.” (Clavier) Washington; May 4, Holocaust Cantata Charles Callahan; November 9, Lorenz by Donald McCullough. For informa- Maycher; December 7, Amahl and The THE DIAPASON tion:
Here & There
It’s not too late to advertise in The sored by the Chicago AGO chapter; Diapason 2008 Resource Directory. December 2, Advent Lessons and Car- Be sure your company is included in ols; January 13, Bach for the Sem (at the only comprehensive directory and the Evangelical Lutheran Church of buyer’s guide for the organ and church St. Luke); February 3, CUBE contem- music fi elds. The directory is printed in porary music ensemble; March 16, La 3 a 5 ⁄4″ x 8″ handbook format and mailed Paloma; April 20, LSTC’s Gospel Choir. with the January issue of The Diapa- For information:
OCTOBER, 2007 3
Oct 07 pp. 2-21.indd 3 9/12/07 9:48:15 AM ebrate the 20th anniversary of the instal- concerts by Paul Jacobs (November Change to the Handel Commemora- any other relevant topics. lation of its Rieger pipe organ with a spe- 4, 7 pm, Augustana Lutheran Church, tion,” will cover the organ and its music Abstracts will be due by December cial series of organ concerts: October 22, West Saint Paul); Hans Fagius (11/6, in the 17th and 18th centuries. 300-word 15, with responses from the panel of Anthony Newman; November 19, James 8:15 pm, the University of St. Thomas, proposals for 20-minute papers and lec- readers by mid-to-late January. The David Christie; January 29, Daniel Roth; Saint Paul); Stephen Tharp (11/9, 7:30 ture-recitals are welcome on any and all website will be updated soon: either May 11, Stephen Hamilton will perform pm, Bethel University, Arden Hills); topics relating to the English organ of follow the links from
East Carolina University Pre-College Competition
The Inaugural East Carolina Uni- dean of the Eastern Carolina AGO chap- versity Pre-College Competition for ter; Chris Lynch, second place winner; Organists was held March 16, 2007. Caroline Robinson, third place winner; Three fi nalists were chosen to compete Wilma Jensen, competition adjudicator on the Perkins and Wells Memorial Or- and recitalist; Paul Thomas, fi rst place gan, C. B. Fisk Opus 126. The compe- winner and recipient of the Bach Prize; tition adjudicator and artist was Wilma Elisabeth Chopinet of the North Caro- Jensen, who also presented a master- lina Bach Festival. class and a recital at the conclusion of The competition, now in its second the weekend. year, is open to any pre-college stu- First place winner of the Charles dent in North Carolina, South Caro- Brenton Fisk Prize and the Bach Prize lina, Virginia, Georgia, Alabama, Ten- was Paul Thomas, student of Florence nessee and Florida. All three finalists Jowers. Second place winner of the John receive monetary prizes and compli- and Gladys Fishell prize was Christopher mentary registration to the annual Lynch, student of Wallace Hornady, and East Carolina Religious Arts Festival; third place winner of the Eastern Caro- the first place winner also receives an Robert Bates Craig Cramer Aaron David Miller lina AGO prize was Caroline Robinson, invitation to return to perform at East student of Adam Pajan. Carolina University. Pictured are (back row, left to right) The 2008 competition is to be held Steven Dieck, president of C. B. Fisk; April 19. The application deadline is 425.745.1316 [email protected] www.organists.net Janette Fishell, competition founder; February 29. For information:
4 THE DIAPASON
Oct 07 pp. 2-21.indd 4 9/12/07 9:48:46 AM for English language hymn writers, display by securing control ropes from which carries a prize of $500 for the the various cornices around the seven- winning entry. The search is for texts to story atrium. use on Mother’s Day, “sensitive to the changing nature of family life, and af- Bach-Schumann-Brahms fi rming feminist calls for equality.” The Discovery use of familiar meters that can be sung A particularly valuable but previously to familiar tunes is encouraged. The neglected item from the archives of the deadline for entries is December 31. For Riemenschneider Bach Institute is a information: Hymn Contest, Macalester volume containing eleven 19th-century Plymouth United Church, 1658 Lincoln prints of keyboard works by J. S. Bach Ave., St. Paul, MN 55105-1949; that was once owned by the pianist Clara
thth ConcertArtistCooperative 20ANNIVERSARY
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Shin-Ae Chun Maurice Clerc Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Organist/Harpsichordist/ Interpreter/Improviser/ Recording Artist Organ Faculty and Chair Recording Artist Recording Artist Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Director of Music and Organist Titular Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Redeemer Lutheran Church St. Benigne’s Cathedral East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Clair Shores, Michigan Faculty School of Music Director, International Organ Festival St. Maria della Speranza National Conservatory Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy Dijon, France
Leon Couch Laura Ellis Faythe Freese Johan Hermans Michael Kaminski Organist/Lecturer Organist Organist/Lecturer Organist / Lecturer / Organist College Organist Associate Professor of Associate Professor of Organ Recording Artist Director of Music Ministries Assistant Professor of Organ Organ and Carillon School of Music Conservatory of Music Saint Francis Xavier Church and Music Theory University of Florida University of Alabama St. Quintinus Cathedral Brooklyn College Faculty Converse College Gainesville, Florida Tuscaloosa, Alabama Organ Concert Series St. Francis College Faculty Spartanburg, South Carolina Civic Organist Brooklyn, New York Hasselt, Belgium
Angela Kraft Cross William Kuhlman Tong-Soon Kwak David K. Lamb Maija Lehtonen Organist/Pianist/Composer/ Organist Organist Organist/Choral Conductor/ Organist/Pianist/ Recording Artist Professor of Music Emeritus Professor of Organ Oratorio Accompanist Recording Artist Organist Luther College College of Music Director of Music/Organist Senior Lecturer, Organ Faculty Congregational Church Decorah, Iowa Yonsei University First United Methodist Church Oulu Polytechnic San Mateo, California Artistic Director Columbus, Indiana Organ and Violin Torch International Organ Academy with Manfred Grasbeck Seoul, Korea Helsinki, Finland
www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
OCTOBER, 2007 5
Oct 07 pp. 2-21.indd 5 9/12/07 9:49:09 AM is perhaps not surprising that in the 40 the Fantasy in G Major, BWV 572—are pages that preserve Schumann’s mark- the same two Bach organ works that ings we most often observe him analyz- Clara’s dear friend Johannes Brahms ing the thematic structure of Bach’s imi- most often played as a concert pianist. tative polyphony, whether in free works Indeed, this volume also preserves in or chorale settings. For example, in ana- Brahms’s own hand his piano-transcrip- lyzing Bach’s setting of Aus tiefer Noth tion markings for both works. Brahms schrei ich zu dir, BWV 687, Schumann defi nitely advised Clara on how to per- marked, in addition to each phrase of the form these pieces at the piano, and their chorale proper, every one of the roughly annotations here represent, in fragmen- 40 fugal statements. Much more unex- tary form, Brahms’s long-lost piano ar- pectedly, because he is not generally as- rangements of these pieces. Clara and sociated with the instrument, Schumann Brahms preferred to double the pedal entered detailed organ registrations into line at the lower octave, a circumstance Bach’s organ Prelude in A minor, BWV that often makes it diffi cult to play all the 551, suggesting that he was far more manual voices. In the case of the G-ma- serious about organ playing than has jor fantasy, Clara added dynamic marks previously been believed. As someone that enhance both the contrapuntal and who openly complained about the many harmonic structure of the music. Most erroneous readings found in the Bach remarkably, Brahms rewrote the manual Richard Benedum Christopher Houlihan editions of his day, Schumann also made fi guration of the fi nal section of the fan- sure to correct various typographical tasy, and in so doing transformed the other aspects of the music program. Hartford, and during his sophomore year mistakes in these prints, including fi ve work into a piano showpiece. Benedum was also awarded a grant served as Trinity College Organ Scholar instances in the G-major fugue for or- Clara’s Bach book is a musicological from the National Endowment for the at Christ Church Cathedral (Episcopal), gan, BWV 541/2. Schumann presumably treasure that greatly adds to our un- Humanities to direct his 12th interdisci- Hartford. Houlihan is a past winner of had been advised of these errors by his derstanding of how some of the leading plinary seminar on the music of Mozart the Albert Schweitzer USA Organ Com- friend Felix Mendelssohn, who in 1840 musicians of the 19th century responded for the National Endowment for the Hu- petition and the 2007 recipient of the dispatched an angry letter to the pub- to the model of Bach’s keyboard music. manities. He and faculty members from Charlotte Hoyt Bagnall Scholarship for lisher (C. F. Peters) for allowing such a The volume therefore ranks as one of the Universities of Dayton, Michigan, Church Musicians. This past July he was sloppy edition to circulate. Of particular America’s most important Bach sources. and Vienna, and Cornell University, will a featured performer at the Pipe Organ interest are Schumann’s corrections of I am currently preparing a comprehen- take 25 American teachers to Vienna, Encounter sponsored by the Springfi eld, typos in the famous Toccata in F Major sive study of the source, to be published Austria to study the music of Mozart Massachusetts AGO chapter, and he re- for organ, BWV 540/1, for these mark- in the journal BACH, and I am seeking a from June 16–July 11, 2008. Application corded his fi rst CD, featuring the Sec- ings correspond exactly to an article publisher for a performing edition of the information is available at
ORGAN & ORCHESTRA 22 brass, strings, timpani and harp
Sunday, October 28 7:00 pm music by Gigout, Campra, Dupré, Hanson, Lafford, and Poulenc
Tickets. At the door: $15 Adults; $3 Students 18 or Carl Loeser th older with ID. Free for children & youth through 12 The Historic Organ Restoration Com- grade. Two-fer Special — Buy tickets for both concerts mittee, Inc. has announced the appoint- and pay only $20 Adults and $5 Students. ment of Carl Loeser, a New Jersey na- tive from Plainfi eld, as the new curator of the pipe organs in Boardwalk Hall 116 South Highland, Pittsburgh, PA 15206 412-441-3800 www.cathedralofhope.org (The Atlantic City Convention Hall) in Atlantic City, New Jersey. He brings a
6 THE DIAPASON
Oct 07 pp. 2-21.indd 6 9/12/07 9:49:26 AM
variety of expertise to the position, hav- Wehr’s Music House are the publishers ing worked in the pipe organ fi eld for of Sadoh’s compositions. His biography 30 years. His responsibilities will be to is listed in Marquis’ Who’s Who in Amer- oversee the restoration of the 7-manual, ica, Who’s Who in American Education, 449-rank Midmer-Losh pipe organ in Who’s Who in the World and the Con- the main auditorium, along with the 4- temporary African Database, London. manual, 55-rank Kimball pipe organ in the ballroom. Following college, Mr. Loeser pur- Here & There sued a career in electrical engineering and concurrently started a side business doing organ maintenance and tuning. In 1988, he decided to switch to pipe organ work on a full-time basis. Since that time he has been involved in a variety of ven- tures. These have included assisting in in- stallation of new organs, or providing fac- tory authorized service for the Schantz, Casavant, Reuter and Austin pipe organ companies. He has also done extensive rebuilding and restoration work, and provided tuning and maintenance ser- Andrew Peters vices on a wide range of instruments from two to 461 ranks in size. Much of Andrew Peters has been appointed Godwin Sadoh his restoration experience has involved Pastoral Musician at Second Presbyte- instruments on higher pressures. Among rian Church, St. Louis, Missouri. He will Pittsburgh; M.M. in organ performance these projects was the complete restora- play the IV/60 Schantz organ, direct the and church music from the University tion of the Ethereal division of the John choirs, and expand the church’s musical of Nebraska-Lincoln; and the Doctor Wanamaker organ, which had suffered outreach in the community. Peters holds of Musical Arts degree in organ perfor- severe water damage, as well as the wear degrees from St. Olaf College and the mance and composition from Louisiana David di Fiore and tear that all high-pressure instru- Cleveland Institute of Music, where he State University, Baton Rouge. He is the ments suffer over time, two conditions studied with John Ferguson and Todd fi rst African to earn a doctoral degree in David di Fiore played recitals in the that have similarly affected parts of the Wilson, respectively. Currently in studies organ performance from any institution Slovak Republic and Italy in August. Midmer-Losh organ. with Wilma Jensen, he was a semi-fi nalist in the world. Venues included St. Egidius Basilica, The Midmer-Losh pipe organ has in the 2006 NYACOP competition. He Sadoh’s extensive scholarly articles on Bardejov; Katolika Kostol, Humune; recently received a grant of $100,000 presently serves as dean for the Nash- over 30 topics in Nigerian church music, Katolika Kostol, Michalovce; Cattedrale from the federal government’s pres- ville AGO chapter. For further informa- organ building, composers, modern Afri- S. Giuseppe, Vasto; and Dom Umenia, tigious Save America’s Treasures pro- tion, visit
FOR SALE:
OHS cited historic Moller tracker organ, opus 217, 1898.
Fine foundational sound for congregational singing and choral accompaniment. Originally in First Lutheran Church, Indianapolis, currently in storage in Wisconsin. Sixteen stops: Great 6, Swell 8, Pedal 2. Dimensions: width 14', depth 8', height 21'. Restoration required.
Contact: Indiana University 812.855.5813 for purchase arrangements, 920.749.9633 for technical details and viewing the organ.
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Please submit your offers no later than November 1, 2007.
8 THE DIAPASON
Oct 07 pp. 2-21.indd 8 9/12/07 9:50:01 AM P C bttjpo pvout/!Cfshibvt!Pshbo!Dpnqboz!jt!mppljoh!gps!tfwfsbm!! joejwjevbmt!xjui!fyqfsjfodf!up!ßmm!uif!gpmmpxjoh!ofxmz!dsfbufe!qptjujpot/!Jo!bmm!dbtft-!uif!! xpsl!jt!efnboejoh!boe!sfrvjsft!b!usvf!tfotf!pg!dpnnjunfou!boe!efejdbujpo/!! Kpc!tqfdjßd!fyqfsjfodf!jt!qsfgfssfe-!cvu!tljmmt!jo!sfmbufe!ßfmet!xjmm!cf!tuspohmz!dpotjefsfe/
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Quality Pipe Organ Building & Maintenance Since 1967 and his career as an organist, church with Hans Davidsson, the article “Orga- regional convention in Dallas. Salem musician, composer, recitalist, conser- no Pleno: Winning Hearts and Minds” in Sonata was commissioned to celebrate vatoire professor, and orchestral musi- Choir and Organ (vol. 13, no. 6, Novem- the restoration of the organ built by Da- cian. The author also examines the ca- ber/December 2005, pp. 55–58). vid Tannenberg of Lititz, Pennsylvania, reer and contributions of Durufl é’s wife, Scholarship applicants were required in 1799–1800 for the Moravian Church Marie-Madeleine Durufl é-Chevalier. to submit an unedited recording of a of Salem, North Carolina. The organ is Frazier is organist and director of music major prelude and fugue of J. S. Bach, now placed in the auditorium (designed at the Episcopal Church of St. John the a shorter Romantic work by Vierne, Du- especially for it) of the Old Salem Village Evangelist, St. Paul, Minnesota. For in- pré, Langlais, Widor or Peeters, and a Visitor Center in Winston-Salem, North formation:
Paul Jacobs with a group of Aboriginal students at St. Andrews Cathedral in Sydney The University of Rochester Press has published a revised edition of Kerala Paul Jacobs will perform Olivier Snyder’s Dieterich Buxtehude: Organist Messiaen’s Livre du Saint Sacrement in Lübeck. Originally published in 1987 at the Church of St. Mary the Virgin in and long out of print, the book is con- New York City on October 9 at 8 p.m. sidered to be the defi nitive biography of The performance is Jacobs’s third and Buxtehude. The revised edition contains fi nal presentation as holder of the 2007 new information on the organs that Bux- William Schuman Scholars Chair at tehude played in Scandinavia and Lü- the Juilliard School, where he has been Mark Laubach beck, excerpts from the newly available chairman of the organ department since account books from St. Mary’s in Lübeck, 2004. In a pre-concert conversation, Ja- Mark Laubach is featured on a new a discussion of newly discovered sources, cobs, who has played the composer’s en- recording, Mosaics in Sound, on the including one written by J. S. Bach, an tire organ output in nine-hour marathon Pro Organo label (CD 7210). Recorded evaluation of recent scholarship on Bux- concerts in eight U.S. cities since 2002, on the Berghaus organ at St. Stephen’s tehude, and an extensive bibliography. will discuss Messiaen and his works with Episcopal Church in Wilkes-Barre, The accompanying CD provides ex- music scholar Luke Berryman, a 23- Pennsylvania, where Laubach is minister amples of all genres discussed in the year-old native of Oxford, England, and Paul Jacobs with a student at St. of music, the program includes works by book—vocal works, a trio sonata, harpsi- a graduate student at Boston University Andrews Cathedral in Sydney John Cook, Horatio Parker, Sowerby, El- chord music, and organ music newly re- specializing in the works of Messiaen. gar, Howells, Derek Bourgeois, Dupré, corded on the North German meantone For information:
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10 THE DIAPASON
Oct 07 pp. 2-21.indd 10 9/12/07 9:50:34 AM LAVISH APPOINTMENTS EXCEPTIONAL TONALITY
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12 THE DIAPASON
Oct 07 pp. 2-21.indd 12 9/12/07 9:50:57 AM WHY
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Timelessness I’ve often heard and I’ve often used the word timeless to describe the sound of a pipe organ. Ten years ago I was fi n- ishing the restoration of an organ built by E. & G. G. Hook in 1868, their Opus 466. I was thrilled by the bold and clear choruses, beautiful fl utes (I never heard such a Melodia), and the Swell Oboe that had the qualities of a chameleon, some- how adapting itself to whatever I wanted Allen HeritageTM organ it to be. The Pedal Bourdon was soft when it needed to be soft, and somehow The Allen Organ Company of Ma- seemed louder when used with larger cungie, Pennsylvania, announces the combinations. I played music of all eras installation of a new four-manual, 87- with equal success, limited only by the stop HeritageTM organ at Asbury United relatively small scope (14 stops) of the Methodist Church. The new Allen is organ. It was built for a church seating Photo 1, E. & G. G. Hook Opus 466, now the largest all-digital organ of its fewer than 200 people, the same size as Follen Community Church, Lexington, kind in the Lehigh Valley, and replaces its present home. (See photo 1.) Massachusetts (photo: William T. Van Pelt) a four-manual Allen installed originally The Organ Clearing House recently in 1975. The custom HeritageTM console Johannus Monarke Präludium dismantled a somewhat larger organ, is fi nished in oak, accented with walnut built in 1879 by the same company, drawknob jambs. The drawknob stems and St. Petersburg. by then known as E. & G. G. Hook & are crafted from rosewood, as are the Dirk Koudijs and Marco van de Hastings. Frank Hastings had become a keyboard and pedalboard sharps. Weerd supervised the installation by a partner with Elias and George Hook in The organ includes Allen’s exclusive large team. They brought an interpreter, 1872—the addition of Hastings to the QuantumTM technology featuring Quad because most Russians here do not speak nameplate brought many innovations, SuiteTM with four complete organ speci- English or German. The installation in- both mechanical and tonal. This was fi cations: American Classic, Neo Ba- cludes a façade of pipes in front of the Opus 946 with 21 stops, this time built roque, French Romantic and English speakers. Radio 4 in The Netherlands for a church seating more like 900. With Cathedral, providing the organist with featured an interview live during broad- Trumpet on the Great, Cornopean on 321 individual voices on this instru- cast. It is also news in Russia. Almost 20 the Swell, larger scales, and a Double ment. The installation consists of an reporters and a three-camera crew came Open Wood, this relatively modest in- expanded audio system with 34 audio to attend a press conference. strument makes a “big church” sound. channels and over 60 speaker cabinets. Founded in 1971, Johannus is located The instrument has been purchased by The organ will be formally dedicated on in Ede, The Netherlands, and has instal- a Roman Catholic church in the Pitts- October 26, at 7:30 pm by guest organ- lations in over 80 countries. Johannus burgh area, a large parish that is em- ist Aram Basmadjian. has its own outlets in The Netherlands, barking on an ambitious building pro- England and Scotland, and importers in, gram. This 130-year-old organ will be Johannus Organ Builders from among other places, America, Austra- renovated and installed in a brand-new Ede, The Netherlands, has installed a lia, Japan, and Korea. For information: building, its timeless sounds and time- Monarke Präludium in the Novosibirsk
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14 THE DIAPASON
Oct 07 pp. 2-21.indd 14 9/12/07 9:51:26 AM
430 BC, a period known as the Golden it a contradiction to have a Celeste tuned Age of Athens. It is undergoing an im- in unequal temperament?) portant restoration today, work that will Those were also the days of the avant- On Teaching preserve this spectacular example of per- garde. We heard and played music for by Gavin Black fect architectural proportions for centu- organ with electronic tape, music for ries to come. (See photo 3.) organ with the reservoir weights re- Walt Disney Hall, the new home of moved—music that was far enough from the Los Angeles Philharmonic Orches- the mainstream that it was hard to hear, tra, is a monumental building, clad in hard to understand, and hard to love. stainless steel, designed by Frank Gehry. During the AGO national convention of Graceful and contrasting curves defi ne 1976 I participated in a piece for organist the building’s exterior shapes, but when and two organbuilders—a friend and I you view the exterior it’s diffi cult to imag- Photo 3, The Parthenon (photo: John with music stands were inside the organ ine what the interior spaces are like. (See Bishop) pulling on trackers, squares, and rollers. photo 4.) When you walk inside, you I remember it was fun, I remember that quickly lose track of where you are in re- audience members walked out, but I lation to the exterior—as you sit in your can’t remember any melodies. seat in the auditorium just try to point A little while ago I was calling for new north! Boston’s Symphony Hall echoes forms of expression. Now I’m poking fun the shape and proportions of the Parthe- at them. It’s all leading to another rhetor- non—when you walk around inside you ical question: What is the purpose of art? have no trouble understanding where Is it supposed to soothe and please us, you are or which way you’re facing. or challenge and disturb us? Remember A painting by Jackson Pollack, a build- the challenge of the preacher, to comfort ing by Frank Gehry, and a composition the affl icted and affl ict the comfortable. by John Cage are all contemporary ex- Listen to any commercial classi- pressions. Some admire them. Some are cal-music station—you’ll hear a daily disoriented and confused by them. Some “Mozart Hour” and what seems like a Relax dislike them. Will people be fl ocking to Photo 4, Disney Hall (photo: John Bishop) continuous loop that includes Vivaldi’s At the end of last month’s column, I them centuries from now while at the Four Seasons, symphonies of Beethoven said that next time I would talk about same time rejecting the artistic expres- to improvisation—that most spontaneous and Brahms, tuneful suites by Grieg, relaxation, hand position, and posture, sions of their day? of performance styles. It’s compelling for Respighi, and Bizet, and precious little and would begin to address the busi- John Cage lived from 1912–1992, Aar- an audience to witness the opening of a else. It’s not commercially viable to take ness of teaching experienced pianists to on Copland from 1900–1990—contem- sealed envelope that contains submitted artistic risks. The art museum mounts a play organ or harpsichord. Let’s start by poraries with wildly different musical themes, the wry smile of the performer, show of Monet’s paintings and the lines discussing the latter of these, then the languages. Anton Webern and George and the unleashing of a musical imagina- go around the block. And it’s easy to fi nd extraordinary or even transcendent im- Gershwin were contemporaries as were tion. I’ve written about this occasionally Monet’s house and garden at Giverny, portance of relaxation, a little bit about Leonard Bernstein and Witold Luto- in these pages and later heard readers’ just point your car in the right direction its relation to posture and hand posi- slawski. What a fascinating century. comments that while they admire im- and follow any bus. tion, and the role that the concept of Looking back a couple hundred years, provisation they feel it’s unattainable to A couple years ago we saw a new play relaxation can play in teaching. we note that Johann Sebastian Bach them. Fair enough—and it’s funny that by Paula Vogel, The Long Christmas Among the students who come to us, lived from 1685 to 1750, Franz Joseph my own improvising sounds best when Ride Home. Roughly and briefl y de- those who are already experienced pia- Haydn from 1732 to 1809, and Lud- I’m alone in a church! But I ring the scribed, it’s the story of a family dealing nists but not organists or harpsichordists wig van Beethoven from 1770 to 1827. bell for the benefi t of those who are just with the son’s death caused by AIDS. present special opportunities. This is Overlapping lifetimes, great advances in starting to learn about the organ, and of The most controversial and diffi cult mo- made clear by the question that a new the language of music, but are Bach and course, for those who teach. A constantly ments are acted by larger-than-life, ana- student of this sort will almost always ask Beethoven as different as Cage and Cop- refreshed emphasis on improvisation is a tomically specifi c puppets. Some time at the fi rst lesson: “Is it a good thing or land who lived at the same time? great way to guarantee the future of the later I happened to have a conversation a bad thing that I already play piano?” Through all of these generations of pipe organ. with a wealthy patron of that repertory The answer is “both.” The good part, composition, the essential elements of I step back to put this in perspective. company who had been asked to provide of course, is the skill and experience in the pipe organ have not changed. You I was a student at Oberlin in the 1970s, the funding for the creation of the pup- choosing fi ngerings, in practicing, and draw the same principal chorus to play a time when the academic emphasis of pets. He said that he was uncomfortable in just plain playing note patterns at the Mouret, Mendelssohn, and Messiaen. organ study was very strong. We were about it, he was troubled by the play, but keyboard. This is a tremendous leg up, Timeless. But is it timely? fascinated by early forms and styles of that he felt it was an important thing to and can save a vast amount of time and This year marks the 300th anniversary organ building and the music that went do. It is the true patron of the arts who work. The bad part is made up of any of the death of Dietrich Buxtehude, and with them. A faculty member played a will provide funding for something that technical habits that are proper to the a number of organists are presenting Widor Finale on a recital (on the shutter- troubles him. piano but unsuitable for the organ or the his complete works in commemoration. less Flentrop organ tuned in Werckmeis- harpsichord. These usually have to do I applaud this and I admire the dedica- ter III), and students were amused—it Back to the future with weight or force, or with playing too tion it takes. It’s essential that the music seemed a parlor trick. He was on to What does all this have to do with the fu- far into the keys, but may also include of great masters be held up, studied, and something—but I know I missed it. A ture of the pipe organ? People love to hear over-reliance on the damper pedal or an interpreted afresh. At the same time, I couple years later I was part of a team the music they love and they deserve to approach to articulation that does not believe that the future of the organ de- that installed the new Flentrop organ be challenged. Great art can be both. And translate well from piano to other key- pends on the as-yet-undiscovered ways it at Trinity Cathedral in Cleveland—it’s great artists can be constantly looking for board instruments, or various listening can be presented to the listening public. almost 30 years old now! With our em- the balance between the popular offerings habits that, if unaltered, can limit a play- What new language can thrive on the phasis on early music so strong in those that pay the bills and the new ideas that er’s ability to use organ or harpsichord timelessness of the pipe organ? days, it was interesting to note that that stretch the boundaries and lay the path for sound expressively. These problems can, More and more organists are devoted organ had a Swell Box and a Celeste! (Is coming generations. Good luck! Q in theory, form a tremendous set of ob-
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16 THE DIAPASON
Oct 07 pp. 2-21.indd 16 9/12/07 9:51:51 AM stacles that would indeed negate the ad- up the drumming becomes slower and a remarkably effective way to do two im- These will almost always adapt well to vantages from the student’s pre-existing the “notes” become more distinct from portant things: fi rst, to allay the student’s any keyboard.) In any case, do remind keyboard facility. one another, sort of clunkier. anxiety about the process of adapting to the student that this is in no way a per- Often, out of an understandable de- However, the most important role of the new kind of touch; second, to devel- formance or audition, and that it doesn’t sire to not neglect the artistic in favor physical relaxation in organ and harpsi- op a very plausible—or occasionally even matter for now how the piece actually of the crassly practical, pianists who chord playing—and the reason I said last really good—organ or harpsichord touch sounds. The piece should not be too fast, come for organ or harpsichord lessons month that I sometimes consider it to be right off the bat. so if it is intrinsically fast, ask the student will exaggerate in their own minds the the only technical imperative in playing This does not mean, of course, that the to play it under tempo for now. obstacles or problems created by their these instruments—is that a very relaxed student will instantly have nothing more 2) Ask the student to sit in as relaxed piano-oriented technique and feel reluc- hand can make much more subtle distinc- to learn or will immediately become a and comfortable a way as possible. At tant to embrace the advantages that their tions of timing and articulation than can knowledgeable or virtuosic performer the organ this might involve hooking keyboard training gives them. Many stu- a hand with any tension in it. Whether of all sorts of different repertoire. It will, the feet back under the bench or even dents start out with an almost morbid these distinctions are being used to cre- however, create, very promptly and with letting them rest on and mutely play fear of sounding like “a pianist trying to ate accent through varied articulation or little or no anguish, a platform upon some pedal keys. At the harpsichord this play the organ” rather than “an organist.” to shape a line through slight rubato or which the student can build. This will al- might involve leaning back in the chair The good news is that it is actually quite to create just the right amount of over- low the student to take advantage of the or slumping forward a bit or sitting with easy to overcome all of these disadvan- lapping to adjust to a particular acoustic years of piano training without falling one foot up on the other knee. Some of tages and to reap the full benefi t of any or to stagger the releases of the notes in prey to the actual problems that piano these things might have to change later basically sound keyboard training. The a chord to create a gentle diminuendo technique can create for aspiring organ- on—though I have a strong bias in favor key to doing this effi ciently and indeed or anything else, tension in the hand ists or harpsichordists or to the anxiety of any player’s sitting in whatever way is easily is relaxation. will force the player to choose between created by fear of those problems. most natural and comfortable for that This relaxation is essentially physical: starkly different alternatives, whereas a Here are some practical steps when person’s physique and habits—but for that is, the complete absence of tension truly relaxed hand will allow the player to beginning to help a pianist study organ the moment the only role of the whole in all of the muscles, tendons, etc. that make infi nitely slight distinctions, while or harpsichord: body other than the hands is to be sub- are directly involved in playing, the sub- of course also easily permitting larger 1) At the fi rst lesson invite the student jectively comfortable and to provide the stantial absence of tension in the rest of distinctions to be made. to sit at the keyboard and play some- student with no distraction or worry. the body, and the assumption of a posture There is a lot more to be said about thing—anything—that he or she already 3) As the student begins to play, re- or body position that can be maintained this. In fact it will be the background to knows. This might well not be a piece mind him or her to think about nothing without conscious thought and without much of what is discussed in this column, that is really appropriate to the instru- other than playing lightly. In particular, muscular effort. The ideal is that the and there will be more columns about it ment. This does not matter in the least. this means explicitly not caring about player be as relaxed—physically—while specifi cally. Right now, however, let us In fact, since part of the purpose of this wrong notes and, especially, not caring if playing as he or she would want to be return to the former piano player who beginning is to allay anxiety, it can be some notes actually fail to sound because while “relaxing” in his or her favorite and wishes to learn organ. I have found over better if the issue of the piece’s sounding the student has not pushed them down least demanding way: sitting back in an the years that introducing such a student good or right on the instrument doesn’t hard enough. I always tell students that arm chair, lounging on the beach, taking to the idea of relaxation—extreme relax- even exist. (Of course most pianists have if, when fi rst working on organ or harp- a nice long bath, or whatever. ation—as early as the very fi rst lesson is some Bach pieces under their fi ngers. sichord, they play so lightly that some One exercise for getting to know the feeling of physical relaxation as it applies to the hands is this. Stand up in a posture that seems comfortable (not formal or “at attention”). Allow your arms to hang loosely at your sides. Now raise one arm up to about waist height, without raising or otherwise tightening the shoulders, letting the elbow move out to the side and letting the forearm point more or less toward where you are looking (prob- ... a voice for my soul ably tilted inward a bit: it should feel nat- ural and comfortable). Do this as gently as possible. Let your hand hang loosely at the end of your arm. Now move your forearm up and down several inches, not too quickly, letting your hand fl ap up and down loosely without attempting to con- trol it in any way. The feeling that you get in your hand by doing this fairly briefl y is a lot like the way the hand should feel at the keyboard when it is quite relaxed. (If you do this exercise for too long, say more than twenty seconds at a time, it can get wearing on your arm and begin to create the kind of tension it is trying to expunge.) (A longer discussion of this exercise can be found, along with several further ex- ercises, at the Princeton Early Keyboard Center website,
OCTOBER, 2007 17
Oct 07 pp. 2-21.indd 17 9/12/07 9:52:10 AM notes don’t sound, they will discover that Advent (December 2), which makes the Annunciation Carol, arr. Richard ited by Ralph Buxton, and will require a after a short time this is simply no longer numerous preparations for the holiday Proulx. SATB unaccompanied, GIA solid choir for performance. happening. They will have discovered, season more manageable. This year, Publications, G-6226, $1.40 (M). subconsciously, the right actual amount November has fi ve Thursdays; of course Based on the traditional Dutch folk- New Magnifi cats of force to play the keys, without having there are the same number of days, but song “De Boodschap van Maria,” this lost the feeling of lightness and fl uidity. the distribution to the week changes work has four verses with two set to Magnifi cat, Paul Tate. SA, keyboard (I have actually never known this not to each year, and 2007 seems to stretch the the same music. The other two retain with optional guitar and string happen.) Any preoccupation at the very entire holiday season. For merchants the melody but are arranged differ- quartet. GIA Publications, Inc., G- beginning with making sure that every that reaps signifi cant benefi ts; for church ently. Proulx’s setting maintains the 6294, $1.50 (E). Instrumental parts note sounds will almost certainly lead to musicians that is a mixture of good and folklike character for the jaunty mel- are available separately: guitar (G- the “safe” adoption of a too strong and bad news. ody. Delightful. 6294G, $3.00); string quartet (G- insuffi ciently relaxed touch. Advent is the season of the church 6294INST, $8.00). 4) Concerning hand position, the year that emphasizes the anticipa- The Promise of Advent, arr. J. Wil- The Luke text has been paraphrased most important thing to mention to the tion of the first coming of Christ to liam Greene. SATB and organ, Can- but is clearly recognizable. The fl owing student at this stage is that it is a good this earth. His coming as the Messiah ticaNOVA Publications, #5091, $2.10 piano accompaniment is fi lled with six- idea to keep the hand more or less in a was first prophesied in the sixth cen- (M). teenth-note motives in the right hand line with the arm along the side-to-side tury B.C. when the Jews were captive This is an arrangement of an Old that become the central identifying char- axis, that is, not to cock the wrist in or out in Babylon. For centuries thereaf- English carol that is not familiar but acteristic. The soloist sings the opening to any appreciable degree. This can be ter faithful Hebrews looked for their has a bouncy, dancing spirit to it. The Magnifi cat text as Mary. Only four of the made diffi cult by certain fi ngerings, so Messiah with great longing and ex- organ part, on two staves with registra- 12 verses are used in this quiet, intro- as a practical matter the student should pectation, echoing the prayer that He tion suggestions, has busy passages that spective setting. simply skip any (already learned) pas- would “ransom captive Israel,” which help drive the music. The adapted text sages that seem to make it necessary to is incorporated into the most popular has a wonderful message for Advent. Magnifi cat, Mark Hayes. SATB divisi turn the hand in or out more than a little Advent hymn, “O Come, O Come, This work will be greatly enjoyed by choir with keyboard or optional full bit. In the next phase—that of learning Emmanuel.” Derived from the 12th- the singers and the congregation and is or chamber orchestra, Roger Dean new pieces—this idea can be taken into century chant, its modal character highly recommended. Music Publishing Co (Lorenz Corp.), account from scratch in making fi ngering creates a haunting melody that con- ISBN: 978-0-89328-734-4, $8.00 choices. I don’t believe that it matters, at gregations greatly enjoy singing. Music for the Christmas Season, (M+). this stage, where the hand is at on the Although the original plainchant was Volume III, Hildegard von Bingen The full orchestra score/parts are $250; up-and-down axis, as long as the shoul- longer, today’s hymn has fi ve verses; the (1098-1179). Unison unaccompa- chamber orchestra $150. The duration is ders and arms are comfortable. Issues Scripture references in the text are Isa- nied, Hildegard Publishing Com- about 12 minutes. The choral parts are a such as high or low wrists or the position iah 7:14, Zechariah 9:9, and Matthew pany (Theodore Presser Co.), 492- mixture of homophonic and polyphonic of the elbow will fall into place naturally 1:23. Using this hymn as a processional 00177, $5.95 (E). areas containing frequent divisi although or can be easily dealt with later on. It can in Advent has become standard in many There are fi ve chants, with four that the vocal lines are not diffi cult to sing. be useful to remind the student that the American churches. are appropriate for Advent. These schol- The Gloria Patri is a robust fugue some- fi ngers need not be parallel to the keys. The fourth Advent Sunday this year arly editions of the remarkable 12th- what in the style of Handel, with bold Rather, the tips of the fi ngers must pres- is December 23, so with all the music century composer, poet, and visionary choral chords that interrupt and punctu- ent themselves to the keys with the rest needed for Christmas Eve services just comprise Latin texts set to note heads ated the theme as it builds to a gigantic of the hand in a physiologically comfort- one day later, choir directors should that have no rhythms. Each is fi lled Amen ending. able position. carefully plan ahead. In most cases with long melismatic lines. An English This setting is not diffi cult, but will be For many students, one session along there will be no regular rehearsal be- translation of the less familiar texts is a challenge. The keyboard part probably these lines is a revelation. They imme- tween that last Advent Sunday and included at the end. This would be an works best on piano if done as the only diately hear themselves making beau- Christmas Eve, so all music must be interesting addition to a choir’s Advent accompaniment. Exciting new music tiful sounds, and they hear any articu- learned and rehearsed early. Decem- literature, but probably is of more value from Hayes. lations that they make as being subtle ber tends to be the busiest month of to esoteric ensembles. and musical, not abrupt or jarring. Of the year for people so preparation and course this is just a beginning, but it is a diligence are the keys to success. As People, Look East, Bruce Neswick. New Recordings very good one. Needless to say, pianists Benjamin Franklin said: SATB unaccompanied, Paraclete coming to the organ also must begin to “Diligence is the mother of good luck, Press, PPM00728, $1.60 (M). explore the joys of pedal playing. We and God gives all things to industry. Then The Besançon Carol is one of the more Pierre de Manchicourt (c. 1510– will turn to that subject beginning with plough deep while sluggards sleep, and popular Advent melodies and text. There 1564), Volume I. The Choir of the next month’s column. you shall have corn to sell and to keep.” are fi ve verses, but only one is for the full Church of the Advent, Boston, Mas- SATB choir; two are for women alone sachusetts; Edith Ho, music director; Gavin Black is the Director of the Prince- Four Introits for Advent, Daniel and two for men. The happy 6/8 melody Ross Wood, associate director. Arsis ton Early Keyboard Center in Princeton, New Pinkham. Unison (or solo voice) and is used throughout. There is a keyboard compact disc SACD 400
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18 THE DIAPASON
Oct 07 pp. 2-21.indd 18 9/12/07 9:52:33 AM by the Choir of the Episcopal Church sured that though they may fall asleep in ular text for weddings, and might have that has, so far at least, devoted itself to of the Advent in Boston, whose clean death they will nevertheless rise again. been written for the Spanish court with a series, British Musical Heritage. This translucent sound is well suited to de Perhaps it was written for some particu- a royal wedding in mind. The texture of disc consists of voluntaries from Samuel Manchicourt’s polyphony. lar member of the royal court who lay this motet is quite amazingly rich and re- Wesley’s op. 6: Nos. 3 (in C-minor), 6 (in The fi rst work on the compact disc is near death. The radical and idiosyncratic minds me in some ways of Tallis’s Spem C), 9 (in G minor), 11 (in A), 12 (in E); de Manchicourt’s motet, Non conturbe- character of de Manchicourt’s composi- in alium. Perhaps this is not all that sur- Voluntary in B-fl at for Thomas Attwood; tur cor vestrum, based John 14:1–2 and tional style is here again apparent in the prising, since de Manchicourt was more and, from Twelve Short Pieces, nos. 8 16, where Jesus says he is “going to pre- way that even the gloomiest of subjects or less a contemporary of Tallis, but de and 9. pare a place” for his disciples and prom- can be transformed into occasions of ela- Manchicourt’s motet is all the more im- Samuel Wesley, the son of Charles ises also to pray that his Father will send tion in his musical scores. De Manchi- pressive for the texture he achieves with Wesley, was a prolifi c composer who the Holy Spirit. This motet was sung court must have seemed a particularly a mere eight parts compared with Tallis’s wrote in almost every form except op- during the latter part of the Great Fifty congenial person to be around the court forty. The motet also contains some very era. He wrote over 100 organ pieces, but Days of Easter between Ascension Day when Philip II was having a bad day. interesting echo effects. is remembered, if at all, chiefl y as the and Pentecost. The warmth and tran- The motet Ego sum panis vivus again I commend this CD as a well-pro- composer of some notable church an- quility of the piece communicate the makes use of a text from the Gospel duced recording of the works of a very thems. Samuel also has had the misfor- confi dence and elation of the biblical of John, scored for SATTB. The motet innovative composer who is probably tune of being confused frequently with text. The melodic motifs of this motet would have been useful both for Lauds much less well known in the English- his son Samuel Sebastian Wesley! are then taken up and used to create a at the feast of Corpus Christi, where speaking world than he deserves to be. The large-scale works, sonatas in all mass for the same season. As the leafl et the text is the antiphon used with the It is also a very restful recording to help but name, are best represented by the explains, this is what is known as a paro- Benedictus Dominus Deus, and for Ves- the listener unwind after a long day. 12 voluntaries of opus 6 and some works dy mass, in which the composer deliber- pers on Ember Wednesday in Advent, —John L. Speller written for contemporary musicians. ately copies secondary material (Greek: when it is used as the antiphon for the St. Louis, Missouri Herman argues that these works demand paroidia, secondary), though not in the Magnifi cat. It might be nice to hear the a well-developed organ, and were writ- comic or satirical manner that most motet paired with one or other of these ten for the few instruments—St. Paul’s, people associate with the word parody canticles, though it makes a good stand- Organ Music by Samuel Wesley Surrey Chapel, and the Portuguese Em- today. De Manchicourt displays consid- alone piece on this recording. Once (1766–1837): Organ Voluntaries and bassy—that could offer two well-devel- erable ingenuity in the way that he takes again Alleluias appear in the fi rst part of Short Pieces. Played by David Her- oped manuals and at least some pedal. musical phrases from the motet and re- the motet as well as at the end. They be- man on the organ of Coventry Ca- He further argues that Wesley foresaw uses them in the different movements gin in triple meter, and then in the sec- thedral. Redcliffe Recordings RR and hoped for the development of the of the mass. For example, the melody ond half reappear in duple meter—yet 019. Available from Redcliffe Edi- British organ along the lines of the or- from “Ego vado ad Patrem” (“I go to the another example of de Manchicourt’s tions, 68 Barrowgate Rd., London gans of continental Europe. Wesley’s fa- Father”) is used for the Christe eleison daring experimentation. W4 4QU, UK; vorite form was obviously the fugue, and section of the Kyrie. The notes explain The fi nal work on this compact disc is
OCTOBER, 2007 19
Oct 07 pp. 2-21.indd 19 9/12/07 9:52:56 AM organ of the day with no pedal and a ger compositions are nos. four, fi ve, and Land. Trenney is known for accompani- exandre Guilmant, and Marcel Dupré. weak, or nonexistent, second manual is six of his Zwölf Stücke. ments to silent fi lms; his sense of color Conte also plays Virgil Fox’s arrange- the collection Twelve Short Pieces (1815) This disc presents an unusual pro- is beautifully displayed in Dudley Buck’s ment of Come, Sweet Death, which was and the well-known Duet (1812). The gram, although the title is, I think, a trifl e Last Rose of Summer, which gives no done for Fox’s recital at the 1939 AGO short pieces are often charming. No. 9 misleading. All, or almost all of the music quarter to the great David Craighead’s national convention. The huge crescen- was at one time much anthologized and is based on texts closely associated with recorded version. Dan Miller’s arrange- dos and decrescendos are seamless in I remember meeting it, somewhat ar- Mary, but most of them are not particu- ment of Count Your Blessings is cheery the atmospheric reconstruction of Vir- ranged and entitled Gavotte. An excel- larly devotional or “churchy” in tone. and lighthearted; here Trenney’s theatre gil’s performance. lent little piece! Gailit plays on the Sandtner or- organ style is right at home. Guilmant is represented by his Herman registers the works as he gan (1987) of St. Hedwig’s Church in An organ duet is included: Paean by Marche Religieuse. It is remembered feels they demand or as Wesley would Bayreuth, Germany. It has 34 stops, Stephen Paulus, performed with Andrew that he came to St. Louis in 1904 to have wished. There will be both de- about 47 ranks, on two manuals and Kotylo—sounding quite diffi cult for play 40 (forty!) recitals at the Louisiana fenders and attackers here. Clearly, pedal: a 13-stop Hauptwerk, a 12-stop both players. Jennifer Conner composed Purchase Exposition on what was then Wesley, who never left England, can- Schwellwerk, and a 9-stop Pedal. Me- a fi ve-movement suite, A Teller of Tales, the largest pipe organ in the USA. This not have heard sounds like those here. chanical action throughout, the only based on children’s stories. Three of the became the nucleus of the Wanamaker What would he have thought hearing playing aids are pedals (reversible) to sections are included: “The Tortoise and Organ after the fair closed. Vierne is one of his great fugues with pedal reed standard couplers, to full organ, and to the Hare,” “The Shoemaker and the represented by a Toccata and Dédicace announcing the last fugue entry, and a each of the pedal reeds. The swell box Elves,” and “Rapunzel.” These are imag- from the Pièces de fantaisie. Dupré oc- blast of upperwork crowning the piece? is extremely effective and makes the cre- inative interpretations: the tortoise plods cupies the most time in this splendid The biggest voluntaries, numbers 11, scendo-decrescendo effects of the Re- along, the hare snoozes! A publisher is disc, which includes an arrangement 12, and the one for Thomas Attwood, ger very impressive. On the Swell, four not indicated, but these should appear of the Cortège et Litanie made by Pe- are really exciting works as Herman ranks of harmonics, not counting the 4- in print. Three of Craig Phillips’s treat- ter Conte, and the entire Symphonie- plays them. Whether his approach is rank Fourniture, offer the possibility of ments of hymntunes are given splendid Passion in an exciting performance re- justifi able is of course arguable. creating solo stops, which are otherwise performances, and the disc concludes corded live during the 2002 convention It is deplorable that the accompanying not in good supply. The Schwellwerk is a with about twelve minutes of improvisa- of the AGO: the fi rst complete perfor- booklet, which contains an excellent and relatively early attempt to create one de- tion by Mr. Trenney, including an aston- mance in the Grand Court since Dupré almost persuasive essay by Herman, does partment of limited size that would serve ishing trio on Eventide. improvised it there in 1921! not include the stoplist of the Coventry both as a French Récit and a German —Charles Huddleston Heaton Cathedral organ used in the recording. Oberwerk. Sandtner was by and large The Frank Roosevelt Organ (II/26), Pittsburgh, Pennsylvania It is clearly a sizable instrument, and successful in the attempt. The pedal 1891, St. James Catholic Church, Herman uses its principal and secondary reeds are smooth and quite powerful. Chicago, Illinois. Organists Wolf- choruses, some solo stops, and a substan- Gailit, born 1957, was educated gang Rübsam, William Aylesworth, The Aeolian-Skinner Legacy, Albert tial pedal division. in Vienna and now teaches there. and Michael Surratt. Available from Russell Plays Three Great Organs. Herman, professor and university or- He is organist at the prominent Au- the Organ Historical Society, $14.98 Private recordings, 1957–1973; ganist at the University of Delaware, has gustinerkirche, and is widely known as
THE WANAMAKER ORGAN Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET the first Sunday of 823 Massachusetts Avenue • Indianapolis, Indiana 46204 each month at wrti.org 800.814.9690 • www.gouldingandwood.com
20 THE DIAPASON
Oct 07 pp. 2-21.indd 20 9/12/07 9:53:18 AM The primary purpose of this CD, Calvert Johnson. Wayne Leupold 15 (on the 3rd tone). The collection con- also occur in a few pieces. Although or- which is a transfer of reel-to-reel tapes Editions WL600204; $35.00; cludes with one incomplete verso, and gans in Oaxaca had divided registers, with digital editing, is to document the
OCTOBER, 2007 21
Oct 07 pp. 2-21.indd 21 9/12/07 9:53:33 AM 28th International Organ and Church Music Institute The University of Michigan Jeffrey Patry and Kraig Windschitl
he 28th annual International Organ Tand Church Music Institute took place June 24–26, hosted by the School of Music, Theatre, and Dance at the Uni- versity of Michigan, Ann Arbor. Under the direction of Marilyn Mason, uni- versity organist and organ department chair, this year’s conference focused on the music of Dietrich Buxtehude (1637– 1707) as well as liturgical music, in a vari- ety of workshops, lectures, and recitals. For the opening of the institute, a recital featuring organist/harpsichord- ist Michele Johns, professor of church music at the University of Michigan; baroque violinist Tapani Yrjölä, chair of the string department at Joensuu Conservatory, Finland; and tenor Da- vid Troiano took place in the Blanche Anderson Moore Hall, which houses the Kim Kasling, assisted by Kraig 35-rank “Marilyn Mason” organ by Fisk. Windschitl, at the Fisk organ in Composers represented were Buxte- Blanche Anderson Moore Hall hude, Corelli, and J. S. Bach, including the Ciaccona in c minor, performed in Johan Van Parys, Helmut Schick, Marilyn Mason, and Alan Knight celebration of the 300-year anniversary of Buxtehude’s death. The same evening, Kim Kasling, pro- fessor of organ and liturgical music stud- ies at St. John’s University, Collegeville, Minnesota, and organist emeritus at the Cathedral Basilica of St. Mary, Min- neapolis, performed a recital of Böhm, Buxtehude, Alain, and Reger on the Frieze Memorial Organ in Hill Audi- torium. This grand organ was built and rebuilt by Farrand & Votey, Hutchings, E. M. Skinner, and Aeolian-Skinner— truly a marvel in both sight and sound! A highlight of the recital was the Ann Arbor premiere of the Reger Fantasie and Fugue in d minor, op. 135b, in the original uncut score. This monumental Kim Kasling at Hill Auditorium work called for the full resources of both organ and organist, a stunning, bravura Martin harpsichord. match rewarded with repeated applause Later that afternoon, Marilyn Mason and shouts of “Bravo!” graciously invited all institute partici- The following morning began with Dr. Stephen Hoelter, Marilyn Mason, Kraig Windschitl, Marijim Thoene, and Jeffrey pants to an open console at Hill Audi- Kasling’s presentation on “Buxtehude, Patry torium. Given the massive size of the Böhm, and Muffat—Common Ground.” instrument, Dr. Mason willingly assisted Kasling explored and demonstrated sented “Buxtehude and the Chaconne.” Henri Clicquot of 1790 at the Cathedral those at the organ. stylus phantasticus, Italian and French The evolution of the chaconne and pas- of St. Pierre Poitiers in Vienne, France; That evening, DMA candidate Mar- styles germane to all three composers. sacaglia was discussed using examples and most recently the M. P. Möller/ cia Heirman performed a program of A specifi c work performed was Muffat’s such as the Passacaglia in d minor, the Goulding & Wood at the Basilica of the Franck, Schroeder, Saint-Saëns, Reger, Toccata Duodecima et Ultima, a real de- Ciaccona in e minor, and the Ciaccona National Shrine, Washington, DC, heard Messiaen, and Vierne. A welcome con- light, heard in the reverberant Blanche in c minor. Dr. Thomsen brought the in a stunning recording of the third dance clusion to the institute was this varied Anderson Moore Hall on the Marilyn session to a close with the performance from Alain’s Trois Danses, performed by program, especially Franck’s Choral in Mason organ built by Fisk. of the Prelude, Fugue, and Ciaccona in Marilyn Mason. b minor, a perfect work for such a re- Throughout the institute, break-out C Major. Later that evening at Hill Auditorium, nowned instrument. sessions were presented by Johan Van “Organs—Ancient through Con- DMA candidate Luke Davis performed Thanks to Dr. Marilyn Mason and Parys, director of worship and the sacred temporary” was led by Erven Thoma, the music of Johannes Brahms—the the University of Michigan for a most arts at the Cathedral Basilica of St. Mary music director and organist for Martin Eleven Choral Preludes, op. 122, as well informative, invigorating, and pleasur- in Minneapolis. Topics covered worship Luther Chapel, East Lansing, Michi- as the Sonata in E-fl at for clarinet and able Organ and Church Music Insti- as a ritual behavior, as a sensual experi- gan, and Helmut Schick, organ histo- piano, op. 120, no. 2, with Ryan Lohr, tute. We look forward to the 29th insti- ence, and as a conscious, pre-conscious, rian and curator in southern Michigan. clarinet. As a unique touch to the pro- tute next June. Q and post-conscious experience. Beautiful slides and superb recordings gram, Davis intoned each chorale from Margarete Thomsen, liturgical con- were enjoyed by an enthusiastic audi- the organ bench. Jeffrey Patry is director of music and organ- sultant as well as former music director ence. Examples included the Jörg Ebert On the fi nal day, Marijim Thoene, ist at Sacred Heart Church in Robbinsdale, and organist at Good Shepherd Lu- organ at the Hofkirche, Innsbruck, Aus- a University of Michigan alumna, pre- Minnesota. A graduate of St. Olaf College, he theran Church, Redford, Michigan, pre- tria, which dates back to 1558; François- sented “The Infl uence of Frescobaldi studied organ and church music with Douglas and Froberger on Buxtehude.” Har- Cleveland and John Ferguson. monic structure and rhythmic motifs Kraig Windschitl is principal organist at were analyzed in Frescobaldi’s Cento Mount Olivet Lutheran Church in Minne- Partite sopra Passacaglia and Froberg- apolis, Minnesota. A graduate of St. John’s presents er’s Canzona No. 6, in relation to Buxte- University and Indiana University, he studied hude’s Ciaccona in c minor. Dr. Thoene organ and church music with Kim Kasling, The 2008 Miami International Organ Competition performed the Buxtehude Ciaccona on Larry Smith, and Marilyn Keiser. the Marilyn Mason organ, and the Fro- Church of the Epiphany • Miami, Florida berger Canzona No. 6 on the Willard Photo credit: Jayne Latva
Finals • February 22, 2008 Preliminary round application materials deadline December 15, 2007 First Prize - $5,000 plus an invitation to play a full-length recital on the 2008-2009 concert series. For more information, go to www.ruffatti.com
Three-manual twin-console 61-rank pipe organ built in 2001 by
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22 THE DIAPASON
Oct 07 pp. 22-23.indd 22 9/12/07 9:54:40 AM Summer Institute for French Organ Studies 2007 Annie Laver
tional instruments concurrently allowed the group to discuss the development of Cavaillé-Coll’s building style and the surrounding musical context in the 19th century. During the week, the group examined Cavaillé-Coll’s Barker levers, discussed the evolution of the absolute legato style in France, and learned how to maneuver ventils and couplers, among other things. The fi nal concert included Louis Vierne’s Symphonie III and César Franck’s Choral in B Minor. The group was enthusiastic in its praise for the institute, citing the organized and Annie Laver gets some guidance informative presentations, and the rare on interpretation of Vierne’s Third opportunity to prepare for performances Symphony from Professor Eschbach on the historical instruments daily. The SIFOS participants at the Cavaillé-Coll next Summer Institute for French Organ in Epernay (left to right): Annie Laver, the second half of the institute, a seminar Studies will take place in the summer of Jesse Eschbach, Kate Meloan, Laura devised around an instrument complet- 2009. For more information, visit
ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD AAATFEE DBO R DYERCASAVANT FISK GARLAND GOULDING & WOOD HENDRICKSON FRERES DOBSON R. BOODY BOODY APOBA
At the Clicquot organ in Poiters Get the Best (clockwise from top left): Katherine Meloan, Daryl Robinson, Elaine Mann, Laura Edman, and Annie Laver From the Best. or two weeks this past summer, a Fhandful of American organists par- ticipated in the Summer Institute for Then French Organ Studies, a biennial edu- cational seminar run by Gene Bedient, president of Bedient Pipe Organ Com- pany, and Jesse Eschbach, professor Rest Assured. at the University of North Texas. The small group of participants, including Daryl Robinson, Elaine Mann, Laura Edman, Katherine Meloan, and Annie Laver, sought out the institute in order to gain hands-on experience on histori- cal organs and further their understand- Whether your new organ is to ing of French organ music from the ba- roque and romantic periods. be small or large, electric The institute commenced in Poitiers, France on May 28, where participants or mechanical action, were allowed exclusive access to the 1789 organ built by François Henri Clicquot in APOBA members are the Cathedral of St. Pierre. During the week, Gene Bedient gave lectures on as- proven, ethical firms. pects of Classical French organbuilding, including the development of wind sys- tems, key action, temperament, and pipe- work. He frequently guided the group And we’ll be here tomorrow through the inside of the case, in order to and for generations of reinforce the concepts discussed in lec- tures. Professor Eschbach complemented tomorrows to meet your needs. the lectures on organbuilding with pre- sentations on the historical context for French baroque music as well as perfor- mance practice issues such as inegalité and registration in the music of 17th- and To receive information about pipe organs 18th-century France. François Guich- and recognized pipe organ builders ard and Jean-Baptiste Robin also offered A write or call toll free 1-800-473-5270 demonstrations and masterclasses. The P focus of the week was François Couperin’s or on the web @ www.apoba.com Mass for the Parishes of 1690. Each par- O Associated Pipe Organ Builders of America ticipant presented a portion of the work B for the daily performance seminars and A P.O. Box 155 • Chicago Ridge, Illinois 60415 public concert on Friday, June 1. After a weekend free for individual & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT excursions, the group reconvened in the heart of champagne country on June 4 for NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP
OCTOBER, 2007 23
Oct 07 pp. 22-23.indd 23 9/12/07 9:55:03 AM A Conversation with Albert Russell September 24, 2006, Washington, DC Lorenz Maycher
Among his many admiring colleagues, Albert Russell is considered not only a prince of the organists’ realm, but as a gentleman’s gentleman. These attributes are rare enough in this day, but they are uniquely combined with great humility, affability and graciousness. Those of us who have been fortunate enough to know him for years know also of his dry wit and wonderful good taste. His recently released Aeolian-Skinner Legacy recording [See p. 20–Ed.] en- ables his outstanding musicianship to be shared with a new following of fans, all of whom will be delighted that he has gen- erously given this fascinating interview. —Charles Callahan Orwell, Vermont July 2007 Lorenz Maycher: Tell me about your early years, and how you got inter- ested in the organ. Albert Russell: I was born in Mar- Albert Russell in recent years lin, Texas, which is near Waco. Later, we moved to Stamford, near Abilene, out in “You should be a butcher, rather than the Panhandle. I was interested in the a musician.” But it certainly separated organ from early childhood and used to the men from the boys. He would never go to choir practice with my mother and allow anyone to conduct a straight four- drive the organist crazy, reaching up and Albert Russell at National Presbyterian Church beat pattern, which he thought was playing the keys while they rehearsed. square, but insisted on a fl owing, musical I started piano lessons at the age of six, Kathleen Thomerson were some of my number of noonday recitals at St. Paul’s pattern. I think I learned as much from and organ at twelve, taking lessons on classmates at UT. Gerre played at Uni- Chapel at Columbia, where he taught him, musically, as anybody. a two-manual Estey at the Methodist versity Baptist Church. The organ at his lessons. Searle’s accompaniments of However, years later, George Faxon Church, where the highest pitch was UT was the fi rst Aeolian-Skinner I had oratorios at St. Paul’s were superb. He and I often combined choirs. Once, we 4′. My teacher would put on the sub- any contact with, and it was such an eye would always laugh and say if he didn’t were rehearsing the In Ecclesiis of Ga- coupler and say she was “searching for opener. I studied organ with John Boe have such good acoustics, he’d be fi red. brieli at Trinity, Boston. I was conduct- depth.” She gave me mostly transcrip- and Earl Copes and learned from both He didn’t have time to practice a lot, but ing and George was at the organ. Roger tions. Rachmaninoff Prelude in G Minor, of them. Earl Copes now lives in Sara- he always played wonderfully. Voisin, the fi rst trumpet in the Boston Caprice Viennois of Fritz Kreisler, and sota, Florida and is still playing recitals. I learned about being a good musician Symphony, was also playing. He said, Dreams of Hugh McAmis were some We are still in contact. from Searle. He always taught such in- “George, I cannot follow Mr. Russell. of my pieces. I went to my fi rst lesson The summer of 1953, I came to Wash- teresting repertoire, like Robert Russell Would you please conduct?” So, we trad- wearing tennis shoes, but she got rid of ington, D.C. I had heard William Wat- Bennett’s Trio, where all three voices are ed places. It was not funny at the time, those. Her students were not allowed kins play a recital at Baylor and vowed in different keys. I chided him about that but is now that I look back on it. I had to use the tremolo while we were prac- then that I’d like to study with him. And piece for years afterwards for giving me always used Ifor Jones’s fl owing style of ticing, because she was afraid it would sure enough, I did in the summer of something so diffi cult. It is a good piece, conducting and, of course, orchestral break and she wouldn’t be able to use it 1953. He was so wonderful to me, and but is disconcerting! people never knew where I was. on Sunday. She kept a clothespin on the got me jobs playing the organ all over At Union, I also learned an awful lot tremolo stop so we wouldn’t use it. There town. When I got to Washington, I had LM: Every time I run across a recital from Robert Shaw’s mentor, Julius Her- was a ceiling fan above the console in the $50 in my pocket, so had to get a job in program of yours, the repertoire is ford. We all laughed at him at the time choir loft where birds would build nests a hurry. completely different. How did you for what we thought was his overly ro- that would fall into the choir loft. Dick acquire such a large and varied rep- mantic interpretation of Bach. Actu- Bouchett was one of her students, and LM: You came to Washington just to ertoire, with so much new and chal- ally, he was making music. We were too later we were good friends. study with him? lenging music? young to appreciate that. I left Stamford when I graduated high AR: Yes. Studying with him that AR: I am a fast reader, so can learn Charlotte Garden taught oratorio ac- school and went to study with Robert summer was such a great experience quickly. I’ve always had a craving to learn companiment. She was a terrifi c teacher Markham at Baylor, where I had a full that I decided to come back to Wash- new music, and enjoyed going to Patel- and organist—and was fun. She was so scholarship. Baylor had a good music ington in January 1954 to work with son’s to buy music that other organists tiny that she looked like a peanut sitting department, and Markham had built the him some more at the Washington did not know or weren’t playing. Searle at that huge Möller console at her church, organ in the main auditorium there; it Musical Institute, where I completed was awfully good about introducing me Crescent Avenue Presbyterian Church was installed beneath the stage and had my bachelor’s degree. to music that was not being played a lot. in Plainfi eld, New Jersey. She and Virgil some theatre organ stops in it. He was I had gone to a fortune-teller in San I also studied composition with Searle. were always vying for who could play the organist at First Baptist in Waco, where Antonio, and she had said I would fi nd He was never a morning person, and that large Reger works the fastest. he played a large Pilcher. He was very a job not related to music in Washing- class was at 9:00 a.m. He was ALWAYS I studied improvisation with Har- good to me and brought me back after ton within three days of my arrival. Sure late and just did not want to be there old Friedell, and got to play one of the I had left Baylor to accompany Messiah. enough, the third day I was hired as a at all! He said I always wrote music Lenten recitals at St. Bartholomew’s. He I was also chapel organist at Baylor, and fl unky in the offi ce of Senator Prescott that sounded like Delius, which I took was also good to me and had a wonder- was organist at First Lutheran Church in Bush, the grandfather of the current as a compliment. fully dry wit. He taught at the church, Waco, and, later, First Methodist Church president. And again, thanks to Bill Wat- Through Searle, I got to know John and I would think of what I was going in Marlin. kins, I was busy playing in churches all Huston quite well, and Robert Cran- to improvise on while on the subway on Then I was in the Air Force, stationed over town. He opened up a whole new dell, who was at First Presbyterian in the way to the church. As you know, his in Bryan, Texas, and was fortunate to get world for me and presented me in recit- Brooklyn. John Huston was at St. Ann’s music is very modal. He improvised in to play in the civilian churches. I would als at his own church, New York Avenue in Brooklyn with that wonderful Skin- the same style and taught this style for play the chapel service using a fi eld Presbyterian. I got to know many of the ner that Virgil’s teacher put in. Charlotte improvisation in service playing. Thank pump organ at fi rst and then we got a Washington musicians through him and Garden loved that organ. Through the goodness we did not have to improvise Hammond, which made me feel like I vowed then that, if I were ever offered faculty at Union, I made many connec- fugues or strict form, because I would was playing a fi ve-manual Skinner. After a job, I would move here. And, sure tions in New York City, and as a result, not have been good at it. Friedell’s ser- the service I would then go into town and enough, here I am. got to play one of the opening recitals on vice playing was smooth, and he used the play at First Presbyterian. When I got In the fall of ’54, I enrolled in the the new Aeolian-Skinner at St. Thomas organ beautifully—including the dome out of the Air Force, I went to the Uni- master’s program at Union Theological in 1956. It was an absolutely thrilling or- organ and all those goodies up there. versity of Texas in Austin, and auditioned Seminary in New York, studying organ gan. Ed Wallace was the assistant at that I remember Virgil came to the Lent- for and got the job at University Meth- with Hugh Porter. He taught his lessons time. George Faxon, Henry Hokans, and en recital I played at St. Bart’s. I did the odist Church, which was a nice position. on the E. M. Skinner at the Academy of Clarence Watters were three of the other “Sicilienne” from the Durufl é Suite, and Archie Jones, who taught in the music Arts and Letters. That fi rst year I had a recitalists on the inaugural series. used the dome Vox Humana—shouldn’t department at the university, was the little church job in Cloister, New Jersey, During my second year at Union, I have been using it, but Virgil thought it choir director. It was great fun to try to and took the bus out there. The second was chapel organist and got to accom- was the highlight. Bobby Hebble and play the organ loudly enough to support year, I played at West End Collegiate pany the choir’s Christmas concert, with Ted Worth were there with Virgil—we a congregation of 1200 Methodists sing- Church on an old Roosevelt that had Ifor Jones conducting. I once made the were good friends. I had gotten to know ing “the good ole hymns!” I would have been redone by Austin. Donald McDon- mistake of giving him a pitch with the ce- Virgil through a friend of mine who was been an organ major, had we not been ald had been there, and he turned over lestes on. Well, I never did that again! a tenor in the choir at Riverside. He required to play from memory. I can the reins to me. We had eight profession- thought I should play for Virgil once. memorize, but have never felt I played als for the choir. It was a fun job. LM: Was Ifor Jones just a terror? So I did, and that is how I got started as well from memory. I don’t make mu- That year, I decided to study organ AR: He could be very hard on people substituting for him whenever he was sic as well—too busy worrying about the with Searle Wright just to get a differ- in choral conducting class, and some away, and playing oratorio accompani- notes. Gerre Hancock, Joyce Jones, and ent perspective on things. I got to play a were reduced to tears. He would say, ments, which was a good experience for
24 THE DIAPASON
Oct 07 pp. 24-27.indd 24 9/12/07 9:55:50 AM Hammond with not many people pres- AR: Absolutely. Some of Joe’s organs ent. They had gotten rid of the all-pro- from the early ’60s are among the best fessional choir and only had four paid instruments Aeolian-Skinner ever built. singers. So, in September I really had Philharmonic Hall in New York, for ex- to start from scratch with volunteers. ample, was certainly one of the fi nest. Later on, we went to eight paid people I always enjoyed hearing Joe talk about and started the oratorio choir, which got organs, because he did it from a mu- up to about sixty people. We did all the sician’s viewpoint. Joe had wonderful major works, which I conducted and ears and good taste, but was also a good played. People came from as far away musician. For my money, that is the as Boston, Worcester, and Springfi eld to reason his organs turned out so well— sing in the choir. because they were musical. We spent The organ was an old E. M. Skinner, many hours together at the piano, talk- with a very beautiful case, up in the ing about music and listening to singers. gallery. The Swell reeds were terribly He was exposed to a lot of good musi- loud, completely obliterating the choir. cians, too, and was friends with Samuel I was told when I went there to not even Barber, Gian Carlo Menotti, Thomas think about mentioning a new organ, as Schippers, and Earl Wild. the E. M. had just been restored (they Donald Gillett was also a great artist, had taken out the Swell Mixture and and I fully back his work. Both Joe and replaced it with a fl ute celeste). It did Gillett did use smaller scales and high- have some nice sounds, but soon began er-pitched mixtures than Harrison, but ciphering, and fi nally ciphered on the it was beautiful work. You have to re- Albert Russell (early publicity photo) Tuba on a Sunday morning, which got member that we all grew up with organs things going nicely for a new organ. Albert Russell at St. John’s, Lafayette that sounded like black smoke, where me. Dick Weagly conducted the choir We formed an organ committee and Square the highest pitch on the entire organ and he was a good musician. took them to visit Symphony Hall, was a 4′ fl ute. Their organs were a re- Boston, and several other good Aeo- gil, and then later met Paul Callaway action to those. They craved clarity and LM: When you played for Virgil Fox, lian-Skinners. We listened to other through Joe. Both were so good to me, brilliance, and their organs were suave, what were his comments? builders, but Aeolian-Skinner was by and that started my association with beautiful creations. AR: He said, “I like the way you pull far the preference. Aeolian-Skinner. stops.” That’s all I remember. But, I LM: What were Joseph Whiteford’s learned so much from him just by ob- LM: Did Joseph Whiteford design LM: I know a lot of organists who goals when he designed the Asylum serving. I had fi rst heard him in recital the new organ? look down their noses at Joseph Hill organ? at Highland Park Presbyterian Church in AR: Yes. We drew up the stoplist Whiteford’s instruments, but don’t AR: One thing he said was, “Let’s Dallas in 1948. It was electrifying. I also together. I had met Joe through Vir- you think they were beautiful? build an organ where you can use a lot of heard Marcel Dupré that same year at McFarlin Auditorium at Southern Meth- odist University. I’ll never forget Dupré’s new from recital. It was the fi rst time I heard the Widor Toccata. The Hillgreen-Lane or- gan was in such poor condition that they UNIVERSITY OF ROCHESTER PRESS had to work on it for a solid week to get it ready for the recital. LM: Did Virgil Fox practice for hours on end? AR: Yes, at night. I practiced at night, Maurice Duruflé too. Also, at Riverside, I had to do any- thing I could to make money, so I ran the elevator, sang in the afternoon choir The Man and His Music for oratorios, and ran the switchboard. I probably got $5 for singing, but did James E. Frazier learn a lot of repertoire. Virgil loved ice cream, so a lot of the time after practice, we would get in his convertible and go Maurice Duruflé: The Man and His Music is a new downtown to Rumplemyers on Central Park South. He was not a drinker, so we biography of the great French organist and composer would have ice cream instead. (1902–86), and the most comprehensive in any lan- LM: Was his playing always pre- guage. James E. Frazier traces Duruflé’s musical train- pared? AR: Sometimes he simply did not have ing, his studies with Tournemire and Vierne, and his the time to practice, and would come in fresh from a solo recital tour to accom- career as an organist, church musician, composer, re- pany an oratorio. But his monumental citalist, Conservatoire professor, and orchestral musi- talent always carried him through in great style. Dick Weagly would complain cian. Frazier also examines that the organ was too loud, and he and Virgil had many altercations about this. the career and contributions One thing I always admired about Vir- “Essential reading for performers of Duruflé’s wife, the formi- gil was he stood up for what he believed in, and never changed, whether others and concertgoers alike.” dable organist Marie-Mad- thought he was right or wrong. William Watkins was the same way. I got to travel —Jesse Eschbach, DMA, Professor of Organ, eleine Duruflé-Chevalier. with Virgil some and we had wonderful University of North Texas conversations. He had a lot of personal Duruflé brought the church’s depth and was a very kind person to many people. unique language of plainsong into a compelling liaison with the secular harmonies of the modern French LM: You must have heard some great recitals at Riverside. school (as typified by Debussy, Ravel, and Dukas) in works for his own in- AR: Yes. Charlotte Garden, Claire Requiem Coci and Searle were some outstanding strument and in his widely loved masterpiece, the Op. 9 for soloists, ones. I remember Claire Coci broke the chorus, organ, and orchestra. crescendo pedal. The summer of ’56, I played for Virgil while he was away. Then, after gradu- Drawing on the accounts of those who knew Duruflé per- ating from Union, I went to Hartford sonally and on Frazier’s own detailed research, Maurice Du- University of to be organist-choirmaster at Asylum Rochester Press Hill Congregational Church. Soon af- ruflé offers a broad sketch of this modest and elusive man. terwards, I also got the jobs teaching at $65, hardcover Hartt College and as university organist James E. Frazier is organist and director of music at the 408 pp., 18 b&w illus. at Wesleyan University. isbn-: 1-58046-227-8 Episcopal Church of Saint John the Evangelist (Saint Paul, LM: What was Asylum Hill like when you arrived? Minnesota). AR: It was very disappointing. I ar- rived there in August, and people did not go to church in the summer because they were at the shore. There was no air CONTACT conditioning, so people would not go to University of Rochester Press • 668 Mt. Hope Ave., Rochester, NY 14620 church even if they were in town. www.urpress.com • (ph) 585-275-0419 • (fax) 585-271-8778 We had the services in the chapel, $07168 so I had my debut there on a concert
OCTOBER, 2007 25
Oct 07 pp. 24-27.indd 25 9/12/07 9:56:13 AM Aeolian-Skinner organ, Asylum Hill Congregational Church, Hartford, CT
it all the time, and not have to save it for That was it. I practiced and recorded Easter Sunday.” It fi lled the church, but in the same night! When we fi nally got was not a bombastic instrument. I loved started recording, we went well into the it and it played the literature beautifully. night. I would stop every hour and take In the Ruckpositv, he took the old E. M. a shower. Joe was present for the ses- English Horn and made a Regal out of it, sion, and the recording engineer for the which was very effective. I used that in New York Philharmonic recorded it. Gress-Miles organ, St. John’s, Lafayette Square, Washington, DC the slow movement of the Handel G Mi- When we made the recordings in nor Suite in the Aeolian-Skinner “King Hartford, John Kellner from Aeolian- up and accompany the Brahms Requiem department. We got an Austin in the of Instruments” series. Skinner did the recording. He was aw- during Lent, and the next night I played concert hall. John Holtz, also on the For the opening concert, we did a fully good. We did the Durufl é in a sepa- a Lenten recital. That was a busy time, faculty, took over the organ department program for organ and orchestra with rate session, and as far as I know, it was because I practiced there the week of, when I moved to Washington. He was a the Hartt College orchestra, and did the the fi rst commercial recording of it made got back to Washington Saturday night marvelous teacher—brilliant—a much Seth Bingham Concerto for Organ and in the United States. We sent it to Duru- to play for church Sunday morning, then better teacher than I. He really lit a fi re Brass, the Poulenc Concerto, and the fl é, and like Willan, there were things he went back to play the Brahms that night under his students. I was always better Handel Sixth—no solo organ repertoire. liked and things he did not like. I hear and the recital the next day. The organ at at coaching graduate students, rather For the second concert, we did the Du- things now in the recording that I cannot Trinity, Boston was splendid for accom- than starting beginners, which just did rufl é Requiem and I played the Suite. stand—some things that are non-legato panying. The whole front organ was en- not interest me. that should have been legato, and the closed, and the console was of George’s LM: You made two recordings on choir did not do its best singing—com- special design—low, so you could see LM: Did you start the contemporary the Asylum Hill organ for Aeolian- pletely my own fault. Ultimately, I did over it. That was one of the happiest mu- organ series at Hartt? Skinner. get to coach this with Durufl é when the sical relationships and friendships, with AR: No. John Holtz did, and it really AR: Yes, the organ solo LP at Asylum Asylum Hill choir sang the Requiem at George and Nancy Faxon, I have ever put Hartt on the map. John asked me to Hill included the Healey Willan Intro- St Paul’s Chapel in New York in about had. We had the best times together and review the concerts one summer, and I duction, Passacaglia and Fugue. We sent 1964. Durufl é conducted and Madame I always stayed at their house. Many late was so unlikely to do it because I’ve nev- the recording to Willan, and he liked Durufl é played. night sessions were spent in their won- er been a fan of extremely contemporary some things, and some he didn’t. He derful kitchen over glasses that always music. But I had to admit that after a thought the organ was too thin for this LM: Did you enjoy life in Connecti- seemed empty. week of listening, it was almost like hear- piece (not having three diapasons on the cut? ing an old friend. Great!). The recording also included the AR: Living in New York had pre- LM: In Hartford, was Asylum Hill I was also university organist at Wes- organ at Philharmonic Hall in New York pared me for the rough winters. I had the only thriving music program in leyan. On Sunday nights, I’d go down City, which I believe was the fi rst record- always been told that New Englanders town? there to play for chapel then teach the ing made on the new organ. Joe White- were cold people. But I found them to AR: No. Sumter Brawley did wonder- next day. There was a new Schlicker in ford had been talking to me for a while be some of the most wonderful people ful things with orchestra and chorus, like the chapel. That was an interesting ex- about recording those two organs, and I’ve ever met. From day one, it was a the B Minor Mass. He was at Trinity perience, again accompanying orato- then he mentioned having the choir do happy experience, and introduced me to Church right around the corner. Can you rios, although most of the time we used the Durufl é Requiem. many people who have become lifelong believe he has now retired and is living instruments with the organ. The Smith We did the Philharmonic Hall re- friends—Barry Wood, at First Baptist, in this very building here in Washington? College choir would come down and join cording fi rst. When we got there, I was Worcester; Hank Hokans, at All Saints, He still conducts marvelous concerts, us. Iva Dee Hyatt was their conductor. supposed to have practice time, but Worcester; Dick Westenberg. We all having done one just recently at the Cos- She was fabulous. there was something going on in the played in each other’s churches often. mos Club. hall. I had played enough Aeolian-Skin- Dick was kind enough to invite the LM: Were you working seven days a ners that I knew what to expect, so I Asylum Hill choir to join his at Central LM: Tell me something about your week? just looked over the organ and set some Presbyterian in New York for a concert. teaching career. AR: Yes, and I did up until my later pistons. When the hall fi nally emptied, George Faxon I got to know through Joe AR: Hartt College was my fi rst teach- years in Washington. I was able to try out my combinations. Whiteford, and that was a long, long col- ing job. I had a lot of good students, We could not start recording until the laboration. We combined choirs often at and it was a learning experience for me, LM: Are you a workaholic? subway had stopped, which was around Trinity, Boston, and I played for his Even- too. I did the organ and church music AR: No. I simply needed the money, midnight, so, I had from 11:00 to mid- songs when he was away. Later, when I courses. Later the college joined the and, if I wasn’t teaching, needed to prac- night to set up the organ and practice. moved to Washington, he had me come University of Hartford as the music tice for recitals. Here in Washington,
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26 THE DIAPASON
Oct 07 pp. 24-27.indd 26 9/12/07 9:56:34 AM LM: Was the reverberation system in Avenue across from the National Cathe- Of course, people were asking right and place at St. John’s when you arrived dral. We watched the 1968 fi res on 14th left for the Widor Toccata for weddings, there? Street from his apartment. I remember which was out of the question. AR: Yes. The church had one of Aeo- a party where Leo sang “I can’t give you lian-Skinner’s reverberation systems, anything but love, baby,” accompanied by LM: Has your hand problem im- which allowed one to make music in Garnell Copeland, organist at Church of proved now, twenty years later? that practice room situation. The sys- The Epiphany. It was something. Speak- AR: No. It is worse. I have tried every- tem was very convincing, particularly in ing of Garnell, I judged the Ft. Wayne thing and have had injections, but they the middle of the nave. If you were by competition one year and thought I rec- did not work. the speakers, under the balcony, it was ognized Garnell Copeland’s style of play- less convincing, although it helped tre- ing, and sure enough, it was he. We fl ew LM: Do you play at all now? mendously with hymn singing. There back to DC together. AR: Yes. I have done a lot of playing. were fi fteen speakers, each with delayed Preston Rockholt was my boss at the I have just had to learn which pieces to sound, and each with its own timing. It College of Musicians. He and Paul Calla- stay away from—no Widor—and to use Albert Russell at National Presbyterian was a heck of a lot better than not hav- way were the organ teachers there. Paul bizarre fi ngering. Fortunately, I have re- Church ing it. Christ Church, Cambridge was, was so much fun. He was tiny, but was a ceived a number of invitations to play the I believe, their fi rst one. Joe Whiteford musical giant. He always parked his big Durufl é Requiem, which I am still able even on my day off, I would spend it set one up at Christ Church Cathedral, Buick convertible car by sound! to do because the most diffi cult part of practicing over at National Presbyterian, Houston for the 1958 AGO convention. I also taught organ at American Uni- the work is in the left hand. Also, I have rather than going downtown. I played the Mozart K. 608 Fantasy, fi rst versity and Catholic University. I never switched the right hand part in the “In- without, then with, reverberation, and enjoyed teaching as much as playing troit” to the left hand. I played it most re- LM: When did you come under man- Joe gave a lecture. recitals or doing church work. Perhaps cently at St. Paul’s, K Street, where I’ve agement? At St. John’s, we had several Sunday I was a good teacher for some people, played it several times for Jeffrey Smith, AR: I got to know Roberta Bailey very mornings a year that were all music, so but I knew I wasn’t for others. Maybe all and at National Presbyterian Church. I well at Riverside, when she was manag- we would do an oratorio. We had excel- teachers feel that way. The lovely thing was fortunate to get to perform it fre- ing Virgil. He was her fi rst client. Then lent singers in the choir, especially after is, some of my former students keep in quently early in my career, too. I also do she took on Karl Richter, Hank Hokans, the Kennedy Center opened, which at- touch, and we have become good friends little recitals for a group of people here Pierre Cochereau, and Anthony New- tracted even better singers to town. One over the years. in my building and am playing a program man. She and I were friends, and she time we were doing the Mozart Requiem, In the early ’80s, I noticed I had a for them just this next week at National knew I was already doing quite a bit of and, soon after we began, the alto doing problem with my right hand. I thought it Presbyterian Church, where I am fortu- recital work, so she invited me to join the quartets became ill and had to leave. was carpal tunnel syndrome—something nate enough to practice each week. My her. She got me a lot of dates for which I So, I looked at one of the other altos. She that could be fi xed. I would warm up good friend, Bill Neil, is the organist was very grateful. nodded, and sang the quartets without a every morning by playing Hanon on the there and he is so kind to give me the fl aw. Another time we were doing Messi- piano for 30 minutes before going to the time. These little demo recitals are very LM: When did you move to Washing- ah, and I played the introduction to “And organ, and noticed it there fi rst. Then, informal—we talk about the organ and I ton? the Glory,” and when it was time for the at the organ, I noticed it on the Widor play for them. We just have a good time, AR: 1966. I had been in Hartford altos to enter on the opening C-sharp not Toccata. One fi nger, on my right hand, like family. ten years. One day I received a letter one alto peeped. So I played it again and, would just lock. So, I went to every doc- I cannot imagine being more fortunate from the rector at St. John’s, Lafayette this time, it worked. Explain it. tor in town and in Baltimore, and was not than I have been all through my school Square, asking me if I would be inter- We hosted several regional conven- diagnosed. Leon Fleisher had had the years, career, and now in retirement to ested in the job. Paul Callaway and tions in Washington, and the choir ei- same problem, and had been diagnosed have had the teachers, colleagues, friends George Faxon had recommended me ther sang programs or services for these. at Mass. General, so that’s where I went, and bosses who have given me an enor- to him. At the time, I had not been We had the AGO national convention to the doctor who had diagnosed him. mous amount of support and affection. thinking of leaving Hartford. But I had in 1982. I was program chairman for Sure enough, I had the same thing—fo- What else is there that matters in life? always liked Washington a great deal, that, and we did the Durufl é Requiem cal dystonia—a neurological problem so was interested. On my way to play the opening night of the convention to that cannot be cured. I decided to give Lorenz Maycher has recently been ap- a recital in the Midwest, I stopped off a full house. I’ll never forget the choir up the church. I know St. John’s did not pointed director of music at First-Trinity here in the middle of a big snowstorm processing in to Hyfrydol. Later, they understand why I left, and why I have Presbyterian Church, Laurel, Mississippi, and is producer of the compact disc series, to audition. I was hired in the spring of told me, “We just stopped singing so continued to play elsewhere since I left in “The Aeolian-Skinner Legacy,” found at 1966, and remember weeping bitterly we could hear that enormous, thrilling 1985. But, I had to follow my conscience.
OCTOBER, 2007 27
Oct 07 pp. 24-27.indd 27 9/12/07 9:56:55 AM In celebration of the 100th birthday, October 27, of Helmut Walcha: Artist-Teacher—Part 1 Paul Jordan
Helmut Walcha, the great German or- individual line or voice, abstracted from ganist, may have had the distinction of its contrapuntal-harmonic environment. knowing more keyboard music of Bach Two criteria then defi ne the spectrum by heart than any other individual in of possible decisions: fi rst, the intrinsic history, including quite likely the com- shape of the line—that is, its unique mo- poser himself. Walcha, who would be 100 tivic components as well as larger-scale years old this year, was born in Leipzig; shifts of direction, expressive emphases, he became blind at the age of seventeen, and so on—as against the requirements and could boast as his innermost pos- of underlying, not necessarily immanent session virtually all the organ works of rhythmic structure; that is, the place- J. S. Bach, the harpsichord works, in- ment of the linear components in rela- cluding the Well-Tempered Clavier and tion to the metric pulse and, especially, the Goldberg Variations, and the entire the possible use of such components to Art of the Fugue, which Walcha may defi ne not only the values of the line but have been the only person to have both also those of the meter and its subdivi- performed and recorded from memory. sions. Whereas in rendering Renais- The international renown of this organ- sance music such decisions—except in ist, who moved to Frankfurt am Main in the case of dance rhythms—would be 1929 and lived there until his death in made largely on the basis of intrinsic 1991, was based initially on his compre- linear shape, in music of the Baroque hensive series of recordings of the Bach period the dance rhythms and the meter organ works, undertaken on historical exert more universal claims of their own, instruments during the late 1940s and so that there may often be an interpre- early 1950s and issued under the Archiv tive tension between these and the more label of Deutsche Grammophon. Helmut purely linear forces. At the second level, Walcha was the teacher of some 200 or- however, the more shape-oriented and ganists—a fourth of these were Ameri- the more metric types of articulation are cans, many of whom came to occupy im- seen as one inasmuch as they relate to portant teaching positions in the United the individual (horizontal) line. The re- States. Following his retirement in the spective tentative decisions, which—as early 1970s from teaching and then from shown—often already embody a cre- concert life, he could still for some years ative compromise, must now undergo be heard regularly at Vesper services on balancing through considerations intrin- Saturday afternoons at the Dreikönigs- sic to the vertical dimension. A consid- kirche in Frankfurt. Walcha’s fi nal re- erable density of texture, for instance, cording, a double album of pre-Bach might prompt an attempt at clarifi cation German Baroque compositions, received via still more liberal articulation. In con- a Deutscher Schallplattenpreis. The fi rst trast, the intensity of certain kinds of har- portion of the following three-part study monic pulls, such as those surrounding a formed part of a contribution to Bach- suspension and its resolution, would in Stunden, a Festschrift for Helmut Wal- some instances preclude execution of a cha on the occasion of his 70th birthday, motivically justifi able caesura in the ten- published by Evangelischer Pressever- sion-bearing line or lines. band in Hessen und Nassau, Frankfurt/ Main, Germany. 4. Registration If articulation thus had the double The essential principle that students Helmut Walcha at the peak of his concert career function of enhancing the organ’s vocal- could derive from Walcha, both by ob- expressive qualities while at the same serving his life and artistic expressions capacity for objectivity, for religious tran- pus of organ music, a trend toward for- time providing for formal, motivic and and by absorbing his articulable meth- scendence, for sharply etched realiza- mal embodiment of the vocal impulse. textural clarity, the mastery of regis- ods, attitudes and conclusions, was that tion of complex polyphony in detail, yet To this tendency the counterpart or an- tration—an equally crucial element of of balance. He was not an extremist, but equally for compelling projection of for- tithesis, arising from the instrument it- Walcha’s pedagogy—required a com- a reconciler and integrator. With suffi - mal architecture on a grand scale. Even self, is the human Spieltrieb—an “itchy” parable simultaneous exertion in differ- cient exposure and, of course, receptiv- though—perhaps in view of its ideologi- playfulness of the hands, stimulated in a ent directions or in some instances an ity, students could learn from him that cal functions in the jargons of Hegelians, special manner by the specifi c freedom intermediate balancing of the two. Reg- he—like indeed most serious organ- Marxists, Freudians, Existentialists, and afforded by the mechanized objectiv- istration on the one hand is among the ists—subsisted and acted within some some theologians—the word dialectic ity inherent in all instruments, and par- organist’s most intimate modes of emo- fi fteen dialectical fi elds, in relation to was not one commonly employed by ticularly in the keyboard. The possibil- tional expression and communication, which he himself almost invariably came Helmut Walcha, it may be said that the ity of going beyond the voice (in terms comparable in one sense to the pianist’s to choose the middle path, the one that fi rst of the Spannungsfelder or dialecti- especially of velocity with subtleties of personal touch and thus an indispens- bears at least the possibility of compre- cal fi elds of tension within which the touch, non-vocal intervallic leaps, or able vehicle for such warmth and sensu- hensiveness through mediation and syn- organist must move is that between the complexity of texture), once recognized, ality as can be brought to the art; but, as thesis. As with all creative individuals, poles of subjective expressivity and for- is inevitably explored, relished and cul- with articulation, an objective integrity the overarching dialectic was between mal objectivity. Projection of subjective tivated, and ultimately formalized, e.g., and aptness of registration are also re- openness—a kind of receptivity, which expressivity involves receiving and ac- in toccatas and many fantasies and the quired for fulfi lling the organist’s obli- of itself would strive to be infi nite—and tively experiencing the primary impulse more instrumentally inspired fugues. In gation to the musical text and illumining its counter-pole: narrowed focus, con- of the individual musician as emotionally Walcha’s teaching, pieces, sections of for the listener the structure and form of centration and self-discipline. The fol- responsive poet-singer and transmitting pieces, individual voices, and especially the work at hand. The formal-structural lowing is an attempt—based on Walcha’s it via tone production by—albeit in this the compositions’ basic motivic build- level of consideration in turn requires conception, artistic accomplishments, instance already mechanized—breath ing-blocks, were carefully examined and attention to two factors: the transparen- and pedagogical activities—to summa- or wind. Effective realization, on the analyzed with respect to this differentia- cy of simultaneous vertical occurrences rize the more specifi c perspectives that other hand, of the calculated objectiv- tion, and interpreted accordingly. and the chronological-spatial coherence sustain organists’ work and with respect ity of “abstract” formal and contrapuntal and/or appropriate differentiation of to which their individual orientations procedures presupposes—in both the 3. Breathing successive formal subdivisions. may be defi ned. act of composition and the performer’s Returning to the more primary level, interpretive re-creation—an artisanship that of the original vocal impulse, and 5. Tempo and Rhythmic Qualities 1. Song and Form of conscious manipulation and fusion the corresponding requirement that the Both tempo and Tempogefühl (the lat- The fundamental impulse of organ of given musical materials, as discrete music breathe—that is, that the continu- ter referring to the feeling or projection music is vocal in nature; we are dealing, building-blocks, into artistic “edifi ces.” ity of the individual line be periodically of tempo) are experienced as aspects of keyboard notwithstanding, with a wind Organists’ movements between these interrupted—it became evident that, two spectrums that more closely resem- instrument—i.e., with singing, one step poles are inescapably dialectical: they given both the complexity of structure of ble bordering spheres than contrasting removed. Hence, the process of breath- mediate, reconcile, observe, initiate, in- much organ music and the special exi- poles. The individual interpreter’s orien- ing and its palpable projection in the fl uence and preside over the poles’ un- gencies of the instrument’s static sound, tation—momentary or general—within interpretation, though not mechanically ceasing cycles of interaction, interpen- the breathing itself could not be left this double-spectrum is one of the most required, is musically of the essence, and etration and re-differentiation. to chance or the vagaries of intuition. delicate and imponderable phenomena all the more so in view of the static nature Rather, the performer’s musical instinct in music. The sense and effect of tempo of the organ’s sound—a quality that on 2. Polyphony and Virtuosity needed to be supplemented, and indeed ranges—“from left to right”—from mon- the one hand moves the organist’s music- At another level, there is a synthesis illuminated, by the exertion of conscious umentality, through deliberate restraint, making yet a step further away from the between what we have just described as criteria and intellectual responsibility in to poised serenity—and, on the other fl exibility of the more natural (or “pri- the vocal and the formal counter-poles; arriving at the crucial decisions regard- side of our “border-line”—from a relaxed mary”) musical transactions of singers the early genres of organ composition ing articulation. Not surprisingly, the “swing,” through a more facile, “surfacy” and wind and string instrument players such as ricercar, canzona, and to a con- four main criteria fall into two pairs, each fl ow, to a dynamic forward-surge. Re- (and even of pianists) but on the other siderable extent even fugue were derived of which again defi nes a dialectical fi eld. versing direction, the dialectic is akin to hand provides the basis for many of the from models of vocal polyphony and may In the fi rst fi eld the question of articula- that between the virtuosity of abandon specifi c glories of the medium: e.g., its thus be said to represent, within the cor- tion must be examined in terms of the and the virtuosity of control, or—for the
28 THE DIAPASON
Oct 07 pp. 28-29.indd 28 9/12/07 9:57:32 AM listener—to being overwhelmed and be- and—beyond those—the renowned ing illuminated. Walcha’s example and Bach-Stunden held at the university in teaching as well as some musicological the years immediately following World research suggest that a high proportion War II, and of course innumerable pro- of Bach’s music in particular revolves gram notes or introductory remarks at around the double-spectrum’s mid-line, selected concerts throughout his active though such an insight does not remove life. In addition, the individual pedagogy a considerable remaining leeway for dif- was a two-way street; unlike some other ferences in individual pulse, interpreta- artists, Helmut Walcha was not easily tion, or concept of variety. Throughout bored by studio instruction (nor did he Walcha’s work and teaching, too, that in- miss lessons), and he clearly took pains exorable dialectic between performance- to learn and profi t from his experience tempo and room acoustics remained an as a teacher. ever-present (if of course at times exas- perating) consideration. A further cru- 14. Organ Plus cial dialectic in the sphere of rhythm His work as a performer sustained an and tempo is ever operative between a interaction and a dialogue between the “purely metronomic” pulse and such nu- demands and repertoires of the organ ances of agogic freedom as constitute and the harpsichord. Among his students, one of the primary expressive tools of all this duality will often be refl ected, if not performers (though to varying degrees) always identically, then in the dialogue in all musical idioms. and cross-fertilization of organ and pia- no, or organ and composition, or—most 6. Improvisation frequently—organ and conducting. No student who attended Satur- Helmut Walcha at the console of the Karl Schuke organ (built in 1961) in the day Vespers at the Dreikönigskirche in Dreikönigskirche (Church of the Three Kings) in Frankfurt/Main 15. Beyond Speech and Thought Frankfurt could fail to be impressed, and Finally, like all lives, Walcha’s stood somehow infl uenced, by both Walcha’s and later periods, and of other national Walcha’s students were unaware that in under the mysterious interaction of that chorale-related and his free improvisa- origin—which may embody it in less his case the context was that of a deeply which can readily be expressed, articu- tions. These improvisations were of a judicious proportions, or in which it, in felt Lutheran Christianity, nor could the lated and imparted, and that which, by quality comparable at least to that of- turn, appears to be “counter-balanced” particular congruence of this factor with contrast, seems prohibitively diffi cult to fered by more renowned practitioners of by other artistic forces. the beliefs held by Bach himself escape communicate (and with regard to which the art, e.g., in France. Thus in Walcha’s notice or fail to engender speculation the philosopher Wittgenstein once went and, inevitably, in many of his students’ 10. Correctness and Communication about its implications for Walcha’s artist- so far as to propose a permanent silence). lives there has been a threefold dialectic Of often underestimated signifi cance ry and, in particular, his Bach interpre- In a moment both rare and characteris- (Wechselwirkung) between pre-struc- (yet comparable perhaps to that of reg- tation. The type and extent of infl uence tic—opening for a revealing instant the tured and (more or less) improvised istration in its consequences) is a philo- exerted by such a vivid example of unity door into that realm—Walcha answered music: within the traditional repertoire sophical approach that views the exigen- and continuity between presupposition a student’s query, at a semester’s-end (in analysis and corresponding rendition cies of musicological correctness, i.e., of and execution will of course vary from party of the Church Music Division of of the comparably contrasting, more or “purity,” “historicity,” “authenticity,” and case to case and in each instance be fi l- the Hochschule, as to the ultimate cri- less “improvisatory” elements contained the equally compelling need to commu- tered through the student’s own particu- terion for a musician’s calling: “What therein); in one’s varied “utilitarian” or nicate with the living audience under lar creedal background. makes you know that you must be a functional church-music (and in some greatly altered historical circumstances, musician are those secret and indescrib- cases also concert) activities; and in origi- as two poles of a spectrum, which—rath- 12. Text and Symbol able moments of transcendent joy which nal composition. er than allowing either to lay absolute Similarly evident in Walcha’s life, again come upon you from time to time—at claim to the interpreter—must be medi- as in Bach’s own, was a constant interac- the keyboard—in the deep absorption of 7. Organ-Building ated and reconciled in the performer’s tion between musical experience and long and lonely hours of practice.” In the critical sphere of organ-build- practice. While there is room for dispute activity and theology. This lent special ing and its characteristic infl uence upon over the nature of permissible compro- force to his detailed elucidation of a re- This article will be continued. the art of organ-playing, there was in mises, the premise as such tends to act as lated interpretive dialectic, that between Walcha’s career a certain discernible a safeguard against fanaticism and dog- implied verbal text and music—crucial to Paul Jordan has previously written for THE interpenetration of, and moderation matism at one end of the spectrum and the realization especially of Bach’s cho- DIAPASON, The American Organist, Musik und between, northern and southern infl u- untamed artistic libertinism at the other. rale-related organ works, some of which Kirche, and The American Recorder. Of his fi ve recordings (two of them double albums), ences. The extremes here could be de- may remain relatively impenetrable— one, though 29 years old, has not yet been pub- fi ned as represented by such instruments 11. Life, Faith, Art i.e., from an exclusively musical point of lished, and three are out of print. The last one, as the Clicquot in Poitiers or some of While the context of this summary view—until their verbal or pictorial sym- however, the Art of Fugue, is still available at the 17th-and 18th-century Silbermann precludes an attempt to present the next bolism has been illuminated and, then,
9. To and from Bach First Christian Church This gave rise to another dialectic, by which none of his students could Lincoln, NE long remain unaffected: that which becomes operative in applying or at- tempting to apply what is learned or absorbed from the “Bachian” dialectic, %HGLHQW3LSH2UJDQ&RPSDQ\ or from its specifi c type of “ecological balance,” to the understanding and in- 800.382.4225 | 1060 Saltillo Rd. | Roca, NE | 68430 | bedientorgan.com terpretation of music—of both earlier
OCTOBER, 2007 29
Oct 07 pp. 28-29.indd 29 9/12/07 9:57:51 AM Dieterich Buxtehude, Vater unser im Himmelreich A Study in Expressive Content Gary Verkade
Motto spielen von Dietrich Buxtehude,” makes Example 1. Vater unser im Himmelreich. Four-voiced setting reduced from the point that our understanding of the Buxtehude’s chorale prelude The noblest desire, the desire to know, chorale-based works by Buxtehude is imposes on us the duty to investigate. colored by how much we do not under- Arnold Schoenberg Harmonielehre (Vienna, 1922) stand about the musical tradition out of which these works arise. He states: “Our Beginnings pleasure in listening to this music has be- Composition is the science of putting to- come, so to speak, a purely culinary one gether consonance and dissonance in such in that we fi nd delight in the beautiful a way that good counterpoint occurs. appearance, the surface of the music . . . Form consists in the artful variety and combination of such consonance and dis- To the extent that real understanding of sonance, in other words in the observation the inner content of this music has disap- of the general and special rules of counter- peared, we have devoted ourselves to the point, so that according to different usage sonority of the music, the outer clothing and natural effect it happens that one com- as it were, taking care of the façade of a position is good, whereas another is better, deserted building.” All those who believe pleasing the listener more and making its along with the musicians of the Baroque author famous. that music is a discipline from which Christoph Bernhard Tractatus compositionis augmentatus one can both learn and derive pleasure, (Dresden, after 1657) must ask, along with me: What is there to hear in this composition? In other words: Yes, I readily admit that the rules are What is there to learn here, what is pres- to some extent useless and unnecessary. ent here to enrich my experience? However one sees how carefully they have The answers to these questions are, been used in building harmony. And there- and to a certain extent can only be, per- fore the ignoramus should not fancy that it sonal. However, there is no doubt that makes no difference and one can compose what his fantasy dictates. Oh, no! some of what I hope to convey here has Andreas Werckmeister relevance to others. I would like to con- Cribrum Musicum (Quedlinburg, 1700) centrate on two specifi c aspects of the composition, especially: 1) the harmonic In sum: the work must be so rich that and contrapuntal aspect and 2) the re- one must wonder in the extreme, and lationship of the music to the text and would have to be an idiot or an atheist (o, the chorale. It is clear that a composi- the poor, stubborn hearts), who would not tion based on a particular melody and a be therefore moved to praise the creator. Andreas Werckmeister particular text concerns itself with both Harmonologia Musica that melody and that text. So therefore (Frankfurt and Leipzig, 1702) the two aspects just mentioned are re- ally one. The composition as a whole, Music is a heavenly-philosophical sci- the form and the details, will indeed ence, especially grounded in mathemat- be Buxtehude’s interpretation of that ics, which deals with sonority insofar as it melody and text, expressed harmonically produces concurrence and good and artful and contrapuntally, musically, which we, harmony. Johann Gottfried Walther in turn, as players, perform at the organ. Praecepta der Musicalischen In order to adequately and appropri- Composition (1708) ately perform we need to hear our way into music which is so far removed from It must be looked into what art in music us in time. The fact that this music may actually is. In my opinion it is as follows: in some sense be familiar to us doesn’t through the use of harmony to awaken in necessarily mean that we automati- the minds (Gemütern) of man a variety of cally know what is going on. Familiarity emotions and, at the same time, through such orderly and sensible harmony to de- does not necessarily breed understand- light the understanding of connoisseurs. ing. What is it about familiar music, and Georg Philipp Telemann what is it about unfamiliar music that is unique, unusual? Is there anything in My goal has been to remind those who Buxtehude’s composition which awakens want to study music that they cannot get our curiosity, strikes us as unexpected? very far in this inexhaustible science with- These are the things from which we can out great effort. learn. What is unusual about Vater unser Georg Philipp Telemann Letter to Johann Mattheson (1718) im Himmelreich, both in the detail and in the form? All sciences and arts are bound together The following notes on Vater unser im into a circle by a linked chain. Whoever un- Himmelreich do not intend to be exhaus- derstands only his own craft, understands tive. I have chosen to consider what I nothing; rather, he is a pedant . . . . deem to be essential to an understand- Johann Mattheson ing of the piece as a performer. Many in- Der vollkommene Capellmeister teresting details regarding counterpoint, (Hamburg, 1739) the handling of dissonance, rhythmic Introduction matters, variety in the composition of In the Introduction of the new criti- diminutions and ornaments, etc. have interludes between the chorale phrases piece begins with one single voice, a1. cal edition of Dieterich Buxtehude’s been consciously omitted. that employ imitation. The second exam- The other voices are heard through- keyboard music, Christoph Wolff writes: In order to begin, we must attempt to ple I would like to present consists of the out the rest of measure one, but again “To a considerable extent, Buxtehude’s review some history. For learning how previous simple setting enriched with in the second measure the a1 is heard position in the history of music has been to listen to Buxtehude by coming from interludes. However, these interludes alone again. This accents those two notes defi ned by his extraordinary reputation today and moving back in time to Buxte- are not given as found in Buxtehude, but which, signifi cantly, belong to the word as an organist and by the widespread and hude’s day will not reveal to us the inter- are likewise distilled out of what is found Vater, thus accenting that word. We continued popularity of his organ com- esting and unusual aspects of his compo- there. It is again a simplifi ed version— must remember that anyone listening to positions.” Wolff continues to explain sitions. We must start before Buxtehude much simplifi ed, though more com- works of this type in the Baroque knew that Buxtehude’s reputation is based pri- and move towards him chronologically. plex than the preceding example. The the chorales they were based upon, not marily on the free works, the Praeludia, harmony is basically the same, but now only the melodies, but also the texts. In especially those which are pedaliter. I, Style employs some passing tones and some fact, in chorales such as Vater unser im on the other hand, wish to spend some First, let us look at a simple, four- suspensions in keeping with the simple Himmelreich, i.e., chorales associated time with chorale-based works, in par- voiced arrangement of the chorale. The style. None of the interesting fi gures, the with only one particular melody, I think ticular the chorale prelude Vater unser harmonization is taken from the chorale daring voice leading, or the liberal disso- we can be reasonably sure that the mel- im Himmelreich, and I will endeavor to prelude itself, distilled out of the richer nances of the original are used. In other ody was 1) recognizable if not too heav- demonstrate that Buxtehude’s reputa- composition, reduced to the bare essen- words, there is no art here. (Example 2) ily ornamented and 2) the recognized tion as a master of organ music could rest tials. (Example 1) This is one possible Playing and listening to these simpli- melody automatically called to mind the on the chorale-based repertoire equally harmonization of the chorale, written in fi ed versions of Buxtehude’s work serves associated text. That a single note begins well. I will take as my starting point an a style reminiscent of the chorales found to sensitize our ears to hear the art in this piece is signifi cant for another rea- historical perspective. I will attempt to in Samuel Scheidt’s Görlitzer Tabulatur- Vater unser im Himmelreich and to make son. The single note, the unison, is the listen to this composition with the ears buch of 1650, though still simpler, in fact clear to us why these pieces are so wor- unitas, or “one.” In the Baroque, one was of Buxtehude; in other words, I will keep positively boring. Yet, it might be suit- thy of study. Let us now turn to the cho- not considered to be a number, but was in mind Baroque, especially German Ba- able as a simple accompaniment to con- rale prelude itself. rather the beginning, the source of all roque musical theory and practice. gregational singing. number. The unitas was, of course, God, Peter Reichert, in his article “Musi- Buxtehude’s chorale prelude is much Phrase One (Example 3) the Father. kalische Rhetorik in den Choralvor- more complicated. For example, it has The fi rst thing to notice is that the The rest in the manuals and pedal is
30 THE DIAPASON
Oct 07 pp. 30-33.indd 30 9/12/07 9:58:49 AM Example 2. Vater unser im Himmelreich. Four-voiced setting reduced from Example 3. Vater unser im Himmelreich, mm. 1–5 Buxtehude’s chorale prelude, including interludes based on those found in that composition
Example 4. Vater unser im Himmelreich, mm. 6–11
an entire octave to g2. This fi gure is the a catabasis spanning exactly the interval hyperbaton, the ascent of a voice out of of an octave. The soprano descends just its normal range. First and foremost, g1 over the span of the octave. The tenor is the chorale tone, not g2. Second, and descends also, beginning in the middle as important, the leap up of an octave of measure nine to the middle of mea- causes a second fi gure to occur, that of sure ten. This explains the ellipsis, the the longinqua distancia, in traditional lack of something necessary, found in counterpoint the forbidden separation of those measures: the alto voice drops out. upper voices beyond that of an octave, It is at this point more important for the here: d1–g2. Third, the g2 is found out- alto voice to rest than for the polyphony side the staff of the soprano clef, middle to continue in four voices. Descending c on the bottom line, very often used music in four voices is awkward to write. at this time. J. S. Bach still used the so- It is much more elegant to do it in three prano clef for the notation of the Orgel- voices—which Buxtehude chooses to do büchlein. Whether or not Buxtehude here. He draws attention to this fact by used this form of notation in his original allowing the alto to re-enter in measure manuscript does not change the fact that ten with a dissonance, a cercar della composers much before him and after nota, the entrance of a voice one step be- him used those clefs in the notation of low the one that is consonant and meant. polyphonic music in Germany and else- The soprano and bass voices, descending where. One way or another Buxtehude together in tenths in measure 9, form knew that g2 was out of the traditional the fi gure of the gradatio. Although not range of the soprano voice, which went defi ned identically by many authors, the from b-fl at to e2, the range of the soprano gradatio is understood here to be the clef without the use of ledger lines above parallel movement between two voices. or below the staff. The hyperbaton in connection with From the high g2 the line descends the longinqua distancia and the cata- through the rest of that measure and basis in the pedal are the principal car- the next, a catabasis. The pedal line de- riers of musical meaning in this phrase. scends also, from the beginning of mea- The hyperbaton / longinqua distancia, sure nine through the end of the phrase, right at the words du and uns, meaning
CHRIST CHURCH UNITED METHODIST Louisville, Kentucky
known as an aposiopesis, or abruptio, sig- “liberty of speech,” “candidness,” also nifying the more or less abrupt cessation known as licentia, “licence.” Traditional of a musical thought. This is most clearly theory tells us that the e1 in the soprano is seen in the pedal, where the typical ca- a dissonant note over a g-minor chord. In dential motive is missing its fi nal note, fact, however, the e1 is defi nitely conso- namely a d on the fi rst beat of measure nant: it is the cantus fi rmus, which is the 2. The motive and the harmony break off measure of all things consonant and dis- suddenly, leaving the a1 in the soprano to sonant. And, indeed, the A-major chord carry all of the weight of what is miss- on beat four of that measure acts as a ing on beat one of measure two. In addi- resolution of the preceding dissonance, We are pleased to announce the commissioning of a new tion, the pedal, when it reenters, late, on the c-sharp (tenor) and e1 (soprano) of beat two, in measure two, still does not which, in turn, conclude the cadence on pipe organ for Christ Church United Methodist in bring the expected d, but rather enters the fi rst beat of the following measure. Louisville, Kentucky. Our Opus 107 will enjoy pride of on c-sharp. We hear, not the expected Before that happens, the tenor note, d, is place at the front of an all-new sanctuary designed by d-minor, but an A-major chord in fi rst in- repeated, emphasized, a reduplicatio: the Sherman Carter Barnhart Architects in collaboration with version, a chord that in the Baroque was repetition of a dissonant note. The entire acoustician Dennis Fleischer. The stoplist was prepared in considered to be particularly expressive. fi rst phrase, beginning with the emphasis The pedal continues with a fi gure on the word Vater, moves towards this consultation with Dan Stokes, Director of Music, and will known as passus duriusculus, or “a dif- goal: the great tension found in measure offer a total of 53 stops over three manuals and pedal, fi cult step,” the chromatic sequence of four and its resolution in measure fi ve. including two divisions under expression, an 8’ Tuba stop notes: c-sharp, d, c-natural, B-fl at. Short- It is indeed a whole phrase and must be on high wind pressure and two 32’ ranks. For more ly after the end of the passus duriusculus played as such. information about this instrument and others, please visit the alto voice has a quarter note a, which is tied over to the longer half note a in Phrase Two (Example 4) our redesigned website at www.letourneauorgans.com. the following measure. This tying of a With the upbeat to measure six an shorter note to a longer one goes against interlude or, more properly, a prelude RGUES ÉTOURNEAU IMITÉE the rules of counterpoint and is known to the second phrase of the chorale be- O L L as a prolongatio. If one hears this note gins. It is a short fugal introduction, us- as occurring too soon and sounding too ing strict imitation of a motive directly United States Canada long, it has the effect of slowing down derived from the second chorale phrase, 1220 L Street NW 16355 avenue Savoie the music. Coupled with the word “Him- called a fuga realis, of which there are Suite 100 – No. 200 St-Hyacinthe, Québec melreich” it could be a reference to the countless examples in Baroque organ lit- Washington, DC J2T 3N1 concept of eternity, which lasts a longer erature. This kind of fugal writing is, in 20005-4018 Tel: (450) 774-2698 time than the imagination can fathom. other words, the usual case, the norm. Tel: (800) 625-PIPE Fax: (450) 774-3008 This happens just before the climax The chorale enters with the upbeat to Fax: (202) 737-1818 [email protected] of the fi rst phrase, the second half of measure eight. With the movement to [email protected] www.letourneauorgans.com measure four. There we fi nd a parrhesia, g1 in measure eight, the chorale leaps up
OCTOBER, 2007 31
Oct 07 pp. 30-33.indd 31 9/12/07 9:59:07 AM “you” (God) and “us” (mankind), with imitatio). The motive, drawn from the Example 5. Vater unser im Himmelreich, mm. 12–17 the emphasis on the great separation (an last few notes of the chorale phrase, is eleventh), points out with poignancy the thrown from voice to voice: bass (m. space, both spiritual and physical, sepa- 17), alto (m. 18), tenor (m. 19), alto rating the Godhead from humankind. (m. 20), tenor (m. 21), soprano (m. After the octave leap up, the soprano 22). However, the organization of this must descend. The situation is different chorale phrase is the strictest yet. The in the pedal: there is no musical reason text, und willst das Beten von uns han for the pedal to descend the octave a to (literally: and wants prayer from us), A here. A different pedal line is certainly expresses the will of God through the conceivable just as there is no necessity word “want,” which in German comes dictating that the soprano must leap up to from the same word as “will.” It is God’s Example 6. Vater unser im Himmelreich, mm. 17–23 g2. These are choices Buxtehude made, will that we pray to him. God’s will is, of recognizable ones. The octave repre- course, a command, the law. sents the entire gamut of music (the hy- This will, this law of God, is expressed, perbaton belongs here also): there are no not atypically for the era, through a fuga notes that exist that are not found within imaginaria, a specious, fi ctitious, or its confi nes. The pedal catabasis begins imaginary fugue: here, a canon. There is at the word alle, “all,” a fi tting represen- a strict canon between the pedal, which tation of that important word. Or better: enters fi rst, with the upbeat to measure it is the word Buxtehude has interpreted 19, and the soprano, on the third beat of as important in this phrase, that and the measure 20. The last notes of the sopra- contrast of du and uns. no are ornamented using the motive fi rst Example 7. Vater unser im Himmelreich, mm. 17–23: the canon heard in measure 17. However, there is Phrase Three (Example 5) also a third voice to the canon hidden in Phrase three of the chorale is also in- the tenor which is unable to quite fi nish troduced by a fuga realis based on the before the end of the chorale phrase. fi rst part of that phrase. The motive is If the imitative motive is reduced to its reworked to form a passus duriusculus, principal notes, the three-part canon can which is used throughout the entire cho- be clearly seen. (Example 7) rale phrase. One observes it, somewhat The attention of the listener is drawn modifi ed in the alto voice in measure 15 particularly to the strong cadence at the Example 8. Vater unser im Himmelreich, mm. 23–29 and 16 as well as in the pedal in measure end of this phrase. It is the phrase in 16. The alto in the fi rst part of measure which the naming of God, through the 17 brings the related fi gure, like an in- use of attributes, comes to an end. The tensifi cation, of the saltus duriusculus, actual petition has yet to come. The b- or diffi cult leap. Interestingly, the cho- natural1, tied into measure 22, is not rale itself, in the soprano, appears as a properly resolved. Only through licence, changed version of the fugal theme, as it catachresis, the leap fi rst to e1, does the takes over the chromaticism of the fuga dissonance reach a1. The other voices are realis motive with the c-sharp2 in mea- silent for a moment, aposiopesis, before sure 14. This is a polyptoton, a changed the cadence on A follows in four voices. repetition of a theme, though composi- Example 9. Vater unser im Himmelreich, mm. 29–35 tionally the theme or motive has its ori- Phrase Five (Example 8) gin in the chorale melody. Signifi cantly, The next chorale phrase is introduced the chromaticism occurs just at the again by a fuga realis, though here not point the text speaks of being brothers immediately recognizable due to the (Brüder sein)—according to the musical mistakenly printed e1 instead of the g1, interpretation of this (according to Bux- which is demanded by the conception tehude, if you will), evidently a diffi cult of the piece. (This realization I owe undertaking. However, it could also refer to Gerd Zacher.) Such mistakes of a to the diffi culty of “dich rufen an,” or in third were often made; one needs only general be understood as a reference to to consult the critical apparatus of any prayer as lamentation. number of publications of Baroque key- The use of musical-rhetorical fi gures Cadences The chorale melody has an extensio, board music. The g1 is a dissonance, in in the music of the North Germans dur- It is important for the interpretation the extension of a note beyond its expect- fact a saltus duriusculus (a diffi cult leap, ing the Baroque has been established of this work to note the various ways ed length, on the word dich, “you,” refer- coming from c-sharp1) and a heterolep- without a doubt, as well as the use of spe- Buxtehude deals with the cadences. ring to God, giving that word emphasis. sis (a note that could come from another cifi c forms and compositional techniques The cadence in four voices at the end Dich ru-fen an now has the rhythm: half voice as passing tone, i.e., coming from based on the expression of text. Connect- of phrase one is marked by the so- note tied to quarter note–quarter note– the soprano a1). This phrase deals with ing specifi c contrapuntal devices to ex- prano and tenor: e1 makes tenor d dis- eighth note–whole note, a syncopatio, the petition of the verse, “grant that pression is certainly not unprecedented sonant, which moves to c-sharp, then d1 or syncopation. The tenor voice is silent the mouth not pray alone, help that it in Buxtehude. As one example, in Komm, (soprano) and d (tenor). At the end of throughout most of the phrase, a very come from the depths of the heart.” It heiliger Geist, Herre Gott, BuxWV 200, phrase two we fi nd the a-mi cadence in long ellipsis. And when the pedal is si- begins in this serious manner, the alto Buxtehude employs no vorimitation at four voices, i.e., a Phrygian cadence on lent on the third beat of measure 15, the voice leaping up close to and sounding a all, except preceding the sixth phrase: zu a1—A is treated as E would be in modes word dich receives an additional accent dissonant g1 against the a1 of the cantus dem Glauben versammelt hast (gathered 3 and 4—formed between the soprano through the unusual texture, which is fi rmus in the soprano. to the faith). Here Buxtehude composes and the bass. Phrase three ends with a suddenly reduced to only two voices. The These measures are ruled by the syn- a fuga realis, which, though it is the nor- cadence in three voices on d2 (soprano) ellipsis in the tenor allows Buxtehude to copatio in the pedal (mm. 25–26), the mal, preferred method of contrapuntal with f-sharp instead of f-natural (patho- make the three remaining voices as like ellipsis in the tenor (mm. 27–29), and composition in general, plays the role of poeia), by which the bass note d is miss- each other as possible while still retain- the catachresis (m. 28). The syncopatio, the unusual at this point, the exceptional, ing during the fi rst moment. At the end ing the melody/accompaniment texture. with its attendant dissonances, encum- because it is the only case of such imita- of phrase four the soprano and the tenor The phrase ends with a pathopoeia, an- bers the phrase somewhat, keeping it tion in the entire chorale prelude, and again make the cadence in four voices, other chromatically altered note (f-sharp from getting underway, perhaps point- thus receives expressive signifi cance. this time on A: tenor b making soprano a1 instead of f-natural). ing out the diffi culty of both the peti- Here, the gathering of the voices in the dissonant, which moves to g-sharp1, then tion and the act of petitioning. The fi rst fuga realis, fi rst one voice, then a second a1 (soprano) and a (tenor). Phrase fi ve Phrase Four (Example 6) point of relative rest and fi rst real accent voice, then the third, is a musical picture ends with a cadence in three voices on The prelude to the fourth chorale after the melody enters is the downbeat of the gathering of the believers (Ger- F, supplying the third scale degree in the phrase is not a fuga realis although it of measure 27, on the word bet’ (pray). man: versammeln). cadence scheme: d, a, and now f of the d- utilizes imitation (each entrance an The words allein der Mund are set in This sixth phrase has the most orna- minor triad. Phrase six ends in four voices relief in two ways. First the catachresis mented melody of the piece and is gov- with a cadence formed again by soprano occurs in conjunction with the passus erned by the hyperbole (descending into and tenor using the same basic scheme duriusculus in the pedal: the licence the range of a lower voice) in the sopra- as the cadence at the end of phrase one, used in handling the dissonances, a1 in no, the abruptio in alto, tenor and bass, but this time utilizing more ornamenta- the soprano against B-fl at in the pedal the parrhesia on beat four of measure 33, tion. Here, as opposed to phrase one, resolving to the dissonant chord B-natu- and the circulatio (circular fi gure) in the the pedal has the root of the chord from ral, e1, g1 on beat two. Second, the el- soprano in measure 34. The word geh’ the beginning and, different from phrase lipsis in the tenor allows Buxtehude to (go) is expressed by fast notes including one, the alto voice has f-sharp instead of make the cadence on F in three voices, the fastest of the piece (32nds) which f-natural (pathopoeia). Each cadence is all of which sound the tone F to the ex- descend into the alto and tenor range of audibly different and the performance of clusion of all else: a musical picture of the voice: Herzensgrund, depths of the each demands of the player a sensibility allein der Mund, “the mouth alone.” heart. The entrance of the unprepared that takes this into account. dissonant chord on beat four (parrhesia) Phrase Six (Example 9) underscores the diffi culty of the entire Coda (Example 10) The prelude to the last chorale phrase procedure. The circulatio is an unambig- The work ends with one of Buxtehu- is marked by imitation at the fi fth be- uous depiction of the heart, the center of de’s characteristic codas: a fl orid melody tween tenor and bass, the normal case in the circulatory system, described by Wil- line over a pedal point. This coda is, in the fuga realis. The alto voice, however, liam Harvey in 1628 in his famous book effect, an ornamentation of the fi nal does not participate in the imitation. “On the Motion of the Heart and Blood chord. It has, however, its own expres- It begins in parallel thirds (a gradatio) in Animals,” a book about which Buxte- sion not unrelated to the chorale text. In with the tenor and then goes parallel to hude must have known. The phrase ends my opinion it is not the leap of an octave the bass voice. It is a voice that helps with a pathopoeia: f-sharp instead of f- in the soprano voice at the beginning of out in the texture. What better picture natural, a tone fi lled with passion “which measure 35 that symbolizes the rising could there be for the fi rst word of the cannot fail to move the listener” (Bur- of prayer to heaven. Nor is it the rising phrase: hilf’. meister, 1599). scale passage in the second half of mea-
32 THE DIAPASON
Oct 07 pp. 30-33.indd 32 9/12/07 9:59:28 AM Example 10. Vater unser im Himmelreich, mm. 35–37 that there is a real danger of becoming chael Belotti. New York: The Broude Trust, 1998. bogged down with details. And maybe Buxtehude, Dieterich. Sämtliche Orgelwerke, from day to day one’s ear is drawn to II, 2, ed. Klaus Beckmann. Wiesbaden: different aspects of the composition. Breitkopf & Härtel, 1972. However, a performance that takes no Buxtehude, Dieterich. Sämtliche Orgelwerke, notice at all of any of the richness found IV, ed. Josef Hedar. Copenhagen: Wilhelm here is inadequate. Important aspects of Hansen Musik Forlag, 1952. the composition, aspects that can only Dammann, Rolf. Der Musikbegriff im be approached fi rst rationally through deutschen Barock. Köln: Arno Volk, 1967. Eggebrecht, Hans Heinrich. Geheimnis Bach, knowledge of the text and not purely ed. von Massow, Nanni, Obert. Wilhelms- aesthetically (i.e., aurally), should not haven, Germany: Verlag der Heinrich- be ignored. In fact, performance in the shofen-Bücher, 2001. Baroque belongs to the rational ordering Reichert, Peter. “Musikalische Rhetorik in of music in general. The pronunciatio, den Choralvorspielen von Dietrich Buxte- or delivery, is the fi nal part of musica hude” in Acta Organologica, Vol. 24, 1994, rhetorica. Without an adequate delivery, pp. 145–184. even the best music will fail to produce sure 36, for both fi gures are followed by ation that at no level of the composition an effect in the listener. Without some This article was fi rst published as a chapter descents. One needs to see, and to hear, does Buxtehude simply “write music.” rational thought, which I would like to in the book Horizonte des Hörens Gerd Zach- that the passage as a whole rises (anaba- Therefore the player cannot “simply call practice, some passages will not be er, ed. Matthias Geuting (ISBN 3-89727-322- 1 2 5, ISBN 978-3-89727-322-1, PFAU-Verlag, sis): in the soprano fi rst from d to d , fol- play” the music. Compositional deci- recognized as unusual, there will be no 2006), pp. 245–258. lowed by a descent to f-sharp1, followed sions were made on the basis of the cho- contour, no shape to the composition, by another rise to a2, and followed again rale text, both on the local level of single because these passages will never be 2 Gary Verkade is an infl uential and sought by a descent to d . The ascending pas- notes and words, as well as on a more heard. Frescobaldi admonishes: “ . . . one after interpreter of new music throughout sages win over the descending passages: global level of form and compositional should endeavor in the fi rst place to dis- Europe and the United States in addition to it ends higher than it began. This is, in techniques. The text is the source of a cover the character of the passages, the his established reputation as an analyst and fact, true of all of the voices except for great number of the musical ideas found tonal effect intended by the composer, performer of the traditional literature. His ex- the pedal. Both alto and tenor voices here. Therefore performance decisions and the desired manner of performance tensive experience with music of past eras has ascend farther than they descend over must be made with an ear towards the . . . ” (italics are mine). led to the publication of essays and articles on the space of those three measures. A audibility of these musical features. Performance is perspective, a way of a variety of subjects relating to organ perfor- number of the musical-rhetorical fi gures The registration cannot be simply listening. Performance is understanding, mance, early music performance practice, and composition. An organist, composer, and co- found in this chorale prelude are found “melody and accompaniment”, i.e., forte not interpretation. And yet, performance founder of the Essen, Germany-based impro- in the fi nal three measures including the – mezzo piano. The melody must be clear- is individual. I would like to close with visation ensemble SYNTHESE, he has been hyperbaton, the longinqua distancia, the ly melody, yet the accompaniment must a remark by Hans Heinrich Eggebre- a leader in bringing forth serious new music parrhesia, and the passus duriusculus. not be relegated to the background. The cht made at the end of “Mythos Bach,” for the organ, commissioning new works and It is a succinct and effective summary alto, tenor and bass voices simply have found in his book Geheimnis Bach. I will working in a collaborative capacity with sev- of the work. The pedal anchors all, the too much to express. The possibilities are only substitute, for the word Bach, the eral well-known composers. He has a particu- low note, the one that hasn’t been heard otherwise almost endless, given this ba- word Buxtehude. “Understanding needs lar interest in performing music for organ and since measure 5 and has been all but for- sic premise of the equality of importance perspective, calls for the Ego. In other electronics. Verkade’s own compositions range among music for organ, electronics, chamber gotten, perhaps the depths of the heart of melody and accompaniment. words, in speaking about Buxtehude, be and improvisation ensembles. As a player of (from which prayer comes), perhaps Tempo must be fl exible. Buxtehude it ever so scientifi c, we speak also about improvised music, he has worked together simply pedal point and tonic note, the took the words of the text into careful ourselves because understanding cannot with dancers, photographers and painters, longest note of the composition. consideration—the soprano is, in a very exist without the Subject, without the on projects that bring the arts together in a real sense, a sung musical line. Or better: Ego, and concerning Buxtehude we are complementary and fructuous manner. Performance it is the spoken oration, the declamation called again and again to fi nd a perspec- Dr. Verkade has been on the faculty of the The purpose here is not to go into and, at the same time, an exegesis of the tive, while at the same time attempting Musikögskolan i Piteå, Sweden since 2000 as basic performance techniques of North text. One must be able to linger on the to fi nd ourselves.” Q Professor of Organ. He has recorded with the Innova and Mode labels, most recently Wind- German Baroque music or Buxtehude in words (= musical ideas) Buxtehude con- Principal References ed, an album of works for organ and electron- particular. That is a given regarding play- siders important. Bartel, Dietrich. Handbuch der musikalisch- ics, and Luciano Berio’s “Fa-Si” on Berio: ing this music at all. Beyond that, the Perhaps performance cannot pay at- en Figurenlehre, 3rd ed. rev. Laaber, Ger- The Complete Sequenzas, Alternate Sequen- player must understand that proper Ba- tention to every detail found in this piece many: Laaber-Verlag, 1997. zas & Works for Solo Instruments, a collection roque playing technique is not enough. or any other. There is so much to which Buxtehude, Dieterich. The Collected Works, of performances by the premier contemporary The fact must be taken into consider- to listen in this very short composition Vol. 15: Keyboard Works, Part I, ed. Mi- interpreters of new music.
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OCTOBER, 2007 33
Oct 07 pp. 30-33.indd 33 9/12/07 9:59:47 AM Cover feature
J. F. Nordlie Company, Sioux Falls, Kernersville Moravian Church South Dakota J. F. Nordlie Company – Pipe Organ Ida Roberts Memorial Chapel Builders Organ, Kernersville Moravian Church, GREAT Kernersville, North Carolina 8′ Diapason (70% tin façade) Dedicated on May 6, 2007, Mora- 8′ Flûte Traversière (50% spotted metal) vian Music Sunday 8′ Gambe (70% tin, 1–8 common bass) 4′ Principal (50% spotted metal) 4′ Flûte d’Amour (50% spotted metal) From the builder 2′ Fifteenth (50% spotted metal) My fi rst encounter with Kernersville Moravian Church was a short visit in SWELL (enclosed, balanced me- 1991. At the request of the newly ap- chanical swell pedal) pointed organist and choir director, 8′ Stopped Diapason (white oak & 50% Wayne Leupold, I made a visit to look spotted metal) 8′ Salicional (revoiced) at the new sanctuary under construction ′ and talk about a new organ and place- 8 Céleste EE (revoiced) 4′ Flûte Harmonique (50% spotted metal) ment in that room. It was a bit early to 8′ Oboe (50% spotted metal) evaluate acoustics, with only a slab of Tremulant concrete, half-completed masonry walls, Zimbelstern (hook-down toe lever; and steel structure reaching to the open 5 bells under expression) sky; however, the space, volume, and materials indicated by the architect’s PEDAL 16′ Bourdon (wood, rescaled & revoiced) prints showed much promise of an ex- ′ ′ citing room. Several more visits of in- 8Flute (extension of Bourdon 16 ) troduction, planning, sales, and contract Couplers (hook-down toe levers) negotiations ensued, and in June 2003 Kernersville Moravian Church, Ida Roberts Memorial Chapel Organ; view from Great to Pedal we dedicated a new mechanical-action balcony with chancel furnishings in place Swell to Pedal organ of three manuals with 40 ranks of Swell to Great pipes comprising its tonal resources. The promise of a new pipe organ that Wayne 12 ranks, 13 stops, 703 pipes Leupold had envisioned when accepting Mechanical key and stop action with pneu- the job at Kernersville Moravian Church, matic pedal offset chests 32-note AGO concave-radiating pedalboard some 12 years earlier, was a reality. Reverse color 61-note keyboards (ebony It was fi rst during the design of the naturals with bone capped sharps) new sanctuary organ that Wayne started Cone-tuned and soldered-fast metal pipe- to talk with me about what might be work done with the organ in the now “Historic Modifi ed Bach WTC 1722/Bradley Lehman Chapel,” the original sanctuary of the temperament Kernersville Moravian Church, built in Single-rise sprung static reservoir 1867. Wayne had originally shown me Double-rise weighted main reservoir High-speed blower with VFD (variable fre- the organ that he played in the chapel quency drive) speed control in 1991. It was an undistinguished four- Adjustable bench with backrest rank unit organ tucked away in a make- Pencil storage drawer shift organ chamber. The instrument was Music desk and pedalboard light built in 1950 of supply-house parts, with- out builder identifi cation. It was already suffering with reliability issues, but had One of Ida’s greatest worries was that a dedicated service technician to keep it she might not live long enough to see the functioning and a skillful organist to hide new sanctuary organ complete. She lived the problems. As I remember, we spent long enough to hear the sanctuary organ little time looking at it. in recital several times, and evidently she The “Historic Chapel” had seen many must have enjoyed her investment, for changes since its construction, originally when her bequest was made public in built as a simple, yet elegant, rectangular September 2004, the church found that room; the chancel and nave occupied the she had left a large amount of money to space with little architectural defi nition. the organ fund. Since the debt on the Any music being made within these walls sanctuary organ had been retired, it was would have had a wonderful presence. decided that a portion of the money Ida The high plastered ceiling, wooden fl oor, had left would go to purchase an organ and hard walls would have given the spo- for the “Historic Chapel.” ken word and music space in which to It was at this point that I, my tonal de- bloom. Throughout the years changes signer and voicer Eric Grane, and Wayne had been made to provide space for an started to have serious talks regarding ever-growing congregation and “mod- budgetary restraints and what we needed ernize” the church. At one point a bal- to accomplish in the tonal design of the cony was added to provide more seating, chapel organ. Of course, the visual and and at another, carpet and padded pews tonal design would have to refl ect some- were deemed necessary. In 1950 a major thing of the Moravian heritage. This was building project was completed, adding even more emphasized by the recent a parish hall, kitchen, and yet further awareness of the restoration of the 1800 changes to the chapel. At this point, a Detail of reverse-color keyboards and walnut burl veneered music desk Tannenberg organ in Old Salem. The in- room that had been a kitchen was opened strument would have to serve the needs in back of the chancel. This new space of the church in leading hymns and play- became the choir loft and home for the ing appropriate literature. The church then new organ’s console, with the pipes had recently started identifying those in- speaking through a small tonal opening terested in studying organ performance high and to the right. Unfortunately, the and providing lessons. It was realized barrel-vaulted ceiling and low stage-like that the new organ would be used as a proscenium of this choir room did noth- practice instrument and must be similar ing to project the sound of the choir or in key compass and console confi guration enhance the acoustics of the room. and contain similarities in tonal warmth Our discussions regarding a new or- and color with the sanctuary organ. Eric gan for the “Historic Chapel” started and I determined that with rescaling and during our installation of the new sanc- careful voicing we might be able to use tuary organ. Considered by many a “pipe three of the four ranks of pipes in the ex- dream,” the talk focused on design of the isting chapel organ without detriment to casework and—given the Moravian con- the tonal quality of the new organ. This nection with David Tannenberg—the of course helped stretch our funds and appropriateness of that style of cabinetry pleased those that wanted a connection in the room. The “Historic Chapel” was to the past and/or a more “green” instru- now used for one weekly Sunday morning ment. A contract for the chapel organ service and smaller weddings and funer- was signed in July 2005. als. Music was accompanied by piano, as There were those who wanted the or- the 1950 four-rank unit organ was unreli- gan to be placed in the choir loft area to able and deemed no longer economically preserve seating. The organ committee serviceable by the local technician. and I successfully argued that this place- In June 2004 Ida Roberts, whose ini- ment would damage the sound and beau- tial gift started the organ fund for the ty of a new organ and continue to ham- sanctuary organ, died at the age of 104. Treble pipework from the façade to the back of the Great slider windchest per the choir’s efforts. We compromised
34 THE DIAPASON
Oct 07 pp. 34-35.indd 34 9/12/07 10:00:30 AM somewhat on the position of the new the present. The primary impetus in the free-standing organ in order to preserve design of this instrument is for this or- as much space as possible on the chancel gan to assist the worship of God by being fl oor. The Great and Pedal pipes stand able to accompany with variety the many within the casework projecting into the hymns that Moravians sing in every wor- chapel, with the swell box at the very front ship service. It is the result of a bequest of the “choir room” speaking through the by Ida Herman Roberts, a longtime ac- façade of the Great. If anything, the posi- tive member of the church, who taught tion of the free-standing swell box helps third grade for many years and died at the desired effect. The carpet and sev- age 104 without any children. Her will eral rows of pews were removed from stipulated that half of her bequest be the chancel area, and hardwood fl oor spent for a new pipe organ. It was de- installed. This helps project the organ’s cided to put the organ in the church’s sound and creates a marvelous space for chapel, an 1867 Victorian-style sanctuary musicians and the choir to perform. that seats about 250 people. The organ is The tireless beauty of but a few well- named in her honor. voiced stops in a small pipe organ never The organ features mechanical action. ceases to amaze me. Their limitations are This basic design has been essentially only subject to the creativity of the artist unchanged for many centuries, due to its playing the keys. I learned this from my simplicity, subtle musical expressiveness, wise teachers including Fritz Noack and and unrivaled durability. If well main- Gene Doutt over 30 years ago, and strive tained, this organ should last for hun- to incorporate this tonal beauty into ev- dreds of years. The keydesk is attached ery instrument I build. to the case. The greatest compliment I can receive The tonal design, voicing, and façade is to be asked to build a second instru- is inspired by the 1800 David Tannen- Pipemaker Toni Kaes soldering the languid to the foot of one of the façade pipes ment for a church just having purchased berg, two-manual, restored organ in one from me. I thank Kernersville Mora- the new auditorium of the Old Salem vian Church for their trust and apprecia- Moravian museum in Winston-Salem, tion of my work. North Carolina. Thus, the majority of — John F. Nordlie the ranks are scaled and voiced in an early 19th-century American style and Those having contributed to the con- possess great refi nement and gentle- struction of this instrument include John ness. Of particular interest is the Gam- F. Nordlie, design; Eric J. Grane, voic- be 8′ on the Great whose initial speech ing; Paul E. Nordlie, construction; Dale characteristics are subtly similar to the Krause, construction; Arnie Bortnem, sound of a bow striking a string on a pipe shades; Betsy Oerter, installation; viola da gamba. To this basic framework Neil Oerter, installation. a judicious addition of a string Céleste Suppliers include Gebruder Kaes, 8′ was made to incorporate a modicum Bonn, Germany, fl ue pipes; Matters Inc., of historical development from the late- Haskell inserts; Aug. Laukhuff, blower; 19th and early-20th centuries. Klaus Knoeckel, console lighting; East- Thanks to the artistic skill of builder ern Organ Pipes, oboe. John Nordlie and his voicer Eric Grane, a beautiful, integrated artistic ensemble From the consultant has been created. Thus, variety, individ- This is an organ for a vibrant congre- uality, and fl exibility are artistically com- gation of the Moravian Church in Amer- bined to achieve great expressiveness ica. Moravians have a strong practice of and a wonderful unity of ensemble. not only preserving the best of their rich —Wayne Leupold traditions and musical heritage but also Organist emeritus and organ consul- being open to quality innovations from tant, Kernersville Moravian Church
The skilled hands of traditional woodcarver Arnie Bortnem fashioning the pipe shades from basswood carving blanks for the Kernersville Chapel organ
Interior view of the swell box showing the fi ve ranks of pipes in the chromatic layout of the windchest. The reused Details of the tower crowns and hand- pipework (two ranks) uses stainless carved pipe shades fi nished in 18k gold steel tuning collars. leaf
Center tower of the Great showing Church member Betsy Oerter adjusting Haskell bass pipes of the Diapason and Craftsman Dale Krause applying moldings to the casework impost springs in the Swell windchest Flûte Traversière
OCTOBER, 2007 35
Oct 07 pp. 34-35.indd 35 9/12/07 10:00:52 AM New Organs Calendar
•Charles Callahan, masterclass/workshop; This calendar runs from the 15th of the First-Trinity Presbyterian, Laurel, MS 10 am month of issue through the following month. Cameron Carpenter; St. Norbert Abbey, De The deadline is the fi rst of the preceding Pere, WI 2 pm month (Jan. 1 for Feb. issue). All events are assumed to be organ recitals unless other- 21 OCTOBER wise indicated and are grouped within each Felix Hell; Community Church of Durham, date north-south and east-west. •=AGO chap- Durham, NH 4 pm ter event, • •=RCCO centre event, +=new or- Chandler Noyes, with vocalist; Methuen Me- gan dedication, ++= OHS event. morial Music Hall, Methuen, MA 3 pm Choral Evensong; All Saints, Worcester, MA Information cannot be accepted unless it 5 pm specifi es artist name, date, location, and Thomas Brown; St. Michael’s, Litchfi eld, CT hour in writing. Multiple listings should be in 4 pm chronological order; please do not send du- Elizabeth Wong; Christ Church, New Bruns- plicate listings. THE DIAPASON regrets that wick, NJ 6:30 pm it cannot assume responsibility for the accu- Winchester Cathedral Choir; All Saints Episco- racy of calendar entries. pal, Richmond, VA 7:30 pm Jeremy Bruns; Abingdon Episcopal, White Marsh, VA 5 pm UNITED STATES Olivier Latry; St. John United Methodist, Au- East of the Mississippi gusta, GA 3 pm Atlanta Baroque Orchestra; Peachtree Road 15 OCTOBER United Methodist, Atlanta, GA 3 pm Robert Ridgell, masterclass; St. Michael’s, Eric Dombrowski; Cathedral of St. Philip, At- New York, NY 2 pm, recital 7:30 pm lanta, GA 3:15 pm, Choral Evensong 4 pm The American Boychoir; Holy Family Roman The American Boychoir; First United Method- Catholic Church, Hilton Head Island, SC 7:30 pm ist, Valdosta, GA 4 pm Cj Sambach; Epworth United Methodist, To- 16 OCTOBER ledo, OH 3 pm Lasse Eriksen, with choir; King’s Chapel, Scott Montgomery; First Presbyterian, Ath- Boston, MA 12:15 pm ens, OH 3 pm Simon Preston, Poulenc Organ Concerto; Alan Morrison; Hyde Park Community United Symphony Hall, Boston, MA 8 pm Methodist, Cincinnati, OH 4 pm + Frederick Swann; St. Stanislaus, Buffalo, Bach Society of Dayton; Kettering Seventh- NY 7 pm Day Adventist Church, Kettering, OH 4 pm Otto Krämer, masterclass; St. Michael’s, New Choral Evensong; Christ Church Cathedral, York, NY 2 pm, recital 7:30 pm Lexington, KY 5 pm Charles Farley; St. Luke’s Chapel, Medical Britten, St. Nicolas; Cathedral Church of St. University, Charleston, SC 12:15 pm Paul, Detroit, MI 4 pm Clive Driskill-Smith; St. Simons Presbyterian, David Higgs; First Baptist, London, KY 3 pm St. Simons Island, GA 8 pm Thomas Murray; Christ Church Cathedral, Olivier Latry; Savage Chapel, Union Univer- Nashville, TN 4 pm sity, Jackson, TN 7:30 pm David Lamb; Ancilla College, Donaldson, IN John Hamersma; Park Congregational, Grand 3 pm Rapids, MI 12:15 pm Janette Fishell & Colin Andrews; Kenilworth Diana Lee Lucker; Church of St. Louis, King Union Church, Kenilworth, IL 5 pm of France, St. Paul, MN 12:35 pm Mary Gifford; Our Lady of Sorrows Basilica, Chicago, IL 3 pm 17 OCTOBER Dennis Northway; Cathedral of the Holy An- Martin Jean; The Interchurch Center, New gels, Gary, IN 3 pm York, NY 6 pm Sophie-Véronique Cauchefer-Choplin, mas- 22 OCTOBER terclass; St. Michael’s, New York, NY 2 pm, re- Anthony Newman; Church of the Holy Trinity cital 7:30 pm (Episcopal), New York, NY 8 pm Julie Evans; St. Luke Catholic Church, The American Boychoir, with Montgomery McLean, VA 1 pm Youth Chorale; Episcopal Church of the Ascen- The American Boychoir; First Baptist, St. Si- sion, Montgomery, AL 7 pm mons Island, GA 7 pm Janette Fishell & Colin Andrews; Elliott Cha- Winchester Cathedral Choir; Cathedral of St. pel, The Presbyterian Homes, Evanston, IL 1:30 Karl Wilhelm Inc., Mont St-Hilaire, 2′ is made of 75% polished tin. Flute John the Evangelist, Cleveland, OH 7:30 pm pm Quebec, Canada pipes are 32% tin and 68% lead and are Gary Wendt; First Presbyterian, Arlington Craig Cramer; Grace Lutheran, River Forest, Janet Peaker studio, Toronto, On- hammered. Open pipes are cone tuned, Heights, IL 12:10 pm IL 8 pm tario, Canada stopped pipes have fi xed canisters. 18 OCTOBER 23 OCTOBER The seven-stop, two-manual organ Robert Houssart, masterclass; St. Michael’s, Martin Rein; King’s Chapel, Boston, MA 12:15 fi ts under an eight-foot ceiling. The MANUAL I New York, NY 2 pm, recital 7:30 pm pm ′ 8′ Metalgedackt two 8 stops have a common bass. The ′ Choral Evensong; Cathedral of St. Philip, At- Winchester Cathedral Choir; St. Thomas ′ 4 Rohrfl öte lanta, GA 5:45 pm Rohrfl öte 4 is playable on both manuals. 2 Church, New York, NY 7:30 pm 2⁄3′ Hohlquinte (c1) The Bourdon 8′ and Blockfl öte 4′ are by ′ The American Boychoir; Saliba Chapel, Brew- Jee-Yoon Choi; St. Luke’s Chapel, Medical 2 Prinzipal ton-Parker College, Mount Vernon, GA 7:30 pm University, Charleston, SC 12:15 pm extension. The organ features suspended 8′ Regal mechanical key action and mechani- Olivier Latry; Dimnent Chapel, Hope College, cal stop action, with one pedal coupler. 19 OCTOBER Holland, MI 7:30 pm MANUAL II The Chenaults; First Presbyterian, Lockport, Raymond Johnston; Church of St. Louis, Casework is solid white oak; natural keys 8′ Holzgedackt ′ NY 7:30 pm King of France, St. Paul, MN 12:35 pm are covered with ebony, sharps are rose- 4 Rohrfl öte Gerben Mourik, masterclass; St. Michael’s, wood topped with bone. Manual/pedal New York, NY 2 pm, recital 7:30 pm 24 OCTOBER compass is 56/30. The organ is winded PEDAL John Scott; St. Luke’s Episcopal, Lebanon, Nigel Potts; St. Bartholomew’s, New York, NY 8′ Bourdon (wood) with a cuneiform bellows. The Prinzipal ′ PA 7 pm 7:30 pm 4 Blockfl öte Peter Richard Conte; National City Christian Handel, Belshazzar; St. Ignatius Loyola, New Church, Washington, DC 7:30 pm York, NY 8 pm Nigel Potts; St. Paul’s Parish, K St., Washing- The American Boychoir; Episcopal Church of ton, DC 7:30 pm the Nativity, Huntsville, AL 8 pm + Frederick Swann; Providence Presbyterian, William Aylesworth; First Presbyterian, Ar- Fairfax, VA 7:30 pm lington Heights, IL 12:10 pm Jennifer Pascual; St. Luke Catholic Church, McLean, VA 7:30 pm 25 OCTOBER Jeremy Bruns; St. Paul’s Episcopal, Alexan- ensemble amarcord; St. Thomas Episcopal, dria, VA 8 pm Coral Gables, FL 7:30 pm Johnny Bradburn; Christ United Methodist, The American Boychoir, with Birmingham Greensboro, NC 7:30 pm Boys Choir; Mountain Brook Baptist, Birming- Clive Driskill-Smith; First Congregational, ham, AL 7 pm Sarasota, FL 7:30 pm Winchester Cathedral Choir; St. George’s 26 OCTOBER Episcopal, Nashville, TN 8 pm Tom Trenney, silent fi lm accompaniment; Donald Sutherland; Northminster Baptist, Merrill Auditorium, Portland, ME 8 pm Jackson, MS 7:30 pm Chandler Noyes, silent fi lm accompaniment; Charles Callahan; First-Trinity Presbyterian, Methuen Memorial Music Hall, Methuen, MA 8 Laurel, MS 7:30 pm pm Frederick Swann; All Saints, Worcester, MA 20 OCTOBER 8 pm William Ness, with harp and fl ute; Memorial Preston Dibble, Renee Anne Louprette, Congregational, Sudbury, MA 7:30 pm Chris McElroy & Dan Palko; Church of the Im- •Donald Filkins, improvisation workshop; First maculate Conception, Montclair, NJ 7 pm Presbyterian, Wappingers Falls, NY 10 am Aaron David Miller; Miller Chapel, Princeton Todd Wilson; Verizon Hall, Philadelphia, PA Theological Seminary, Princeton, NJ 8 pm 3 pm Affabre Concinui; Mansfi eld University, Mans- The American Boychoir; Snellville United fi eld, PA 7 pm Methodist, Snellville, GA 7 pm Winchester Cathedral Choir; Washington Na- The King’s Noyse; Harkness Chapel, Case tional Cathedral, Washington, DC 7:30 pm Western Reserve University, Cleveland, OH Gail Archer; Emanuel Church, Chestertown, 7:30 pm MD 8 pm
36 THE DIAPASON
Oct 07 pp. 36-41.indd 36 9/12/07 10:02:06 AM Richard Cummins, silent fi lm accompani- Fauré, Requiem; Church of St. Vincent Ferrer, ment; Greene Memorial United Methodist, Roa- New York, NY 7:30 pm noke, VA 8 pm Fauré, Requiem; Church of the Immaculate Bert Adams, FAGO Janette Fishell; Trinity Episcopal, St. Augus- Conception, Montclair, NJ 7 pm Park Ridge Presbyterian Church PATRICK ALLEN tine, FL 7:30 pm The American Boychoir; West Market Street Paul Hale; First Presbyterian, Evansville, IN United Methodist, Greensboro, NC 7:30 pm Park Ridge, IL GRACE CHURCH 7 pm Pickle Piano & Church Organs NEW YORK The American Boychoir, with Alabama Boy- 3 NOVEMBER Bloomingdale, IL choir; Moody Concert Hall, University of Ala- Ken Cowan; Spivey Hall, Morrow, GA 3 pm bama, Tuscaloosa, AL 7 pm Jeff Weiler, silent fi lm accompaniment; Music 4 NOVEMBER Institute of Chicago, Evanston, IL 8 pm Frederick Swann, with choir and brass; St. Christopher Babcock Luke’s Cathedral, Portland, ME 6 pm WILLIAM AYLESWORTH 27 OCTOBER The Worcester Chorus and the Choirs of All St. Andrew’s by the Sea, +Daniel Sansone, with orchestra; Cathedral Saints Church; All Saints, Worcester, MA 4 pm D. M. of Mary Our Queen, Baltimore, MD 7:30 pm Carol Williams; Immanuel Congregational, Hyannis Port Max Yount; First Congregational, Beloit, WI Hartford, CT 4 pm 7:30 pm Gerre Hancock; Vassar College Chapel, EVANSTON, ILLINOIS St. David’s, South Yarmouth Poughkeepsie, NY 3 pm 28 OCTOBER Paolo Bordignon; St. Bartholomew’s, New Fauré, Requiem; All Saints, Worcester, MA York, NY 3 pm 10:30 am Stephen Hamilton; Church of the Holy Trinity Frederick Swann, wih choir and brass; Me- (Episcopal), New York, NY 4 pm chanics Hall, Worcester, MA 6 pm David Briggs; St. Ignatius Loyola, New York, Joan Lippincott; First Presbyterian, Ilion, NY NY 4 pm 3 pm Choral Evensong; Grace Church, New York, Ted Barr, with choir; The Presbyterian Church, NY 4 pm Irvington-on-Hudson, NY 4 pm Bach, Cantata 106; Holy Trinity Lutheran, New Robert Ridgell; Cathedral of St. Patrick, New York, NY 5 pm York, NY 4:45 pm Pierre Pincemaille; St. Peter’s Episcopal, Bay Bach, Cantata 80; Holy Trinity Lutheran, New Shore, NY 6 pm York, NY 5 pm Rutgers Collegium Musicum; Christ Church, Choral Evensong; Christ Church, New Bruns- New Brunswick, NJ 6:30 pm wick, NJ 6:30 pm Vincent Dubois; First Presbyterian, Lancast- Dean W. Billmeyer Thomas Murray; Thomson Alumnae Chapel, er, PA 4 pm Wilson College, Chambersburg, PA 3 pm Michael Burkhardt, hymn festival; Old Pres- University of Minnesota Winchester Cathedral Choir; St. Stephen’s byterian Meeting House, Alexandria, VA 8:30 am Episcopal, Wilkes-Barre, PA 4 pm & 11 am Minneapolis 55455 • [email protected] Stephen Hamilton; Trinity Church, Bethle- Choral Evensong; St. John’s Episcopal, Hag- hem, PA 4 pm erstown, MD 5 pm Affabre Concinui; St. James Episcopal, Lan- Britten, St. Nicolas; Church of the Covenant, caster, PA 4 pm Cleveland, OH 3 pm Erik Suter; Trinity Lutheran, Hagerstown, MD Choral concert; St. Peter in Chains Cathedral, 4 pm Cincinnati, OH 2:30 pm THOMAS BROWN David Chalmers +Vierne, Messe Solenelle; Cathedral of Mary Diane Meredith Belcher; Westwood First UNIVERSITY Concert Organist Our Queen, Baltimore, MD 7:30 pm Presbyterian, Cincinnati, OH 7 pm Ronald Wise; Boone United Methodist, Evensong; Peachtree Road United Methodist, PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES Boone, NC 4 pm Atlanta, GA 5 pm CHAPEL HILL, NORTH CAROLINA Orleans, MA Richard Rhoads; St. Andrew’s On-the-Sound Schuyler Robinson; Christ Church Cathedral, Episcopal, Wilmington, NC 5 pm Lexington, KY 4:30 pm, Choral Evensong, 5 pm Maxine Thevenot; St. Peter’s Episcopal Ca- Andrew Henderson; Reid Memorial Presby- thedral, St. Petersburg, FL 3 pm terian, Augusta, GA 4 pm Ken Cowan; Westbrook Park United Method- David Lamb; Cathedral of St. Philip, Atlanta, STEVEN EGLER ist, Canton, OH 4 pm GA 3:15 pm, Evensong at 4 pm DELBERT DISSELHORST Central Michigan University Perimeter Flutes; Cathedral of St. Philip, At- Jean-Baptiste Robin; First Park Congrega- First Presbyterian Church lanta, GA 3:15 pm, Choral Evensong 4 pm tional, Grand Rapids, MI 4 pm A. MUS. D. Jonathan Easter & Charles Higgs; Peachtree Christopher Young; First Presbyterian, Co- Mt. Pleasant, Michigan 48858 Road United Methodist, Atlanta, GA 5 pm lumbus, IN 3 pm UNIVERSITY OF IOWA SOLO Shelly-Egler The American Boychoir; Vineville United Meth- Craig Cramer; Kramer Chapel, Concordia RECITALS Flute and Organ Duo odist, Macon, GA 4 pm Seminary, Fort Wayne, IN 4 pm Tom Trenney, silent fi lm accompaniment; Andrew Peters; Grace Lutheran, Clarksville, University of Louisville, Louisville, KY 7 pm TN 4 pm Steven Wente; St. Lorenz Lutheran, Franken- Derek Nickels; Glenview Community Church, ELLEN KURTZ muth, MI 4 pm Glenview, IL 5 pm JOHN FENSTERMAKER Music of the Baroque; First United Methodist, Evanston, IL 7:30 pm 5 NOVEMBER TRINITY-BY-THE-COVE FUNK Colin Andrews; Holy Name Cathedral, Chi- •Ann Labounsky; Mount Olivet United Meth- M.Mus., A.A.G.O. cago, IL 3 pm odist, Arlington, VA 7:30 pm Concord, California Olivier Vernet; Court Street United Methodist, Felix Hell; First Presbyterian, Jackson, MS 7 NAPLES, FLORIDA Rockford, IL 7 pm pm Peter Richard Conte; Weidner Center for the Performing Arts, Green Bay, WI 2 pm 6 NOVEMBER George Hubbard; St. Luke’s Chapel, Medical Organist / Pianist 29 OCTOBER University, Charleston, SC 12:15 pm CHRISTOPHER Sietze de Vries; Second Presbyterian, Rich- Huw Williams; Peachtree Road United Meth- Michael Gailit mond, VA 7:30 pm odist, Atlanta, GA 7:30 pm [email protected] GARVEN The American Boychoir; The Centre for Per- Heinrich Walther; First Congregational, Be- http://www.gailit.at Organist & Music Director forming and Visual Arts, Newnan, GA 7:30 pm loit, WI 7:30 pm St. Augustine’s Church Church of the Good Samaritan Clive Driskill-Smith, with percussion; Ten- Ralph Johansen; Church of St. Louis, King of Conservatory / University (Vienna) Paoli, Pennsylvania nessee Valley Unitarian Universalist, Knoxville, France, St. Paul, MN 12:35 pm TN 8 pm Hans Fagius; University of St. Thomas, St. Music of the Baroque; Harris Theater, Chi- Paul, MN 8:15 pm cago, IL 7:30 pm John M. Gearhart III 7 NOVEMBER Robert Glasgow 30 OCTOBER Kirstin Synnestvedt; First Presbyterian, Ar- B.A., M.Mus. Affabre Concinui; Ebenezer Lutheran, Colum- lington Heights, IL 12:10 pm St. John the Divine (Episcopal) Professor Emeritus bia, SC 7:30 pm Heinrich Walther; First Congregational, Be- The American Boychoir; Grace Episcopal, loit, WI 7:30 pm 2450 River Oaks Blvd. The University of Michigan Gainesville, GA 7 pm Houston, TX 77019 Ann Arbor Joy Schroeder; Park Congregational, Grand 8 NOVEMBER Rapids, MI 12:15 pm Choral concert, with Renaissance instruments; James Callahan; Church of St. Louis, King of The Church of St. Luke in the Fields, New York, France, St. Paul, MN 12:35 pm NY 8 pm Vincent Dubois, Poulenc Concerto for Organ JAMES HAMMANN 31 OCTOBER and Strings; Verizon Hall, Philadelphia, PA 8 Antone Godding DMA-AAGO Dorothy Papadakos, silent fi lm accompani- pm Nichols Hills ment; St. Bartholomew’s, New York, NY 7:30 Chanson; Furman University (Daniels Recital University of New Orleans pm Hall), Greenville, SC 8 pm United Methodist Church Affabre Concinui; Kassab Hall, Hyman Fine Oklahoma City Chapel of the Holy Comforter Arts Center, Florence, SC 8 pm 9 NOVEMBER Pierre Pincemaille; All Saints’ Chapel, The Vincent Dubois, Poulenc Concerto for Organ University of the South, Sewanee, TN 7:30 pm and Strings; Verizon Hall, Philadelphia, PA 2:30 Rich Spantikow; First Presbyterian, Arlington pm, recital at 4 pm LORRAINE BRUGH, Ph.D. Heights, IL 12:10 pm John Weaver; St. Luke Lutheran, Silver •Buxtehude, Membra Jesu; St. Mary’s Church, Spring, MD 7:30 pm A two-inch Port Washington, WI 7 pm Barbara MacGregor, with University of Akron Associate Professor Mark Konewko; Cathedral of St. John the Brass Choir; Holy Trinity Lutheran, Akron, OH 8 Professional Card Evangelist, Milwaukee, WI 12:15 pm pm University Organist Lorenz Maycher; First-Trinity Presbyterian, in The Diapason 1 NOVEMBER Laurel, MS 7:30 pm Valparaiso University Douglas Cleveland, with saxophone; Daniel Stephen Tharp; Bethel University, Arden Hills, Valparaiso, IN For information on rates and Chapel, Furman University, Greenville, SC 8 pm MN 7:30 pm specifi cations, contact: The American Boychoir; Shandon United www.valpo.edu Methodist, Columbia, SC 7:30 pm 10 NOVEMBER Jerome Butera Paul Jacobs, with the Allentown Symphony; 219-464-5084 2 NOVEMBER Allentown Symphony Hall, Allentown, PA 8 pm [email protected] Frederick Swann; St. Luke’s Cathedral, Port- Vincent Dubois, Poulenc Concerto for Organ [email protected] 847/391-1045 land, ME 8 pm and Strings; Verizon Hall, Philadelphia, PA 8 pm
OCTOBER, 2007 37
Oct 07 pp. 36-41.indd 37 9/12/07 10:02:23 AM Bradley Hunter Welch; Salisbury Presbyte- Bach, Cantata 183; Holy Trinity Lutheran, New rian, Midlothian, VA 7:30 pm York, NY 5 pm WILL HEADLEE Harry H. Huber Scott Montgomery, masterclass; First Bap- David Shuler; Christ Church, New Brunswick, D. Mus. tist, Augusta, GA 10 am NJ 6:30 pm 1650 James Street Jean-Baptiste Robin, masterclass; House of Thomas Trotter; Washington National Cathe- Kansas Wesleyan University, Emeritus Hope Presbyterian, St. Paul, MN 1:30 pm dral, Washington, DC 5 pm Syracuse, NY 13203-2816 University Methodist Church Gerre Hancock; St. James Church, ELCA, (315) 471-8451 11 NOVEMBER Concord, NC 11 am, 3 pm SALINA, KANSAS Chandler Noyes, with youth symphony; W. Dudley Oakes; Christ Church, Bradenton, Methuen Memorial Music Hall, Methuen, MA FL 4 pm 3 pm Peter Richard Conte; St. Gregory’s Episco- MICHELE JOHNS Richard Pilliner; Cathedral of St. Patrick, New pal, Boca Raton, FL 4 pm Brian Jones York, NY 4:45 pm Todd Wilson; Westminster Presbyterian, Ak- A.Mus.D Bach, Cantata 55; Holy Trinity Lutheran, New ron, OH 5 pm Director of Music Emeritus York, NY 5 pm Choral concert, with orchestra; St. Peter in Organ — Harpsichord Kevin O’Malia; Christ Church, New Bruns- Chains Cathedral, Cincinnati, OH 3 pm The University of Michigan TRINITY CHURCH wick, NJ 6:30 pm Choral Evensong; Christ Church Cathedral, Lexington, KY 5 pm School of Music OSTON Paul Jacobs, with the Allentown Symphony; B Allentown Symphony Hall, Allentown, PA 3 pm Richard Pilliner; Cathedral of St. Philip, At- J. Christopher Pardini, with instruments; lanta, GA 3:15 pm, Evensong at 4 pm Shadyside Presbyterian, Pittsburgh, PA 4 pm Ken Cowan; Independent Presbyterian, Bir- Kevin Clemens; Church of St. John the Evan- mingham, AL 4 pm KIM R. KASLING JAMES KIBBIE gelist, Severna Park, MD 7 pm Richard Hoskins; St. Simon’s Episcopal, Ar- Cameron Carpenter; Greene Memorial Unit- lington Heights, IL 4 pm D.M.A. The University of Michigan ed Methodist, Roanoke, VA 4 pm 19 NOVEMBER St. John’s Univeristy Ann Arbor, MI 48109-2085 David Arcus; Duke University Chapel, Dur- 734-764-1591 FAX: 734-763-5097 ham, NC 5 pm St. Andrew Chorale & Orchestra; Madison Av- Collegeville, MN 56321 Mozart, Vesperae Solemnes de Confessore; enue Presbyterian, New York, NY 3 pm email: [email protected] Westminster Presbyterian, Dayton, OH 4 pm •James David Christie; Church of the Holy Atlanta Baroque Orchestra; Peachtree Road Trinity (Episcopal), New York, NY 8 pm United Methodist, Atlanta, GA 2:30 pm John Alexander; Cathedral of St. Philip, At- 20 NOVEMBER David K. Lamb, D.Mus. lanta, GA 3:15 pm, Evensong at 4 pm Craig Cramer; Organ Hall, University of Notre Richard Litterst Scott Montgomery; First Baptist, Augusta, Dame, South Bend, IN 8 pm Director of Music/Organist GA 6:30 pm David Jenkins; Church of St. Louis, King of First United Methodist Church First Church of Christ, Scientist Atlanta Baroque Orchestra; Peachtree Road France, St. Paul, MN 12:35 pm Columbus, Indiana United Methodist, Atlanta, GA 2:30 pm 812/372-2851 Rockford, Illinois Thomas Murray, accompanying Durufl é,Re- 21 NOVEMBER quiem; Covington Cathedral Basilica, Covington, Thanksgiving Evensong; Emanuel Church, KY 3 pm Chestertown, MD 6 pm Tom Trenney; Independent Presbyterian, Bir- Christopher Urban; First Presbyterian, Ar- mingham, AL 4 pm lington Heights, IL 12:10 pm BETTY LOUISE LUMBY North Shore Choral Society; The Parish David Lowry Church of St. Luke, Evanston, IL 3 pm 25 NOVEMBER THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO Stephen Tharp; First Presbyterian, Arlington Bach, Cantata 116; Holy Trinity Lutheran, New 1512 BLANDING STREET, COLUMBIA, SC 29201 Heights, IL 4 pm York, NY 5 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO •Buxtehude concert; Lutheran School of The- David Schelat; Cathedral of St. Philip, Atlanta, ology, Chicago, IL 4 pm GA 3:15 pm, Evensong at 4 pm ROCK HILL, SC 29733 MONTEVALLO, AL 35115 Ken Cowan, with violin; St. John’s Episcopal, Bradley Hunter Welch; Independent Presby- Quincy, IL 3 pm terian, Birmingham, AL 4 pm Heinrich Walther; Our Savior’s Lutheran, Sun Prairie, WI 7 pm 26 NOVEMBER Jean-Baptiste Robin; House of Hope Presby- Bruce Stevens; Cannon Chapel, University of terian, St. Paul, MN 4 pm Richmond, VA 7:30 pm James R. Metzler Thomas Trotter; Pilgrim Congregational, Du- Marsha Webster; Elliott Chapel, Presbyterian luth, MN 2 pm Homes, Evanston, IL 1:30 pm PARK CONGREGATIONAL CHURCH 27 NOVEMBER GRAND RAPIDS, MICHIGAN 12 NOVEMBER Thomas Murray; Cincinnati Museum Center, Works for brass, organ, and choir; Cathedral of Cincinnati, OH 7:30 pm Mary Our Queen, Baltimore, MD 7:30 pm Donald Sutherland; Morningside Presbyte- 13 NOVEMBER rian, Atlanta, GA 7:30 pm David Lamb; St. Luke’s Chapel, Medical Uni- Vienna Boys’ Choir; St. Peter in Chains Cathe- William H. Murray versity, Charleston, SC 12:15 pm dral, Cincinnati, OH 7:30 pm A.S.C.A.P. Nigel Potts; St. Philip’s Cathedral, Atlanta, GA David Saunders; Church of St. Louis, King of FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. 8 pm France, St. Paul, MN 12:35 pm Marianne Webb, workshop; First Christian 345 SADDLE LAKE DRIVE Church, Carbondale, IL 7:30 pm 28 NOVEMBER ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas Andrew Henderson; Interchurch Center Cha- (770) 594-0949 Dean Billmeyer; Church of St. Louis, King of France, St. Paul, MN 12:35 pm pel, New York, NY 12:05 pm Kathy Heetland & Joyce Robinson; First 14 NOVEMBER Presbyterian, Arlington Heights, IL 12:10 pm MARILYN MASON Mary Mozelle; Princeton University Chapel, CHAIRMAN, DEPARTMENT OF ORGAN Princeton, NJ 12 noon 29 NOVEMBER UNIVERSITY OF MICHIGAN Larry Baade; First Presbyterian, Arlington Brass, organ, and choral concert; Greene Me- ANN ARBOR Heights, IL 12:10 pm morial United Methodist, Roanoke, VA 6:30 pm, also 11/30 “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it 15 NOVEMBER with awesome technique and a thrilling command of its daring writing.” David Lamb; Calvary Church, Charlotte, NC 30 NOVEMBER The American Organist, 1980 11 am True North Brass; First Presbyterian, Lockport, David Higgs, masterclass; St. Thomas Epis- NY 7:30 pm copal, Coral Gables, FL 7 pm Handel, Messiah; Christ Church Cathedral, Choral Evensong; Cathedral of St. Philip, At- Lexington, KY 7:30 pm Mary Mozelle lanta, GA 5:45 pm LARRY PALMER Jeremy Bruns; St. Francis Xavier, Alexandria, Associate Organist LA 7:30 pm UNITED STATES Professor of West of the Mississippi The National 16 NOVEMBER Presbyterian Church Harpsichord and Organ Lois Regestein; Old West Church, Boston, 15 OCTOBER MA 8 pm Washington, DC •Hymn festival; Orangewood Presbyterian, Meadows School of the Arts Chandler Noyes, silent film accompani- Phoenix, AZ 4 pm 703.898.9609 ment; Methuen Memorial Music Hall, Methuen, Craig Cramer; All Soul’s Episcopal, San Di- SOUTHERN METHODIST UNIVERSITY MA 8 pm ego, CA 7:30 pm www.PipeOrganPro.com Todd Wilson; Slee Hall, SUNY Buffalo, Am- herst, NY 8 pm “The Sights and Sounds Dallas, Texas 75275 19 OCTOBER Thomas Trotter; St. Paul’s Episcopal, Nor- Olivier Latry; First Presbyterian, Topeka, KS of the Pipe Organ” folk, VA 7:30 pm Musical Heritage Society recordings 7:30 pm David Higgs; Wertheim Performing Arts Center, Elisabeth von Trapp, soprano; Community Florida International University, Miami, FL 8 pm Lutheran, Las Vegas, NV 7 pm Douglas Cleveland; St. Joseph’s Cathedral, Columbus, OH 7:30 pm 20 OCTOBER Richard Webb; Cathedral Church of the Ad- vent, Birmingham, AL 12:30 pm Las Cantates; Keller Hall, University of New A four-inch Choral concert; Northbrook Presbyterian, Mexico, Albuquerque, NM 7:30 pm Bloomfi eld, MI 7:30 pm Elisabeth von Trapp, soprano; First Presby- Professional Card terian, Las Vegas, NV 7 pm 17 NOVEMBER Buxtehude festival concert; Christ Church, in The Diapason •Elizabeth Harrison, Buxtehude workshop Episcopal, Tacoma, WA 8 pm and recital; Christ Church, New Brunswick, NJ Jeannine Jordan, workshop; First Methodist, Toledo, OR 9 am No additional charge for photos 9 am 18 NOVEMBER 21 OCTOBER Choral Evensong; First Baptist, Worcester, MA Ken Cowan; Canyon Creek Presbyterian, For information on rates and specifi cations, contact 5 pm Richardson, TX 9:35 am and 11 am; 7 pm Alice Parker, hymn sing; South Church, New ensemble amarcord; St. Helena Cathedral, Jerome Butera, 847/391-1045 Britain, CT 4 pm Helena, MT 7:30 pm [email protected] Guido Graumann; The Presbyterian Church, •Marie-Louise Langlais; Trinity Cathedral, Irvington-on-Hudson, NY 4 pm Phoenix, AZ 4 pm
38 THE DIAPASON
Oct 07 pp. 36-41.indd 38 9/12/07 10:02:45 AM Douglas Cleveland; Seattle First Baptist, Se- 4 NOVEMBER attle, WA 3 pm Paul Jacobs; Augustana Lutheran, West St. Emanuele Cardi; Cathedral of St. Mary of the Paul, MN 7 pm LEON NELSON Assumption, San Francisco, CA 3:30 pm Robert Bates; Christ Church Cathedral, Hous- DOUGLAS REED David Gell, Langlais works; Trinity Episcopal, ton, TX 4:15 pm FIRST PRESBYTERIAN CHURCH Santa Barbara, CA 3:30 pm Olivier Vernet; Cathedral of the Madeleine, ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE Mendelssohn, Elijah; St. Alban’s, Westwood, Salt Lake City, UT 8 pm NORTH PARK UNIVERSITY CA 4 pm Colin Andrews & Janette Fishell, work- EVANSVILLE, INDIANA Sonoma Chanson; Knox Presbyterian, Santa shops; American Lutheran Church, Sun City, AZ CHICAGO, IL 60625 Rosa, CA 5 pm 9 am, 10:45 am Paul Jacobs; First Congregational, Los Ange- Bede Parry, and Choral Evensong; All Saints’ les, CA 4 pm Episcopal, Las Vegas, NV 5:30 pm Christoph Tietze; Cathedral of St. Mary of the Stephen G. Schaeffer ROBERT L. 22 OCTOBER Assumption, San Francisco, CA 3:30 pm D.M.A. John Weaver, masterclass; St. Peter’s Epis- •Christoph Bull; South Shores Church, Dana copal, St. Louis, MO 7:30 pm Point, CA 2 pm The Cathedral Church SIMPSON Erik Suter; Bates Recital Hall, University of of the Advent Christ Church Cathedral Texas, Austin, TX 7 pm 5 NOVEMBER 1117 Texas Avenue Julia Brown; Beall Concert Hall, University of Colin Andrews & Janette Fishell; American Birmingham, Alabama 35203 Houston, Texas 77002 Oregon, Eugene, OR 8 pm Lutheran Church, Sun City, AZ 2:30 pm •Clay Christiansen; Wilshire Boulevard Tem- 23 OCTOBER ple, Los Angeles, CA 7:30 pm John Weaver; St. Peter’s Episcopal, St. Louis, Stephen Tappe MO 7:30 pm 6 NOVEMBER Organist and Director of Music Todd Wilson; First Presbyterian, Wichita, KS James David Christie; Wichita State Univer- Joe Utterback 7:30 pm sity, Wichita, KS 7:30 pm Saint John's Cathedral COMMISSIONS & CONCERTS ensemble amarcord; Hampton School of Mu- •Richard Unfried, workshop; Bayshore Com- Denver, Colorado sic, Moscow, ID 7:30 pm munity Congregational, Long Beach, CA 7:30 www.sjcathedral.org 732 . 747 . 5227 pm 26 OCTOBER James Welch; Church of Jesus Christ of Lat- 7 NOVEMBER ter-day Saints, Scottsdale, AZ 7 pm Vienna Boys Choir; Cathedral Basilica of St. Ann Labounsky, works of Langlais; Old First Louis, St. Louis, MO 8 pm David Wagner Presbyterian, San Francisco, CA 8 pm Marcia Van Oyen DMA Samuel Soria; First Congregational, Long 8 NOVEMBER Beach, CA 8 pm Vienna Boys Choir; Cathedral Basilica of St. First United Methodist Church, Madonna University Louis, St. Louis, MO 2 pm Plymouth, Michigan Livonia, Michigan 27 OCTOBER mvanoyen.com [email protected] Pierre Pincemaille; Festival Concert Hall, 9 NOVEMBER Round Top, TX 3 pm Judith & Gerre Hancock, with the Choral Arts Ann Labounsky, workshop; Old First Presby- Society; Bates Recital Hall, University of Texas, terian, San Francisco, CA 9 am Austin, TX 8 pm SALLY SLADE WARNER, AAGO, ChM 28 OCTOBER 10 NOVEMBER Kevin Walters Carillonneur ensemble amarcord; Christ the King Lutheran, Judith & Gerre Hancock, with the Choral Arts Houston, TX 5 pm Society; St. Martin’s Episcopal, Houston, TX 3 M.A., F.A.G.O. St. Stephen’s Church, Cohasset, MA pm Scott Montgomery; Lagerquist Hall, Pacifi c Phillips Academy, Andover, MA Lutheran University, Tacoma, WA 3 pm Rye, New York Douglas Cleveland; Church of the Good Sa- 11 NOVEMBER Recitals maritan, Corvallis, OR 4 pm Jean-Baptiste Robin; House of Hope Presby- Michael Pelzel; Cathedral of St. Mary of the terian, St. Paul, MN 4 pm Assumption, San Francisco, CA 3:30 pm Maxine Thevenot; Cathedral Church of St. Pat Kelly; All Saints, Pasadena, CA 4 pm John, Albuquerque, NM 4 pm Choral Evensong; All Saints, Pasadena, CA Karl Watson Cherie Wescott 29 OCTOBER 5 pm Concerts • Masterclasses • Coaching John Scott; Trinity Episcopal Cathedral, Port- ST. RAYMOND’S CHURCH land, OR 7:30 pm 12 NOVEMBER 405/942-3958 John Weaver; Wilshire Baptist, Dallas, TX PARKCHESTER e-mail: [email protected] 30 OCTOBER 7:30 pm August Knoll; Union Sunday School, Cler- mont, IA 2:30 pm 16 NOVEMBER Choral concert; Cathedral of the Madeleine, 31 OCTOBER Salt Lake City, UT 8 pm Davis Wortman John Scott; The Meyerson Symphony Center, RONALD WYATT Dallas, TX 8 pm 17 NOVEMBER James Welch; St. Mark’s Episcopal, Palo Paul Jacobs, masterclass; First Presbyterian, St. James’ Church Trinity Church Alto, CA 8 pm Rochester, MN 10:30 am Children’s Choral Festival Evensong; Christ New York Galveston 1 NOVEMBER Church Cathedral, Houston, TX 3 pm Affabre Concinui; Morningside College (Ep- pley Auditorium), Sioux City, IA 7:30 pm 18 NOVEMBER Paul Jacobs; First Presbyterian, Rochester, 3 NOVEMBER MN 4 pm Charles Dodsley Walker, FAGO The Russian Patriarchate Choir; Basilica of St. Richard Elliott; St. Martin’s Episcopal, Hous- Artist-in-Residence Founder/Conductor Mary, Minneapolis, MN 8 pm ton, TX 3 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John A radio program for the king of instruments SYLVIE POIRIER Albuquerque, New Mexico www.stjohnsabq.org 505-247-1581 #0740 - Helmut Walcha (1907-1991) – A Centenary Tribute… PHILIP CROZIER O honoring one of the most revered teachers and performers who made ORGAN DUO C history with his pioneering recordings of Bach’s organ works. 3355 Queen Mary Road, Apt 424 T #0741 - A View of the Verizon…performances from the inaugural Montreal, H3V 1A5, P. Quebec celebration of the new Dobson concert organ at Philadelphia’s Kimmel Canada O Center for the Performing Arts. B (514) 739-8696 #0742 - Pipedreams Live!…excerpts from three public appearances by Fax: (514) 739-4752 Iain Quinn Maxine Thevenot E Director of Associate Organist- Michael Barone, appearing with a marvelous collection of talented [email protected] Cathedral Music Choir Director R performers in concert in Tallahassee, New Brunswick and Cincinnati. #0743- Piping Hot!…a prelude to an early November celebration, featuring 2 four internationally-acclaimed soloists (Paul Jacobs, Hans Fagius, DAVID SPICER 0 Stephen Tharp, Jean-Baptiste Robin) who will be featured in a week of First Church of Christ 0 free concerts and personal appearances in Minnesota’s Twin Cities. Wethersfi eld, Connecticut Carol Williams 7 #0744 - The American Muse…from festival hymns to far-out fantasys, a further foray into our native-born repertoire for the ‘King of Instruments’. San Diego Civic Organist
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
OCTOBER, 2007 39
Oct 07 pp. 36-41.indd 39 9/12/07 10:03:04 AM David Hurd; St. Mark’s Episcopal, San Anto- Ralf Bibiella, with choir; Katharinenmarkt, Op- Christopher Herrick; Westminster United nio, TX 4 pm penheim, Germany 5 pm Church, Winnipeg, MB, Canada 8 pm Choral concert; Cathedral of the Madeleine, Martin Haselböck; Church of Saint-Sulpice, Organ Recitals Salt Lake City, UT 8 pm Paris, France 4 pm 6 NOVEMBER Marian Metson; Grace Lutheran, Tacoma, Gillian Weir; The Chapel, Charterhouse, WA 3 pm 23 OCTOBER Charterhouse Square, London, UK 7:30 pm ROBERT BATES, Philadelphia Cathedral, Angela Kraft Cross; Cathedral of St. Mary of Martin Stacey; St. Lawrence Jewry, London, Philadelphia, PA, May 13: Annum per annum, the Assumption, San Francisco, CA 3:30 pm UK 1 pm 7 NOVEMBER Pärt; Second Fantasy, Danse funèbre (Trois Michael Munson; First United Methodist, Es- Kristian Krogsoe; The Temple Church, Lon- danses), Alain; Last Judgment, Bates; Ascent, condido, CA 3 pm 24 OCTOBER don, UK 1:15 pm Tower; Joie et clarté des corps glorieux (Les Eri Niiyama; Minato Mirai Hall, Yokohama, corps glorieux), Messiaen; Les feux du silence 25 NOVEMBER Japan 7 pm 8 NOVEMBER (Hyperion, or The Rhetoric of Fire), Guillou; Vincent de Pol; Cathedral of St. Mary of the Johannes Strobl; Kreuzkirche, Dresden, Ger- Andrew Scanlon; La Trinité Church, Paris, Final (Hommage à Igor Stravinsky), Hakim. Assumption, San Francisco, CA 3:30 pm many 8 pm France 12 noon Thomas Trotter; Walt Disney Concert Hall, David Hirst; St. Michael & All Angels, West Bernard Brauchli; Oaxaca Cathedral, Oaxa- BRUCE A. BENGTSON, Sinsinawa Los Angeles, CA 7:30 pm Croydon, UK 1:10 pm ca, Mexico 8:30 pm Mound, Sinsinawa, WI, June 27: Toccata and Fugue in d, BWV 565, Bach; Es ist gewißlich 29 NOVEMBER 25 OCTOBER 9 NOVEMBER an der Zeit, Praetorius; Prelude and Fugue in Christoph Bull; Royce Hall, UCLA, Los An- Ben Sheen; St. Martin’s Dorking, Dorking, UK Peter Richard Conte; Knox United Church, g, Vorspiel zu O Haupt voll Blut und Wunden, geles, CA 8 pm 1 pm Calgary, AB, Canada 8 pm Brosig; Fanfare, Cantabile and Finale, Lem- David Trendell, with choir; St. Marylebone, Rafael Cárdenas, with soprano, trumpet, cel- mens; Klage, In memoriam (Zwölf Charak- London, UK 7 pm 30 NOVEMBER lo, and violin; Basilica de La Soledad, Oaxaca, terstücke), Zwiegesang (Miscellaneen), Rhein- Chanticleer; Cathedral Basilica of St. Louis, St. Mexico 8:30 pm berger; Carillon (Seven Pieces, op. 27), Dupré. 27 OCTOBER Louis, MO 8 pm Daniel Roth; Church of Saint-Sulpice, Paris, 10 NOVEMBER JULIA BROWN, harpsichord and organ, France 8:30 pm Rafael Cárdenas, with soprano, trumpet, with Alice Blankenship, violin, Alison Luth- David Hardie; All Saints Parish Church, High mers, violin, Steven Pologe, violoncello, and INTERNATIONAL Wycombe, UK 12 noon cello, and violin; San Andrés Zautla, Oaxaca, Mexico 7 pm Jamie Weaver, soprano, St. Mary’s Episcopal David Gammie, with fl ute; St. Matthew’s, Church, Eugene, OR, May 11: Singet dem 15 OCTOBER Wimbledon, UK 7:30 pm Stephen Farr; All Souls, Langham Place, Lon- 11 NOVEMBER Herrn, BuxWV 98, Toccata in G, BuxWV 164, Canzona in G, BuxWV 170, Courent zimble, don, UK 7:30 pm 28 OCTOBER Olivier Houette; St. Joseph, Bonn-Beuel, Germany 7 pm BuxWV 245, Uppsala Trio Sonata, BuxWV Phillip Gearing; St. John’s Cathedral, Bris- 271, Jesus Christus, unser Heiland, BuxWV 17 OCTOBER bane, Australia 3 pm Andrew Scanlon; Notre-Dame Cathedral, Paul Jacobs; St. Agnes Church, Lachine, QC, Paris, France 4:30 pm 198, Fuge in C, BuxWV 174, Aria, BuxWV Matthias Dreißig; Kathedrale, Dresden, Ger- 249, Toccata in G, BuxWV 165, Also hat Gott many 8 pm Canada 3 pm Kimberly Marshall; San Jerónimo Tlacocha- huaya, Oaxaca, Mexico 6 pm die Welt geliebet, BuxWV 5, Buxtehude. Emma Gibbins; St. Michael & All Angels, West Croydon, UK 1:10 pm 31 OCTOBER Samuel Kummer; Frauenkirche, Dresden, 12 NOVEMBER ROBERT DELCAMP, Dom, Trier, Ger- James Vivian; Southwell Minster, Southwell, many, June 5: Prélude et Fugue Es-Dur, op. UK 7:30 pm Germany 8 pm Gerard Brooks, with orchestra; All Souls, Keith Hearnshaw; Collegiate Church of Holy Langham Place, London, UK 7:30 pm 99, no. 3, Saint-Saëns; Allegretto en Si mineur, Jeffrey Makinson; The Temple Church, Lon- op. 19, no. 1, Grand Choeur en Sol mineur, don, UK 1:15 pm Cross, Crediton, UK 7:30 pm Víctor Contreras & Rodrigo Treviño; Sta. Malcolm Riley; St. Michael & All Angels, West Maria Tlaxiaco, Oaxaca, Mexico 8 pm op. 84, Guilmant; Sicilienne, Marche du Veil- leur de Nuit (Bach’s Memento), Allegro vivace 18 OCTOBER Croydon, UK 1:10 pm Peter Barley; The Temple Church, London, (Symphony V, op. 42), Widor; Adagio (Sym- Burkhardt Meyer-Janson; St. Margaret Loth- 14 NOVEMBER UK 1:15 pm phonie III), Saint-Saëns, transcr. Bernard; bury, London, UK 1:10 pm Ashley Grote; The Temple Church, London, David Dunnett; Alexandra Palace, London, UK 1:15 pm Carillon, Souvenir, Canon, Final (Sept Pièces, UK 7:30 pm op. 27), Dupré. 19 OCTOBER Nicolas Kynaston; Westminster Cathedral, 18 NOVEMBER Keith Hearnshaw; Usk Priory, Monmouth- London, UK 7:30 pm STEWART WAYNE FOSTER, Washing- shire, UK 7:30 pm Armin Thalheim, with oboe; Kirche “Zur frohen Botschaft,” Berlin Karlshorst, Germany 5 pm ton National Cathedral, Washington, DC, 3 NOVEMBER Vincent Dubois; St. Joseph, Bonn-Beuel, June 24: Rising Sun, Sawyers; Praeludium in 21 OCTOBER Duncan Middleton; St. Matthew’s, Wimble- g, BuxWV 149, Buxtehude; Sine Nomine; Pre- Gordon Atkinson; St. Mark’s, Fitzroy, Victo- Germany 7 pm don, UK 7:30 pm Carol Williams lude and Fugue, Neswick; Sonata V in c, op. ria, Australia 2:30 pm ; Notre Dame Cathedral, Paris, France 4:30 pm 80, Guilmant. Sebastian Summer & Beate Kruppke; 4 NOVEMBER Kirche “Zur frohen Botschaft,” Berlin Karlshorst, Olivier Latry; St. Joseph, Bonn-Beuel, Ger- 21 NOVEMBER CAROLYN SHUSTER FOURNIER, Old Germany 5 pm many 7 pm Ian le Grice; The Temple Church, London, UK West Church, Boston, MA, April 13: Fantasy 1:15 pm and Fugue in g, BWV 542, Bach; Sonatina (Actus Tragicus, BWV 106), Bach, transcr. martin ott pipe 25 NOVEMBER Isoir; Liebster Jesu, wir sind hier, BWV 731, Ralph Morton; St. John’s Cathedral, Brisbane, Fugue in G, BWV 577, Bach; Récit de Tierce organ Australia 3 pm en Taille (Cunctipotens genitor Deus Mass), company Dvorák, Requiem; St. Katharinen, Oppenheim, De Grigny; Dialogue (Book III), Marchand; M. L. BIGELOW & Co. inc. Germany 6 pm Pièce d’orgue en sol mineur, Noël cette journée, ORGAN BUILDERS Laurent Martin; Church of Saint-Sulpice, Par- Chauvet; Short Canon, Boulanger; Wondrous 1353 Baur Boulevard is, France 4 pm Love, Pinkham; Westminster Carillon (24 (801) 756-5777 St. Louis, Missouri 63132 Fantasy Pieces, vol. 3, op. 54), Vierne. 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 Ken Cowan, with violin; St. Andrew’s Presby- terian, Thorold, ON, Canada 7 pm DAVID A. GELL, with M. Grey Brothers, 28 NOVEMBER tenor, Trinity Episcopal Church, Santa Barbara, Greg Morris & David Gibbs; The Temple CA, June 17: Kyrie (Cunctipotens Genitor Deus), Parkey Church, London, UK 1:15 pm Faenza Codex; Veni, Creator Spiritus, Anony- mous 16th century; Magnifi cat secundi toni, OrganBuilders Gillian Weir; St Giles-in-the-Fields, The City, London, UK 7 pm Anonymous 17th century; Nun komm der Heiden Distinguished Pipe Organs Heiland, BWV 659, Bach; Fantasia on the old 3870 Peachtree Ind. Blvd. Voice 770-368-3216 melody Urbs beata Jerusalem, op. 112, Faulkes; Suite 150-285 Fax 770-368-3209 Veni, Creator Spiritus, Edmundson; Veni, Creator Duluth, Georgia 30096 www.parkeyorgans.com Be sure to reserve your ad Spiritus, Jam Sol recedit igneus, op. 77, Peeters. in NEW INSTRUMENTS NAJI HAKIM, Cathedral, Lausanne, Swit- sound INSPIRATION zerland, June 1: Te Deum, Langlais; Saksko- MAINTENANCE THE DIAPASON bind Praeludier, Hakim; Prière, Franck; Salve RESTORATIONS Acoustical Design & Testing • Organ Consultation & Regina, Hommage à Jean Langlais, Hakim, 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video 2008 Resource improvisation. ANTIOCH, ILLINOIS 60002 System Design, Evaluation & Training ABR 847-395-1919 Directory F INCY DAVID C. JONIES, First Lutheran PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 email: [email protected] Church, Iron Mountain, MI, June 16; St. Pe- www.fabryinc.com 819 NORTH CASS STREET•MILWAUKEE, WI 53202 ter Cathedral, Marquette, MI, June 18; St. Contact Jerome Butera Joseph Church, Lake Linden, MI, June 20: Allegro (Symphonie No. 6, op. 42), Widor; Hupalo & Repasky 847/391-1045 Benedictus, op. 59, no. 9, Reger; Praeludium Pipe Organs _ [email protected] in E, BuxWV 141, Buxtehude; Fantasie No. 1 in E-fl at, Saint-Saëns; Sonata No. 3 in G, op. 1785 Timothy Dr. Unit 4 88, Rheinberger; Mozart Changes, Gardonyi; San Leandro, Calif. 94577-2313 Deadline: November 1 Intermezzo, Andante, Final (Symphony No. 1 510 483 6905 in d, op. 14), Vierne. www.hupalorepasky.com A. David Moore, Inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 1717 Belle Street St. Joseph, MO 64503 802/457-3914 (816) 232-2008 Fax (816) 364-6499
Advertise in WOLFF & ASSOCIÉS The Diapason Facteurs d’orgues Organbuilders For rates and digital specifi cations, [email protected] www.orgelwolff.com contact Jerome Butera 450-661-2073 847/391-1045
[email protected] 1260, rue Tellier, Laval QC Canada H7C 2H2
40 THE DIAPASON
Oct 07 pp. 36-41.indd 40 9/12/07 10:03:25 AM ARTHUR LAMIRANDE, Cathedral of KAREL PAUKERT, Hvammstangakirkja, BWV 662, Prelude and Fugue in b, BWV 544, MAXINE THEVENOT, St. John’s Cathe- the Good Shepherd, Singapore, May 8: Pre- Hvammstanga, Iceland, July 12: Sonata in A, Bach; Offrande, Cogen; Final (Symphonie II), dral, Albuquerque, NM, July 16: Cortège et lude, Fugue, and Variation, Franck; Tryp- Soler; Prelude and Fugue in D, Kommst du Widor. Litanie, op. 19, no. 2, Dupré; Five Liturgical tyque, Vierne; Meditation on the Gregorian nun, Jesu, vom Himmel herunter, Bach; Fan- Inventions, Togni; Alleluyas, Preston; Chant chant for the Feast of the Assumption of the tasia in f, K. 608, Mozart; Adagio, Postludium, JOHN SCOTT, Merrill Auditorium, Port- de Paix, Nazard, Langlais; Symphonie III, op. Virgin Mary, Murgatroyd; Hymne de gloire JanáĀek; improvisation; Preludia, Franck; Toc- land, ME, June 26: Overture to St. Paul, 38, Vierne. à la bienheureuse Marguerite Bourgeois, cata and Fugue in d, Bach. Mendelssohn, arr. Best; Concerto in F, op. Piché; Toccata, Adagio, and Fugue, Wachet 4, no. 5, Handel; Fantasia and Fugue in c, WILLIAM TINKER, Sinsinawa Mound, auf, ruft uns die Stimme, Bach; Trois Médi- BRENDA PORTMAN, Sinsinawa Mound, BWV 537, Bach; Andante in C, K. 356, Fan- Sinsinawa, WI, July 25: Praeludium in g, tations sur la Sainte Trinité, Langlais; Intro- Sinsinawa, WI, July 20: Carillon-Sortie, Mu- tasia in f, K. 608, Mozart; Tuba Tune, Cock- Variations on the hymn Our Father in duction and Fugue on Ite Missa est, Piché; let; Allein Gott in der Höh sei Ehr’, BWV 662, er; Chant de Mai, Jongen; Scherzo, Bossi; Heaven above, Buxtehude; Praeludium in Trois Danses, Alain. 664, Bach; Sonata No. 6 in d, Mendelssohn; Miroir, Wammes; Toccata, Prokofi ev, transcr. d, Böhm; A mighty fortress is our God, All Madrigal in E-fl at, op. 52, no. 3, Meditation Guillou. glory be to God on high, O sacred head, JAMES R. METZLER, Westminster Ca- in b, op. 57, no. 4, Guilmant; Incantation, now wounded, Prelude and Fugue in g, thedral, London, UK, May 6: Marche de Elegy, Passacaglia (Sketchbook I for Or- ANN ELISE SMOOT, Holy Trinity Ro- Bach; Roumanian Folk Dances, Bartók, Fête, Büsser; Andante Sostenuto (Sympho- gan), Gawthrop; Toccata (Suite for Organ), man Catholic Church, New York, NY, July 3: transcr. Tinker; Suite Gothique, op. 25, nie gothique), Widor; Chant héroïque (Neuf Bédard. Offerte du 5ème ton, Trio en Passacaille, Rai- Boëllmann. Pièces), Langlais; Adagio (Troisième Sympho- son; Passacaglia in c, Bach; Estampie (Rob- nie) Vierne; Improvisation sur le Te Deum, CHRISTA RAKICH, with Wendy Rolfe, ertsbridge Codex); Pastorale Drone, Crumb; TOM TRENNEY, Trinity Church, New Tournemire, arr. Durufl é. fl ute, First Congregational Church, Well- Suite, Alain; Fête, Langlais. York, NY, July 19: Variations on America, fl eet, MA, May 20: Fantasia super: Komm Ives; Choral I in E, Franck; Canon in b, op. AARON DAVID MILLER, Monroe Street heiliger Geist, Herre Gott, BWV 651, Bach; SISTER M. ARNOLD STAUDT, OSF, 56, no. 5, Schumann; Passacaglia and Fugue United Methodist Church, Toledo, OH, May Herr, ich habe mißgehandelt, Herzlich lieb with Marie Therese Kalb, OSF, narrator, in c, BWV 582, Bach; improvisation, sympho- 13: Festival Alleluia, Britten; Fantasy and hab’ ich dich, O Herr, Fantasia in C for Flute Sinsinawa Mound, Sinsinawa, WI, June 13: ny on submitted themes. Fugue in g, BWV 542, Bach; Fantasy on & Organ, Krebs; O Lamm Gottes, unschul- Prelude and Fugue in a, Buxtehude; Blessed Hymn of Promise, Miller; Naiades, op. 55, dig, BWV 656, Komm, Gott Schöpfer, heiliger Jesus, We Are Here, In Thee Is Joy, Bach; The THOMAS TROTTER, Brick Presbyte- Carillon de Westminster, op. 54, Vierne; im- Geist, BWV 667, Bach; improvisation on Veni King of Instruments, Albright; Minuet, Scher- rian Church, New York, NY, July 2: Fantasia, provised organ symphony. Creator Spiritus; Toccata (12 Chorale Pre- zo, Gigout; Litanies, Alain. K. 608, Mozart; Three Views from the Old- ludes, op. 8), Demessieux; Basilica Triptych est House, Rorem; Deux Fantaisies, Alain; MASSIMO NOSETTI, Cathédrale Saint- for Flute & Organ, Sonata in Sea: Cape Cod, JOHN CHAPPELL STOWE & LINDA Prélude et Fugue sur le nom d’Alain, op. 7, Pierre, Geneva, Switzerland, July 7: Trumpet Woodman. MORGAN STOWE, Sinsinawa Mound, Durufl é; Three movements from Petrushka, Tune, Swann; Nun freut euch, lieben Christen Sinsinawa, WI, July 11: Variations in A-fl at, Stravinsky. g’mein, BuxWV 210, Buxtehude; Legende, op. NAOMI ROWLEY, Sinsinawa Mound, Hesse; Echo, Sweelinck; Passacaglia, Buxte- 132, no. 1, Bossi; Intermezzo, Cantabile (Sym- Sinsinawa, WI, June 6: Dialogue (First Organ hude; Chant des Étoiles, Ferko; Sonata IV, RUTH TWEETEN, with Emily Wall, phonie no. 6, op. 42), Widor; Fête, Méditation Book), Boyvin; O Sacred Head Now Wound- Mendelssohn; Chorale-Improvisation on soprano, Sinsinawa Mound, Sinsinawa, WI, (Suite Médiévale), Langlais; Academische Fes- ed, Bach; Praeludium in g, Buxtehude; Mono- Jesu, meine Freude, op. 65, Karg-Elert; A June 20: Prelude and Fugue in C, BWV 545a, touvertüre, op. 80, Brahms, transcr. Ludwig. logue, op. 162, no. 5, Rheinberger; Awake, Sweet for Mother Goose, Akerley; Sonata, Bach; Alleluja (Exsultate, Jubilate), Mo- My Heart, with Gladness, Peeters; Concerto Martini. zart; Introduction—Chorale, Minuet (Suite JANE PARKER-SMITH, Fifth Avenue in F, Handel; Prelude Modal, Langlais; Cho- Gothique, op. 25), Boëllmann; Just as I Am, Presbyterian Church, New York, NY, July 3: rale and Fugue on the Hymn Tune Hanover, STEPHEN THARP, St. Vincent dePaul without One Plea (Preludes to the Past, vol. Choral-Improvisation sur le “Victimae Pas- Stirling; Love Divine, All Loves Excelling, Roman Catholic Church, Chicago, IL, June 2), Diemer; Just as I Am, without One Plea chali,” Tournemire; Adorazione, Ravanello; Behnke; Toccata on the Hymn Tune Hanover, 11: Tu es Petrus (Esquisses Byzantines), Mu- (Gospel Preludes, Book 2), Bolcom; Won- L’Ange à la Trompette, Charpentier; Scherzo Burkhardt. let; Prelude and Fugue in C, op. 13, Demes- drous Love, op. 34, Barber; There Is a Balm (Organ Symphony in c, op. 47), Holloway; sieux; Carillon, Sowerby; Prelude, Prayer, in Gilead, Jesus, Lover of My Soul, Diemer; Sonata Eroïca, op. 94, Jongen; Concertante ANDREW SCANLON, Old West Curch, Toccata (Dryden Liturgical Suite, op. 144), Shall We Gather at the River, Bolcom; Shall Study, Vrána; Theme and Variations, op. 34, Boston, MA, July 3: Hymne d’Action de Persichetti; Arabesque, Latry; Larghetto We Gather at the River, Busarow; Prière à Kromolicki; Funérailles, Liszt; Finale (Sym- Grâce—Te Deum, Langlais; Veni Creator, (Symphonie No. 5, op. 47), Vierne; Toccata Notre-Dame, Toccata (Suite Gothique, op. phonie No. 7 in a, op. 42), Widor. de Grigny; Allein Gott in der Höh sei Ehr, Labyrinth, Briggs. 25), Boëllmann.
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CLASSIFIED ADVERTISING THE DIAPASON • 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 RATES 847/391-1044 • [email protected] Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): Regular classifi ed advertising is single ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December paragraph “want ad” style. First line only of each ad in bold face type. Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER Display classifi ed advertisements are set entirely in bold face type with the addition of a ruled box (border) surrounding the Ad Copy ______advertisement. ______Regular Classifi ed, per word $ .90 Regular Classifi ed minimum 18.00 ______Display Classifi ed, per word 1.25 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. Orders will be accepted for one, two, three, four, fi ve, or ______six months in advance. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. ______The Diapason reserves the right to designate Name ______Phone ______appropriate classifi cation to advertisements, and to reject the insertion of advertising Address ______Total Enclosed ______deemed inappropriate to this magazine. City/State ______Zip ______E-mail ______
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Oct 07 pp. 36-41.indd 41 9/12/07 10:03:51 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 41.
POSITIONS POSITIONS PUBLICATIONS/ PIPE ORGANS AVAILABLE AVAILABLE RECORDINGS FOR SALE
The Schantz Organ Company is expanding its Organ Technician: Full-time position avail- Refl ections: 1947-1997, The Organ Depart- 1960s Walcker (German) 14-rank tracker service and tuning department to include addi- able for a highly motivated individual to assist ment, School of Music, The University of Michi- organ. Open toe voicing on 2″ wind pressure. tional two-person teams. We have an opening for with rebuilding, installation, and service of new gan, edited by Marilyn Mason & Margarete Reverse console built into case. Footprint is a person with tuning and mechanical repair ex- and rebuilt pipe organs. Qualifi ed candidates Thomsen; dedicated to the memory of Albert 6′ wide by 11′6″ deep (including console and perience. We will consider persons we can train. will have a minimum of three years of industry Stanley, Earl V. Moore, and Palmer Christian. pedal stops), 9′10″ tall. All encased with 4′ Wages based on experience. Benefi ts include experience and must be willing to travel. Of- Includes an informal history-memoir of the organ Principal façade. Manual I—8′ Gedackt, 4′ paid health insurance, 401K pension plan, and fering competitive benefi ts package including department with papers by 12 current and former Octave, II Sesquialteria, II-III Mixture. Manual profi t sharing. Send inquiries to Schantz Organ retirement and health insurance. Reply Box faculty and students; 11 scholarly articles; remi- II—8′ Gemshorn, 4′ Rohrflote, 2′ Principal, 1 Company, PO Box 156, Orrville, OH 44667. SE-9072, THE DIAPASON. niscences and testimonials by graduates of the 1/3′ Quinte. Pedal—16′ Bourdon, 8′ Flute, 4′ department; 12 appendices, and a CD record- Choralbass. Playing and in use regularly. Ask- ing, “Marilyn Mason in Recital,” recorded at the ing $28,000. For recordings and pictures con- Goulding & Wood, Inc., of Indianapolis, is POSITIONS National Shrine of the Immaculate Conception tact [email protected]. seeking a service technician for immediate em- in Washington, DC. $50 from The University of ployment. A minimum of three years prior ex- WANTED Michigan, Prof. Marilyn Mason, School of Music, perience is required. Starting salary well above Ann Arbor, MI 48109-2085. Moller “Artiste” 2-manual pipe organ. Eleven industry standards. The successful applicant All-around, experienced organ builder de- stops, 2 1/2 ranks, fi ts under 8′ ceiling, excellent will have general knowledge of various action sires position with well-established fi rm for the condition, walnut case, asking $5,000. 916/783- designs, extensive tuning background, and fi nal 10–12 years of his career. Exceptional HARPSICHORDS/ 4953; [email protected]. strong interpersonal skills. Voicing skills a plus. breadth of experience encompasses projects Please submit résumés or requests for more in- ranging from the restoration of organs from CLAVICHORDS formation to: 823 Massachusetts Avenue, India- the 17th through 20th centuries as well as 1999 Morel & Associates organ. Two manual napolis, IN 46204. Fax: 317/637-5236, e-mail: rebuilds and the design and construction of Harpsichords from the workshop of Knight and pedal, 17 stops, 20 ranks. Originally built for [email protected], web: www. new organs. Experience with all major action Vernon. Authentic replicas of historic instru- a chamber installation, organ has a handsome gouldingandwood.com. colonial-style case front. Excellent condition. types from push pallet chamber organs through ments carefully made and elegantly decorated. Wurlitzer. Tonal position preferred. Skilled voic- Brochure and demonstration CD available. Call 8201 Keystone, Skokie, IL 60076. Telephone 303/355-3852, or e-mail [email protected]. er of both fl ues and reeds. Reply Box OC-1071, 847/679-2809. Web site: Goulding & Wood, Inc., of Indianapolis, is seek- THE DIAPASON. ing area representatives in various regions, par- www.vernonharpsichords.mykeyboard.com. ticularly the Southeast and Mid-Atlantic states. A college in Nashville closed its music pro- Responsibilities and payment, including fi nder’s PUBLICATIONS/ gram in 1988 and is offering two practice or- fees and commissions, are negotiable based PIPE ORGANS gans for sale (a 2-manual and pedal Schlicker on prior experience. Please inquire in writing, RECORDINGS FOR SALE and a 2-manual and pedal Zimmer and Sons). including a résume, either via e-mail to jason@ Contact Milnar Organ Co. 615/274-6440 or gouldingandwood.com or to 823 Massachusetts Experience a Victorian Christmas—American www.milnarorgan.com for details. Avenue, Indianapolis, IN 46204. Style! “The Holy Night” includes the popular car- Atlantic City Pipe Organ Co.—Three-rank ols Silent Night and Adeste Fideles, composed 1960’s Moller Artiste/Sputnik, direct electric ac- by America’s premier 19th century composer, tion, detached console, $5000 or best offer. Visit Koehnken and Grimm (1870) 40-rank organ, David M. Storey, Inc. has an immediate open- Dudley Buck. www.michaelsmusicservice.com. http://mywebpages.comcast.net/acorgan. E-mail: rebuilt in 1970, in excellent condition; available ing for a technician/shop worker with 3–5 years 704/567-1066. [email protected]. Phone 609/641-9422. for $21,000. Call 313/861-7500 for specifi cations experience. This is an excellent opportunity to and details. join and grow with this rapidly expanding fi rm engaged in maintenance and quality rebuilding The OHS Catalog is online at www.ohscatalog. 3-manual 1935 Aeolian-Skinner, 37 ranks, projects. The small size of the company pres- org. More than 4,000 organ and theatre organ CDs, one-third removed. Skinner English Horn, Clari- 2003 custom-built tracker pipe organ. Two ents the opportunity of learning a broad variety books, sheet music, DVDs and VHS videos are net and other nice ranks. Organ was installed manuals, 13 ranks. Excellent organ for music of skills. Competitive wage and excellent benefi t listed for browsing and easy ordering. Use a link for in 1970 by Moller, with 3-manual colonial-style room or chapel setting. 8′ wide, 8′ deep, 12′ high package. 300 West Lafayette Avenue, Baltimore, adding your address to the OHS Catalog mailing list. Moller console, also releathered 1970. 61-note at top of façade. Demonstration CD available. MD 21217. E-mail [email protected] or fax ré- Organ Historical Society, Box 26811, Richmond, Harp. Ebert Organ Co., Pittsburgh, PA. 412/231- Contact 607/847-9950 or [email protected] for sumé to 410/889-2155, attn: David or Richard. VA 23261. E-mail: [email protected]. 1001; e-mail: [email protected]. additional details and specifi cation. glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
A.E. Schlueter Pipe Organ Co. HE IAPASON Visit T D New Organs Rebuilding and Additions Organ Maintenance Zimbelsterns website at Bells, Chimes and Control Systems TheDiapason.com 770-482-4845 800-836-2726 www.pipe-organ.com
3030 W. Salt Creek Lane ph 847/391-1045 fax 847/390-0408 Suite 201 HE IAPASON e-mail [email protected] T D Arlington Heights, IL 60005 web www.TheDiapason.com
42 THE DIAPASON
Oct 07 pp. 42-43.indd 42 9/12/07 10:04:36 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 41.
PIPE ORGANS REED ORGANS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Holtkamp “Martini” practice organ. Two No pumping required. Two-manual, 2.5-octave Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- manuals, fi ve ranks. Excellent condition. pedalboard, 2-stage electric blower. Hand-crank livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic $10,000–$12,000. Contact Carl Staplin, Drake option. Good condition, nice sound, good prac- organs.com. action. Removal and installation service avail- University ([email protected]). Telephone tice instrument or for small chapel. 36″ deep, able. Full warranty. Skinner, Casavant and 515/225-2852 or 515/360-1289. pedalboard adds 18″, 57″ tall, 80″ wide. $500 Kimball specialty. Spencer Organ Company, or best offer. 503/287-7143. frakes_h@hotmail. The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation com. organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, 1969 Reuter, Opus 1679, 33 ranks, 3 manuals and tonal work. Finest materials, expert work- www.spencerorgan.com. and pedal, currently installed in original loca- manship. K.E.M. Pipe Organ Builders, Austin, tion, good service and recital instrument, could MISCELLANEOUS TX. 800/792-8180. be rebuilt or used as basis of new instrument. RELEATHERING: also Pipe Organ Re- Buyer to remove. Asking $47,500 or best offer. FOR SALE building, Repair and Maintenance Service For information call Homer at 480/205-1857, Highest quality organ control systems since in New England area. Years of experience, e-mail [email protected] or visit Wood pipes. Missing pipes made to match. 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, www.centralumc.com/yourti6530.html. Damaged pipes in any condition repaired. Over action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- 25 years experience. Filip Cerny, 814/342-0975. are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail pricing, custom software to meet all of your [email protected]. Bedient “Lincoln” practice organ, Opus 62, requirements. For more information call Westa- 1999. Manual I: Rohrfl ute 8, Manual II: Gedackt Warehouse full of Moeller organ parts: chests, cott Organ Systems, 215/353-0286, or e-mail 8, Pedal: pull-down from II. Mechanical action. pipes, consoles, blowers, etc. Bancroft, Michigan [email protected]. Austin actions recovered. Over 30 years Fits under 8′ ceiling. White oak case. Located 48424. 517/294-1315 or e-mail Norrisorgan@ experience. Units thoroughly tested and fully near New Haven, CT. $35,000 (purchaser to cs.com. guaranteed. Please call or e-mail for quotes. pay relocation costs). [email protected]; Columbia Organ Leathers sells the fi nest Technical assistance available. Foley-Baker, 203/481-8139. leathers available for organ use. We sell pre- Inc., 42 N. River Road, Tolland, CT 06084. 68-note 8′ Orchestral Oboe, 7 1/2″ wind, ca. punched pouches and pre-assembled pouches, Phone 1-800/621-2624. FAX 860/870-7571. 1958, $500. Call 303/671-6708, 9–9 MST. and we specialize in custom releathering ser- [email protected]. ELECTRONIC ORGANS vices. Call today for a catalogue. 800/423-7003 FOR SALE or e-mail: [email protected]. Vintage consoles, pipes, relays, mag- Flue pipes in metal and wood–Mixtures nets and numerous miscellaneous parts. and upperwork are available from stock Rodgers Westminster 890 pipe augmented Let us know what you are looking for. E-mail Need help with your re-leathering or specify custom orders to meet your organ. Currently in use. Three-rank, antiphonal [email protected] (not comcast), phone project? All pneumatics including exact requirements. Tuning Sleeves with pipe augmentation. Separate subwoofer and 215/353-0286 or 215/788-3423. Austin. Over 45 years experience fl are–Order complete sets ready to install vectored horn assembly, six channels of ampli- (on the job assistance available). or bulk quantities in each diameter. These fi cation, and eight speakers. Recently upgraded 615/274-6400. sleeves are guaranteed to fi t and will not and ready for immediate installation. Serial Laptops, Pocket PCs and Tuning Software— tarnish or corrode. For excellent quality, #89042. Price $30,000 or best offer. Contact tune harpsichords and pianos. Herb Huestis, great pricing and timely delivery contact: Duncan Foster 714/473-0143. 1502–1574 Gulf Road, Point Roberts, WA 98281. International Organ Supply, P.O. Box 401, Phone 604/946-3952, e-mail: [email protected]. ALL REPLIES Riverside, IL 60546. 800/660-6360. FAX Computer tuning software is sensitive to 1/10 TO BOX NUMBERS 708/447-0702. REED ORGANS cent, much greater than dial tuners. Over 100 programmable temperaments. Check it out on FOR SALE www.tunelab-world.com. Pocket PC Ipaq 3650 that appear with shareware tuning software, $150, includes without an address Postal regulations require that mail Mason & Hamlin reed organ, 1898, one stand, power supply and shipping. 8x10x2 small should be sent to: to THE DIAPASON include a suite num- manual and 13 stops. Walnut case in ex- Toshiba laptop used for shop tuning: $200 in- ber to assure delivery. Please send ceptionally good condition, internal parts re- cluding shipping. Requires external microphone THE DIAPASON paired or restored and all working very well. which is included. Spreadsheets of historical all correspondence to: THE DIAPASON, Original, matching stool. Has had loving home tunings showing both aural and electronic tun- 3030 W. Salt Creek Lane, Suite 201 3030 W. Salt Creek Lane, Suite 201, and seeks same. Photos available. $1,000. ing data, $18 including shipping. Improve your Arlington Heights, IL 60005 Arlington Heights, IL 60005. 301/929-9246. tuning skills!
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
J. H. & C. S. Odell Find the products H.W. DEMARSE East Hampton, Connecticut • web: www.odellorgans.com and services you’re TRACKER ORGANS voice: 860-365-0552 email: [email protected] looking for at 518-761-0239 PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 TheDiapason.com 2 Zenus Dr., Queensbury, NY 12804-1930 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS
GUZOWSKI & STEPPE Norman A. Greenwood ORGANBUILDERS INC Charles W. McManis NEW INSTRUMENTS REBUILDS - ADDITIONS “Three Generations at Organ Building” In Memoriam TUNING & SERVICE 1070 N.E. 48th Court CHARLOTTE, NORTH CAROLINA 28218 FT. LAUDERDALE, FL 33334 March 17, 1913–December 3, 2004 P.O. Box 18254 • 704/334-3819 • fax 704/544-0856 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of fi rst issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
OCTOBER, 2007 43
Oct 07 pp. 42-43.indd 43 9/12/07 10:05:01 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee ArAArArrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
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CHOIRSCHOIRS AVAILABLEAILABLE The Choir of Winchester Cathedral, UK Andrew Lumsden, Director October 17-29, 2007
The Choir of Saint Thomas Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2007-2008 Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young