THE DIAPASON SEPTEMBER 2014

Memorial Presbyterian Church Midland, Michigan Cover feature on pages 34–35 %HQMDPLQ 6KHHQ

“A brilliant organist” (The New York Times)

“A brilliantly registered and fascinating performance” (BBC Music Magazine)

www.bensheen.com THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Fifth Year: No. 9, In this issue Whole No. 1258 This month we present Anne Beetem Acker’s report on an SEPTEMBER 2014 important and still evolving issue, that of legislation related to Established in 1909 ivory, a material found in many musical instruments. David Joyce Robinson ISSN 0012-2378 McCleary recounts how Zion Lutheran Church adapted its 847/391-1044; [email protected] 1950s Schlicker organ to its new home in Zion’s new sanctuary, www.TheDiapason.com An International Monthly Devoted to the Organ, and Tan Summers offers a look at 17th-century Iberian battle the Harpsichord, Carillon, and Church Music music repertoire. The Directory is mailed with the January issue of The Diapa- Larry Palmer remembers harpsichordist Joseph Stephens, son. It includes complete information on providers of products CONTENTS and John Bishop offers thoughts on the downside of technol- and services related to the organ and all facets of church music. FEATURES ogy, and on the upside of homogeneity and standardization. The deadline for advertising in the 2015 Resource Directory Baroque Iberian Battle Music for the Organ Gavin Black continues his discussion of hand distribution is November 1. To reserve advertising space, please send an by Tan A Summers 24 and deals with how page turns affect the choice of a hand. Our e-mail to advertising sales director Jerome Butera at jbutera@ The 2014 Ivory Trade and Movement cover feature this month is Orgues Létourneau Limitée’s Opus sgcmail.com, or phone him at 847/391-1045. Restrictions: 122 at Memorial Presbyterian Church, Midland, Michigan. Company and association listings in the Directory are free, New regulations and their effects by Anne Beetem Acker 28 All this is in addition to our regular departments of news so there’s no reason to exclude your organization! If your (people, instruments, and events), reviews, new organs, an company is already listed in the 2014 Directory, please take Parsons Organ Builders Zion Lutheran Church, Mascoutah, Illinois: international calendar, organ recital programs, and more. a moment to check the information. Should your information Saving Schlickers be in need of updating (our apologies, but we do not always by David McCleary 31 2014 Resource Directory know when someone moves!), or if you need to add a listing, NEWS & DEPARTMENTS We have begun preparation of The Diapason 2015 please contact me by phone at 847/391-1044 or e-mail me at Editor’s Notebook 3 Resource Directory, the only publication of its kind in our fi eld. [email protected]. Q Letters to the Editor 3 Here & There 3 Appointments 6 Letters to the Editor Nunc Dimittis 12 Harpsichord News by Larry Palmer 15 Ann Labounsky Dr. Cuyler was deep in the study of Gre- the line between London Paddington In the wind . . . by John Bishop 20 On Teaching by Gavin Black 22 I enjoyed reading the interview with gorian chant at the time. and Oxford is being modernized, re- Ann Labounsky in the July 2014 Diapa- Dr. Labounsky’s book, Langlais: signalled, line speed upgraded from REVIEWS son. We were at the University of Michi- The Man And His Music, coupled with 100 or 125mph to 140mph, with electric Music for Voices and Organ 16 gan at the same time for a semester. She Marie-Louise Jaquet-Langlais’s biog- trains from 2018. There are good bus Book Reviews 16 mentions Robert Noehren’s class on raphy, Ombre et lumiere, are the main links from London and Heathrow. At New Recordings 17 organ building. I well remember that sources for reading about Jean Langlais. Easter 2015 there is a 10-day engineer- New Organ Music 19 class and the diffi culty of understanding, Norma Stevlingson, DMA ing possession at Reading and through NEW ORGANS 36 much less memorizing, the composition Professor Emerita most of August 2015 major chunks of the CALENDAR 37 of mixtures! University of Wisconsin-Superior line will be closed at weekends, all part ORGAN RECITALS 40 I, too, heard André Marchal at Ober- of the same work. An extra connection lin, fall semester, 1961. Hearing him play from London Marylebone via Aylesbury CLASSIFIED ADVERTISING 42 early French music is what convinced to North Oxford is being built, and even- me ultimately to leave Oberlin and seek tually there will be a link there, but not instruction elsewhere. I still have an LP for a while yet. of him playing the Couperin Convent It’s been a good month—I also took Mass. Never mind that the registrations part in an Organ Club visit to the and a few other details are not what we Royal Festival Hall on 2nd July—and now understand about early French was able to play the last movement of music. As Dr. Labounsky says, he “just Mendelssohn Sonata 6—many more knew” that music. While it is true that players there! we usually think of Marie-Claire Alain as Mark Jameson the leader in early organ music, after she Jonathan Holl & Jill York at the Dobson The Organ Club fi nished at the Paris Conservatory she Charvil, Reading, U.K. COVER herself went to Marchal to further her Dobson organ at Merton College Orgues Létourneau Limitée, Saint-Hyacinthe, Québec, Canada; Memorial Presbyterian own studies. I had the great privilege of playing In the wind . . . Church, Midland, Michigan 34 Hearing Dr. Labounsky talk about this organ on 12th July. As a member of This is just a general commendation her plans to study in France was in part the Berkshire Organists’ Association we for The Diapason, which carries on its what made me wish to study there. Her were told that we were the fi rst organ- tradition wonderfully well. Editorial Director JOYCE ROBINSON [email protected] description of traveling by ship bought ists’ association visit to be able to use In particular, I appreciate John 847/391-1044 back my own memories. When my dear it—it’s super! I used and took my copy of Bishop’s “In the Wind . . .”, and always Editor-at-Large STEPHEN SCHNURR friend, Bob Griffi th, and I were ready The Diapason to the college, and sev- look forward to it each month. He is not [email protected] to head to Europe, we traveled aboard eral others were very impressed by the only a good writer, but obviously a man 219/531-0922 the original “Queen Elizabeth.” What standard in the journal. The photograph of experience and thoughtfulness; each Sales Director JEROME BUTERA an experience. shows BOA [and Organ Club] member article may start from an organist’s view- [email protected] At Michigan, before the new School of Jonathan Holl playing with Jill York turn- point but ventures into thoughts about 608/634-6253 Music building was constructed on the ing pages. Jonathan is President Elect all sorts of interesting things. Please Circulation/Subscriptions VY DUONG North Campus, classes often met high [takes over in May 2015] and Jill was keep him happy and give him a raise if [email protected] up in Burton Tower. That is where were President for 2011 and 2012. he needs it! 847/391-1043 held the classes with Bach scholar, Hans If readers are planning visits to Oxford Philip Gehring, FAGO Designer DAN SOLTIS T. David (The Bach Reader), and Louise —please, if using trains, and particu- Professor Emeritus of Music Associate Editor LYNNE FORT Cuyler, which Dr. Labounsky mentions. larly at weekends—do look carefully, as Valparaiso University Contributing Editors LARRY PALMER Harpsichord Here & There JAMES MCCRAY Choral Music Events St. Chrysostom’s Church, Chicago Josefi en Stoppelenburg, soprano; May 3, BRIAN SWAGER St. John’s Cathedral, Denver, Colo- announces its 2014–15 concerts, Sundays David Jonies, with Thomas Aláan, coun- Carillon rado, announces its concerts: September at 2:30 p.m.: September 14, Richard tertenor. For information: https://sites. JOHN BISHOP 9, Simon Estes, bass baritone; 9/19, Hoskins, celebrating the Fisk organ’s google.com/site/musicatstchrysostoms/. In the wind . . . Anonymous 4; 9/21, Silver Ainomäe, tenth anniversary; 9/28, Nathan Laube; GAVIN BLACK cello; October 3, St. Martin’s Chamber October 5, András Gábor Virágh; 10/19, Campbellsville University announces On Teaching Choir; 10/14, Doug Roche Jazz Trio; Wayward Sisters; November 2, Mario its 7th annual noon organ recital series, to Reviewers Mark Konewko 10/17, Boulder Bach Festival; 10/19, Duella; January 25, Roger Stanley; Febru- be held 12:20 p.m. on the Pomplitz organ John L. Speller Danielle Guideri, cello; 10/24, Dorothy ary 8, Choir of St. Chrysostom’s Church; in Our Lady of Perpetual Help, and on the John Collins Papadakos, silent fi lm accompaniment. March 1, Richard Clemmit and Jay 1894 Farrand & Votey organ in Ransdell Jay Zoller For information: sjcathedral.org/music. Peterson; April 12, Stephen Alltop, with ³ page 4 Kenneth Udy

THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt Creek This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. Lane, Suite 201, Arlington Heights, IL 60005-5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Copyright ©2014. Printed in the U.S.A. Subscriptions: 1 yr. $38; 2 yr. $60; 3 yr. $80 (United States and U.S. Possessions). Foreign subscriptions: 1 yr. $48; No portion of the contents of this issue may be reproduced in any form without the specifi c written permission of 2 yr. $70; 3 yr. $95. Single copies $6 (U.S.A.); $8 (foreign). the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: Send address changes to course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for other courses THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. or for the same course offered subsequently. Routine items for publication must be received six weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles should request a style sheet. Unsolicited reviews THE DIAPASON accepts no responsibility or liability for the validity of information supplied by cannot be accepted. contributors, vendors, advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 3 Here & There

³ page 3 15, Phillip Kloeckner; March 15, David Chapel: September 16, Robert Nicholls; Jonies; April 19, Anthony Jurich; May 17, October 14, Nevalyn Moore; November Chicago Bronze Handbell Choir with Ste- 11, Kenneth Stein; February 10, James ven Betancourt, organ. For information: Sperry; March 3, Paul Detterman; April www.luc.edu/organ or call 773/508-2195. 7, Wesley Roberts, with Campbellsville University School of Music faculty. For Chicago FM-radio station WFMT and information: www.campbellsville.edu. three Chicago-area AGO chapters are partnering to present the organ works of J.S. Bach in a series of ten performances from September 21 through October 26. Coordinated by organist and North- western University professor Stephen Alltop and WFMT general manager Steve Robinson (who conceived the project), the recitals will feature organists Nathan Laube, David Schrader, Stephen Alltop, Houston Chamber Choir Bruce Barber, and Michael Costello, along with other local organists, playing at The Houston Chamber Choir venues in Chicago and surrounding sub- announces its 19th season: September urbs. Twenty minutes prior to each recital, 16, antiphonal music for two and three the Chorale Prelude Project will present a The St. Charles Singers choirs; October 5, Love Songs of the selection of Bach’s chorale preludes. Cost ’60s; November 8, Farewell to Arms; of the entire series is $175, with individual The St. Charles Singers, a 32-voice professional choir based in St. Charles, Illinois, December 13 and 14, Christmas at the concert registrations available. For infor- announces its 31st season of performances, which will focus in part on the Seymour Chapel of the Villa de Matel; January 25, mation: www.wfmt.com/events. Campaign, to raise funds for the purchase of a Klop positiv organ. The choir will use the 16th Annual Invitational School Choral organ for its performances and make it available for rental to local arts organizations. Festival; February 21, music of Esto- The Cathedral Church of the The 2014–2015 performance schedule is: October 4–5, Mozart IX—Journey’s nia, Latvia, and Lithuania; March 28, Advent, Birmingham, Alabama, Lamp Light, at Baker Memorial United Methodist Church, St. Charles, and St. Mozart’s Messiah Magic; May 2, Sacred announces upcoming concerts: Sep- Francis Xavier Cabrini Shrine, Chicago; December 5–7, Candlelight Carols, Fourth Visions. The choir will also appear with tember 26, Sarah Nordlund Dennis, Presbyterian Church, Chicago, and Baker Memorial United Methodist Church, St. the Houston Ballet on May 28, 30, 31, violin; Laura Usisken, cello; and Smith Charles; March 7–8, 2015, Inspired, with guest conductor Craig Hella Johnson, St. and June 5 and 6. For information: Williams, piano; October 24, Bruce Lud- Michael Catholic Church, Wheaton, and Baker Memorial United Methodist Church, www.houstonchamberchoir.org. wick; November 21, Frederick Teardo, St. Charles; and June 13–14, Oxford Folksongs for Choirs, Baker Memorial United with Paul Mosteller, baritone; December Methodist Church, St. Charles. For information: www.stcharlessingers.com. The vocal ensemble TENET 7, Advent Lessons & Carols; 12/14, Fes- announces its concert season, to be held tival of Nine Lessons & Carols; 12/19, at various New York City venues: Sep- Cathedral Ringers Handbell Ensemble. tember 20, Bach motets; November 22, Special worship services featuring the St. Cecilia odes; January 9, Charpentier, Cathedral Choir, under the direction Vespers; 1/10, Monteverdi, Vespers of of Frederick T. Teardo, include Choral 1610; March 12, Gesualdo, Tenebrae Evensong September 21, October 19, Responsories for Holy Saturday; April November 16, January 18, February 15, 18, Concerto Delle Donne. For informa- March 8, and April 26. For information: tion: www.TENETnyc.com. www.adventbirmingham.org.

The Camp Hill Presbyterian Concerts celebrating the homecoming Church in Camp Hill, Pennsylvania, of the Kotzschmar Organ to Merrill announces its concerts for 2014–15: Auditorium begin on Saturday, Septem- September 21, Craig Cramer; October ber 27, with Peter Richard Conte, Grand 1, Beth and Ronald Sider; November 5, Court Organist of the Wanamaker Organ Shawn Gingrich; December 3, Robert in Philadelphia, and Portland’s own Young Organist Collaborative Lau; 12/7, Advent Lessons & Carols; Municipal Organist Ray Cornils and the 12/24, Lessons & Carols; February 4, Kotzschmar Festival Brass. The season On May 10, the twelfth class of the Young Organist Collaborative, centered in Daniel Dorty; March 4, Brian Rotz; will feature showings of silent fi lms Portsmouth, New Hampshire, performed a year-end concert on the Lively-Fulcher April 1, Helen Anthony. For informa- including 1925’s The Phantom of the organ at Christ Episcopal Church in Exeter, New Hampshire. The collaborative, tion: www.thechpc.org. Opera on Halloween (costume contest funded by donations, supports area students, 7th–12th grade, by providing fi nancial included), a hymn festival in collabora- support for lessons with local organists, opportunities for masterclasses, and fi eld- Madonna della Strada Chapel at tion with the Portland AGO chapter and trips to area pipe organs and organ builders. Students who participate in the program Loyola University Chicago announces the Salvation Army, family concerts, and are from Southern Maine, the Seacoast of New Hampshire, and Northeastern por- the third “Sunday @3” organ concert the 25th anniversary of “Christmas with tions of Massachusetts. Works of J.S. Bach, Widor, Pachelbel, and Alain were some series on the three-manual, 70-rank, Cornils—A Kotzschmar Christmas.” of the pieces performed by the students. Participants were (L–R) Ben Taylor, Noah 2008 Goulding & Wood pipe organ. All The year-long renovation of the Abasciano, Seamus Gethicker, Roric Cunningham, Richard Gress, Morgen Smith, concerts are at 3 p.m.: September 21, H. Kotzschmar Organ was completed in Lucas Nering, Kasey Mann, Christopher Thompson, Jacob Golas, Clayton Jacques, Ricardo Ramirez; October 19, Marsha August, and was featured on the cover of Philip Pampreen, Sean Sullivan, Ben Blumenscheid, and Iara Manchester. Foxgrover; November 16, Elizabeth K. the August issue of The Diapason. Walden; December 21, Keith Hampton; Since its installation in the auditorium January 18, Kevin McKelvie; February in 1912, the Kotzschmar Organ is now in the charge of Portland’s tenth municipal Second Presbyterian Church, St. organist, Ray Cornils. Although the Louis, Missouri, resumes the Couts Music organ belongs to the city, the Friends Series: September 28, Birthday Bell- of the Kotzschmar Organ (FOKO) is a a-bration; October 12, Andrew Peters, non-profi t organization that has secured silent movie accompaniment; November and provided funding for Kotzschmar- 16, Handel, Dettingen Te Deum; Decem- related events, educational programs, ber 7, Advent Vespers. For information: and maintenance since 1981. For infor- www.secondchurch.net. mation: www.foko.org. ³ page 6

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4 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas Michael D. Boney Richard Brasier Emanuele Cardi Sophie-Véronique Adjunct Organ Professor Organist/Conductor/Lecturer Organ/Choral Organist/Editor Organist/Lecturer Cauchefer-Choplin Indiana University Montevideo, Uruguay St. Michael's, Boise, ID London, UK Battipaglia, Italy Paris, France

Shin-Ae Chun Maurice Clerc Leon W. Couch III Joan DeVee Dixon Laura Ellis Henry Fairs Organist/Harpsichordist Interpreter/Improviser Organist/Lecturer Organist/Pianist Organ/Carillon Head of Organ Studies Ann Arbor, Michigan Dijon, France Birmingham, Alabama Bloomington, MN University of Florida Birmingham Conservatoire

Faythe Freese Johan Hermans James D. Hicks Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross Professor of Organ Organist/Lecturer Organist Organist Professor of Music/Organist Organist/Pianist/Composer University of Alabama Hasselt, Belgium Morristown, NJ Brooklyn, New York Ripon College San Mateo, California

David K. Lamb Mark Laubach Yoon-Mi Lim Philip Manwell Christopher Marks Katherine Meloan Organist/Conductor Organist/Presenter Assoc. Prof. of Organ Organist Organist/Professor of Music Organist Columbus, Indiana Wilkes-Barre, Pennsylvania SWBTS, Fort Worth, TX Reno, Nevada U of Nebraska-Lincoln New York, New York

Scott Montgomery Shelly Moorman-Stah lman Anna Myeong David F. Oliver Gregory Peterson Ann Marie Rigler Organist/Presenter Organist/Pianist Organist/Lecturer Organist Organist Organist/Presenter Champaign, Illinois Lebanon Valley College University of Kansas Morehouse College Luther College William Jewell College

Brennan Szafron Frederick Teardo Timothy Tikker Michael Unger Maria Welna Rodland Duo Organist/Harpsichordist Organist Organist/Composer/ Organist/Harpsichordist Pianist/Organist/ Viola and Organ Spartanburg, S. Carolina Birmingham, Alabama Improviser Cincinnati, Ohio Singer/Composer Eastman School of Music/ Kalamazoo College, MI Sydney, Australia St. Olaf College www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 27th year of operation Here & There

Appointments Vincent Dubois has been named Continu- ing Visiting Artist in Organ at the University of Michigan, where he will teach individual lessons to all organ students and present public master- classes and recitals. He is Director General of the Strasbourg National and Superior Conservatory of Music and titular organist of the Cathedral of Soissons in France. Dubois is a graduate of the Conservatoire National Supérieur de Musique in Paris, where he was a student of Olivier Latry. He has won the Calgary International Organ Compe- tition and the International Competition of Tou- Vincent Dubois (photo louse, France, and has performed in major concert credit: Elie Galey) venues throughout Europe, North America, Asia, and the Pacifi c. His recordings are available on the Vox Coelestis, JAV, Radio Fred Swann Trompette en Chamade France, and Tempéraments labels. Vincent Dubois is represented in North America by Karen McFarlane Artists. First Presbyterian Church of Kilgore, Texas has announced the fourth annual East Texas Pipe Organ Festival honoring the life and work of Roy Perry (1906– Peter Sykes has been appointed to the harpsichord faculty of the Juilliard 1978). This year’s festival will take place November 9–14 and will feature seven School Historical Performance program for the 2014–15 academic year. Sykes, landmark Aeolian-Skinner pipe organs in the East Texas area designed and tonally a Boston-based harpsichordist and organist who teaches at Boston University, fi nished by Mr. Perry and installed by the Williams Family of New Orleans. As Mr. gave a masterclass and taught lessons as a visiting artist at Juilliard this past year. Perry wrote in a 1952 promotional brochure, “None of these organs is extreme in any In addition, harpsichordist Richard Egarr will serve as visiting artist faculty direction. They are alike only by way of family resemblance, but each in its way is a with three extended visits for both individual lessons and chamber music proj- work of art. They provide a generous education in contemporary organ building, and ects. For biographical information on Peter Sykes, visit www.petersykes.com Q are happily concentrated in a small geographical area.” This year’s special guest performers include David Baskeyfi eld, George Bozeman, Charles Callahan, the Chenaults, Mark Dwyer, Richard Elliott, Jeremy Filsell, Jean ³ page 4 and later in cinema. During the festival Guillou, Stephen Hartman, Michael Kleinschmidt, Christopher Lynch, Larry Palmer, people will have access to the organ lofts Walt Strony, and William Teague, with special presentations featuring this year’s guest and be able to play some of the organs. of honor, Fred Swann. In addition to fi ve organ recitals on Mr. Perry’s masterpiece at Events will include recitals by Jean First Presbyterian Church, Kilgore, there will be two full-length recitals on the 1959 Guillou and Bernhardt Haas, Fauré’s Aeolian-Skinner at St. Mark’s Episcopal Cathedral in Shreveport, Louisiana. Requiem in a version for two organs and Other highlights of the festival will include a special Dallas day, a choral and organ more than 100 singers in St. Sernin, and concert at First Presbyterian Church, Kilgore, re-creating the famous 1956 LP Jongen’s Symphonie Concertante with recording made in Kilgore by Aeolian-Skinner, “The King of Instruments, Volume the Orchestre du Capitole. Improvisa- X: Music of the Church,” and a concert of music for harp and organ featuring Leo tion on movie themes, cine-concerts, Sowerby’s rarely heard Harp Concerto. organ and circus, organ sounds in electro For more information, visit www.EastTexasPipeOrganFestival.com or contact music, Vivaldi and C.P.E. Bach organ Lorenz Maycher at [email protected] or by mail at East Texas concerts, Renaissance consort with table Pipe Organ Festival, P. O. Box 2069, Kilgore, TX 75663. On Facebook: East Texas organ, and even a Frank Zappa work Pipe Organ Festival. arranged for organ and percussion will be presented. Toulouse les Orgues can offer informa- Crescent Avenue Presbyterian 64-rank Casavant organ in Hayes Hall. tion about concert tickets or advice for Church, Plainfi eld, New Jersey, Philharmonic organist James Cochran accommodations and dining. For infor- announces its 33rd concert season: Octo- gave a brief lecture-demonstration about mation: [email protected]. ber 11, Plainfi eld Symphony Orchestra the organ prior to the recital. and Crescent Choral Society; 10/26, F. The Canadian International Organ Allen Artz, III; November 15, Crescent Competition takes place October 7–19 Choral Society and organist Brenda Day; in Montréal, Quebec. First round is December 14, Christmas Carol Sing; Church of the Gesu, Toulouse, France October 8–10; second round, 10/13–14; February 8, competition winners’ recital; fi nal round is 10/17. Events include March 8, Domecq Smith, Gail Archer, The annual organ festival Toulouse- recitals by jury members (James David William Entriken, and Ryan Kennedy; les-Orgues will take place this year from Christie, Stefan Engels, Janette Fishell, April 3, Good Friday Tenebrae; 4/11, October 2–12 in and around Toulouse, Olivier Latry, and others), masterclasses, Crescent Choral Society, Cherubini and France. The festival offers more than 30 organ visits, and more. Competing for Beethoven; May 17, spring choral con- concerts on notable organs of the area, over $70,000 in prizes are fi nalists David cert. For information: crescentconcerts. including the well-known Cavaillé-Coll Baskeyfi eld, Maria Budacova, Daria org or www.crescentonline.org. in the Basilica of Saint-Sernin. Burlak, Yoomi Chang, Andrew Deward, “The organ in the city” is the theme Christopher Howerter, Yeonju Kim, Artis-Naples (The Baker Museum of chosen by the new artistic director, Johannes Lang, Brian Mathias, Istvan Art and the Naples Philharmonic) and Swiss organist Yves Rechsteiner. Festival Matyas, Angela Metzger, Richard Pinel, the Southwest AGO chapter presented events will explore the history of the Brenda Portman, Stephen Price, Jona- a “Festival of Great Organ Music” on organ in society—its central place in than Vromet, and Nicholas Wearne. For June 8 in Naples, Florida, the nineteenth John C. Walker church, popularity in the concert halls, information: www.ciocm.org. annual organ recital at the Philharmonic. Organists James Cochran, Jerome Cole, The American Guild of Organists Richard Crofts, John Fenstermaker, has elected John C. Walker as its new Brice Gerlach, Joyce Finlay, Ric Jaeggi, president, to serve a two-year term. Dr. MANDER ORGANS James Lorenz, Reidel Martinez, and Walker serves on the faculty of the Pea- Mary Joy Silmaro presented a variety body Institute of Johns Hopkins Univer- New Mechanical of works, from Clarke and Cooke to sity, and is Minister of Music, emeritus, Action Organs Weaver and Widor, on the four-manual, ³ page 8

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³ page 6 Hotel, a tour of Olivera’s birthplace David Cassan studied at the con- be sought in the future. Hymns previ- of Brown Memorial Park Avenue Pres- and the churches where he played as a servatories of Paris and Lyon. He won ously published or currently entered in byterian Church in Baltimore. child, a visit to Santissimo Sacramento prizes at Dudelange (Luxembourg) and other contests should not be submitted. At its 52nd national convention held and its Cavaillé-Coll organ, with Mae- St. Albans (England) and is currently Archaic and non-inclusive language in Boston in June, the AGO President’s stro Olivera, and more. For informa- organist of the Notre-Dame de Lourdes should be avoided. Award was presented to Christoph tion, contact Maria at EPG Travel, in Paris. For information: www.organ- All entries must be postmarked by Wolff, in recognition of his “exhaustive 800/422-9022. festival.nl. December 31, 2014, with the judges’ musicological research, extensive publi- decision made by February 15, 2015. cations, and lifelong commitment to the Send entries and correspondence to: music of Johann Sebastian Bach.” The Hymn Contest, Macalester-Plymouth AGO Edward A. Hansen Leadership United Church, 1658 Lincoln Avenue, Award was presented to Barbara Owen, St. Paul, MN 55105; e-mail: offi ce@ “in recognition of her unparalleled macalester-plymouth.org; knowledge of the King of Instruments, www.macalester-plymouth.org. lifelong scholarship and publications, and devoted service to the AGO.” Owen The catalogue of Cathedral Music, holds degrees in organ and musicol- a publishing house specializing in cathe- ogy from Westminster Choir College dral music repertoire, has been acquired and Boston University, is the author of by the Royal School of Church Music numerous articles and books, and is a (RSCM); Cathedral Music has become founding member and past president of an imprint of RSCM Press. the Organ Historical Society. For infor- Since its founding in 1977, Cathedral mation: www.agohq.org. Marilyn Keiser, Steven Betancourt, and Music has become a regular supplier of Also at the convention, winners of Brandon Woods advanced choral repertoire to cathedrals, the AGO’s national organ competitions collegiate chapels, churches, choral were recognized. The National Young On July 20 Marilyn Keiser played a societies, and chamber choirs in the UK Artists Competition awarded fi rst prize recital at Loyola University, Chicago, and worldwide. The Cathedral Music and audience prize to Jonathan Rudy; as part of their Summer Celebrity Organ catalogue with its distinctive logo will second prize to HyeHyun Sung; third David Cassan at St. Bavo’s (photo courtesy Series. The program featured works by still be retained as an imprint; it offers prize to Kirk Rich. The National Com- of Cor van Gastel) Mendelssohn, Bach, Rheinberger, Lock- service music and anthems, both ancient petition in Organ Improvisation awarded lair, Paine, and Vierne, played on the and modern, including works by such fi rst prize to Patrick Scott, second prize David Cassan (France) was named III/70 Goulding & Wood organ, Opus contemporary composers as Patrick to Douglas Murray, and audience choice winner of the 50th International Haar- 47 (2008). Dr. Keiser is the Chancel- Gowers, Francis Grier, Richard Lloyd, prize to Patrick Scott. For information: lem Organ Improvisation Competi- lor Professor of Music Emeritus at the Philip Moore, and Barry Rose. www.agohq.org. tion. Lukas Grimm (Germany) was Jacobs School of Music, Indiana Uni- Cathedral Music publications will be awarded the Audience Prize. The fi nale versity, as well as director of music for available through RSCM Music Direct Recent concerts in Paris included took place July 18 in St. Bavo’s Church Trinity Episcopal Church, Bloomington, at www.rscmshop.com (RSCM-affi liated organist Dominique Fournier and in Haarlem, the Netherlands. The four Indiana. Pictured are Dr. Keiser, Steven churches and individual members will soprano Anne-Chantal Carrière on June fi nalists—David Cassan (France), Tobias Betancourt (director of liturgical music, be entitled to substantial discounts on 12, at Eglise Saint-Denys du Saint Wittmann (Germany), Morten Ladehoff Loyola) and Brandon Woods (voicer sales), as well as from www.cathedral- Sacrement in Paris, performing works of (Denmark), and Lukas Grimm (Ger- and vice-president, Goulding & Wood). music.co.uk. Bach, Handel, Gounod, Vierne, Fournier, many)—were given the theme an hour More information on future recitals can and Alain, and organists E. Hocdé and M. prior to their performance; pencil and be found at luc.edu/organ. The 2015 St Albans International C. Steinmetz, with choirs directed by A. paper were their only preparatory tools. Organ Festival Competitions takes Sartorius, on June 14 at L’Eglise Sainte- The theme for this 50th edition was The Princeton Early Keyboard place from July 8–18, part of an inter- Marguerite, presenting a concert in specially composed by Louis Andries- Center has moved into a new location on national arts festival featuring classical honor of Léonce de Saint-Martin, succes- sen, who thus wrote his fi rst work for the ground fl oor of Christ Congregation music, world music, dance, jazz, talks, sor to Louis Vierne at Notre-Dame. the organ, and in so doing clearly looked Church at 50 Walnut Lane in Princeton. demonstrations, and an art exhibition. back over his shoulder to his father Hen- The Center will offer the same sorts of Jury members for the fi nals will be The fi ftieth anniversary of the dedica- drik Andriessen. programs and opportunities as it has for Michel Bouvard, Bernhard Haas, Hans tion of Aeolian-Skinner Opus 1413 at Earlier in the week, eight contestants the last thirteen years. Anyone who is Davidsson, Martin Haselböck, James Alice Millar Chapel of Northwestern from fi ve countries improvised on the interested in seeing the instruments or O’Donnell, Jakyung Oh, and Carole University was celebrated on April 27, Müller organ in St Bavo’s on a theme by visiting the studio may make arrange- Terry. The interpretation competition with a recital by Stephen Alltop, Nathan the Viennese organist Hans Haselböck, ments with Gavin Black. For informa- will feature a new work by Paul Pat- Lemahieu, Wolfgang Rübsam, Eric threefold winner of the competition in tion: www.gavinblack-baroque.com. terson, and for the fi rst time, a concerto Budzynski, and William Aylesworth, the years 1958–1960. On the romantic fi nal round, with the Wiener Akademie along with Bruce Briney, trumpet. They Cavaillé-Coll organ in the Philhar- Macalester-Plymouth United directed by Martin Haselböck. One presented works by Bach, Lemmens, monie concert hall they subsequently Church in St. Paul, Minnesota, round of the interpretation semi-fi nal Near, Sweelinck, Tournemire, Viviani, improvised on material by the composer announces the nineteenth annual inter- will move to Christ Church, Spital- and Widor. The organ was dedicated on Roderik de Man, with videos for the national contest for English-language fi elds, London, and feature the recently April 12, 1964, with a worship service audience created by the sound and video hymn writers, which carries a prize of restored 1735 Richard Bridge organ. For and recital by Grigg Fountain. artist Marcel Wierckx. $500. The 2014 contest will be a search information: www.organfestival.com The jury, chaired by Stephen Taylor, for a hymn that celebrates God’s presence EPG Travel announces a tour to included fi ve internationally renowned in current social changes and changes in The Philadelphia Singers has Buenos Aires, Argentina, with Hector organists: David Briggs (Canada), Jürgen the church, and encourages the church’s received a $10,000 National Endowment Olivera, April 14–22, 2015. The tour Essl (Germany), Zuzana Ferjencikova faithful transformation for a new age. for the Arts Grant to support “Women features eight nights’ night accommo- (Slovakia/France), Gilbert Amy (France), This is a search for new texts. New Aloud,” a collaborative performance dation and full breakfasts at the Plaza and Jan Hage (the Netherlands). music for the winning hymn may also ³ page 10

Follow us on Š‡••‘ ‹ƒ–‹‘‘ˆ—–Š‡”ƒ Š—” Š—•‹ ‹ƒ•‹• Photo: Michael Timms Facebook ƒ ‡’–‹‰•—„‹••‹‘•ˆ‘” –Š‡ʹͲͳͷƒƒ„‡”‹œ‡ˆ‘” ORGUES LÉTOURNEAU LTÉE š ‡ŽŽ‡ ‡‹ƒ ”‡† ‘’‘•‹–‹‘ǤŠ‡ƒƒ„‡ CANADA UNITED STATES 16 355 avenue Savoie 1220 L St NW, Ste 100, Box 200 ”‹œ‡”‡ ‘‰‹œ‡•ƒ”‡ ‡– St-Hyacinthe (Québec) J2T 3N1 Washington, DC 20005 —•‹ ƒŽ™‘”–Šƒ–’”‘‘–‡• For more information, Tel: 450-774-2698 Tel: 800-625-PIPE [email protected] [email protected] ƒ†‡š–‡†•–Š‡’”ƒ –‹ ‡‘ˆ a list of recent prize- Š—” Š—•‹ ƒ• winners, and submission Photo: David Morrison ‹–‹•‹ˆ‘”‡†ƒ†•Šƒ’‡†„› requirements, go to —–Š‡”ƒ–Š‡‘Ž‘‰‹ ƒŽ‹•‹‰Š– www.ALCM.org. letourneauorgans.com ƒ†™‘”•Š‹’’”ƒ –‹ ‡•Ǥ

8 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM INTRODUCING THE NEW MONARKE III Here & There

³ page 8 selected to build the new three-manual project (with Sister Cities GirlChoir instrument (33 stops, 40 ranks). As the and the Anna Crusis Women’s Choir) project progressed, consultation with focusing on women in music scheduled local professionals included Stephen for March 2016. The concert will feature Cooksey of Shenandoah University, composers Fanny Mendelssohn, Libby Richard McPherson, professor emeritus Larsen, Jennifer Higdon, and others. of James Madison University, and Larry For information: Correll, dean of the local AGO chapter. www. philadelphiasingers.org. Lead pastor, Rev. Kirk Nance, guided the congregation through the fi nal steps People of the project. The Chenaults have commissioned and arranged over 50 organ duets, many Barbara Harbach of which are published in “The Chenault Elizabeth and Raymond Chenault, with Organ Duet Library.” They are under Barbara Harbach has been named a Judy Connelly the management of Phillip Trucken- Curators’ Professor, the highest and most brod Concert Artists and record on the prestigious academic rank awarded by On June 8 Elizabeth and Raymond Gothic/Loft label. Their newest duet the Board of Curators of the University Chenault performed the dedicatory CD on the Gothic/Loft label, featur- of Missouri System to recognize truly concert on Létourneau Opus 124 at ing the organs of Washington National outstanding scholars. In March Dr. Har- Braddock Street United Methodist Cathedral and St. Andrew’s Episcopal bach was named National Arts Associate Church, Winchester, Virginia. Pictured Church, Amarillo, Texas, includes works Distinguished Member of Sigma Alpha here with Judy Connelly (far right), by Paulus, Briggs, Decker, Callahan, Iota, SAI, nominated by the Buffalo SAI minister of music and organist of the White, and Webber/Chenault. Chapter, New York. Karen Beaumont church, the Chenault Duo played a pro- Harbach is featured on a 2-CD box set gram of their organ duet commissions/ of The Art of Fugue by Bach with organ Karen Beaumont plays concerts: arrangements by Litaize, Shepherd, selections by Pachelbel, including the September 5, Grace Lutheran Church, Briggs, Clark, Callahan, White, and famous Canon (MSR 1442). Audiophile Milwaukee, Wisconsin; October 5, St. Webber/Chenault; the husband and Audition wrote, “Art of Fugue on the Casimir Church, Milwaukee; Novem- wife team performed their arrange- organ—always the best bet, and Har- ber 23, Basilica of the Immaculate Con- ment of Sousa’s “The Stars & Stripes bach brings it home.” For information: ception, Denver, Colorado; December Forever” for the encore. Dudley Oakes, http://tinyurl.com/kr9ylry. 31, Cathedral of St. John the Evangelist, vice president for sales and marketing Milwaukee; January 10, 2015, First for Létourneau Organs, was present for Unitarian Society, Milwaukee; Febru- the concert. ary 7, Milwaukee Catholic Home, Mil- In 2007 an organ committee was waukee; March 1, St. Thomas Church, appointed by Rev. Dr. James Hewitt, Fifth Avenue, New York City; April 30, lead pastor of Braddock Street UMC, Princeton University Chapel, Princeton, consisting of Judy Connelly, Janet New Jersey; May 20, Cathedral of St. Davis, William Ellis, Douglass Hill, and John the Evangelist, Milwaukee; June Shirley West. Donald Sutherland of Carolyn Shuster Fournier 9, Exeter College Chapel, Oxford, U.K. Peabody Conservatory was the consul- For information: http://karenbeaumont tant, along with an acoustic technician. Carolyn Shuster Fournier’s article organist.mysite.com. By early 2008, Orgues Létourneau was “Don Campbell, La musique est un pont” (“Don Campbell, Music Is a Bridge”) was published in Orgues nouvelles n° 25 Opus 50 • Good Shepherd Episcopal (summer 2014); it describes a concert Lexington, KY • IV/58 she gave in his memory on October 22, 2013. Her book, Un siècle de vie Lemare Affair IV musicale à l’église de la Trinité à Paris, de Théodore Salomé à Olivier Messiaen, Frederick Hohman recorded his lat- with a preface by Michel Chapuis, has est album (the 16th CD in which he is been published by L’Harmattan editions the featured organ soloist) on May 30, on in Paris. the 1924 Austin Organ Company Opus On June 16, she performed a concert 1206 of four manuals in Soldiers & Sail- on the Clicquot/Cavaillé-Coll Grand ors Memorial Auditorium, Chattanooga, Orgue at the Versailles Cathedral with Tennessee. The new CD, Lemare Affair her husband, Dominique Fournier (at IV (Pro Organo CD 7270) features the Cavaillé-Coll choir organ), which original works and organ transcriptions celebrated the 70th anniversary of the of Edwin Henry Lemare (1865–1934), liberation of Paris, with works by Mozart, with works that appeared shortly prior Selby, Touche, Fleury, Boëllmann, to and during Lemare’s fi ve-year tenure Gigout, Barber, and Vierne. (1924–1929) as Municipal Organist to Carolyn Shuster Fournier accom- the City of Chattanooga. panied the American Chorale Salute Previous titles in Frederick Hohman’s to Valor 2014, a choir with members “Lemare Affair” CD series (that Hohman from California, Arizona, and Florida, began in the late 1980s) featured the conducted by Ed Lojeski, Darrell Row- Aeolian-Skinner organ at the Church ader, and Dennis Houser, with sopranos of the Epiphany, Washington, D.C. Jacki Doxey Scott, Heidi Cissell, and (Volume 1); the Kotzschmar Memorial mezzo-soprano Kathy Weiler Josselyn, Organ at Portland, Maine’s City Hall at the Trinité Church in Paris on June Auditorium, recorded prior to the reno- 19, at Sainte-Mère-Eglise on June 21, vation of the original 1912 hall (Volume and at Bayeux Cathedral on June 22. 2); and the same organ recorded in 2004 This musical festival in honor of service after the hall and organ renovation (Vol- members and veterans included Ed ume 3). All four Lemare Affair titles are Lojeski’s Missa Americana and Psalms available now at www.proorgano.com. of the Passover, R. Frances Chadwick’s Hohman launched the new CD on the Song of Simeone, John Leavitt’s An occasion of his concert performance at American Quilt, Molly Ijames’s A Fare- the Chattanooga Auditorium at this year’s well, Peter Wilhousky’s Battle Hymn Annual Patriotic Organ Concert, spon- of the Republic, Randall Thompson’s sored by the Chattanooga Music Club. Alleluia, and Jester Hairston’s Hold On. Soldiers & Sailors Auditorium is not con- Carolyn Shuster Fournier performed sidered an ideal recording venue, because instrumental selections on the piano the organ speaks into a dry acoustic and Artistry with Dianne and Philip Rammon (vio- the proscenium arch, erected following lins), Stephen Custer (cello), Darryl the organ’s installation in 1924, greatly Excellence Tanikawa (clarinet), notably John Wil- impedes tonal egress of the organ into Reliability liams’s Air and Simple Gifts, Serge Pro- the auditorium. Nonetheless, Hohman kofi eff’s Ouverture on Hebrew Themes, recorded there due to the organ’s strong gouldingandwood.com and George Gershwin’s Promenade. ³ page 13

10 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM RIE BLOOMFIELD Organ Series ȌȊȋȎȌȊȋȏ
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Hall on the Great Marcussen Organ

Guest Artists Recitals on Tuesdays, 7:30 pm. See College of Fine Arts Box Office for tickets. September 30, 2014 Elizabeth & Raymond Chenault America’s Famous Duo Organists November 18, 2014 Simon Thomas Jacobs 2013 St. Albans International Organ Competition: 1st Prize Interpretation and Audience Prize April 14, 2015 Tate Addis Yale University Institute of Sacred Music

Wednesdays in Wiedemann With Lynne Davis, 5:15-5:45 pm, Free Admission. September 10, 2014 February 4, 2015 October 15, 2014 March 4, 2015

November 5, 2014 April 1, 2015 Lynne Davis December 3, 2014 April 29, 2015 Associate Professor, Robert L. Town 5th Annual Christmas 5th Annual Organ Distinguished Organ Concert POPS Concert Professor of Organ

Organ Day, “The French Organ” Saturday, January 24, 2015, 10 am – 5 pm “French Organ Building Bertrand Cattiaux, Eminent French organ builder Throughout the Centuries” Lecture-Recital: “History and Stéphane Béchy, Organist of the 16th century Eglise St. Merry, Paris Organists of the Famous St. Merry Clicquot Organ”

For information on bachelor’s and master’s degree programs in organ, email [email protected], or visit our website at wichita.edu/organ Here & There

Nunc Dimittis Minnesota, an M.A. degree from the Univer- Lois Jean Gainer Fyfe died June 18. Born in Urbana, Ohio, on August 6, 1927, sity of Iowa, and a Ph.D. from Florida State she attended Ohio State University, where she studied with Wilbur Held. She moved University. She did graduate work at Middle- to New York in 1949 to study with Karl Weinrich at Columbia University. She worked bury College, Purdue University, University of in the library at the Juilliard School of Music and was in the choir at St. Michael’s Epis- Mexico, and University of Guatemala. She was copal Church, where the rector introduced her to the organist, Peter Fyfe. They were a teacher of Spanish in the high school of Fort married November 28, 1953, and moved to Nashville in 1959 for Peter to be organist Dodge, at Grosse Pointe, Michigan, Albion and choirmaster at Christ Episcopal Church. Lois assisted with the music program at College, Albion, Michigan, and University of Christ Church, including singing in the choir. They sponsored many music events and Wisconsin-La Crosse, from which she retired in 1984 established an endowed scholarship in music at the Blair School of Music. in 1984 and where she chaired the foreign lan- For many years Lois Fyfe worked at Vester Music Service as a sheet music distribu- guage department for many years, brought the tor; in 1993 she established Lois Fyfe Music, specializing in organ and sacred choral national honorary fraternity of Sigma Delta Pi music. Lois Fyfe Music continues with Jonathan Setzer and Elizabeth Smith, who for Spanish students, and initiated an annual bought the store in 2009, and Michael Belote. Lois and Peter Fyfe also sponsored conference for foreign language teachers. The Ruth Nixon-Davy organ and choral concerts. At the 2012 national convention of the American Guild Wisconsin Association of Foreign Language of Organists, they received the AGO’s Edward Hansen Leadership Award, recog- Teachers presented her with its Distinguished Foreign Language Teachers nizing “their commitment to excellence in music, unparalleled knowledge of sacred Award in 1984; when she retired, her students started a scholarship in her music, their roles as teachers and mentors, and their leadership, devoted service, and name at UW-L. extraordinary generosity to the AGO.” Ruth Nixon-Davy studied organ and piano both privately and in mas- Lois Jean Gainer Fyfe is survived by her husband Peter, daughter Catharine, and terclasses, and was actively engaged in recitals and accompanying for many grandsons Charles and Joseph. Her family has established a Lois Gainer Fyfe Schol- years. She won the Artist in Piano award from the National Guild of Piano arship in music at her alma mater, Ohio State University, in her honor. Teachers as a college freshman. Together with Stella Trane Jackson, she was especially interested in supplying scholarships for younger musicians. Later in Robert Sutherland Lord died July life, Davy brought many renowned organists to La Crosse for recitals, includ- 24, at the age of 84. A recognized author- ing Gail Archer, Martin Baker, Bruce Bengtson, James David Christie, Pierre ity on the music of Franck, Tournemire, Cochereau, David Craighead, Craig Cramer, Janette Fishell, Virgil Fox, Jerald and Langlais, he also maintained a Hamilton, David Higgs, Christopher Houlihan, Marilyn Keiser, William Kuhl- close friendship with Mme. Alice Tour- man, Olivier Latry, Marilyn Mason, Frances Nobert, and Marianne Webb. nemire, the composer’s widow. Mme. She supported the development of organists through her membership in La Tournemire’s assistance eventually made Crosse (now Riverland) AGO Chapter, and had given the funds to allow many possible the publication of Lord’s essay young people to attend Pipe Organ Encounters. Davy also donated toward new in 1984: “Liturgy and Gregorian Chant organs such as those built by Fritz Noack in the Shrine Church of Our Lady of in L’Orgue Mystique of Charles Tour- Guadalupe and in the Cathedral of St. Joseph the Workman. nemire.” One month before Lord’s death, In 1950, she married George C. Nixon who preceded her in death in 1987. this essay was reprinted in a volume dedi- In 1988, she married Phillip S. Davy, who died in 1993. Ruth Anderson Nixon- cated to Tournemire studies. Robert Sutherland Lord Davy is survived by children, grandchildren, and great-grandchildren in both During the last year of his life, Dr. Lord the Nixon and Davy families, nieces, nephews, friends, and colleagues. returned to a project that he had left behind two decades earlier—the analysis (begun in 1989 and worked on for three years) of a musical manuscript of Tournemire (span- Gerard Pels, organ builder of ning nearly 1,300 pages) that had been donated to Bibliothèque Nationale de France. Herselt, Belgium, died of an apparent Lord resumed work on preparing the text for publication, and it appeared in print heart attack April 13. He was 59. His exactly one month before his death: “Catalogue of Charles Tournemire’s ‘Brouillon’ funeral was held Good Friday, April 18, [Rough Sketches] for L’Orgue Mystique, BNF., Mus., Ms. 19929.” at the Cathedral of Our Lady in Antwerp, Robert Lord was Professor Emeritus of Music and University Organist at the Uni- whose monumental 1891 Pierre Schyven versity of Pittsburgh’s Heinz Chapel. Upon his retirement in 1999, Lord’s students hon- organ the Pels fi rm had long maintained. ored him as an outstanding teacher. Over 45 years, he performed more than 160 organ Pels’s lifelong mission was to bring all concerts and played for more than 4,000 weddings at the chapel. He was also organist organbuilders together as colleagues, and choirmaster at Christ Episcopal Church in the North Hills for 22 years and served and it came naturally. His father, Ber- as the fi rst chairman of the board of the Northland Public Library. During the 1970s, nard Pels, a scion of the Dutch family he annotated a weekly program of organ music for WQED-FM called “Lord on Bach,” of organ builders, married Cecile rebroadcast over other PBS stations. He played a recital at the Cathedral of Blackburn D’Hondt, the daughter of that Belgian in Lancashire, England, where his great-grandfather Daniel W. Lord, who emigrated builder. Bernard eventually took over to the United States in 1864, had been a church organist. Lord played recitals at the his father-in-law’s business. Gerard, Basilica of Sainte-Clotilde in Paris and at the cathedrals of Notre-Dame in Paris and in the youngest of three children, was Chartres, as well as at King’s College, Cambridge University. born if not precisely in an organ shop Gerard Pels Robert Lord received a BA degree in music from Dartmouth College; later, Dart- then almost on top of one: his parents mouth honored him with a Reynolds Fellowship for International Study. He earned occupied a small apartment next to the Pels erecting room. Gerard briefl y his M.A. and Ph.D. degrees in music history at Yale University. Other organ teachers studied art after high school before apprenticing with his father and with the included Maurice F. Longhurst (Dartmouth College), Clarence Watters (Trinity Col- pipemaker Tim Koelewijn. After further work with Ferdinand Stemmer in lege), Heinz Wunderlich, and André Marchal. Switzerland and Orgelbau Rensch in Germany, Gerard succeeded his father as Robert Sutherland Lord is survived by his wife Martha W. Lord; four children, the proprietor of Pels-D’Hondt Orgelbouw of Herselt, a fi rm founded in 1892. seven grandchildren, and one great granddaughter. Though the organs built by Pels’s small team attest to his skill and artistry, it was in his involvement with the International Society of Organbuilders that Ruth Anderson Nixon-Davy died June 30 in La Crosse, Wisconsin. Born August Gerard became known worldwide. In 1990, he organized the Antwerp ISO 27, 1915, in Ft. Dodge, Iowa, she earned a bachelor’s degree from the University of Congress, and the 2007 Jubilee Congress in that same city to celebrate the ISO’s 50th anniversary. Appointed ISO Editor at the 1990 congress, Gerard radically changed its publications, setting aside the formality that characterized ISO Information in favor of the technical ISO Yearbook alongside the lighter and colorful thrice-yearly ISOnews. In collaboration with the European Centre for Conservation, Restoration, and Renovation, Gerard organized weeklong international courses for organbuilders at the historic Belgian castle of Alden Biesen. He represented the ISO in the presentation of a pipe organ to Pope John Paul II in Rome. One could be forgiven for thinking that Gerard’s organbuilding business existed only to provide a platform for seemingly limitless other interests. Filmmaking in particular fascinated him. In 2004, he and Eberhard Rensch produced “Super-Oktav,” a fi lm about an orphan who becomes an organ- builder. More recently, Gerard established the Antwerp Art Offi ce, which has produced award-winning fi lms and websites, as well as undertaking other new media projects. Gerard was a classic right-brain person: intensely creative but also somewhat disorganized, and famously casual about schedules. As his Belgian organbuild- ing colleague Guido Schumacher said at the funeral, “You had the reputation of always being late, but today you arrived entirely too early.” In Gerard’s pres- ence, the far-fl ung organ world became a little smaller, a little closer. We miss that, and him. Gerard Pels is survived by his mother, Cecile D’Hondt, his brother, Toon Pels, and his sister, Mieke Pels. —John Panning

12 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Here & There

³ page 10 Robert Sirota, at Marsh Chapel of Bos- Kudlicki will tour Australia in Janu- Lemare connection, and because he ton University. Tierney performed Sirota’s ary 2015, playing three concerts in the feels that the organ’s tone colors, many Festival Prelude on ‘Now Thank We All “Organs in the Ballarat Fields” festival of which retain their original voicing, are Our God’ (1985), which pays homage to in Ballarat, and play additional recitals in worthy of preservation in recordings. For New England church composers, espe- Melbourne and Hobart, Tasmania. For information: www.frederickhohman.net. cially Dudley Buck; Two Lenten Chorale information: www.kudlicki.at. Preludes (1978–79), based on German Lutheran chorales Herzliebster Jesu Publishers and An Wasserflussen Babylon; and Augsburg Fortress and the Evan- Celestial Wind (1987). Tierney, on the gelical Lutheran Church in America faculty of the Rivers School Conserva- announce the publication of Evangeli- tory and the Rivers School, is conductor cal Lutheran Worship Braille Edition: of the Rivers Symphony Orchestra, the Service Music and Hymns. The eight- Waltham Philharmonic Orchestra, and volume edition contains the words to the New England Classical Singers, and all 743 service music items and hymns is minister of music at St. Paul’s Episcopal from Evangelical Lutheran Worship Church in Dedham. Sirota, a composer on Braille-embossed pages. Pages are of operatic, orchestral, chamber, and punched to fi t a three-ring binder and recital works, was commissioned to write packaged in reclosable corrugated Apparitions for the 2014 American Guild Marek Kudlicki (photo credit: Dorothy Young boxes; price is $375. For information: of Organists convention. Riess) augsburgfortress.org. Christopher Houlihan Polish organist Marek Kudlicki Basilica of the Immaculate Conception, Bärenreiter-Verlag announces pub- Christopher Houlihan was featured will make his jubilee American tour: Denver, Colorado; 10/12, Arizona State lication of Wolfgang Amadeus Mozart’s on WWFM’s “Cadenza” radio program, October 5, River Road Baptist Church, University, Tempe, Arizona. Kudlicki Mass in C (“Sparrow Mass”), K. 220, hosted by David Osenberg, on July 31 Richmond, Virginia; 10/7, and 10/8, First will present lectures on Polish organs on arranged for female choir (SMezAA) by (www.wwfm.org/webcasts_cadenza. United Methodist Church, Casper, Wyo- October 8, following his recital, and on Heribert Breuer (full score, BA 5693 shtml). WWFM is heard regionally in ming (AGO events); 10/10, Cathedral October 11 at Arizona State University. ³ page 14 New Jersey on FM; in New York City on HD, and online at www.WWFM.org. More info at www.wwfm.org/technical. shtml. Featured are performances from Princeton, Hartford, and Los Angeles; and interviews.

Boyd Jones

Boyd Jones is featured on a new recording, A Keyboard Odyssey (Navona Records NV5961), performing Sydney Hodkinson’s Organmusic, Six Tableaux for Solo Organ. The work is performed on Stetson University’s von Beckerath organ (1961), the instrument for which the work was conceived. The recording also features piano music by Hodkinson, performed by Barry Snyder, professor of piano at the Eastman School of Music. For an album overview and audio sampler, visit www.navonarecords.com/ catalog/nv5961; for liner notes, scores, and samples: www.navonarecords.com/ akeyboardodyssey.

Robert Sirota (photo credit: Brian Hatton)

On May 19, Robert Tierney per- formed a concert of organ works by

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 13 Here & There

³ page 13 Score and parts, EW814, €14.50; edition preparing for RSCM Singing Awards Recordings €17.95; vocal score, BA 5693-90, €9.95). for soprano, trumpet, and piano/organ, at Bronze, Silver, and Gold levels, all of Deutsche Grammophon has This has obtained its nickname from its EW934, €14.80. For information: www. which are formal graded exams in the released a new recording, Prayer: Voice frequently recurring characteristic motifs edition-walhall.de. RSCM’s awards scheme, which runs & Organ, featuring mezzo-soprano Mag- in the violins. Arranged for female voices, parallel to Voice for Life. Purchasers can dalena Kožená and organist Christian the publication is part of the publisher’s Encore Publications offers new download singer’s copies of all tests free Schmitt. The recording features sacred recently commenced “Bärenreiter choral publications for Advent, Christ- of charge. The new guide also provides songs from the Baroque to the 20th cen- Female Choir” series, which includes mas, and Epiphany. Among the offer- exercises complete with hints and tips, an tury by Bizet, Dvorák, Durufl é, Purcell, Mozart’s Coronation Mass K. 317 (full ings are: A Great and Mighty Wonder, analysis of each level’s exam requirements, Ravel, Verdi, lieder by Schubert and score, BA 5691, €30.95; vocal score, BA for SATB and organ by Philip Ledger; and an explanation of the procedure dur- Wolf with arrangements from Schmitt, 5691-90, €8.95), and Missa brevis in D Coventry Carol, arranged for soprano ing the exam itself, including an outline who plays the 2009 Goll organ of the Major, K. 194 (vocal score, BA 5690-90, and tenor soloists and SATB (with divisi) of what the examiner is listening for as University for Catholic Music & Teach- €8.75), also edited by Breuer. For infor- by Parker Ramsey; The Annunciation, the tests are conducted. For information: ing, Regensburg. For information: mation: www.baerenreiter.com. a traditional Suffolk melody arranged www.rscm.com/shop. www.deutschegrammophon.com. for SATB and organ by John Bertalot; Edition Walhall announces new I Saw Three Ships, for SATB and organ releases. Catena Sammlung: Intavola- by June Nixon; and Advent Responses, Organ Builders tura, with fi rst editions by Frescobaldi for soprano and tenor soloists and SATB and Tarditi for organ (or harpsichord), (with divisi) by Ashley Grote. For infor- edited in two volumes by Jolando Scarpa, mation: www.encorepublications.com. includes hitherto unpublished works by Girolamo Frescobaldi (two Elevationi) Michael’s Music Service announces and Orazio Tarditi (Elevatione and new publications. Bells of Riverside, by Toccata) from the Catena Collection Seth Bingham, is based on the Parsi- (Mus. ms. Landsberg 122-Berlin) that fal quarter-hour chimes of Riverside appear in print here for the fi rst time. Church. The Abbey Chimes, by G. E. The predominantly short works include Lyle, in the tradition of improvised storm canzonas, versets, ricercares, toccatas, pieces, follows the order of a church ser- and fantasies. First edition, Series Frutti vice: change ringing, a voluntary (which Musicali, Volume II, EW922, €18.50. may be played alone), a hymn, thunder Three works by Silesia native Tobias rumblings, fury of the storm, Psalm Volckmar (1678–1756), a contemporary chant, and ending hymn; it concludes of Bach, have been edited by Klaus Hof- with a march that also may be played mann. Das ist je gewisslich wahr, a sacred separately. Henry Bishop’s Home Sweet concerto for soprano, alto recorder Home, arranged by I. V. Flagler, offers (transverse fl ute), 2 violins, viola, and Flagler’s chromaticism, a variation for the basso continuo, is today preserved in the delicate fast notes in the right hand, and Saxon State Library in Dresden. This a bravura pedal obbligato in the last vari- concerto is intended for Lent; score and ation. Three Military Marches, by Franz parts EW928, €17.50. Schubert, were transcribed by W. T. Best. Dobson Opus 93 View of casework Lobet den Herren, ihr seine Engel, for For information: soprano, trumpet, 2 violins, viola, and www.michaelsmusicservice.com. Dobson Pipe Organ Builders, Ltd., of Lake City, Iowa, has been cho- basso continuo, is one of two sacred con- sen to build its Opus 93 for St. Thomas Episcopal Church, Fifth Avenue, New certos with trumpet that Volckmar wrote The Royal School of Church Music York City, New York. The Gothic edifi ce, the fi nal collaboration between Ralph that are based on verses from the Bible; (RSCM) has published the fi rst of two Adams Cram and Bertram Grosvenor Goodhue, was completed in 1913, and they were published in 1723. The piece new guides for choir trainers and sing- a year-long celebration of its centennial was completed earlier this year. The is preserved in the Saxon State Library in ing teachers who use the RSCM’s Voice Ernest M. Skinner Company installed its Opus 205, a four-manual organ of 67 Dresden and is intended for Michaelmas for Life scheme, from White Level for stops that has been rebuilt and altered considerably throughout its history. The (September 29). Collection Monarca beginners, through to Yellow Level for new four-manual, 100-stop instrument will be named the “Irene D. and William della Tromba—Musik der Fürstenhöfe; advanced singers. The Voice for Life R. Miller Chancel Organ in Honor of Dr. John Scott,” organist and director of score and parts EW818, €18.50; edition Guide to Musicianship (ISBN 978-0- music of St. Thomas Church since 2004. Goodhue’s organ case from 1913 will for soprano, trumpet, and piano/organ, 85402-213-7, order number F0120, be retained, as will the original console shell. A second organ case designed EW938, €14.80. £25.00) provides step-by-step training to complement the original will be built to house the Great and Positive divi- Schmücket das Fest mit Maien, for and assessment to help develop a musical sions, to be located across the chancel from the original case. A few ranks of the soprano, trumpet, 2 violins, viola, and ear and sight-reading skills. It also pro- present organ will be retained for the new instrument, reworked to fi t the new basso continuo, is intended for Pentecost. vides guidance and tests for candidates scheme. Removal of the present organ will begin in June 2016. Installation of the new organ will begin about April 2017, with completion approximately one year later. A Precious Gift from the Past for the Present and the Future Supremely beautiful and blendable tonal color – a Gift from the Venetian School of organbuilding, a monumental part of our JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN

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Pipe Organ Encounter visits Goulding & Wood

On Friday, June 13, Goulding & Wood Pipe Organ Builders hosted the stu- dents of the Indianapolis Pipe Organ Encounter at their shop. After lunch in the front of the shop, students took a guided tour where G&W craftsmen were glad to Builders of Fine Pipe Organs to the World show the next generation of organists all aspects of organ building, including CAD drawing, windchest construction, and pipe voicing. The students’ questions were www.ruffatti.com curious and insightful, and hopefully will lead to a future of increased communication Via Facciolati, 166 ‡ Padova, Italy 35127 ‡ [email protected] ‡ In the U.S. 330-867-4370 between players and builders. At the end of the tour each student received a historic souvenir wooden pipe.

14 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Harpsichord News By Larry Palmer

Joseph Stephens: In Memoriam literary) life, and led, in less than a known as a musician than as a physi- Gentle readers: Those among you decade, to the commissioning of HH’s cian. He became interested in the with total recall might remember a refer- Dallas Canticles. harpsichord after hearing a recording of ence to Dr. Stephens as the transcriber Of another visit to Baltimore in 1968 Wanda Landowska” (according to Joe, it of a harpsichord-friendly version for the during which we met the Peabody was her Goldberg Variations rendition) extremely pianistic Dance for Harpsi- harpsichordist Shirley Matthews and her and he went on subsequently to study chord (or Piano), the only “harpsichord husband, fortepiano maker Rod Regier, the instrument with two of its leading composition” by the English impression- I wrote to my parents, “It always feels mid-20th-century advocates, Sylvia istic composer Frederick Delius. In my somewhat unreal to be here at Joe Ste- Marlowe and Ralph Kirkpatrick. article “Gathering Peascods for the Old phens’—treated like an absolute king, Stephens considered his greatest Gray Mare” [The Diapason, November marvelous music, distinguished com- musical achievement to be the series 2012, p. 27] I cited Stephens’s reduced pany—(you never know when the phone of Bach’s complete harpsichord works, score of the Delius work. rings whether it will be Glenn Gould presented in 14 programs for the Recently Joe’s name fl itted across my from Toronto or Arthur Rubenstein, Baltimore Bach Society (1966–1979). mind again, so I did what the contempo- from New England . . .)” which conjures Excerpts selected from the live record- rary researcher most often does and insti- up the remembrance of Joe’s close per- ings of these concerts: 12 movements Cover of Joseph Stephens plays Bach tuted a computer search, hoping to fi nd sonal friendships with artists of renown, from the Suites, four preludes and out what he was up to these days. It was and his own phenomenal digital facility fugues from the Well-Tempered Clavier I frequently cited in the 1960s (and with sadness that I discovered the news at the various keyboards he played: Book II, and complete recordings of beyond) as “the best harpsichordist on of his death on May 29, 2008, at age 81. piano, harpsichord, and organ. the Chromatic Fantasy and Fugue and the East Coast.” This information had not reached us for Dr. Stephens’s main profession was Prelude and Fugue in A Minor, BWV inclusion in The Diapason; thus, even at as a psychiatrist at his alma mater, 894, were issued on a compact disc Photo credit: Lloyd Bowers this lengthy remove, I feel the necessity Johns Hopkins University, to which he Joseph Stephens plays Bach: Live from of offering a few words in his memory, returned as a faculty member, serving the Cathedral [of Mary Our Queen], News items and comments are since Joe exerted a signifi cant infl uence from 1959 until retirement in 1993. where the well-received concerts took welcome: address them to Dr. Larry on my career as a harpsichordist. But, according to his companion Lloyd place [Americus CD: AMR 19971003]. Palmer, Division of Music, Southern Stephens’s impressive 1957 Hubbard Bowers (quoted in a Baltimore Sun The disc provides a lasting memory of Methodist University, Dallas, TX and Dowd harpsichord, fi rst experi- obituary), “he was probably better Baltimore’s “musical doctor,” whom 75275; [email protected]. enced at his Baltimore home during a visit there with Norfolk organist friend of blessed memory Frank Lybolt, as well as a subsequent recommendation Mikael Tariverdiev International Organ Competition from Colonial Williamsburg’s musician- extraordinaire Jock Darling, led me to is a unique and successfully developing international project launched in Russia in the end of 90-s. Its order my own 1968 William Dowd harp- significance for professional organists can be compared with the role of Tchaikovsky Competition for pianists sichord: a stunningly beautiful musical and violinists. It is held every two years in different cities of the world, including Europe and America, with machine painted dark green with bright the final tour taking place in Kaliningrad, the most western Russian city. red lid, peau-de-buffl e register, and the somewhat pagan gold-leaf inscription “Sol Deo Gloria” (because of the paint- er’s omission of the requisite fi nal “i”), it was one of Bill Dowd’s last instruments equipped with foot pedals for controlling the registers and coupler. During this same visit I experienced for the fi rst time a recording by the Choir of St John’s College, Cambridge, of Herbert Howells’s glorious anthem Like as the Hart, truly a “love at fi rst hearing” moment that quite signifi cantly infl uenced my subsequent musical (and

ArtistArtist Spotlights Spotlightspotlight s

Artist Spotlights are available on The Diapason website and e-mail newsletter. Contact Jerome Butera for rates and specifi cations. 608/634-6253 [email protected] The Competition has gained a world-wide popularity attracting professional music communities in Russia, Europe and America. The Eight Competition was held in 2013 and gathered musicians from 32 countries, with maestros of world reputation sitting on the Jury. Tierry Escaich, the President of the Jury: “The performers showed high level during all rounds. If you try to compare the Mikael Tariverdiev Competition with others, you will see that the level of organists participated in this Competition is considerably higher. A very friendly atmosphere here is of no small importance too”.

The Ninth Competition is planned for April-September, 2015. At first, a selection round for different groups of participants held in Lawrence, Kansas, April 8-10, Hamburg, April, 20-24, Moscow, August , 28-31. Thereafter, the selected contestants move to Kaliningrad to participate in the second and third rounds (Kaliningrad, September, 3-11, 2015) All winners of the Mikael Tariverdiev International Organ Competition receive the monetary and special prizes, diplomas and the Special Awards: solo recitals in St.Michael Kirsche (Hamburg), Catholic St.Maria Maiden’s Chaste Conception Church in Moscow, Grand Hall of the St. Petersburg Shostakovich Philharmonic, International Organ Festival in Tallinn, Polly Bales Organ Recital Hall (Kansas), Riga’s Dome, Glinka State Museum of Music Culture, the Kaliningrad Cathedral and others. www.organcompetition.ru Like us on Facebook! WE ARE HAPPY BECAUSE WE ARE TOGETHER www.facebook.com/TheDiapason

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 15 Reviews

Music for Voices and Organ polished city ensemble. There seems to plays throughout the setting, sometimes piano’s contrasting rhythms add much to by James McCray be less gravitas, which erodes the effort doubling the singers, but usually as a the character of the work as it moves into of the church. Not all communities have contrasting line. Not many children’s a 3+3+2 rhythm while the singers tend to Singing children an organized children’s choir, yet there works involve viola, especially including stay in 4/4. The second voice is optional still is a smaller turnout for singing in the congregation. although in the last section alternates What will a child learn sooner than a song? church. This is something that parents, with voice one as the coda quietly disap- church leaders, and especially children My Jesus Makes My Heart Rejoice, pears. This will be fun, a bit challenging Satires and Epistles of Horace Imitated, need to reverse. Dieterich Buxtehude (c. 1637–1707), for some choirs, but will certainly be a hit Second Book, 1737 ed. Michael Burkhardt. Unison with with the congregation. —Alexander Pope (1688–1744) Children singing with adult choirs piano and two violins, Choristers Love the Lord Your God, Denice Rip- Guild, CGA 1536, $1.95 (M-). Children Sing in Worship, Carol That children’s choirs are an invest- pentrop. SATB, children’s choir, and The children have two verses in Eng- Carver and Mark Weiler, editors. ment in the future of our choral art, and piano, Beautiful Star Publishing, lish (or German), and their unison theme Augsburg Fortress, 978-1-4514- church music in particular, is diffi cult Inc., BSP-261, $1.85 (M-). is not diffi cult. There is a ritornello 6254-8, $29.95 (M). to dispute. They are the fi rst level of The children sing with unison adults played by the two violins; their parts are This lovely collection contains 11 set- group singing, which may last a lifetime. for the fi rst verse then later sing on a at the back for easy performance. One tings for various times throughout the Many adults credit their early singing neutral syllable (oo) as a descant above other option is to use a continuo, so the church year. Three use additional instru- experiences in a children’s choir as an them for the ending. The piano music publications also include a bass instru- ments, and all have keyboard. Of interest important infl uence in their love of sing- is easy and fl owing to emphasize the 6/8 ment part that could be added to the are the reproducible singer’s pages so ing. Although it is most often community meter. There is very little four-part writ- piano. This is a useful setting for a good that the high cost of one or two complete children’s choirs that they are talking ing, and most music is in unison or two children’s choir. copies of the collection will reduce the about, there can be little doubt that the parts for the adults. overall expense. John Ferguson, Hal church’s children choir may have sown a Sing for Joy, Sing Together, Mark Hopson, and Marie Pooler are among few seeds even before that. Gloria, Susan Borwick. SATB divisi, Patterson. Unison or two-part, piano, the nine composers in this volume. This Yet, while the adult church choir handbells, organ, and children’s fl ute, and fi nger cymbals, Choristers is a valuable and highly recommended continues to make a consistent (yet choir, MorningStar Music Publish- Guild, CGA 1352, $2.10 (M). collection of music for a children’s reduced in size) contribution to the ers, MSM-50-1428, $2.25 (D-). Although the emphasis is on the chil- church choir. worship service, the children’s choir There are only four measures where dren’s choir, the keyboard serves as an seems to be fading in many of today’s the children sing so this will be a way equal partner and has driving, rhythmic churches. Often it consists of a handful to get them involved without extensive music, which is a lovely contrast to the Book Reviews of children whose performance lacks preparation. The organ part, on three singers. The fl ute part consists of short Sacred Music and Liturgical Reform: real musical meaning. Emphasis seems staves, is usually sustained notes played phrases that burst through the texture; Treasures and Transformations, by to be placed on matters other than above a moving and plodding pedal part its music is included separately at the Anthony Ruff, OSB. Archdiocese of beautiful tone, a sense of ensemble, and that helps holds it all together rhythmi- end. This is an exciting setting with a Chicago: Liturgy Training Publica- other musical considerations. cally. The only text is the title (Gloria) very good message for children. tions—Hillenbrand Books, ISBN Sadly, this is true for a large majority sung in sustained, block eight-part 978-1-59525-021-6, hardcover, 704 of churches. Years ago parents wanted chords with almost no counterpoint. The Amen Siakudumisa, S.C. Molefe, arr. pages, $95, www.ltp.org. their children to sing in church; today, 18 handbells usually play in octaves with Cameron LaBarr. Three-part treble Anthony Ruff, OSB is a monk and choir has lost its priority due to a a two-note recurring motive in the bass. with optional African percussion, priest of St. John’s Abbey in Collegeville, myriad of conflicting diversions both This is an effective setting that is not dif- Choristers Guild, CGA 1355, $1.95 Minnesota. He holds degrees from St. in and out of the traditional family fi cult except for the use of an eight-part (M+). John’s University, Yale University, and circle: soccer, technology, and other choir that will require a large ensemble. The title translates as “We praise Your the University of Graz in Austria. social experiences. name, O God,” and it occupies about Sacred Music and Liturgical Reform Publishers continue to make avail- Children singing with 95% of the text. There is an improvisa- is based upon the dissertation written able a reasonable quantity of music for additional instruments tory spirit to the music, with the percus- by Ruff at the University of Graz. It is children, but one wonders if the ability Guide Us, Lord, Mark Patterson. sion part printed on the inside cover; a comprehensive interpretation of the of singing in most churches is strong Unison/two-part with piano, congre- there are only two four-measure phrases teachings of the Second Vatican Coun- enough to warrant it. Schools and gation, and optional viola, Choris- repeated throughout. Instruments cil on worship music. Ruff’s focus is on community choirs still exert a stronger ter’s Guild, CGA 1357, $2.10 (M+). include a shaker and two Djembe drums. preservation and renewal—preserva- infl uence on the musical development The congregation’s part is on the Other options include a soloist who sings tion of the inherited treasury of sacred of most children. All too often, children back cover; they sing on the refrain above the choir and small groups of sing- music and the growth of this treasury who participate in organized commu- for the three verses. All music is easy ers who serve as an echo choir. Interest- to meet the altered requirements of the nity groups usually do not sing in the and tuneful, although the piano part is ing music that is certain to enliven any reformed liturgy. This is not light read- local children’s church choir, which is busy, usually with fl owing eighth notes. service or concert. ing but a must-have for anyone who has inferior to their more disciplined and A separate viola part is included and it interest in or works with liturgical music. Make Joyful Music, Barry Bobb. Uni- This impressive book is organized into son or two-part, piano, and optional fi ve sections. The fi rst deals with the role, Scattered leaves ... from our Notebook Orff instruments or handbells, Con- purpose, and characteristics of music in cordia Publishing House, 98-4128, the liturgy. Of particular interest is Ruff’s $1.65 (M-). discussion on the communicative capa- Based on Psalm 100, this setting has bility of music. The second addresses the three verses, with one or two measures development of musical consciousness of two-part singing in each verse. Each from a historical perspective. The pre- verse ends with an Alleluia. The piano sentation on authenticity in performance part is simple and often doubles the practices refl ects the current controversy voices. The instruments are not indicated swirling around the ever-present con- in the score, but the piano part is meant cern regarding legitimate realization in to be played by the Orff instruments. the 21st century of music that has been written in the past. Someone Special, Michael Burk- The third section addresses liturgi- hardt. Unison or two-part, organ, cal movements and liturgical music and 2 octave handbells, Concordia traditions. The scholarly presentation Publishing House, 98-4135, $1.90 of fi ve issues that divide liturgists and (M). traditionalist musicians is courageous. There are three verses, with the fi rst The fourth part of the book follows sung in unison. The handbells and organ a historic approach to the treasury of music are separate, with the bells hav- sacred music in the Roman documents ing extensive playing time, often with on worship music of the twentieth cen- sustained half-note chords. Each verse is tury. This delightfully rich section traces short, with a pre- and post-instrumental the development of worship music in the section. The message of the text is: Roman Church. And fi nally in the fi fth “Someone special I must be, since you part, the treasury of sacred music in the made it all for me.” reformed Roman Eucharistic liturgy is discussed. Mention of the psychoacous- Children singing tic mechanisms with regard to renewed Little Innocent Lamb, arr. Greg understanding of participation by listen- Schoenstein & Co. Gilpin. Unison/two-part with piano, ing is well placed and interesting. Choristers Guild, CGA 1359, $2.10 Particularly refreshing is how Ruff (M+). retrieves neglected teachings from the ❧ This traditional spiritual is fast and Council’s Sacrosanctum Concilium and rhythmic with lots of syncopation. The demonstrates with scholarly information

16 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Reviews that the reforms are not at odds with English and notes by Columba Kelly are interpretation of rhythm in chant and This is not an easy read but a must for the preservation of the inherited music fl uid and easy to follow. the relationship between the words and those with a serious interest in realizing treasury. He successfully offers a centrist Luigi Agustoni was ordained a priest the melody. and understanding the performance interpretation of Vatican II’s teachings in 1941, and received his master’s Chapter three deals exclusively with practices of Gregorian chant. Highly on worship music, while presenting a degree in sacred music from the Pontifi - a scholarly interpretation of the ancient recommended! scholarly argument for a center that is cal Institute of Sacred Music in Rome, forms of writing single-note neumes and —Mark Konewko formed by the sacred music of the past which in 2001 awarded him a Doctor- their melodic signifi cation. The neume Marquette University and the current music of today. ate Honoris Causa in Sacred Music. tables used are based on two important Milwaukee, Wisconsin Ruff’s writing is clear, concise, and He died in March 2004. Johannes manuscripts: St. Gall and Metz or Laon understandable. His presentation is well Berchmans Göschl was a Benedictine notational families. This discussion is researched and thoughtful. The bibliog- monk in the Abbey of St. Ottilia. He paramount in revealing the wealth of New Recordings raphy and index are excellent resources studied at the Pontifi cal Athenaeum of rhythmic nuances and subtleties of Missa Omnes Sancti. The Cathe- for students of liturgical music. This is a St. Anselm in Rome and later also at the rhythmic movements that are present dral Choir, Cathedral of St. John, refreshing scholarly work on the histori- Pontifi cal Institute of Sacred Music in in the notations developed in the 10th Albuquerque, New Mexico; Maxine cal treasures and current worship music. Rome, where he received his doctorate century. Chapter four deals with the Thévenot, Associate Organist-Choir Highly recommended! on Gregorian semiology. Rev. Columba interpretation of the single-note neumes Director; Iain Quinn, Director of Kelly, OSB, monk of St. Meinrad Arch- as a mediating function between the text Cathedral Music and Organist. An Introduction to the Interpreta- abbey, completed his doctoral studies and the musical form. The liquescent Raven compact disc OAR-901; www. tion of Gregorian Chant—Volume (DMusSac) under Dom Eugène Car- single-note neume in both Laon and St. RavenCD.com. I: Foundations, by Luigi Agustoni dine at the Pontifi cal Institute of Sacred Gall is discussed toward the end of this Magnifi cat & Nunc Dimittis, Iain and Johannes Berchmans Göschl, Music in Rome. He returned to St. chapter—when one or more consonants Quinn; The Song of Christ’s Glory, Philip translated by Columba Kelly. Edwin Meinrad as choirmaster and began the or diphthongs are present, the liques- Moore; The Lord is my Light, Peter Hal- Mellen Press, ISBN 0-7734-5993-6, work of composing English-language cent sign occurs when one consonant or lock; He that is down needs fear no fall, hardcover, 328 pages, $149.95, chants based on the principles used diphthong is vocalized. This liquescent Philip Moore; O how amiable, Anthony mellenpress.com. to create the original Gregorian chant sign assists in the phonetic sonority and Piccolo; O Lord, support us, David An Introduction to the Interpretation repertory. Rev. Kelly continues to teach the rhythmic quality of the syllable as it Briggs; Missa Omnes Sancti, Malcolm of Gregorian Chant—Volume I: Founda- chant at the Abbey of Solesmes to is articulated. Chapter fi ve discusses the Archer; Alleluyas, Simon Preston. tions is a systematic presentation of Gre- American students, sponsored by Cali- repercussions of sound that are present The Diocese of the Rio Grande is gorian chant for directors and singers fornia State University, Los Angeles. in horizontal repeating pitches. relatively small among Episcopal dio- looking for serious and well-grounded This rich resource is structured Interspersed throughout these chap- ceses, having around 4,000 members, performance recommendations and a into fi ve chapters. The fi rst chapter ters are various “excursus” or digressions about 500 of whom attend the Cathedral functioning knowledge of chant. Using addresses the general foundations for where the authors or others expound Church of St. John in Albuquerque. the manuscripts of St. Gall, Einsiedeln, the interpretation of Gregorian chant, more profoundly on various topics. The Bearing in mind the limited resources at Solesmes, and Laon as source material, beginning with the text of the chant excursus that follows chapter three by their disposal, it is therefore surprising this volume is not a history of chant or acting as a living principle that drives Joseph Kahlhäufl , entitled “The Tironian to fi nd that the cathedral in Albuquer- chant in its liturgical context but rather the melodic structure, rhythmic fl ow, notes in Laon 239,” is not only highly que manages to maintain the highest the interpretation of chant. It offers and ultimately the source of the real- informative but also helps frame the pre- standards of choral music, comparable historical background and the relation- ization of the chants. The presentation vious chapter by enriching the ideas with with the best English cathedrals. Much ship between the text and chant melody. on authentic and plagal structures is further historical input. The book con- of the credit for this is doubtless due This excellent resource is based on insightful. The explanation of the term tains a selected bibliography that is lim- to Dr. Iain Quinn, who was Director solid scholarship and is intended for “neume” is clearly presented and highly ited but has important source material. of Cathedral Music and Organist from both directors and singers who have a informative. The second chapter centers Agustoni and Göschl have written a 2005 to 2010, at the time this record- pre-existent knowledge and practice of on understanding not only the concept highly researched scholarly work on ing was made. The choir contains some Gregorian chant. The translation into of Gregorian chant rhythm but also the the interpretation of Gregorian chant. ³ page 18

In this library, please don’t keep your voices down.

With Rodgers’ exclusive Library Access™, every drawknob engraved with an “L” provides full access to 121 organ stops and 59 orchestral voices, which are fully voiceable and available to save as part of any registration. Additional Organ Stops Additional Orchestral Voices

001 Principal 32 038 Chimney Flute 4 075 Douçaine 8 200 Grand Piano 231 Cup Mute 002 Contra Geigen 32 039 Quinte 2-2/3 076 Dulzian 8 201 Grand Piano 2 232 Bright Brass 003 Contra Bourdon 32 040 Nazard 2-2/3 077 Cromorne 8 202 Elec Piano 233 French Horn Section 004 Prestant 16 041 Gemshorn 2 078 Baryton 8 203 Fantasia 234 French Horn Solo 005 Spitz Prinzipal 16 042 Piccolo 2 079 Cor d’Amour 8 204 Harpsichord 8 I 235 Euphonium 006 Lieblich Gedackt 16 043 Tierce 1-3/5 080 Regal 8 205 Harpsichord 8 II 236 Orchestral Flute 007 Dulciana 16 044 Larigot 1-1/3 081 Vox Humana 8 206 Harpsichord 4 237 Pan Pipes 008 2nd Dulciana 16 045 Septième 1-1/7 082 Vox Humaine 8 207 Harpsichord Lute 238 Fifes 009 Cellos Céleste II 16 046 Sifflöte 1 083 Vox Humaine Trem 8 208 Harpsichord 8+8 239 Orchestral English Horn 010 Erzhaler Céleste II 16 047 Jeu de Clochette II 084 Tuba Mirabilis 8 209 Harpsichord 8+4 240 Bassoon/English Horn 011 Stentorphone 8 048 Gabler Cornet V 085 State Trumpet 8 210 Celesta 241 Orchestral Oboe 012 Principal 8 049 Cornet des Violes III 086 Chamades 8 211 Xylophone 242 Orchestral Clarinet 013 Octave 8 050 Pedal Grand Mixtur VI 087 Llamadas II 16+8 212 Orchestral Harp 243 Bagpipes 014 Montre 8 051 Grave Mixtur IV 088 Clarion 4 213 Drawbar 1 244 Choir Aahs 015 Bach Principal 8 052 2nd Grave Mixtur IV 089 Clairon 4 214 Drawbar 2 245 Choir Oohs 016 Gemshorn-1 8 053 Grand Fourniture V 090 2nd Clairon 4 215 Guitar 246 Soprano Ah 017 Gemshorn-2 8 054 Fourniture San Sulpice IV-VI 091 Rohrschalmei 4 216 Acoustic Bass 247 Organ Chimes 018 Gamba 8 055 Tierce Fourniture VI 092 Principals III 8+4+2 217 String Ensemble 248 Tubular Bells 019 Céleste III 8 056 Grand Mixtur VIII 093 Principals+Mixtures 8+4+2+IV 218 Smooth Strings 249 Tower Chimes 020 Violes des Anges II 8 057 Klein Mixture III 094 Full Swell 16+8+4+Reeds 219 Slow Strings 250 Handbells 021 Salicional 8 058 Quartane II 095 Flute Célestes IV 16+4 220 Pizzicato 251 Sleigh Bells 022 Unda Maris III 8 059 Scharf II 096 Célestes IV 16+4 221 Contra Basses 252 Timpani 023 Dulciana 8 060 Double Ophicleide 32 097 Célestes VI 16+8+4 222 Octave Strings 253 Timpani Roll 024 Aeoline 8 061 Contre Bombarde 32 098 Célestes VII 16+8+4+Vox 223 Slow Violin/Cello 254 Percussion Set 025 Aeoline Céleste II 8 062 Contre Bassoon 32 099 Voxes II 16+8 224 Chamber Strings 255 Ride Cymbal 026 Holzgedackt 8 063 2nd Bombarde 16 100 Voxes II 16+4 225 Violin/Cello 256 Crash Cymbal 027 Gross Flute 8 064 Double Trumpet 16 101 Tibia 8 226 Saxophone 257 Orchestral Snare 028 2nd Flute Harmonique 8 065 Contre Trompette 16 102 Tibia 4 227 Saxophone 2 258 Snare Roll 029 Quintadena 8 066 Rankett 16 103 VDO Celeste 8 228 Orchestral Trumpet 030 Rohrgedackt 8 067 Trompet 8 104 VDO Celeste Trem 8 229 Mellow Horn Library Access™ is exclusive 031 Metal Gedackt 8 068 Trompette 8 105 Tuba Trem 8 230 Brass Ensemble to Infinity Series Organs 032 Octave 4 069 2nd Trompette 8 106 Cornopean Trem 8 033 Oktav 4 070 2nd Trumpet 8 107 Tibias 16+8+Vox 16+ 8 034 Principal 4 071 Trompette Harmonique 8 108 Full Tibias+Strs 8+4 035 Rohrflöte 4 072 French Horn 8 109 Vox&Str 16+Tib 8+Quint 036 Orchestral Flute 4 073 Hautbois 8 (CC) 110 Vox 16+8+Celetes 8 037 Open Flute 4 074 Rohr Schalmei 8 111 Tibias 8,4+Str 112 Tibias 8,4+Str+Vox 113 Tibias 8,4+Tuba 8 114 Tibia 4+Celestes 8 115 Tibias 4,2+Str 16, 8 116 Tibia 4 + Kinura 8 117 Str 8+Tibias 2+Glocken 118 Tibia 4+Glockenspiel 119 Organ Harp 8 120 Chrysoglott 4 121 Tracker/Barker Noise www.rodgersinstruments.com

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 17 Reviews

³ page 17 of the Coverdale text of O how amiable The name of the builder is unknown, which is actually by Giovanni Gabrieli), extremely fi ne sopranos in particular are thy dwellings was commissioned by but after completion Szymon Liliusz eight Fantasias, four Ricercatas, six who can sing a good straight tone and the Cathedral Commissions program of was commissioned to maintain it. The Cadentias, a Versus, an Elewatione (sic) whose voices soar in the acoustics of St. John’s Cathedral in Albuquerque in case dates from ca. 1620 but the instru- that is closer to a Durezze e Ligature the cathedral. Credit should also go to 2008, and this again is its world premiere ment has been altered several times, than to Frescobaldi’s toccatas, an Ut re Dr. Maxine Thévenot, who was Associ- recording. The purity of the cathedral’s with major changes in 1781 almost cer- mi fa sol, a setting of the Ave Maris Stella ate Organist and Choir Director under sopranos comes through particularly tainly replacing reeds with fl ues. A 1974 and of the Kyrie, Gloria, and Sanctus, Dr. Quinn and succeeded him in 2010 well in this composition, noteworthy for restoration brought the pitch back to and a piece entitled Lobsoskie in which as Director of Cathedral Music and its particularly rich harmonies. Another A=448, with a slightly unequal tempera- chordal passages and toccata-like fi gura- Organist. Besides the high quality of the delightful and tranquil anthem is the ment; the tracker action is described tion alternate. cathedral’s music, this recording is also setting of the prayer “O Lord, support as heavy with a deep key-dip. With 35 As with the pieces from the Warsaw noteworthy in that several of the pieces us all the day long,” by David Briggs, stops spread over its two manuals (Main tablature, most are short, but the four on the compact disc were commissioned Organist Emeritus of Gloucester Cathe- organ and Chair or Rückpositif) and ricercatas run between 3.5 and 4.5 min- by the Cathedral Commissions pro- dral. Again, this is the world premiere pedals, there is a high number of 4-foot utes; of these, the fi rst is relatively static, gram, launched in 2005 by the Friends recording. The text, incidentally, was registers (fi ve on the Main, four on the but the others display contrapuntal inge- of Cathedral Music of St. John’s, and written by the Blessed John Henry Car- Chair, two on the Pedals) but only one nuity. On this CD they are presented as several of them here receive their fi rst dinal Newman (1801–1890), and does proper Mixture, a 4-rank on the Main; the fi nal piece in small groups of short recorded performance. The cathedral not originate from the Book of Common but there are several stops labelled pieces on the same tone, including a has a three-manual-and-pedal Reuter Prayer as erroneously stated in the disc’s Mixtura that are single-rank high- cadence, short polyphonic Fantasias organ of 65 ranks, dating from 2001. accompanying booklet. pitched repeaters. The stops for the and, on the fi rst tone, an Exemplum. The compact disc (tracks 1 and We come then to the main work, Chair are behind the player. Notewor- Piotr Ŧelechowski’s only known work, 2) opens with the world-premiere Malcolm Archer’s Missa Omni Sancti, thy is the number of traditional Polish the Fantasia del Sol Primo Tono (sic), recording of one of Iain Quinn’s own which occupies most of the rest of the 17th-century string registers with their is in two sections, a fl amboyant toccata- compositions, his Magnifi cat and Nunc recording, in what again is its world dark, warm sounds. There is a Dzwonki like opening for full fl ues being followed Dimittis, which was commissioned for premiere recording. Malcolm Archer (Zymbelstern) on the Main organ and a by a slower, quieter fugal section based the annual service of the Verger’s Guild was successively organist of Bristol and Tympanum or drum stop on the pedals, on dactylic rhythms. It is preserved in of the Episcopal Church held at the Wells Cathedrals and St. Paul’s Cathe- but there are no couplers. Each division the Ostromeczew tablature ca. 1640–44. cathedral in 2007. This is a delightful, dral in London, before taking up his has short octaves. Petrus de Drusina’s fi ve ascribed works predominantly tranquil, setting very current position as Director of Chapel The Warsaw Tablature, ca. 1680 (so- are to be found in the Oliva tablature, much in the Anglican choral tradition Music at Winchester College, a leading called after where it is preserved rather compiled around 1619 at the Cistercian of such composers as Herbert Howells English independent school. This work than the place of compilation), is one Monastery in Oliva by Jacobus Apfell, and Benjamin Britten, and contains was commissioned in 2005 to mark the of the last of a number of such collec- and today kept in Vilnius, Lithuania. some extremely haunting passages. The 325th anniversary of the building of All tions compiled in Poland. It comprises The pieces heard on this CD include third track features The Song of Christ’s Saints Church in Northampton, Eng- some 70 pieces, all of which are played two Praeambula, the fi rst probably based Glory by Philip Moore, who was succes- land. It is an extremely pleasant setting on this recording. Some 18 are entitled on an as yet unidentifi ed cantus fi rmus, sively organist of Guildford Cathedral of the Latin Mass, in a markedly more Prelude, 18 Fuga, 11 Toccata, with four the second being a setting of Meine Seele and York Minster. It is a setting of a text conservative idiom than the other pieces Canzonas, three Fantazjas, a Capriccio erhebt den Herren. The intabulation of from the South African Daily Offi ce featured on this recording. It evokes the that is in two sections (the second being Deus in adiutorum in fi ve voices employs Book translated from the early Christian Anglican choral tradition of such com- a triple-time version of the fi rst), and a the typical canzona rhythm and is played hymn in Philippians 2:6–11. It takes the posers as Herbert Howells, but perhaps Lectio, a toccata-like piece; the preludes on a bright principal chorus to mixture form of a joyful paean in a rather more even more the earlier generation of Sir are predominantly chordal rather than without mutation. Veni Redemptor gen- modernistic idiom than Quinn’s setting Charles Villiers Stanford, and also to imitative. Livelier writing prevails in the tium contains fl orid right-hand writing, of the evening canticles. some extent infl uences of French com- canzonas and most of the toccatas. The and Resonet in laudibus is a vibrant piece We come next to a piece by the posers like Vierne and Poulenc—truly a infl uence of Pachelbel and Frescobaldi is in 6/4. The prevailing infl uence here is late Peter Hallock, for many years the most remarkable Mass. On the fi nal track apparent to the extent of arrangements Northern European. The CD con- organist of St. Mark’s Episcopal Cathe- Maxine Thévenot shows off her superb of a few of their pieces being present as cludes with two carols: the fi rst entitled dral in Seattle, The Lord is my light and organ technique in Simon Preston’s well- well as a verset by Poglietti. Kolenda, a rondo-like work, is taken my salvation. This piece has a rather known Alleluyas (1965). On this CD the pieces are presented from the Vilnius Tablature ca. 1626; mysterious quality to it and makes effec- This compact disc is a superb example in key (tone) order, each group fi nish- and the fi nal piece, an Aria recitativo tive use of atonal motifs and proceeds of the some of the fi nest music being ing with the most extended work. The pro Offertorio, comes from the Choir from a gentle and elegant beginning to sung in the Episcopal Church today and fi nal 12 tracks are attractive short Pieces Book at Słonim, Belarus, and has been an impressive climax at the end. After should be in everyone’s collection. from the Church Year. Many of the realized in a fi ne version for this CD by this we hear another of Philip Moore’s John L. Speller preludes are very short, lasting under Wygranienko himself. The Zymbelstern compositions, a setting of John Bun- St. Louis, Missouri a minute, with only a few of the fugas, is clearly heard to great effect in this yan’s poem “He that is down need fear canzonas, and toccatas reaching three multi-sectional piece. Other highlights no fall,” from The Pilgrim’s Progress The complete Warsaw Tablature and minutes. The longest piece at 4:29 is include the Portunał at 8′ by itself in the (1684). This shows Philip Moore in a Adam z Wćgrowca, Piotr Ŧelechowski the Toccata no. 55 on the Eighth Tone. Elewatione, the right-hand solo of the more relaxed and tranquil mood than and Petrus de Drusina; Rostislaw No. 30, Toccata on the 3rd Tone, is a fl ute chorus on the Choir Organ in the The Song of Christ’s Glory. Wygranienko (organ). Acte Préal- curiosity that ends in the fi rst tone, Ave Maris Stella, the Choir 4′ Salcynal Although primarily famous as a con- able APO164 and APO165. Available and owes much to the earlier Italian by itself in a Fantasia, and the Choir 8′ cert pianist, Anthony Piccolo is by no from www.dimusic.co.uk/. schools and Froberger; indeed, a frag- Flet Major alone in another Fantasia means a stranger to the Anglican choral These two recordings introduce a rep- ment of Frescobaldi is present in the demonstrating the warmly rounded tone tradition, having composed numerous ertoire that, despite its extent, remains second fragmentary section. Several of throughout the compass. commissioned works for the National almost completely unknown. Rostislaw the pieces are taken at a leisurely pace, In each CD Wygranienko’s playing is Cathedral, Canterbury Cathedral, and Wygranienko, a Ukrainian who special- which frequently adds to the chromatic of a uniformly very high standard, with a number of choral festivals. He is cur- izes in Polish organ music, has recorded writing. Arpeggiation of the long open- well-executed ornaments and clear rently the Assistant Chorus Master of pieces from various 17th-century tabla- ing chords is usually upwards, but no. articulation. Opportunity is taken to the New York City Opera. His setting tures on the organ at Kazimierz Dolny. 28 is a rare downwards example. demonstrate the various tone colors, Highlights of this CD include no. 16, and the absence of reeds is not a major a Fuga that begins in triple time but detraction at all. The booklet for each then moves into quadruple time; no. 48, CD, in Polish and English, contains played on the two 4′ fl utes; and the bright photos, extensive notes on the organ full sound of the Rückpositiv in no. 52. and the repertoire included, and also The penultimate piece also uses fl utes most helpfully includes a list of regis- of 16′ to 4′ on the Main organ and from trations used for each piece; the print 2 8′ to 2 ⁄3′ on the Rückpositiv. The wide is rather small but is essential reading variety of pieces is further highlighted by despite some awkward translations. It the order chosen by the player. may well be asked why it was consid- The second CD contains pieces by ered necessary to record the whole of three named composers and two anony- the Warsaw tablature and the majority mous pieces, all taken from early 17th- of the pieces by Adam z Wćgrowca, century tablatures. The greatest part of given that so many are extremely the CD is taken up with some 30 compo- short (they stand comparison with sitions by Adam z Wćgrowca, which are the many collections of versets on the found in the Samogitian Tablature, dis- eight tones from south Germany and We are working in your area, how can we help you? play an Italianate infl uence, with some Italy as well as with the small-scale pieces being dated 1618. The recording imitative movements in the Mass and opens with a solemn chordal Praeludium hymn settings by Frescobaldi, Croci, pro organo in fi ve parts including a pedal Salvatore and Fasolo), but it is only by part notated on a third stave. Other being presented with the possibility of pieces include four Canzonas (one of hearing the entirety that the listener

18 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Reviews can appreciate the scope of these tab- Tabernacle in Salt Lake City for over latures and begin to understand their thirty years. These arrangements high- School of MUSIC value as offering us a snapshot of their light his singular gifts for lush harmonies possible integration into the Polish and a complete display of the organ’s liturgical framework. Also there is the color and dynamic palette. Four pieces Wade Weast, Dean very rare and invaluable opportunity to are settings of Christmas carols: Ding hear a far wider palette of tone colors Dong! Merrily on High (an effective on a historic Polish organ than if a small cacophony of bells); Hark! The Herald selection of only the larger-scale works Angels Sing (a favorite closing toccata had been included. Wygranienko is on the daily recitals at the Tabernacle in to be seriously congratulated on this December); I Heard the Bells on Christ- labor of love and Acte Préalable, a mas Day; and Joy to the World. Other label devoted to Polish music of all holiday settings include My Country, genres, is to be thanked most warmly ‘Tis of Thee (an exciting postlude jux- for having the courage to invest in this taposing fanfares and melody, ending project. If only the scores were not so with a French toccata) and We Gather difficult to obtain! Together. Two of the most accessible —John Collins settings are Beautiful Savior and Jesus, Sussex, England the Very Thought of Thee in solo/accom- paniment texture. The title number is a harmonically rich fantasy based on a New Organ Music popular Mormon hymn. What a Friend We Have in Jesus, jazz- infl uenced organ solo by Joe Utter- John Leavitt, Our Songs Rise: Joyful back. Jazzmuze, Inc. 2012. $10. Settings for Organ. Augsburg For- Deep River for fl ute, oboe, violin, or tress, ED022286, $16.00. recorder, and organ by Joe Utter- The prolifi c and gifted Kansas com- back. Jazzmuze, Inc. 2012. $12. poser John Leavitt (b. 1956) provides The title What a Friend We Have in eight splashy two-page wonders that will Jesus immediately caught my attention work well as exhilarating hymn intro- Photography by Brent LaFever since I have memories of my grand- ductions or short offertories. Tunes are mother singing the hymn many years ago Lasst uns erfreuen, Nicaea, Earth as she went about her household chores. and all stars, In dir ist Freude, This rendition is unlike anything my Gaudeamus pariter, Gelobt sei CONCENTRATIONS grandmother might have heard, but it is Gott, Komm, Gott Schöpfer, and Brass, Collaborative Piano, Composition, fi lled with the spirit of the gentle refrain Terra Patris. that refl ects the title. If you know of Joe “Devotion” is a four-page expres- Guitar, Harp, Opera, Organ, Percussion, Utterback’s music, you will recognize the sive setting of O Waly Waly in which Piano, Strings, Voice, Woodwind infl uence jazz and gospel has on it. the tune begins simply and becomes After a four-bar introduction, the more and more fl orid. The collection is tune enters on a soft solo stop and is rounded out with two original composi- FACULTY fi lled with the grace notes, glissandos, tions: “Celebration” and “Jubilation,” and accidental-fi lled chords, which are which both feature a solo reed stop. Dr. Timothy Olsen, indicative of this soft style of jazz. A rep- UNCSA Kenan Professor of Organ etition of the tune on a different manual The Marilyn Mason Music Library, stretches the chromaticism even further. Volume 7. MorningStar Music Pub- This is followed by a more rapidly mov- lishers, MSM 10-996, $26.00. 2015 AUDITION DATES ing bass line in triplets; the melody, in a The latest volume in MorningStar’s Instrumental and Composition: blues style, complete with tremulating project of publishing (and republishing) chords, allows the music to really rock. A organ music commissioned by Dr. Mari- January 23*; February 6*, 13*; April 3 sparkling rapid movement in the manu- lyn Mason is a collection of variations. *Scholarship Priority Auditions als introduces the melody in the pedal in First is “Prologue, Variations, and Epi- a very straightforward fashion. This sub- logue on Wondrous Love” by Gerald sides to a soft “warm registration” that Near (b. 1942). Playable on any organ, FOURTH ANNUAL HIGH SCHOOL ORGAN reintroduces the solo from the beginning the Prologue captures the essence of this and completes the piece. (Just as a side Lenten tune. The variations comprise COMPETITION & FESTIVAL: JAN. 30 -- FEB. 1, 2015 note, there are two missing naturals in two Inventions, two Scherzettos, an Prizes include cash and/or tuition scholarships the score at measure 92: the fi nal d and Aria with an ornamented melody over e in the left hand should have naturals in a rocking fi gure on celestes, a Chorale in excess of $12,000. Workshops, master classes front of them.) (à la Orgelbüchlein), an elegant Orna- and lessons included. For details, contact I was completely captivated by this mented Chorale, and a harmonically music. And from the comments I got adventurous Meditation. The ending Dr. Timothy Olsen at [email protected], or visit after playing it in three different services Epilogue features the tune interrupted www.timothyolsenorganist.com in two churches, I would say the congre- by arabesques. gation was as well. The music is not dif- New Zealand transplant Nigel Wil- fi cult, although the left-hand chords with liams offers “Variations on Slane.” A their many accidentals took some work maestoso Chorale is followed by a varia- to make smooth. As an alternative to the tion featuring the tune under running normal chorale prelude, I recommend fi rst-inversion triads. The clever second this music highly. variation has the tune in canon in the In Deep River the style is very much pedal and left hand, against a quodlibet akin to that of What a Friend, with the of Simple Gifts in the right hand. primary difference being that the solo The third variation is a pedal etude in part is carried by the fl ute. The music triplets against duple hands. Another includes the notation that the solo can quodlibet in the fourth variation using be played by recorder, fl ute, violin, or Londonderry Air is followed by a oboe, which makes it a possibility for rousing Toccata. Your passion today. any instrumental resource you may have The fi nal piece is “Variations on available. Once again the chromaticism Lobe den Herren” by a student of Your profession tomorrow. of the chords in the organ part will take Dr. Mason, Wyoming composer Steven some work, but the result will be well Hoffman (b. 1965). Surprisingly, the set worth the effort. begins softly with an Adagio religioso —Jay Zoller followed by a poco più lento Prayer. The WWW.UNCSA.EDU/ORGAN Newcastle, Maine keys and styles of the movements vary [email protected] greatly—everything from a Trumpet Clay Christiansen, Now Let Us Tune, canonic trio, fanfares with pedal 336-770-3290 Rejoice: Ten Hymn Settings for melody, meditation on celestes, and a Winston-Salem, NC Organ. MorningStar Music Publish- French toccata. The jaunty 10/8 Allegro ers, MSM 10-623, $23.00. variation is especially interesting. Dr. Clay Christiansen (b. 1949) has —Kenneth Udy served as an organist at the Mormon Salt Lake City, Utah

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 19 In the wind...

Photos of cats generations to come. I did perfectly well were discarded in favor of the new- Read recently on Facebook: without a smart phone until I was in my fangled electro-pneumatic organs in the “We each have in our hands an instru- forties, but my kids have pretty much beginning of the twentieth century. ment with nearly limitless computing grown up with them. And our grandson Described in terms of the history of power that gives me instant access to Ben, at eighteen months old, is adept organbuilding in Boston, we threw out worlds of information, and we use it to at managing touch screens—giggling as Hook organs in the 1910s and 1920s to publish photos of cats.” he swipes to change photos, touching install Skinners, and we threw out Skin- My iPhone is sitting on my desk. icons, all the while staring intently at the ners in the 1960s and 1970s to install It’s seldom more than a few feet away thing. Thank goodness his parents read Fisks and Noacks. What goes around, from me. It’s my link to the world. I get to him, and I hope he grows up learn- comes around. nervous when the battery is low. Imag- ing conversational skills that seem to be ine how awful it would be if the phone eroding today. Homogeneity went dead while I was on the subway Until sometime in the second half in the middle of a game of solitaire. I’d Innovation of the twentieth century, each organ- have to sit there and stare at a carload The last century has been one of builder’s work was unique. Any serious of nutcases. innovation. Many of the most impor- organist, blindfolded, could tell the The iPhone (or any so-called “smart tant developments have come with difference between a Skinner console phone”) is a fantastic tool. It enables signifi cant downsides. The automobile and an Austin console. The profi le of me to stay in touch with co-workers and has given us unlimited mobility, but it the keycheeks, the weight and balance clients when on the road. The ability to has torn up the landscape and poisoned of the keyboards, the layout of the stop take a photo and send it away instantly is a the skies. The technological revolution controls, the sound of the combination Pumping room at St. Sulpice, Paris fantastic aid when sorting out mechanical has given us connectivity that we could action, and the feel of the pedalboard (photo credit: Stephen Schnurr) issues at projects. Need to send the specs not have imagined a generation ago, but were all separate and distinct. of a blower motor to a repair shop? Take it has compromised good old-fashioned I had a fascinating conversation with list knowing that it will function perfectly a photo of the engraved plate. Poof. I can face-to-face human contact. Image a a colleague one night in a bar, during and reliably, freeing him to put his effort make and change airplane, train, and hotel guy breaking up with his girlfriend by which we discussed the evolution in into another part of the instrument. reservations. I keep my calendar and con- text message. It happened in our family! organbuilding toward homogeneity. Ideally then, each hour saved by the tacts organized. I can access bank accounts Suck it up and face the woman, bucko. Supply houses have become increas- purchase of ready-made parts can be put to transfer funds and pay bills. I can create Also, mass production and mass mar- ingly important to us, which means, into voicing and tuning. and send invoices for service calls as I leave keting has led to homogeneity. People in for example, that our consoles have Ernest Skinner put lots of time and the church. You’d think that such a gizmo Boston and Tucson buy the same candle- that “Crate and Barrel” syndrome. For resources into the development of his would have nothing but positive effects. sticks at Crate and Barrel, as if there example, there’s one brand of electric famous Whiffl e Tree expression motor. But there’s a hitch. They’ve turned us were no cultural differences between drawknob motors widely favored in the Today, there are three or four suppliers into a race of navel gazers. On any street those regions. industry. They work beautifully and who manufacture electric expression corner you’ll see people standing still, These concepts apply to our world of reliably, and they’re easy to install. So motors with digital control systems. staring into their phones. People stop pipe organs. In that world, the second many fi rms building both electric and They use the motors developed for suddenly while walking to go into their half of the twentieth century was domi- mechanical action organs use them wheelchairs, and the controls allow the phones. The other day on the street, I was nated by a debate about innovation. We on their consoles. They’re great, but organbuilder to program the speed and hit in the shoulder by a woman who was argued in favor of the imagined purity they smudge the distinguishing lines distance of each stage. When shutters are gesticulating while arguing with someone of historic instruments and wondered between organbuilders. opening, it’s great when the fi rst step can on the phone. And another tidbit from exactly how they sounded when played There are several fi rms that supply be a tiny one, with the subsequent stages Facebook—a friend posted a photo of a by the artists of their day, or we argued keyboards to organbuilders. There is a getting larger and larger. And even Mr. woman dressed in yoga togs on the down in favor of the convenience of registra- hierarchy of quality, and builders can Skinner knew that it was an advantage escalator from New York’s Columbus Cir- tion devices, the effect of expression make choices about which organs should when closing the shutters, for the last cle to the Whole Foods store, balancing a enclosures, and the fl exibity of organ have what keyboards. If you’re renovat- stage to be slower than the others to huge stroller laden with toddler with one placement made possible by electric ing the console of an indistinct fi fty-year- keep the shutters from slamming. He did hand, the other hand holding the phone actions. Both sides made cases about old organ, it doesn’t make much sense to it by making the exhaust valve smaller in to her ear. Sounds like child neglect and how unmusical were the instruments install fancy keyboards at ten-thousand the last stage so the power pneumatic endangerment to me. favored by the other camp. a pop, when a thousand-dollar keyboard wouldn’t work as fast. We do it by pro- People talk on the phone at restaurant The result of the decades-long debate will work perfectly well. But when gramming a slower speed. tables with friends, they talk on the is generally a positive one. It’s true that comparing organs of high quality, we When organbuilders get together, phone at the cashier in a grocery store, many wonderful historic organs, espe- notice when different builders are using you hear chat about who uses which they talk on the phone in the middle of a cially early twentieth-century electro- keyboards from the same sources. Again, drawknobs, which expression motors, business meeting. Do those phones help pneumatic organs, were displaced and the lines are smudged. which solid-state relays and combination us get more done, or do they keep us discarded by new tracker organs. But But here’s the thing. If a basic com- actions. We compare experiences about from getting anything done? after all, that trend was a simple repeat ponent of an organ is developed at high the performance of the machines, and And worse, if we let them, our phones of one sixty years earlier, when hundreds quality and reasonable cost by a special- the customer support of the companies will affect the fl ow of human thought in of grand nineteenth-century instruments ist, the organbuilder can cross that off his that sell them.

Human resources A fundamental difference between EAST TEXAS PIPE ORGAN FESTIVAL today’s organbuilding companies and those of a century ago is the size of the fi rms. Skinner, Möller, Kimball, Hook & Hastings, and others each employed hun- November 9-14, 2014 dreds of workers. The American church was powerful, and as congregations grew, new buildings were commissioned by the Honoring the Life and Work of thousands. There were decades during which American organbuilders produced Roy Perry more than two thousand organs each year. And because the market was so Fifteen recitals strong, the price points were relatively higher than they were today. So when on seven Aeolian-Skinners Mr. Skinner had a new idea, he could put a team of men on it for research With David Baskeyfield, George Bozeman, and development. Charles Callahan, The Chenaults, Today there are a couple fi rms with Mark Dwyer, Richard Elliott, Jeremy Filsell, more than fi fty employees, but most Jean Guillou, Stephen Hartman, organ companies have fewer than ten. A shop with twenty people in it is a big East Texas Pipe Organ Festival Michael Kleinschmidt, deal. In part, this is the result of the ethic P. O. Box 2069 Christopher Lynch, Larry Palmer, of hand-craftsmanship championed Kilgore, Texas 75663 Walt Strony, and William Teague, during the twentieth-century revival. with special presentations featuring “Factory-built” organs had a negative this year’s guest of honor, Fred Swann. stigma that implied that the quality of the artistic content was lower in such an

www.EastTexasPipeOrganFestival.com instrument. And there can be little argu- [email protected] ment that in the mid-twentieth century, thousands of ordinary little work-horse organs were produced.

20 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM By John Bishop

But the other factor driving the dimin- prepare complex registrations, which is Try that with two stop-pullers on a big ishing size and number of independent ultimately to the benefi t and delight of tracker-action organ! For that matter, try companies is the decline of the church. the listener. that on a fancy electric console with all Congregations are merging and closing, the bells and whistles. If there ever was and other parishes are fi nding new con- The top of the world an example of how a modern organist temporary forms of musical expression. Many of us were privileged to hear Ste- is liberated by the possibility of setting Electronic instruments now dominate phen Tharp play the massive and magi- thousands of combinations for a single the market of smaller churches. And it’s cal Aeolian-Skinner organ of The First concert, we heard it that night. common to see congregations of fi fty Church of Christ, Scientist (The Mother or sixty worshipping in sanctuaries that Church) in Boston as the closing event Free at last, free at last, could seat many hundreds. Century- of this year’s national convention of the thank God almighty… old coal-fi red furnaces equipped with American Guild of Organists. The majes- Last May, Daniel Roth, organist at the after-market oil burners gulp fuel by tic building was crammed with thousands legendary church of St. Sulpice in Paris, the truckload. And an organ that would of organists and enthusiasts. I suppose played a recital on our Casavant organ in have cost $50,000 in 1925 now costs it’s the most important regularly recur- New York. Besides the thrill of hearing $1,500,000. That’s a lot of zucchini bread ring concert of the American pipe organ such a great artist play our instrument, at the bake sale. scene. And what a night it was. The apex, a very deep part of that experience for There are 1,560 Sundays in thirty I think these are compelling reasons the apogee, the zenith —the best part— me was a conversation with Mr. Roth years. So Widor played that organ for in favor of the common use of basic was his performance of his transcription about his research into the life and work thousands of Masses, hundreds of recit- components provided by central suppli- of Igor Stravinski’s Le Sacre du printemps of his predecessor, Charles-Marie Widor. als, and countless hours of practice and ers. Ours is a complicated fi eld, and it’s (The Rite of Spring). It’s a wildly complex It’s a lovely and oft-repeated bit of pipe composition while relying on people unusual for a small group of people to score, but luckily, Stephen is a complex organ trivia that Widor was appointed as to pump the organ’s bellows. I’ve seen combine every skill at the highest level. and wild performer! He didn’t play as temporary organist there in 1870, and many photographs of the august Widor, When I talk with someone who has though it were a transcription, he played retired in 1937 having never been given and I don’t think he shows a glimmer of done nothing but make organ pipes all as though it were an orchestra. He made a permanent appointment. I don’t know a smile in any of them. He must have his life, I marvel at his depth of under- 243 registration changes in the course of when the fi rst electric organ blower was been a pretty serious dude. But I bet he standing, the beauty of his drawn solder about thirty-three minutes. That’s roughly installed there, but let’s assume it was smiled like a Cheshire Cat the fi rst time seams, and his innate sense of π, that 7.4 changes a minute, which means sometime around 1900, thirty years into he turned on that blower and sat down mathematical magic that defi nes circles. thumping a piston every 8.1 seconds. his tenure. for an evening of practice by himself. Q He can look at a rectangle of metal and visualize the diameter of the tube it will make when rolled and soldered. The organ will turn out better if he doesn’t also have to make drawknobs.

The comfort of commonality When Wendy and I travel for fun, we sometimes stay in quaint bed & breakfast inns, enjoying their unique Get Real qualities, and chuckling about the quirks and foibles of the innkeepers. But when I’m traveling for business, trying to maximize each day on the road, I prefer to stay in brand-name places. I want to check in, open my luggage, and know Are you purchasing sounds, that the plumbing, the television, the WiFi, and the heating and air-condition- ing will work properly. I want to fi nd a or samples of sounds? functioning ice machine, and I expect a certain level of cleanliness. Besides, I ...real pipes last for centuries. like amassing rewards points. Likewise, I’ve come to understand that traveling organists benefi t from fi nding the same few brands of console equipment wherever they go. If you’re on a concert tour, taking a program of demanding music from church to church, you get a big head start when you come upon an organ with a solid- state combination system you’re famil- iar with. Peter Conte, Grand Court Organist of the Wanamaker Store in Philadelphia, played the dedicatory recital on the Casavant we installed at Church of the Resurrection in New York, and I took him to the church to introduce him to the organ. Seconds after he sat on the bench, he was delving through the depths of the menus of the Peterson combination system, setting things the way he wanted them. He knew much more than I about the capabilities and programmability of the organ. Recently I was talking with a colleague Call today for who was telling me about the installa- tion of a new console for the organ he APOBA’s free 66+ has been playing for nearly forty years. APOBA.COM He told me how he had to relearn the page color prospectus entire organ because while it had much the same tonal resources as before, he 1-800-473-5270 was able to access them in a completely new way. It was a succinct reminder of BUILDER MEMBERS SUPPLIER MEMBERS how sophisticated these systems have ANDOVER ORGAN COMPANY DOBSON PIPE ORGAN BUILDERS NOACK ORGAN COMPANY, INC. QUIMBY PIPE ORGANS, INC. A.R. SCHOPP’S SONS, INC. become, and how they broaden the pos- BEDIENT PIPE ORGAN COMPANY GARLAND PIPE ORGANS, INC. PARKEY ORGANBUILDERS RANDALL DYER & ASSOCIATES, INC. HARRIS PRECISION PRODUCTS sibilities for the imaginative organist. BERGHAUS PIPE ORGAN BUILDERS, INC. GOULDING & WOOD, INC. PARSONS PIPE ORGAN BUILDERS SCHANTZ ORGAN COMPANY INTEGRATED ORGAN TECHNOLOGIES, INC. BOND ORGAN BUILDERS, INC. HOLTKAMP ORGAN COMPANY PASI ORGANBUILDERS, INC. SCHOENSTEIN & CO. SOLID STATE ORGAN SYSTEMS So it turns out that for many, the BUZARD PIPE ORGAN BUILDERS, LLC J.H. & C.S. ODELL PATRICK J. MURPHY & ASSOCIATES TAYLOR & BOODY ORGANBUILDERS SYNDYNE CORPORATION homogeneity of fi nding the same com- C.B. FISK, INC. KEGG PIPE ORGAN BUILDERS PAUL FRITTS & CO. ORGAN OSI - TOTAL PIPE ORGAN RESOURCES bination systems on multiple organs CASAVANT FRÈRES LÉTOURNEAU PIPE ORGANS PETERSON ELECTRO-MUSICAL PRODUCTS allows organists a level of familiarity with how things work. It takes less time to

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 21 On Teaching

Hand Distribution III Continuing our trek through the Alla Breve section of Bach’s D Major Prelude and Fugue, BWV 532—looking closely at issues involving hand distribution—we come to a brief section that is infl uenced by something other than the music itself: Example 1 shows that if there were nothing else to think about, clearly there is reason not to distribute the two voices Example 1, Bach, Prelude and Fugue in D, BWV Example 2, measures 48–49 Example 3, measures 50–51 between the two hands. That is the fi rst 532, end of measure 44 through measure 46 principle of hand distribution, after all. However, in most editions of this piece, there is a page turn right about here. Therefore, the player can gain a bit of ease with that page turn by taking all of these notes in one hand (most likely the right hand). It is entirely possible that the various editors have chosen to position these measures at a page turn in order to help out in this way. Of course, for a player who memorizes the piece this won’t matter in the long run, but it might Example 4, measures 51 through 59 still help during the learning process. This is a special case—sort of a diver- sion. In fact, analyzing it like this is a use- ful way to help a student to relax: talking about something practical and not artis- tically intense, but relevant. However, it is not an unreal concern, and there are other reasons for taking clusters of notes in one hand in order to deal with some- thing else while playing. The main one is Example 5, measure 65 Example 6, measures 69–71 Example 7, measures 71–73 probably the act of changing stops. Even something as simple as grabbing all of The next, which is fairly lengthy, has writing is in only two voices or because It makes sense to take the eighth- the notes of the fi nal chord of each verse the fast-moving fi gures in the upper the balance of more intricate and sim- note middle voice in the right hand, of a hymn in one hand to change stops voice. However, the two slower voices pler writing makes it clear. just accepting that one fi nger (the fi fth with the other is a branch of decision- are not close enough to one another to At measure 65 (Example 5) there is fi nger) of that hand is unavailable since it making about hand distribution. be taken in the left hand, clearing the an interesting subtlety to examine. The has to hold long sustained notes. The rest of this Alla Breve section right hand just to track the intricate line middle voice takes over the note being At measure 79 there is another oppor- mainly presents the same issues that we (see Example 4, measures 52–59). held—presumably in the left hand—by tunity to use hand distribution to make have already seen, with perhaps a few For most players, the easiest and most the lower voice. Which hand should play the playing of repeated notes sound nat- twists. I will go through it all, but con- natural way to fi nger the passage will the note? The left hand is right there, ural, and to avoid letting those repeated cisely, since it is more or less “review”. involve taking in the left hand all of the but with the “wrong” fi nger—since notes disrupt the fl ow of the voices. My The next short passage (Example 2, middle-voice notes that the left hand can whatever fi nger is holding the note, the suggestions are indicated by letters, and measures 48–49) has an outer voice that is actually reach, and taking the notes that hidden repeated note will sound better if are shown in Example 8. more active than the other voices. There- the left hand cannot reach in the right it is played with a different fi nger. This is The next complicated or involved spot fore it will make sense to keep that voice hand. On the second quarter note of each not hard to manage. The articulation and begins at measure 89 (Example 9). This by itself in one hand, for the most part. of the odd-numbered measures, where timing of the move from the c#′ to the a in is a longer example of the sort of writing Some players may want to break up the the two higher voices come together, the middle voice might seem to be under found at measure 36 and discussed in middle voice by taking the d′ at the end there is a special issue to think about. more natural control if both those notes last month’s column. In this case, how- of measure 48 in the right hand. There Which hand can best project to the lis- are played in the same hand. However, ever, the eighth notes in the middle voice may be other modifi cations that could tener the illusion that this is two notes, it is entirely possible to practice towards can all be reached by either hand. The make sense, but tracking the entire middle one of which moves away as part of the making that gesture effective across the player has a free choice as to which hand voice in the right hand would signifi cantly upper eighth-note line and one of which two hands, as I will discuss below. It should play any of these notes and there- increase the diffi culty of the passage. is part of the middle-voice quarter-note might seem better to take that eighth- fore what pattern to follow through the Example 3 (measures 50–51) shows line? It is actually a trap in a spot like this note a with the left hand to give the right passage. The teacher’s role is mostly to the next measure, which has an intricate to try to play the note with two fi ngers at hand more time to get up to the c#′′ on point this out to the student, and to help middle voice. All of the notes of that once, one from each hand. (No one would the second quarter note of the measure. the student notice the implications of voice can be reached by the right hand; suggest this on purpose, but students will However, to me that “leap”—the tenth different choices for hand position and however, it might make sense to take indeed fall into doing it, probably through from the a to the c#′′ over the time-span articulation (and of course the implica- some or all of those notes that can also indecision.) The choice of hand (and fi n- of an eighth note—is the main reason to tions of articulation preferences for hand be reached by the left hand, to break up ger) should be made clearly, even though take the a in the right hand. The physical distribution choices: the more interested the physical act of combining that line it can be made either way. gesture of moving the right hand up the a student is in playing the upper half- with another. The candidate notes are For most of the next nine measures, distance of that tenth will—like a bowing note line legato, for example, the more probably the opening c#′, and the b and there are no real questions to think gesture in string writing—give the player middle-voice notes the student will want the a in measure 50. about, either because the (manual) the best chance of shaping the articula- to take in the left hand). I myself would tion and timing of the musical gesture in probably take the third eighth note of an effective and natural way. each beat in the left hand—those that At measure 69 (in Example 6) there is are a third higher than the lower voice a brief passage in which any and all of the left-hand notes, closest to them—and notes of the middle voice could be taken the others in the right hand. There are by either hand. other ways to do it. This is a good spot at which to remem- The next few measures (Example ber once again that it doesn’t matter on 10 measures 94–96) end the section of which staff the notes are printed. The the piece that we are analyzing. Again, decision about which middle-voice notes either hand can reach the middle-voice to take in which hand should be based on notes. Choices can be made based on Church of Saint Jude the Apostle comfort and logistics. This is not a bad the usual factors: closeness of notes to Wauwatosa, Wisconsin time to mention that this will vary with one another, hand position, and so on. Three manuals – forty ranks the particular hand shapes of different However, this passage also has a special players. For example, it is quite likely feature. A player might fi nd that the A RTISTRY – R ELIABILITY – A DAPTABILITY that a player with relatively short thumbs shaping of the timing and articulation will gain more comfort from taking the of the syncopations/suspensions in the d′ in measure 70 with the left hand than upper voice feels more natural either a player with relatively long thumbs will. 1) with those notes isolated on their Measures 71 through 78 display a tex- own in the right hand, or 2) played ture in which the upper voice is mostly with the middle-voice notes in the right holding long notes, while the other two hand, using a kind of rocking motion to voices are fairly active. A sample of that reinforce the feeling of the pacing and passage is shown in Example 7. articulation of those notes. This is an

22 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM By Gavin Black

Example 8, measure 79 Example 9, measures 89–93

not reach those four notes. Nonetheless, the conversation revolved around such issues as which note or notes it was best to leave out, or whether there was a solu- tion based on arpeggiation, or whether Widor’s left hand was really big enough for him to be able to play this chord eas- Example 10, measures 93–96 Example 11, Widor, Toccata, measure 8 ily and nonchalantly. It took a while for someone to notice individual thing: I can easily imagine (that is, if it is hard to go back to the fi n- This is not to end up playing that line the obvious solution, namely that the doing it either way. gering that is really being practiced after that way regularly, but as training in highest note of the so-called “left hand” When a student (or any player) has visiting the one-hand fi ngering) then he listening to and executing the transitions chord is within easy reach of the notes made all of the decisions about which or she should not do it. from one hand to the other. of the upper voice, and can perfectly hand should take which notes of a When a student has practiced a line Often the issue is not that of pass- well be played in the right hand. Doing (middle) contrapuntal voice, and worked this way and is ready to put the whole ing a line between the hands. In non- it this way opens up some performance out the actual fi ngering, then the next texture back together, he or she should contrapuntal music, the question of how issues similar to some of those discussed step is to practice the passage in such try at fi rst to listen only to the line to divide the notes between the hands above. The timing and articulation of a way that that voice sounds the way that passes between the hands and to (assuming, as always in this context, that note must be just right, as a match that the player wants it to sound. If the pay no attention to the voices around that the whole texture is meant to be to the other notes of the chord. That is hand distribution and fi ngering are right it. (Unfortunately, it is impossible by played on one keyboard) should usually intuitive if all of the notes of the chord (comfortable) then this should not be defi nition to solo out this line, since in be determined as simply as possible by are in the same hand—and less intuitive, categorically different from practicing all of the passages of the kind that we trying out the physical comfort, sim- more challenging, if the notes are split any other sort of passage. have been studying both hands and all plicity, and convenience of any of the between the hands. This is analogous to However, there is one concern. It is the voices are—and have to be—on one various possibilities. In fact, very often, the issues involved in passing a voice back undeniably a little bit more diffi cult—or keyboard.) This is an exercise in focus- just remembering that it is perfectly all and forth between the hands. It is also perhaps it would be more accurate to say ing, and of course it can’t be achieved right to distribute the notes between the important to keep the articulation of the “less intuitive”—to shape the timing and literally. You will always hear the other hands however they fall most easily is the top line going the way you want it while articulation of the transitions from one notes, but you should try to focus on the most important as well as the fi rst step. adding an extra note for the right-hand note to the next in a contrapuntal voice line that passes between the hands, to The rest follows from that. thumb. A player who absolutely cannot when those notes are in different hands be conscious of that line and the sonor- It is interesting that the impulse to reach the entire chord can take on the than when they are in the same hand. ity of all of its notes. play upper staff notes in the right hand task of practicing to get these things It is very important not to let this fact It can be a good exercise to take any and lower staff notes in the left hand right. A player for whom the chord is lead a player into making awkward hand line of music—say the top line of a hymn, can be pervasive. I recently took part in possible but awkward can decide where distribution choices. (Sometimes it can or one voice of a two-part Invention, or a conversation about the wide left-hand the balance lies as to what is easiest and and should infl uence those choices when a cantabile melody from the slow move- chord on the fourth beat of measure 8 what will give the best results. Q other factors are fairly evenly split). But ment of a Mendelssohn sonata—assign of the Widor Toccata (Example 11). For it should be kept in mind and addressed it an arbitrary fi ngering that shifts back many players, it is impossible (or nearly Gavin Black is director of the Prince- in practicing. and forth between the hands, and prac- so) to play all four notes of this chord in ton Early Keyboard Center in Princeton, The main way to address it is to tice that fi ngering. (The fi ngering can the left hand, and for even more players New Jersey. He can be reached by e-mail practice that voice by itself, but split be worked out arbitrarily, but should be it is at least awkward. The player who at [email protected] and his website between the hands with the correct, written in and not changed at random.) initiated the discussion absolutely could is www.gavinblack-baroque.com. worked-out fi ngering. This is partly physical practice, but even more it is listening practice. It is easiest to attune the ears to the fl ow of the line when the line is not covered by other notes, and this will make it easier to hear and follow the line in the context of the full texture. It is always straightforward to extract the line once the fi ngering process has been accomplished. It can be a good exercise for a student to write out—or type out— the line by itself, add the chosen fi nger- ings, and practice it from that. However this is probably not necessary. For the bulk of this practicing it is important not to change the chosen fi ngering—and it is crucial not to do so accidentally or at random. (It is always OK to rethink fi ngering consciously, if there is a reason to do so.) It is also important to listen carefully during this practice to the transition moments, where the voice crosses from one hand to the other. It is possible, especially with a line that is physically not hard to play, to play short sections of the line in one hand at this stage to listen for the continuity, and then put it back into the correct (two-hand) fi ngering, trying to match the one-handed effect. It is prob- ably a good idea not to do very much of this: just once or twice through a given short section of the line being practiced. If a student fi nds this to be disruptive Nasunogahara Harmony Hall, Japan 2014

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 23 Baroque Organ Repertoire Baroque Iberian Battle Music for the Organ By Tan A Summers

ne of the most interesting genres of been attributed to both composers, or Omusic to arise during the 17th cen- neither, as will be discussed later. tury was that of Portuguese and Spanish Most of the manuscripts containing battle music written specifi cally for the battles (batalla in Spanish, batalha in Por- organ. Iberian organs, highly versatile for tuguese) came originally from monastery their size and often equipped with formi- or cathedral libraries, no doubt because dable banks of horizontal reeds, were an their composers were cathedral organ- inseparable factor in the development of ists, some of them in holy orders. All of this musical category, and still inform us the manuscripts are now held in central how to play it. This article will examine libraries in or near Oporto and Braga, the repertoire of Iberian battle music, its Portugal, and Madrid and Barcelona, origins, and the impact of the villancico, Spain. Most of these works are available ensalada, and the Iberian organ. in modern transcription, but because so many of the anonymous pieces have simi- The repertoire lar names, I have included the original In an environment where composers manuscript and folio numbers in Table 1.2 wrote tientos and versets by the hun- In fact, almost all are described simply dreds, the battle music repertoire seems as a battle in a given mode. Mode desig- quite small. Only about twenty pieces nations imply that the compositions were survive from the 17th century (Table intended for liturgical use. Fifth and sixth 1), even if the list expands to include modes are the most common. The seven battle-like works with more generic pieces in sixth mode have key signatures names, or which appear to contain of F major. The four in the fi fth tone are material borrowed from non-Iberian in C major. Although fi fth mode is gener- composers. Yet, perhaps because their ally thought of as an F-based mode, its unique battle-related content makes tenor is C. Sutton suggests that the use them fun to play, this small body of of C major here accompanies a general works appears on modern concert pro- shift towards tonality. Three fi fth-mode grams far more often than do the many batallas, which are for all practical pur- tientos and versets that surround them poses written in the key of C, appear in in the manuscripts of the period. Mary Madrid MS 1357 in volumes indexed by Ellen Sutton1 recommends in particular mode. All of the fi fth-mode versets in the the battles marked in Table 1 with an fi rst two volumes of MS 1357 were trans- asterisk as being of interest to modern posed to C.3 One of the two eighth-mode Gómez Herrera organ, Monastery of Santa Cruz, Coimbra, Portugal (Photo credit: audiences. Pieces marked + are nearly works, both thought to be by Aguilera de Diego Delso) identical. The selection marked § has Heredía, is also in C major. The choice of

Table 1. Iberian Battle Music from the 17th Century2 *=of interest to modern audiences; += nearly identical; §=uncertain attribution Title Composer and Manuscript Modern Edition Tiento de Batalla de 8º tono Anon. (attr. Aguilera de Heredía), E-Mn MS 1360 fols. 163–66 Higinio Anglés, Antologia de Organistas Españoles del Siglo XVII (Barcelona: Biblioteca Central, 1965), vol. 4, pp. 74–78 *Batalha de 5º Tom Diego da Conceição, P-Pm MS 1607, fols. 101–04v Roque da Conceição, Portugaliae Musica XI: Livro de obras de órgão, ed. Klaus Speer (Lisbon: Fundação Calouste Gulbenkian, 1967), pp. 146–150 +Batalha famoza Anonymous, P-Pm MS 1607, fols. 67–76v Portugaliae Musica XI, pp. 107–118 *Batalha de 6º Tom Pedro de Aráujo, P-Pm MS 1607 fols. 55v.–58v. and P-BRp, Portugaliae Musica XI, pp. 92–96, Gerhard Doderer, ed., Portugaliae Musica MS 964, fols. 34–38 XXV: Obras selectas para órgaõ: MS 964 da Biblioteca Pública de Braga (Lisbon: Fundação Calouste Gulbenkian, 1974), pp. 171–176 +Obra de 6º Tom sobre Batalha Anon., P-Pm MS 1607, fols. 49v-55; P-BRp, MS 964, fols. 34–38 Portugaliae Musica XI, pp. 84–92; Portugaliae Musica XXV, pp. 183–192 *Batalha de 6º Tom António Correa Braga, P-Pm MS 1607, fols. 117–20v Portugaliae Musica XI, pp. 168–173 Tiento de batalla partido de mano derecha Juan Cabanilles, E-Bbc MS 386, p. 300 Juan Cabanilles, Musici organici Iohannis Cabanilles (1644–1712) Opera omnia, ed. Higinio Anglés and Joseph Climent (Barcelona: Biblioteca de Cataluña, 1927), vol. 1, pp. 130–140 *Batalla II Juan Cabanilles, E-Bbc MS 387, fols. 150–53v Cabanilles, Opera omnia, vol. 2, pp. 109–119 Tiento de batalla Juan Cabanilles, E-Bbc MS 386, fols. 41-44 and M 1328, fols. Cabanilles, Opera omnia, vol. 3, pp. 132–137 44–46v *§Batalla Imperial Juan Cabanilles/J.K.Kerll, E-Bbc MS 387, f. 134 Cabanilles, Opera omnia, vol. 2, pp. 102–108 *Batalla de 6º Tono José Ximénez, E-E MS I, fols. 81v–83v Jusepe Ximenez, Obras para teclado, ed. Javier Artigas Pina, José Luis González Uriol, and Jesús Gonzalo López (Institución Fernando el Cátolico, Zaragoza, 2006), pp. 100–110 *Otra Batalla de 6º Tono José Ximénez, E-E MS I, fols. 84–85v Ximenez, Obras para teclado, pp. 111–117 Batalla de quinto tono Anonymous, E-Mn MS 1357 (Flores de Música), pp. 267–72 Antonio Martín y Coll, Tonos de Palacio y Canciones Comunes, vol. 1, ed J. Sagasta Galdos (Madrid: Union Musical Española), pp. 187–196 *Batalla famossa (5th mode) Anonymous, E-Mn MS 1357 (Flores de Música), pp. 75–87 Martín y Coll, Tonos de Palacio, vol. 1, pp. 164–186 Batalla de 5º tono Antonio Martín y Coll, E-Mn MS 2267, pp. 188–195 Gerhard Doderer, Organa Hispanica: iberische Musik des 16., 17. und 18. Jahrhunderts für Tasteninstrumente (Heidelberg: Willy Müller, 1971), vol. 1, pp. 5–6 (abridged) Batalla de 6º tono Pablo Bruna, E-Bbc MS 751, pp. 189–203 Obras completas para organo de Pablo Bruna, ed. J. Sagasta Galdos (Zaragoza, 1979), pp. 179–188 Batalha de 6º tom Joseph Torrelhas, P-Pm MS 1577, fols. 154–57 Doderer, Organa Hispanica, vol. 1, pp. 7–10 (abridged) and Hudson, “A Portuguese Source of Seventeenth Century Iberian Music,” Transcriptions, p. 67 Batalha de 6º tom Anonymous, P-BRp MS 964, fols. 56–59v Portugaliae Musica XXV, pp. 177–182 Modo de Batalha com suas tréguas Anonymous, P-BRp MS 964, fols. 47–50v. Portugaliae Musica, vol. XXV, pp. 103–109 Obra de 8º tono. Ensalada Aguilera de Heredia, E-E MS I, fols. 94–96 Anglés, Antologia de Organistas Españoles del Siglo XVII, vol. 4, pp. 89–96

24 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM key signature could be, of course, edito- over Swiss and Italian forces at the Battle Table 2. The Composers rial. However, after playing the battles, I of Marignano in 1515. Written in two Composer Dates Area would agree with the editorial decisions. large sections, this is a four-voice vocal Most of the composers of battle music work fi lled with a variety of techniques Pedro de Araújo fl 1662–1705 Braga, Portugal (Table 2) were famous musicians of their for making it sound warlike. Melodies Pablo Bruna 1611–1679 Daroca, Spain time and place. Pablo Bruna was consid- imitate the calls of war trumpets, using ered one of the best organists and teach- actual tunes employed in battlefi eld Juan Cabanilles 1644–1712 Valencia, Spain ers in Spain. Blind since birth, he was communication. The onomatopoeic text Diego da Conceição fl . 17th century Works collected near Oporto, Portugal known as “el ciego de Daroca” (the blind that accompanies these may have come man of Daroca). Juan Batista Cabanilles directly from the syllables players used António Correa Braga ?–1704 Braga, Portugal was a master of the Spanish Baroque when learning their music. Triadic fi g- Sebastián Aguilera de Heredía 1561–1627 Zaragoza, Spain style, which enlarged on Renaissance ures in a simple harmonic background practices and does not resemble the refl ect the ensemble formation trumpet- António Martín y Coll d. after 1733 Madrid, Spain styles composers preferred in other parts ers of the time used, and quick notes Joseph Torrelhas fl . 1700 Works collected near Oporto, Portugal of Europe during this era. A colleague simulate both the action of battle and Jose Ximénez 1601–1672 Zaragoza, Spain said, “The world will crumble before a more of the ceremonial trumpet sound. second Cabanilles appears.”4 La guerre was wildly popular and Some of the composers are less well quickly spread across Europe, not only known. The name of Diego (or Diogo) in its original form but also in imita- da Conceição appears in only one manu- tions and transcriptions. Fifteen years script, where his few compositions are later Matthias Werrecore wrote a retort, the best in the collection. Others remain La battaglia taliana, commemorat- unidentifi ed, although stylistic similari- ing an Italian victory over the French. ties suggest that some of the anonymous Published in Germany, it was known pieces could be copies or variations on everywhere as Die Kleine Schlacht, with works by known composers. All of the Janequin’s chanson now being called Die known composers of battle music worked Große Schlacht. Werrecore borrowed in Portugal or the Castilian region of not only Janequin’s key (F Ionian) but Spain, where Iberian organ builders copied the beginning motive from La made improvements to the organs that guerre’s Secunda pars. This opening Example 1: The harmonic series facilitated this genre. gesture, or variants of it, as well as the Borrowing from other composers was F-based mode, appear in a number of more acceptable in the Baroque era battles and tientos. I believe that Jane- than it is today, and several of the battles quin’s motive was so widely admired demonstrate this procedure. The most because it was more than just a clever notable is Cabanilles’s Batalla Imperial, compositional device: it also accurately which is identical, other than the ordering captured the sound of battle trumpets, of the sections, to that of Johann Caspar both harmonically and melodically. Kerll, a slightly older German composer who worked in Austria. Who borrowed The trumpet from whom is questionable, Mary Jane To understand just what this battle Corry positing a third composer entirely.5 sound was like, it is helpful to know a In his article on Cabanilles in Grove little about the trumpets that created Online, Barton Hudson attributes the it. From ancient times until the modern battle to Kerll. In another example, two invention of radio, the trumpet was batalhas in Porto MS 1607 are quite simi- the primary means of battlefi eld com- lar to each other; Doderer suggests that munication. Art from ancient Egypt based on their style, these might be dif- shows trumpet-playing soldiers on the ferent versions of a work by Cabanilles. march. After a hiatus following the fall In a third case, measures 58–159 of the of Rome, the trumpet appeared again in Batalha de 6º Tom by Torrelhas are virtu- Europe as war booty collected from the ally identical to a section of one of José Saracens. As the art of trumpet making Ximénez’s Batallas. progressed, the instruments developed from examples that could play only one Origins of the organ low note to models that could play more batalla/batalha than an octave above middle C and In approaching this topic, a person had a few diatonic notes. The trumpet might ask what actually makes a composi- ensemble became a symbol of power tion a battle. The most basic consideration in the Renaissance court, and trumpet is the title. It is a battle if the composer players were valued more highly than Example 2: La guerre, Secunda pars says it is. However, battle pieces generally other performers. imitate the commotion of war with busy Prior to 1975, scholars knew much the notes but also the system by which a) Bendinelli, facsimile, p. 38 voicing, ostinato fi gures, lively rhythms, about the Renaissance trumpet through Renaissance trumpeters played: and percussive chords that simulate mus- two books published during the 17th cen- ket or cannon fi re. They also often imitate tury. These were Marin Mersenne’s Har- Here all the trumpeters begin to play, in the fi eld, at princely courts, or in other the music of battle in the form of trumpet monie Universelle (1635), and Girolamo places. I point out that a single [player] signals or fanfares. It is perhaps this trait Fantini’s Modo para Imparare a sonare begins and the others follow in order, as is b) da Conçeião, mm. 52–54 that makes the music sound warlike in di Tromba (1638). Both books contain the custom . . . First the grosso; second the the 21st century. Trumpet signals are still examples of battle trumpet calls, with vulgano; third, alto e basso, that is, he who imitates the sonata with his notes, only low- in limited use in today’s military and are syllables written under the notes, possibly er, and who has to be quite expert; fourth familiar to most listeners from ceremo- to indicate tonguing but apparently also the one who leads; and fi fth, the clarino, c) Cabanilles, Batalla Imperial, m. 51 nies and the entertainment media. to aid the instrumentalist in learning the who avoids octaves since they clash and are The earliest music with these charac- music. Scholars were able to see by study- not used by those who understand music.7 teristics is the 14th-century caccia, which ing the trumpet tunes that Janequin and imitates the hunt with fanfares and his imitators had used real battle music We can understand now why a Renais- Example 3: The rotta fi gure rallying cries. A 15th-century battaglia in their compositions. While the syllables sance sovereign might have required by Heinrich Isaac for instruments with Mersenne and Fantini indicated were not twenty-four trumpeters. A chart of the of E, which may have been the F of his keyboard accompaniment has several the same as those Janequin used, that did harmonic series shows what notes each time and place.9 Bendinelli labeled the characteristics that appear in most later not mean Janequin’s were not accurate of the performers named by Bendinelli chart describing his own trumpet’s range battle music, such as ostinato fi gures and for his time and location. would have played (Example 1).8 as Trombetta Antigua, perhaps referring alternating duple and triple meter. It is In 1970 historian Edward Tarr pub- Understanding that Renaissance trum- to the older war trumpet as contrasted interesting to note that Isaac also may lished a facsimile and translation of a peters played as an ensemble rather than with the newer C trumpet that had have written his work for voices fi rst, third manuscript, Cesare Bendinelli’s as soloists now clarifi es why composers replaced it.10 since Bianca Becherini found a poem Tutta l’arte della Trombetta. In 1614, so often imitated the opening gesture of Example 2 shows how Bendinelli’s whose text matches the music.6 Bendinelli had donated to a library his La guerre’s Secunda pars. It represented battle trumpet formation appears in The music that began the battle craze instrument and a manuscript containing not only the notes but also the harmony Janequin’s much-imitated second section. in earnest, perhaps because it so cleverly a wealth of music and pedagogical mate- of the war trumpet sound of Janequin’s In the fi rst measure, all voices simulate captured the sounds of battle despite rial, and there they had lain for the next time. James South implies that even trumpet harmony; then the bass and tenor being written for unaccompanied voice, three and a half centuries. Bendinelli Janequin’s key of F may have been taken sing the lines that the grosso and vulgano was Clément Janequin’s chanson La had gone a step further than Mersenne from practical example. Bendinelli’s own trumpets normally would have played. guerre. It immortalized a French victory and Fantini. He described not only trumpet sounds close to our modern key The rhythm of the short notes with the

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 25 Baroque Organ Repertoire syllables “Fre re le le lan fan” is that of the rotta, a fl ourish with which both military a) La Guerre, Secunda pars, mm. 7–8 b) Bendinelli, facsimile, p. 5 and ceremonial trumpet music might end. I have discovered that the rotta fi gure fea- tures in many organ battles (Example 3). Perhaps the most imitated trumpet motive Janequin uses is the Boutez selle c) da Conceição, mm. 27–31 d) Cabanilles, Batalla II, m. 50 e) Batalla famossa, mm. 69–71 (“put on the saddle”) (Example 4).11 Distinctive and easily heard through the busy texture of the chanson, this fi gure appears in all of the Renaissance trumpet methods. In Bendinelli’s it is entitled Buta sella and includes an example of mnemonic syllables like those Janequin may have had in mind when he wrote La guerre. The Boutez selle fi gure appears Example 4: Boutez selle motives repeatedly in the organ battles, and I have observed that it is often accompanied by a) de Araújo b) Braga Ms. 964, Batalha de 60 Tom battle trumpet harmony (Example 4). The organ battles of Iberia do not sim- ply copy Janequin’s chanson, however. They use fanfares and other trumpet- like fi gures that the composers no doubt Example 5: Fanfares heard as part of ceremonies, or perhaps even composed for trumpet as well a) Torrelhas (Example 5). Because these fi gures are still used today for similar purposes, we recognize them immediately. Portuguese and Spanish organ battles Example 6: 3+3+2 rhythm (da Conceiçao) also depart from Janequin in their over- all structure. The actual battle depiction rhythm that often appears at cadences in La guerre, Secunda Pars, falls into (Example 6). b Cabanilles) roughly two parts. The fi rst uses trum- At fi rst a secular form, the villancico pet motives, and the second drum and moved into the realm of liturgy as devo- gunfi re sounds. The texture remains tional coplas were created to accompany quite consistently in four voices. There estribillos that often remained secular. are some meter changes, but the listener It became customary to perform these does not perceive discrete sections. following each lesson at Vespers and Iberian organ battles, on the other during the elevation of the Host during hand, are distinctly sectional. The tex- the Mass.12 Buelow suggests that battle ture varies between full block chords and pieces, closely related to the villancicos the battle ensemble depiction of solo as they were, would also have been voice over triads (on the organ these can performed at the same points in the also appear under the chords). Meter Mass.13 Phillip II of Spain banned the changes often delimit the sections. The performance of villancicos in his chapel unique shape and style of Iberian battle in 1596, but his complaint apparently Example 7: Imitation music developed due to the infl uence was that they were sung in Spanish of three musical elements exclusive to rather than Latin, and not that they were la prisión esquiva music was the instrument itself. At the Spain and Portugal and their colonies in too spirited. The rest of the Iberian pen- De un ciego traidor. beginning of the 16th century, Spanish the western hemisphere. These are the insula ignored this prohibition, and the and Portuguese organs were constructed villancico, the ensalada, and the particu- villancico remained popular in Spanish Praise the divine Love by Flemish organ builders and were the lar direction Iberian organ builders took and Latin American churches until the Who has rid us same as those in other parts of Europe. with their creations. 19th century. Of the unreachable prison Flemish practices continued in the Cata- A popular theme for villancicos was Of a blind traitor.14 lonian region of Spain, but in Castile and The impact of the villancico, the battle between good and evil. A Portugal local organ builders took the ensalada, and Iberian song might depict a battle between the It is not surprising that some images of instrument in a new direction. organ developments Virgin or the newborn Christ Child and actual war might creep into the texts of One difference was the divided The fi rst of these infl uences, the vil- Lucifer. Often the battle image might sacred music. During the 17th century, manual, or medio registro. Each half of lancico, vilancete in Portuguese, is a become more worldly. One example Portugal was often at war, both battling the manual, from middle C down and song form. Villancicos had vernacular from mid-17th century Coimbra begins for political separation from Spain and from middle C# up, could have its own text, folk melodies, and an energetic with a symbolic battle between divine sparring with Spain in the western hemi- registration. This allowed a small instru- rhythmic style replete with syncopa- and worldly love, but then turns into a sphere, as they divided up the Americas ment much more variety than it might tion, hemiola, and meter changes. The skirmish between Portuguese and Span- between them. have with just one setting for the entire villancico was strophic with a refrain ish troops. Amid the repeated cries of A second factor in the development manual. Composers wrote pieces for (estribillo) and sometimes many verses “Long live divine love!” comes the text: of organ battle music was the ensalada. medio registro with one hand soloing and (coplas). Villancico-like characteristics in The word means “salad,” and in fact the the other playing an accompaniment. On the organ battles may include changing Viva el Amor divino ensalada was a hodge-podge, a kind of a medio registro instrument, an organist meters, hemiola, and a dance-like 3+3+2 Que nos ha quitado musical revue made up of hymns and could use different registrations to create villancicos, sometimes acted out. These an echo effect with this type of imita- were performed on feast days and were tion. In the battles we often see paired “Bach” Model Neupert Harpsichord (1972) especially popular at Christmas, New imitation with a fi gure played fi rst in one Year, and Epiphany. Ensaladas were octave and then in another (Example 8). Two manuals, 16′, 8′, and 8′ 4′ sung and accompanied by an interesting Another improvement was the swell variety of wind instruments, all of them box, which appears to have been devel- Five pedals loud. A composition might specify two oped in Spain before anywhere else in trumpets and a schalmei, although the Europe.15 Some of the enclosed pipes Lute oboe and organ were also popular. included reeds. The swell could poten- Because the ensalada was made up of tially create echo effects without changes Mint condition a variety of individual pieces, it was by of octave or registration (Example 9). defi nition a sectional music form. Spanish Some Spanish organs of the 17th century $12,000 f.o.b. keyboard music already had a sectional even had devices that allowed quick genre, the tiento, one based on imitation change of registration, although this was Mt. Pleasant, Michigan similar to the Italian ricercar. Organists by no means universal. had simply to move from accompanying Organs became more versatile as an ensalada to writing one for the organ organ makers learned to build pipes Contact alone. Ricercar-like imitation, usually that imitated the sounds of other instru- Mary Lou Nowicki at the octave, appears in some battles ments. Pipes might do a credible job (Example 7), and authors often include of mimicking the bassoon, the oboe, 989-644-2558 battles in discussions of the tiento. buzzing reed instruments such as the [email protected] The third factor to infl uence the crumhorn, schalmei, and dulzian, and development of Iberian organ battle trumpets in all registers. The organ could

26 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM a) de Heredia b) da Conceição

Example 8: Paired imitation

Example 11: Huge sound in Batalha de 60

Example 9: Echo potential, da Conceição play these sounds with more volume and a greater range than could performers on the actual instruments, sounding a death knell for these players who until that Example 10: Solo voice, da Conceição time had been highly valued. Example 12: Musket fi re in Batalha famoza During the 17th century organ build- occasion, much as this music was used ers began to place trumpet-shaped reed four centuries ago. Q pipes horizontally for more brilliant tonal effect and visual beauty. Almost every Notes battle has at least one solo that might 1. Mary Ellen Sutton, A study of the 17th-century Iberian organ batalla (Ann Ar- have been played on horizontal reeds bor: UMI, 1978), 142–143. against a background of a quieter reed 2. Gerhard Doderer, Orgelmusik und chorus (Example 10). However, Doderer Orgelbau im Portugal des 17. Jahrhunderts: believes that organists would also have Unteruchungen an Hand des MS 964 d. Biblioteca Pública in Braga (Tutzing: Hans used horizontal reeds for dense chordal Schneider, 1978), 198–199. passages, creating a truly immense vol- 3. Sutton, Iberian organ batalla, 92. ume of sound (Example 11).16 4. Josep Elías wrote on the title page of a collection of the master’s works, “Ante ruet Not all Iberian organs were equipped mundus quam surget Cabanilles secundus.” with accessory stops to simulate percus- George J. Buelow, A History of Baroque Mu- sion instruments as was the one at Lérida sic (Bloomington: Indiana University Press, 2004), 382. Cathedral (it also had bells and six different 5. Mary Jane Corry, “A Spanish-Austrian birdsongs). However, composers defi nitely Battle.” Music/The AGO and RCCO Maga- assumed that performers would imitate zine (March 1970), 35. this effect through articulation. Batalha 6. Sutton, Iberian organ batalla, 65. 7. Cesare Bendinelli, The Entire Art of famoza includes an instruction to play the Trumpet Playing (1614), trans. Edward H. left hand quickly in order to imitate mus- Tarr (Nashville: The Brass Press, 1975), 12. ket fi re (Example 12). Possibly this could 8. Monteverdi provides a written-out ex- ample of the trumpet ensemble in the Toc- be turned into a special effect, since the cata that opens his opera, Orfeo, 1607. See full sound of a pipe might not speak when Example 13. Example 13: Monteverdi, Orfeo, opening toccata played with a very short stroke. 9. James South, “References to trumpet These organs had fewer pedals than do music in the battle chansons of Clément Jane- lancicos and Romances,” Royal Musical Associ- Tan A Summers is currently pursuing a quin.” DMA diss., University of North Texas, ation Research Chronicle, No. 15 (1979), 17–37. graduate degree in organ performance at modern ones. Organs surviving from the 1990. RILM Abstracts of Music Literature, Translation by Dr. Miguel Chuaqui, Professor of 17th century generally have from one to EBSCOhost. Composition at the University of Utah. the University of Utah, studying with Ken- three pedals that might play C, F, and/or 10. Renaissance trumpets were generally 15. Douglas Earl Bush and Richard Kas- neth Udy. She has undergraduate degrees pitched between modern B and F. sel, eds., The Organ: An Encyclopedia (New in organ performance from the University G, depending on the organ’s basic pitch 11. Walton, Clifford, History of the British York: Taylor and Francis, 2005), 548. (some were based on 24′ F stops rather Standing Army, A.D. 1660–1700 (London: 16. Doderer, Orgelmusik und Orgelbau, of Utah and in medieval studies from Tu- than the 16′ C stops common in Germany). Harrison and Sons, 1894), p. 467. 203. lane University, and studied with Temple 12. Buelow, History of Baroque Music, 371. 17. Sutton, Iberian organ batalla, 123. Square Organist Bonnie Goodliffe. Sum- 13. Ibid., 380. 18. Barbara Owen, The Registration of Performance considerations 14. Manuel Carlos De Brito, “A Little- Baroque Organ Music (Bloomington: Indiana mers is organist at First Baptist Church in Developing insight into the trumpet Known Collection of Portuguese Baroque Vil- University Press, 1997), 130–134. Bountiful, Utah. sounds Iberian organists were emulating in their compositions throws new light on how this music should be played. The tri- adic accompaniment to a solo line should not hide in the background, but sound like a trumpet chorus. The organist can phrase graduate study in a fanfare or battle call so that it sounds as if an actual trumpeter were playing it. organ performance Understanding the organ of the time provides additional clues to bringing this at Yale Institute of Sacred Music and Yale School of Music music to life. Sutton suggests using an organ with at least two manuals to cre- ate the contrast that one medio registro keyboard could generate.17 Use pedals sparingly, since the organs for which the battles were written could only play sustained notes in common cadence pitches. One registration possibility would be a strong solo reed and bright reed chorus contrasted with full organ at sectional divisions. Barbara Owen sug- gests avoiding gaps in the registration or allowing it to become too foundational or too top-heavy.18 Battle music remains a satisfying part of the organ literature today. Because their trumpet fanfares and battle signal motives persist as part of our aural cul- ture, modern audiences still respond to Office of Admissions this sound. Today we use battle music in concert rather than as liturgical reper- Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511 toire, since tastes in church music have tel 203.432.9753 fax 203.432.9680 · yale.edu/ism/admissions/admissions.html changed. However, battle music might [email protected] make a satisfying postlude on a festive

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 27 Legislative issues The 2014 Ivory Trade and Movement Restrictions New regulations and their effects

By Anne Beetem Acker Loxodonta africanus (African elephant)

nless you read the White House According to President Obama, the over the next twenty or thirty years and unreasonable and unclear and were UBlog daily, you no doubt missed a United States needs to “lead by example” then extinction. Beware the numbers expanded to severely restrict sales within quiet but monumental announcement. with tough restrictions on all trade and appearing in seemingly reputable pub- states and across state lines. On February 11, 2014, the White House movement of ivory. It is unclear why any lications, as incorrect, unsubstantiated The most up to date summary can issued an executive order essentially ban- country—especially China, the primary fi gures are being propagated. In stark be found at www.fws.gov/international/ ning international trade in items contain- and nearly sole market for illegal new contrast, looking at CITES’ own recent travel-and-trade/ivory-ban-questions- ing ivory, as well as tightly controlling ivory—would be infl uenced by restric- reports,1 there are currently about and-answers.html#30. Remember while movement of personally owned items tions in the United States. The U.S. Fish & 500,000 African elephants in Africa, reading this web page and the explana- containing ivory. Two weeks later, on Wildlife Service has acted, in their words, down from a probable 600,000 in 1989.2 tions of it below, that qualifying for the February 25, 2014, Dan Ashe, director of “to close the loopholes” of transporta- About 22,000 elephants have been killed CITES documents is extremely diffi cult. the U.S. Fish & Wildlife Service, released tion and markets for illegal new ivory in in each of the last several years, an Here is the summary, with remarks about Director’s Order 210 giving the draconian the United States, theoretically reducing admittedly horrifi c number, but actually qualifying for the exemptions below. details of implementation. The executive pressure on elephant populations. decreasing, not increasing as claimed. order and director’s order were immedi- The illogic of thinking a legally acquired According to the CITES report Commercial imports ately enforced, including being applied musical instrument, or ivory-inlaid 17th- referenced above, the poaching rate Forbidden. If you buy an instrument to CITES (Convention on International or 18th-century furniture, or ivory Torah appears to have leveled off and further out of the country, you will not be able Trade in Endangered Species) import and pointers, or knives or canes containing affi rms that poaching is primarily due to to get it into the United States. Note export applications fi led months earlier. antique or pre-Convention (1976) ivory “extreme poverty and lack of governance that the term “commercial” is being Restrictions on intrastate and interstate would be conduits for new ivory seems in the affected areas.” Local farmers and applied to any transaction that could be sales and movement were announced on apparent to us, but the new regulations corrupt game wardens earn huge pay- conceived of as resulting in a fi nancial May 15, 2014, along with other revisions are rigidly defended by the U.S. Fish & ments for leading poachers to their prey. gain. For example, if you want to import discussed below. The Executive Branch Wildlife Service staff. Director Dan Ashe In some countries elephants are already an instrument and donate it to your and the U.S. Fish & Wildlife Service have also states that they cannot tell new from at risk, while in others they are over- favorite institution, they consider that ignored federal requirements for publica- old ivory thus justifying their methods populated, causing serious problems by commercial, since you may be applying tion of proposed regulations and public (guilty until proven innocent, yet worse), destroying farmers’ crops and overgraz- for a tax deduction for the donation. comment before enforcement. a statement that has experts and repair ing their own protected preserves. In Instruments bought overseas before You have perhaps learned, e.g., of people familiar with antique ivory shak- these countries, culling is necessary. the ban was announced, but awaiting violin bows belonging to members of ing their heads in strong disagreement. Their governments want to sell their their import permits, had their permits touring European orchestras being In truth, I think he is speaking more to large ivory stores in a controlled fashion, abruptly rejected. confi scated upon entry to the United the lack of expertise among inspectors. In to raise money for the local human and States, or of the refusal to give a CITES the United States, there are few instances elephant populations. A regular source Personal imports permit for the import of a signifi cant of trade in illegal new ivory, though a few of legal ivory sales would dramatically You may import an item containing harpsichord by a United States collec- notable episodes have helped fuel this bring down prices and deter the brutal ivory as part of a household move or tor/performer. The new regulations are maelstrom, one involving faked African and horrifi c practice of poaching.3 inheritance, or as part of your own musi- being enforced through immovable, antiques in Philadelphia, and another cal instrument or as part of a traveling irrational requirements that ignore per- of faked Asian antique fi gurines in New Prior and current rules exhibition as long as the item contains sonal property rights of owners of legally York City. Both were caught by appropri- (These are subject to change.) “worked elephant ivory that was ‘legally acquired items containing ivory. Further ate profi ling of the merchants and thor- Previously there were no domestic acquired’ and removed from the wild complicating the situation are diverse ough investigations. The nets are being restrictions for sales or travel of items prior to February 26, 1976 and has not actions by individual states, in particular, cast far wider now, and being visible containing ivory and CITES permits been sold or otherwise been transferred New Jersey, New York, and California. targets, musical instruments have been could be acquired for import and export for fi nancial gain since February 25, These actions have far-reaching effects particularly persecuted. of legally acquired ivory by following 2014.” Thus you will not be able to bring among musicians, collectors, musical So, why the urgency and drama? The instructions, paying a fee, and fi lling out in (or out) of the country any ivory- instrument dealers and repair people, story is that the African elephant is in dire paperwork, a somewhat onerous but do- containing item that was purchased and everyday citizens. danger of losing 1/5 of their population able process. Exemptions were granted after February 25, 2014. (This is at least allowing import or export of items that a signifi cant improvement of the original could be demonstrated to be antique specifi cation of not being transferred for Saving organs throughout (over 100 years old), or pre-Convention fi nancial gain after 1976!) This freezes (1989 for African elephant ivory). All of instrument ownership for touring musi- this changed in February. “Commercial” cians and amateurs as of the date of America....affordably! imports of ivory are forbidden. Period. the Director’s Order. Additionally, the No exceptions. Exports are limited, but individual or group must qualify for a the hoops to jump through have made CITES musical instrument certifi cate permits virtually impossible to acquire. and the musical instrument contain- As of May 25, 2014, the details of the ing worked elephant ivory “must be regulations were eased somewhat thanks accompanied by a valid CITES musi- to various musical instrument related cal instrument certifi cate or equivalent organizations with lobbyists working CITES document.” The instructions tirelessly in Washington, D.C., but the do not specify what would qualify as an limitations and requirements are still equivalent document.

1-800-621-2624 foleybaker.com

28 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM export at all if the subject item contains both to the populace and the U.S. Fish elephant ivory. Additionally worrisome & Wildlife Service agents, and recent is the inclusion of a note that African aggressive enforcement, it is a concern. elephant ivory removed from the wild At least one piano transport truck has after February 4, 1977, is not considered already been stopped and questioned to be pre-Convention (for the purposes with the result that the fi rm will no of this application, since it most certainly longer move pianos with ivory key tops. is in the rest of the world). Given the Another said they would just leave any recent diffi culty in establishing the spe- questioned piano on the roadside and cies of elephant to the satisfaction of the keep going. USFWS agents, it will likely be diffi cult Unfortunately for musicians and oth- Ivory keys on a 1904 Bechstein piano 1853 Cummings & Canfi eld keyboard to get approval for any personal musical ers involved with legally obtained pre- instrument containing ivory to travel. Convention ivory, public support for the Commercial export illegal) new ivory. There are synthetics Note that you need a different CITES ban is being fanned with false numbers, While the rules state that pre-Conven- and ample supplies of surplus antique form for each endangered species in hysteria, dramatic photos, and endorse- tion and antique items containing worked ivory, e.g., in the form of old piano key your instrument, including rosewood ments by celebrities who apparently ivory may be exported, in reality the new tops. Regardless, as the rules are written, and tortoiseshell. Also note that you and can’t do the simple research required requirements to qualify for a CITES if the ivory was repaired, they can refuse your instrument will need to exit and to discover the truth. For example, the export certifi cate are extremely diffi cult- the application even if you just fi lled a enter the country ONLY through one of performer Billy Joel publicly requested to-impossible to satisfy. Fortunately, in crack with dental epoxy. Whether having the 13 designated ports for ivory: www. people save elephants by not having May they did eliminate two of the most glued a piece back on would result in fws.gov/le/designated-ports.html. their pianos made with ivory keys, appar- ridiculous aspects of the February 25th denial is unclear. If your instrument contains a listed ently unaware that no pianos have been Director’s Order, wherein 1) no domes- The burden of proof has been laid endangered plant species, you are fur- made with ivory key tops in the United tically made items containing worked heavily on the exporter in an “all are ther restricted to exit and enter through States since 1956 and in Europe since ivory could qualify, and 2) the exporter guilty until proven innocent” fashion. a designated port for listed plant species: the 1980s. It appears that there is mas- had to supply evidence that the item had Fish & Wildlife agents reviewing appli- www.aphis.usda.gov/import_export/ sive funding for public “awareness” and entered through one of the “specifi ed cations since February have been virtu- plants/manuals/ports/downloads/cites. high-level political infl uence by some ports” for ivory import/export, despite ally impossible to satisfy. Some insist pdf#page=196&zoom=auto,0,726. large conservation groups. the fact that these ports did not exist appraisers are trained in biology or wild- Obviously this makes travel arrange- before 1982. If the ivory was repaired or life forensics. The director has told them ments even more complicated and there California, New Jersey, modifi ed after 1973, it will not qualify. they don’t have to believe any documen- are no plans to expand on the number of and New York State If the item was originally imported after tation and to “set a high bar.” This writer, designated ports. Individual states have begun a hodge- 1982, then it must demonstrably have who has been importing and exporting A fee of $75 is due with the applica- podge of their own restrictions. In spring been imported through one of the 13 antique pianos for over ten years, was tion, which can take 45–60 days or more of 2012 California began to enforce a law ports of entry designated for antiques informed that the common knowledge, for approval, processing, and return. that has been on their books since 1970 made of Endangered Species Act-listed as well as published information, that The certifi cate is good for three years, by raiding an auction house in northern species (Boston, Massachusetts; New piano key tops were made from African but you must bring the instrument California and seizing approximately York, New York; Baltimore, Maryland; elephant ivory, was now insuffi cient. back into the issuing country before it $150,000 worth of ivory objects. This Philadelphia, Pennsylvania; Miami, This was despite pointing out that I was expires, at which point you can apply for law has no exemption for antique and Florida; San Juan, Puerto Rico; New initially told by a Fish & Wildlife offi cial a new certifi cate. pre-Convention ivory and criminalizes Orleans, Louisiana; Houston, Texas; Los years ago that African elephant ivory For all forms applicable to musical possession with intent to sell, with stiff Angeles, California; San Francisco, Cali- (Loxodonta africana) was the correct instruments, see: www.fws.gov/inter- penalties. Introduced on May 8, 2014, fornia; Anchorage, Alaska; Honolulu, species to specify for ivory key tops and national/permits/by-activity/musical- both houses of New Jersey’s legislature Hawaii; and Chicago, Illinois). all my other previous applications were instruments.html. quickly and quietly passed a draco- To qualify under the antique exemp- all accepted stating this species. nian bill signed by Governor Christie tion, the exporter must document the Domestic: intrastate and on August 1, 2014. This law includes item’s age and identify the species used. The Musical Instrument interstate trade and movement elephant, hippo, mammoth (which Proof of age can be through scientifi c Certifi cate or “Passport” Beginning on June 26, 2014, domestic has been legally used to substitute for testing at an accredited laboratory or After being besieged by concerned sellers of items containing worked Afri- elephant ivory in recent years), narwhal, facility, a qualifi ed appraisal, or prov- touring musicians, the U.S. Fish & Wild- can elephant ivory must demonstrate walrus, and whale ivory. It is unlawful enance through other documentation, life Service and CITES created a new that any item offered for sale—whether to import, sell, purchase, offer for sale, such as a detailed history of the item, permit certifi cate for people traveling across state lines or within a state—was barter, or possess with intent to sell any family photos, ethnographic fi eldwork, regularly with their instruments, called lawfully imported prior to the CITES item containing ivory. or other evidence that assigns the work the Musical Instrument Certifi cate or Appendix-I listing of the African ele- There are no exceptions for antiques to a known period of time. Fortunately, “Passport.” The application is available phant (January 1990) or under a CITES or pre-Convention ivory. It is legal to most musical instruments can be dated on the Fish & Wildlife website (www. pre-Convention certifi cate. Appendix-I convey ivory to the legal benefi ciary of quite accurately. The species can be fws.gov/international/pdf/permit-appli- covers species around the world most an estate after death or in anticipation of identifi ed through DNA analysis (but cation-form-3-200-88.pdf). at risk as a result of international trade. death. The penalties are stiff, and ivory this is unusable as the large quantities They require a signed appraisal or Non-commercial movement is still products will be seized and transferred required would destroy that part of other documentation to demonstrate allowed. There has been no clarifi ca- to the New Jersey Department of Envi- the musical instrument), or a qualifi ed the age of the ivory-containing item, tion of how commercial may be defi ned ronmental Protection for “proper dispo- appraisal or other documentation that which must pre-date 1976. You must beyond sale or what documentation is sition.” The New York State legislature demonstrates the identifi cation of the also include a signed statement (though needed for such things as household quickly followed with a ban on the sale species through a detailed provenance. it does not say signed by whom) that the moves. Some fear that traveling over of elephant and mammoth ivory and In practice, there have been diffi culties item has not been repaired or modifi ed state lines to perform at a paid concert rhinoceros horn that Governor Cuomo with Fish & Wildlife permit examiners on or after December 28, 1973, with could be considered a commercial trans- supports. The New York Department insisting on satisfying all of these dat- any part of any species covered by the action. Emphasis seems to be on sales, of Environmental Conservation may ing and species methods and requiring Endangered Species Act. That should but given the vagueness of the rules issue permits for the sale of documented a description of the “scientifi c method” suffi ce for antiques (over 100 years used to make the species determination. old), but for export of younger items, it Note that there are visual ways to iden- additionally says the applicant must also tify the different types of ivory, except state whether the item was bought, sold, Celebrate the Legacy that Asian and African elephant cannot or “offered for sale by you or anyone be visually distinguished. (See www.fws. else” since December 28, 1973, in which gov/lab/ivory_id.php and www.fws.gov/ case “there may be a need for additional policy/do210A1.pdf.) information and the Division of Manage- Again, the ivory must not have been ment Authority will contact you directly.” “repaired or modifi ed.” U.S. Fish & Confusingly on the form, this last cat- Skinner Organ Co. Wildlife agents reviewing applications egory is apparently not applicable if your Opus 695 (1928) are insisting on full details of restorations, instrument includes African elephant restored and not just whether the ivory was repaired. ivory. What is worrisome is that the installed at St. Mark’s This despite that in reality, restorers do wording opens the door to interpretation Lutheran Church, not need to, want to, or use (expensive, by the examining agent to not allow the Marion, Iowa

CLAYTON ACOUSTICS GROUP Duchon’s Organ Pipes Specialists in Restoration, New Reeds & New Flues Conservation, Voicing & Tonal Finishing 2 Wykagyl Road Carmel, NY 10512 of High-Pressure Pipe Organs 845-225-7515 [email protected] Additions & Repairs www.claytonacoustics.com 1845 South Michigan Avenue #1905 330/257-0491 JL Weiler , Inc. Chicago, Illinois 60616 CLAYTON ACOUSTICS AND SOUND SYSTEM PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS 312-842-7475 ACOUSTICS GROUP CONSULTING FOR HOUSES OF WORSHIP [email protected] [email protected] | www.jlweiler.com

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 29 Legislative issues antiques over 100 years old and contain- will be signifi cantly devalued. (See www. pressure. Lobbyists are working for of documentation never previously ing less than 20 percent ivory and musi- wqxr.org/#!/story/newark-offi cials-seize- groups such as the League of American required to stay with the instruments. cal instruments made prior to 1976 (this budapest-orchestras-violin-bows/ and Orchestras, National Association of • Ideally, ivory regulations should is bad luck for the New York owners of www.nytimes.com/aponline/2014/08/05/ Music Merchants, and some private revert to where they were on February Bösendorfers and Hamburg Steinways us/ap-us-travel-brief-bagpipes-at-the- individuals (e.g., through the important 1, 2014, which did indeed stabilize ele- made in the 1980s with ivory key tops). border.html?emc=eta1&_r=0.) Podesta Group), and are kindly shar- phant populations since their inception. Fines are steep and felony charges pos- Additionally, it will take a great deal of ing information and guidance. Thanks sible. (See www.governor.ny.gov/sites/ time, paperwork, and human power to to the efforts of many, we have the This is one of those times when we all default/fi les/GPB44-IVORY_BILL.pdf.) administer and enforce all these new reg- promising bills to be debated in Con- need to stand up for what is right and In all these cases, vagueness of word- ulations. This will cost taxpayers dearly gress. Numbers count! It is critical for fair. Somehow we need to get the pow- ing is a serious problem. Technically, and consume considerable personal time as many people as possible to write to ers in charge to understand that not one federal laws take precedence, but until for applicants, while not preventing the their members of Congress, the Presi- elephant will be saved by these absurd court battles ensue, those with non- loss of one elephant to poaching. dent, the Secretary of the Interior, the regulations, but our cultural, historical, antique but pre-Convention ivory or Director of Fish & Wildlife Services, and musical heritage will suffer, as will insuffi cient “proof of provenance” will Look-alike problem those on the Committee for Wildlife private individuals and owners of small not be able to sell their items intact. It is very important to point out that Traffi cking (www.fws.gov/international/ businesses. customs agents are rarely skilled at advisory-council-wildlife-trafficking/ Here is contact information for the Current and potential effects identifying materials and may even pre- bios.html), Natural Resources, and the appropriate government offi cials: Many antique and pre-Convention sume, for example, that all instruments Congressional Committee on Fisheries, cultural artifacts contain ivory, including of a type are suspect. This has resulted Wildlife, Oceans and Insular Affairs. Sally Jewel, Secretary of the Interior Torah pointers, George Washington’s in items containing “look-alike” materi- See https://www.govtrack.us/congress/ Department of the Interior false teeth, medical demonstration als and even with no ivory-like material committees/HSII/22. 1849 C Street, N.W. fi gures, scrimshaw art, and of course, being confi scated from their cases at Most useful is to try to get a per- Washington, DC 20240 musical instruments. Key tops, guitar border crossings with no explanations. sonal or phone appointment with your E-mail: [email protected] nuts, saddles and tuning pins, wind It is highly advisable to have prepared senators and representatives and explain Web: Feedback form instrument rings, stringed instrument and accompany your instrument with why these regulations are harmful and bows, organ stop knobs, and more have copies of an offi cial appraisal or listing by will not save any elephants. E-mails Daniel M. Ashe, Fish & Wildlife, Direc- been made from ivory for its workability, the maker of the materials used in your through their websites are also work- tor of External Affairs beauty, availability, density, durability, musical instrument, whether it contains ing for some. Ask them to support and U.S. Fish and Wildlife Service and tactile and acoustic properties. any suspect species or not. Also insist, co-sponsor H.R. 5052 and S. 2587. You 1849 C Street, NW Many musical instruments remain in as is your right, to be present when your can fi nd your senators and representa- Washington, DC 20240 active use for generations and commonly instrument is inspected before shipping. tives at www.opencongress.org/people/ E-mail: www.fws.gov/duspit/contactus.htm travel with their owners. Take photos of what is in the crate or zipcodelookup. 1-800-344-WILD (9453) Already, the international import ban case before shipping. The important talking points are: has prevented collectors from importing • We want to end the poaching of Barack Obama, President of the United important pieces for study, performance, Late-summer developments African elephants and illicit trade in new States and recording in the United States. On July 14, 2014, two bills (H.R. 5052 illegal ivory, but banning the domestic The White House Because of the abrupt announcement in the House of Representatives, and S. sale and trade of legal ivory in the United 1600 Pennsylvania Avenue, NW and enforcement, quite a few people buy- 2587 in the Senate) were introduced; States and preventing import of antique Washington, DC 20500 ing or selling internationally have found both would prohibit U.S. Fish & Wildlife and pre-Convention items containing E-mail: www.whitehouse.gov/contact/ themselves unable to get instruments to from implementing any “new rule, order, ivory will not stop poaching, nor save one submit-questions-and-comments their new homes. Reduced to the domes- or standard regarding the sale and trade living elephant. tic market alone, musical instrument in ivory that was not in place before • The July 2014 CITES meeting Representative Ed Royce values will necessarily drop. If domestic February 25, 2014.” As of August 2, H.R. emphasized that the cause of poaching is Chairman, Committee on Wildlife trade is further restricted this summer, 5052 had 20 bi-partisan co-sponsors, an extreme poverty, lack of governance, and Traffi cking the value of ivory-containing objects will encouraging development. In addition, corruption in the affected areas. Efforts 1380 S. Fullerton Road, Suite 205 be reduced to virtually nothing, nor will in early July, the House Appropriations need to help the affected communities Rowland Heights, CA 91748 anyone be able to receive a tax deduction Bill for the Department of the Interior and fund intelligence operations that for donations of instruments to institu- included language that would prohibit locate poachers and dealers. To write your local senators and con- tions since that is considered “fi nancial U.S. Fish & Wildlife from spending • The ban unnecessarily hurts own- gressmen see: www.opencongress.org/ gain,” a serious potential loss of donations any funds to enforce any rules, orders, ers of antiques and pre-Convention people/zipcodelookup. to colleges, universities, museums, and or standard not in place before Febru- items containing ivory legally imported For further reading: www.white- other public institutions. ary 25, 2014. The appropriations bill into this country by stripping their house.gov/the-press-office/2014/02/11/ The restriction of musical instrument has passed the Senate but faces a battle value, resulting in a taking of billions fact-sheet-national-strategy-combating- certifi cates to instruments that have not in the House of Representatives. The of dollars from law-abiding Americans. wildlife-traffi cking-commercial-b. Q transferred ownership for any fi nancial appropriations bill language is intended The domestic ban would devastate the gain after February 25, 2014, prevents to put a moratorium on enforcement current market in worked ivory items, Notes internationally traveling musicians from until a permanent method of undoing causing legitimate business owners and 1. www.cites.org/sites/default/files/eng/ upgrading, or ever again purchasing any the disastrous actions of February 11 and everyday citizens tremendous economic com/sc/65/E-SC65-42-01_2.pdf: “Interpreta- tion and implementation of the Convention: instruments or bows containing ivory 25, 2014, can be put in place. The appro- harm. Note how the ban will hurt you Species trade and conservation: Elephants: that can travel with them. Given the priations bill includes other language personally. The analysis of the economic Elephant Conservation, Illegal Killing and expense and paperwork to obtain the against other more publicly controversial effect of this ban by U.S. Fish & Wildlife the Ivory Trade,” Convention on International musical instrument passports, along with programs, but I am hopeful the ivory is grossly understated. Trade in Endangered Species of Wild Flora and Fauna, 65th Meeting of the Standing the aggressive and suspicious stance of section will be kept as a trade-off against • The proposed ban would make the Committee, Geneva, Switzerland, July 7–11, the customs offi cials, it is highly likely other concessions. The fi nal hurdle is, of survival of cultural and historic artifacts 2014, especially pp. 10–11. there will be less touring of musicians course, whether President Obama will much more unlikely, and keep them 2. A. M. Lemieux and R. V. Clarke, “The in and out of the United States. Again, sign or veto any of these bills. out of collections where they would be International Ban on Ivory Sales and its Ef- fects on Elephant Poaching in Africa,” The musical instruments containing ivory preserved. It is highly likely that the ban British Journal of Criminology (vol. 49, no. What you can do to help and regulations are against the National 4), 2009, pp. 451–471. It is urgent that we eventually press Historic Preservation Act of 1966. 3. Testimony of Jack Fields, June for a permanent solution to protect (See www.nps.gov/history/local-law/ 24, 2014, at Hearing of Subcommit- tee on Fisheries, Wildlife, Oceans, and cultural artifacts made before any spe- nhpa1966.htm.) Insular Affairs. http://docs.house.gov/ cies included in them was declared • Even the author of the African Ele- meetings/II/II22/20140624/102350/HHRG- endangered. The current problems are phant Conservation Act of 1989 testifi ed 113-II22-Wstate-FieldsJ-20140624.pdf. regulations and enforcement rules, not at a congressional hearing on June 24, laws, and can be changed with enough 2014, that this ban will not help to stop Anne Beetem Acker is a full-time poaching and was never the intent of the historic keyboard specialist. She builds AECA. (See www.fws.gov/international/ and restores stringed keyboard instru- THE WANAMAKER ORGAN laws/aeca_fv.html.) ments, is a performer, researcher, writer • The current requirements for the and lecturer, and served as a senior edi- Listen to it worldwide antique exemption for export are still tor for the Grove Dictionary of Musical virtually impossible to meet for many Instruments, 2nd ed. (Oxford Univer- over the Internet! legally obtained items due to a lack sity Press, forthcoming). Hourlong streamcasts are featured at 5pm ET Music of Ed Nowak Choral, hymn concertatos, psalm the first Sunday of settings, organ, piano, orchestral each month at wrti.org and chamber ensembles www.pipe-organ.com http://ednowakmusic.com

30 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Organ projects

Parsons Organ Builders Zion Lutheran Church, Mascoutah, Illinois Saving Schlickers

Matthew Clayton constructs choir risers By David McCleary (photo credit: Rev. Kirk Clayton)

hat happens when the pastor and to locate and adapt existing resources. Regarding Zion Lutheran, after no resemblance to Zion, Mascoutah (in Worgan committee in an active rural Not surprisingly, whether with pipes or selecting Parsons, a signifi cant amount terms of architecture or size), the organ church challenge their congregation to the organ infrastructure itself, re-tasking of time was spent outlining require- at Grace was known to be underpow- support the purchase of a world-class such materials to build an organ that is ments and refi ning options. Having ered. Wind pressures approaching three pipe organ? Members at Zion Lutheran artistically credible and able to stand on previously removed a large Schlicker inches combined with relatively small- Church in Mascoutah, Illinois (adjacent its own merits (much less bear our name) from Grace Episcopal Church, New scale pipes proved to be inadequate at to Scott Air Force Base and some thirty is considerably more diffi cult than hav- York City, Parsons suggested combining Grace. For Zion Lutheran, however, the minutes outside St. Louis, Missouri) ing the luxury of specifying every aspect portions of the Grace gallery installation opposite would be true. began by asking how the organ might of a new organ. Regardless, this process with the original Mascoutah Schlicker to After carefully selecting stops from enrich their worship experience, whether is becoming a part of the “new normal” form a cohesive three-manual and pedal both organs, ideas began to form that the organ would encourage member par- and is something that many organ build- organ. While the edifi ce at Grace bears offered exciting possibilities. Further ticipation, and how the organ could be ers are embracing as they strive to meet relied upon to expand the church’s reach the needs of their clients. into the community. In other words, how The question associated with these would investing in a pipe organ aid in endeavors is always one of determining the mission of the church? As a matter the extent to which the proposed organ of faith, while concerns about costs and represents the artistic signature of the logistics were seen as important issues, original builder, or begins to refl ect Zion chose to assign a higher value to characteristics typically found in one’s their conviction that the organ would own work. While every situation is dif- signifi cantly enhance their experience ferent, much depends on whether the and provide a springboard for greater proposed resource is an intact instrument community involvement. deemed worthy of restoration, or whether The history of this organ project really components from multiple organs are to began in the late 1990s when the congre- be refurbished and combined with new gation decided to build a new sanctuary. construction. When restoring and relocat- The new building was fi nished in 2000, ing a noteworthy organ, unless there are but funds for a new or improved organ signifi cant tonal anomalies, we prefer that were not available, so the congregation the organ continue to represent the intent moved their mid-1950s two-manual, of the original builder. On the other hand, 14-rank Schlicker pipe organ from the when working with individual compo- much smaller, more reverberant space nents (primarily pipework), we have the of the old church building into the new, opportunity to elicit modifi cations that larger sanctuary, which was plagued with better refl ect our own preferences. Swell enclosure and Positiv (photo credit: Parsons Pipe Organ Builders) relatively dry acoustics. Once in the new space, the sound produced by the organ was, at best, diminutive and lacked the attributes of foundation, expression, and color. Given its new surroundings and the fact that the congregation follows the Lutheran tradition of “Singing forth with great conviction,” the organ proved to be incapable of leading the congregation. Rather than conclude that a more sub- stantial pipe organ was outside the realm of possibility, the newly formed organ committee went to their list of preferred builders and asked that each devise options to provide the church with a workable proposal. Like many churches, Zion Lutheran considered that, while there are advantages to an entirely new organ, costs would be such that the resulting instrument would likely be inadequate and would not materially improve their current situation. The congregation also felt that it was impor- tant to respect the role played by the 1950s Schlicker and sought to preserve their musical heritage by incorporating resources from the Schlicker into the new organ. While our fi rm is primarily involved with building new organs, we fi nd that an increasing number of clients are com- ing to us with requests similar to that of Zion Lutheran. In these situations we are asked to commit our expertise

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 31 Organ projects

Swell unit stops including 16-8-4 Fagott (photo credit: Parsons Wedge-bellows winding system (photo credit: Parsons Pipe Console (photo credit: Rev. Kirk Clayton, Zion Pipe Organ Builders) Organ Builders) Lutheran Church)

a thoroughly professional manner by Zion volunteers. Whereas the gallery installation at Grace Episcopal included 61 ranks distributed over Great, Swell, Positiv and Pedal divisions, the organ at Zion Lutheran comprises 36 ranks, distrib- uted over the same divisional confi gura- tion. Given the abundant resources from Grace, and the original pipework from Mascoutah, Duane Prill, tonal direc- tor at Parsons, was able to recast the organ so that while it remains classically oriented, it possesses a broader, more cohesive sound, with well-developed bass and tenor registers, and improved blending capabilities. As with most projects that incorporate recycled pipes, this project involved a labor-intensive Erecting client-built Swell enclosure (photo credit: Rev. Kirk Clay- Great slider stops (photo credit: Parsons Pipe Organ Builders) process that included major pipe repairs, ton, Zion Lutheran Church) initiating and reversing miters, rescal- ing, and a substantial amount of revoic- discussions regarding organ infrastruc- space was appropriate and welcoming. and ceiling areas over the chamber and ing, regulation, and tonal fi nishing. In ture solidifi ed the concept of rebuilding However, as a trade-off to what was seen choir loft be thoroughly sealed. In addi- addition, because Schlicker reeds are Grace Episcopal’s Heissler electric- as warm and welcoming, the acoustics tion, plans were made to modify choir characteristically unstable, each rank slider windchests and three-manual con- of the room suffered and resulted in a risers and replace sound-absorbing was completely rebuilt to insure optimal sole, while stipulating the construction drier acoustical environment. The wide carpet in the loft and chancel areas performance. From the perspective of of a new wedge-bellows winding system. shape of the room, combined with an with hard-surface fl ooring. The church the pipe department, when compared The resulting specifi cation also called for unsealed, multi-faceted wood ceiling, agreed to deal with temperature strati- with the process of working with new incorporating a Peterson ICS-4000 solid- single-layer drywall construction, and fi cation by installing a micro-climate pipes, achieving excellent results with state switching system. As the engineer- carpeted fl oors, created a lackluster circulation system designed by Parsons recycled pipes requires as much, if not ing process unfolded, it was determined acoustic. In addition, because the organ to pull air from the bottom of the organ more effort. Yet, the result of this effort that volunteer contractors at the church would occupy a large area at the rear of chamber and distribute it across the top speaks for itself. The new organ features had the credentials to build the Swell the choir loft, concerns were raised that of the organ. Following the installation, a warm, rich tone with ample power to enclosure and develop a simple façade. temperature stratifi cation would cause the various “fi xes” proved to be success- lead a congregation in vigorous singing, While these are not aspects of the pro- tuning problems. Noting the critical ful. The organ projects nicely into the yet also has the delicate nuance to lead cess that Parsons typically relinquishes nature of these issues, the church wisely room, and tuning is extremely stable. choirs or soloists or to shine in solo work. to its clients, in this instance it was felt to organized a group of highly skilled indi- The acoustics, while still not “live,” have As the congregation at Zion has become be appropriate. viduals to work with Parsons and manage improved noticeably. It is important accustomed to the new organ, they have With the design of the organ taking whatever construction processes might to mention that work associated with responded enthusiastically, with congre- shape, discussions shifted to acoustics be required. With regard to acoustics, acoustical remediation, installation of gational singing increasing noticeably in and environmental concerns. Great it was determined that the walls of the the micro-climate system, and general the months since the organ was installed. care was taken during the planning of surrounding organ chamber should be site preparation (electrical work, fl oor- The organ is now fulfi lling its role of the new sanctuary to insure that the hardened, a protruding closet removed, ing, and painting) was carried out in leading the congregation in song.

The right organ at the www.pekc.org right price Princeton Early Keyboard Center Director We’ll help you chRRse from Gavin Black, the hundreds of vintage organs available through our website. The Princeton Early Keyboard Center, with its principal We can deliver it to the studios on Witherspoon Street in Princeton, NJ, is a small, organ builder of your choice independent school offering lessons and workshops in or refurbish, revoice, and harpsichord, clavichord, continuo playing, and all aspects install it ourselves. of Baroque keyboard studies. Facilities include two antique harpsichords, several other fi ne harpsichords, “In choosing OCH, I know that the work has been done and clavichords, both antique and modern. Lessons at the with the utmost knowledge, enthusiasm, care and integrity.” David Enlow, Sub-Dean, NYCAGO Center are available in a wide variety of formats, tailored to the needs of each student. All enquiries are very welcome at Organ Clearing House 732/599-0392 or [email protected]. www.organclearinghouse.com or call John Bishop at 617-688-9290

32 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM The fi nished product: View of pipework (photo credit: Rev. Kirk Clayton, Zion Lutheran Church)

It must be said that the successful by the sanctuary remodeling and acous- outcome at Zion Lutheran is truly the tics committee, consisting of Mark result of a collaborative process involv- Krausz (chair), Alan Kneschke, Jennifer ing a full range of participants. Pastor Lara, Josh Peterson (choir director), Kirk Clayton, with his great passion for Andy Sax, and Donna Wiesen. Buzz liturgy and music, served as an advisor Kandler served as a point of contact L to R: Mr. Josh Peterson, choir director; Dr. Nancy Peterson, principal organist; on the project along with members between the congregation and Parsons and Rev. Kirk Clayton, pastor (photo credit: Parsons Pipe Organ Builders) of the organ committee, including to make sure communication was clear Lisa Segelhorst (committee chair and and smooth. organ building art to bring this project David McCleary is a project manager organist), Nancy Peterson (principal The committees at Zion and the to fulfi llment. All worked together as at Parsons. He trained in the areas of organist), Pinky Ahner (organist), David willing volunteers who put in count- partners to create an exceptional pipe process architecture and elongated sales Abuya (choir member), and Karl Bretz less hours of study, consideration, and organ that has already shown itself to cycles with an emphasis on collaborative (interested layman), with great support physical labor joined their efforts with be a great blessing to the congrega- relationships. McCleary has worked in and advice provided to the committee the skilled staff at Parsons Pipe Organ tion’s worship life and is becoming a the commercial decorative arts industry by Norbert Krausz. The physical work Builders, who devoted their skills signifi cant part of the arts and music and has extensive experience in the fi eld done in Zion’s building was coordinated wholeheartedly to the height of the community in Southern Illinois. And of pipe organs. He holds memberships in yet, despite the work of many people on several chapters of the American Guild of the project, perhaps the words ascribed Organists, and is committed to furthering to J. S. Bach summarize the process the resurgance of the pipe organ as the Parsons Pipe Organ Company best: Soli Deo Gloria. Q superior liturgical musical instrument. Zion Lutheran Church, Mascoutah, Illinois

GREAT – unenclosed – Manual II 4′ Gedeckt (Sw) 16′ Pommer 29 pipes 16′ Posaune (ext Gt Trumpet) 12 pipes (1–32 from Sw. Lieblich Gedeckt) 16′ Fagott (Sw) 8′ Principal 61 pipes 8′ Trumpet (Gt) 8′ Gemshorn 61 pipes 4′ Schalmei (Sw) 8′ Holzfl öte 61 pipes Chimes (existing) 4′ Octave 61 pipes MIDI on PED I & II 4′ Hohlfl öte 61 pipes 3 ′ 2⁄3 Twelfth 61 pipes ACCESSORIES FOLLOWING THE TREMENDOUS SUCCESS OF 2′ Fifteenth 61 pipes Tremulant—affects entire organ (excluding Mixture IV 244 pipes Ped 16′ fl ue basses) THE GENIUS OF CAVAILLÉ-COLL, which recently won ′ 8 Trumpet 61 pipes Flexible Wind—affects entire organ Best Documentary at BBC Music Magazine Awards, Chimes (existing tubes & action) Zymbelstern MIDI on GT I & II Fugue State Films is currently producing two new first- SUMMARY ever DVD documentaries about César Franck and SWELL – enclosed – Manual III Division Registers Stops Ranks Pipes 16′ Lieblich Gedeckt 12 pipes Great 10 10 13 761 Charles-Marie Widor. (ext 8′ Rohrfl öte) Swell 10 13 13 805 Help raise funds to make the first ever documenta- 8′ Principal 61 pipes Positiv 7 9 7 427 8′ Rohrfl öte 61 pipes Pedal 3 14 3 132 ries about Franck and Widor. The films will be packaged 8′ Salicional 61 pipes Totals 30 46 36 2,125 as part of DVD/CD boxed sets crammed with material 8′ Voix Celeste T.C. 49 pipes and CD and DVD tracks. For release in 2014. 4′ Octave 61 pipes COUPLERS ′ FRANCK 4 Koppelfl öte 61 pipes Gt to Gt 16-UO-4 $195.00 2′ Nachthorn 61 pipes Sw to Gt 16-8-4 DOUBLE RECOGNIZED SUBSCRIBER: Receive a Sesquialtera II 110 pipes Pos to Gt 16-8-4 credit in both Widor and Franck DVDs, and be the first to re- Mixture III 183 pipes ceive pre-release copies of both finished boxed sets. 16′ Fagott (ext Schalmei) 12 pipes Pos to Pos 16-UO-4 $320.00 8′ Schalmei 61 pipes Sw to Pos 16-8-4 SCREENER: Have the right to screen both DVDs at 4′ Clarion (ext Schalmei) 12 pipes your church or organist association, plus all of the above. MIDI on SW I & II Sw to Sw 16-UO-4 Ideal for AGO chapters, local organist associations and churches. POSITIV – unenclosed - Manual I Gt to Ped 8-4 $995.00 8′ Gedeckt 61 pipes Sw to Ped 8-4 ASSOCIATE PRODUCER: Fugue State Films will 4′ Principal 61 pipes Pos to Ped 8-4 show their great appreciation by granting you an asso- 4′ Rohrfl öte 61 pipes ciate producer credit in both films, plus all of the above. 2′ Octave 61 pipes PISTONS 1 1⁄3′ Klein-Nasat 61 pipes Great 8 thumb Visit www.ohscatalog.org for more information and to be- 1′ Siffl öte 61 pipes Swell 8 thumb ′ WIDOR come a subscriber to help raise the funds necessary to com- 8 Krummhorn 61 pipes Positiv 6 thumb plete this exciting project. 16′ Posaune (Gt) Pedal 5 toe 8′ Trumpet (Gt) General 12 thumb & toe MIDI on POS I & II Set thumb Cancel thumb IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! PEDAL – unenclosed Full Organ thumb & toe 32′ Forte Resultant (from Subbass) Gt to Ped Rev. thumb & toe ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG 32′ Piano Resultant (from Sw Lieb Ged) Sw to Ped Rev. thumb & toe 16′ Principal 32 pipes Positiv to Ped Rev. thumb & toe 16′ Subbass 32 pipes Sw to Gt Rev. thumb ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we ′ 16 Lieblich Gedeckt (Sw) Pos to Gt Rev. thumb recommend, is $10.00 for your entire order. 8′ Octave (ext) 12 pipes Sw to Pos Rev. thumb P.O. Box 26811 Richmond, VA 23261 8′ Bass Flute (ext) 12 pipes Memory Up thumb Telephone: (804) 353-9226 Media Mail shipping is $5.00 for your entire 8′ Gedeckt (Sw) Memory Down thumb order. Shipping outside U.S. is $4.50, plus 4′ Choral Bass 32 pipes Monday–Friday 9:30am–5:00pm ET the cost of air postage, charged to your VISA

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WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 33 Cover feature

Orgues Létourneau Limitée, improvements were realized before the of the Pedal 16′ Open Diapason—com- within the chancel and has a number of Saint-Hyacinthe, Québec, new organ’s installation. prising usefully slender open wood conveniences to help manage the instru- Canada The original organ chambers were pipes—and 32 pipes from the Pedal 16′ ment’s resources. In addition to the Nave Memorial Presbyterian Church, on both sides of the chancel arch, with Trombone were successfully reworked Shutters Closed drawknobs within the Midland, Michigan each chamber having tone openings to into the new instrument. Swell and Choir divisions, there is an All the chancel and nave. Their most com- The Létourneau organ at Memorial Swells to Swell feature, with all of these From the organbuilder mented-upon feature was the four grilles Presbyterian Church is an excellent controls programmable on the General In their search for an organbuilder, that fronted each opening and displayed example of our tonal goals, with a wide pistons as required. Other refi nements Memorial Presbyterian Church identi- favorite hymn tunes on treble and bass array of elegant colors and clear chorus include discreet thumb pistons for page- fi ed an ability to lead hymn singing as a staves. As the new organ is considerably structures. The tonal design also follows turners to operate the General piston priority for their new instrument. The larger than its predecessor, the existing certain other recent Létourneau instru- sequencer and a manual transfer func- accompaniment of the church’s choir chambers were expanded laterally to ments in which the Swell and Great tion, exchanging the Great and Choir and the needs of the organ repertoire sweep around the chancel’s semi-circular divisions are almost evenly matched manuals to ease the playing of French were important but less signifi cant back wall. While the old chambers’ tone dynamically. Despite fi ve 8′ fl ues and Romantic repertoire. considerations; this pipe organ’s raison openings and grilles were maintained, fi fteen ranks in total, the full Great main- The timeline for this project—from d’être was to support a large congrega- the new chambers display speaking pipes tains a clean, placid nature that brings to initial contact to the dedicatory con- tion in song. As a result, our Opus 122 from the Great diapasons, the Pedal 8′ mind some of the better American Classic certs—spanned over fi ve years, and we was designed to offer the perceptive Principal, and the second octave of the examples from the early 1950s. The Swell remain grateful to Memorial Presbyte- player a wide array of colors and textures Pedal 16′ Open Diapason; the relatively is luxurious in its size and scope, with the rian Church for entrusting us to build this for leading hymns and word painting. unadorned arrangement of the pipes and full Swell properly driven by reed tone grand and complex musical instrument. Given in memory by her brother their restrained fi nish were intended to to color the Great division. The versatile Over the years, it was a particular privi- Charles, the Bertha E.R. Strosacker quietly complement the chancel without Choir has a number of softer combina- lege to work with Memorial’s Director of Memorial Presbyterian Church was thet drawing undue attention. tions but can also take on a substantial Music and the Arts, Guy Lynch, who ably work of New York City architect Aymar With openings to the nave and the role in the build up to full organ as with supervised the project on the church’s Embury II (1880–1966), who regarded chancel, the original chambers allowed a French Positif division. Duplication of behalf. Others who contributed greatly the church as one of his fi nest designs. us to design the organ such that organists tone between the Swell and Choir has to the success of the Opus 122 include The building was opened in 1953 and have a choice with respect to the amount been avoided through careful scaling William Clisham (Memorial’s organ con- displays Embury’s unique style that of sound projected to the nave. To restrict and other pipe construction details; the sultant), Dr. Adrienne Wiley (organist at defi es easy categorization as classical or tone to the chancel for accompanying, the Choir’s two-rank Sesquialtera is com- Memorial), Ivan Wood (facilities manager Georgian. The exterior of the building Swell and Choir nave shades can be closed posed of principal-toned pipes to contrast at Memorial), and David Morrison (the is handsome in a way that belies its size; via drawknobs. Used judiciously, these with the Swell’s fl uty cornet décomposé. organ project’s unoffi cial photographer). the 172-foot-tall tower can, however, shades can also be kept closed for climac- Likewise, the Choir’s two reed stops—an —Andrew Forrest, Artistic Director be seen from nearly anywhere in Mid- tic moments as the instrument presents a 8′ Trumpet and an 8′ Cromorne—have Fernand Létourneau, President land. Inside, the long church sanctuary markedly broader sound fi eld in the nave an unambiguous French timbre that W. Dudley Oakes, Project Consultant is similarly understated, with natural when the nave shutters are open. takes over where the Swell’s smoother light playing a striking role through In preparing the specifi cation for reed chorus leaves off. The expressive From the director of music large fl oor-to-ceiling windows and crisp Opus 122, we evaluated the pipework Solo division offers a harmonic 8′ Concert Opus 122 from Orgues Létourneau white surfaces. from the church’s previous Austin organ Flute in wood, an otherworldly two-rank Limitée has, since its completion, Prior to beginning the organ project, with an eye to reusing the best ranks as 8′ Flute Celeste and two orchestral-style delighted organists and congregations the church was acoustically unremark- a measure of stewardship. Several partial reeds, plus a high-pressure 8′ Tuba each week. While Memorial Presbyterian able; the apse-like chancel area, the chan- ranks made the cut: the fi rst 32 pipes of with Willis-style shallots. With 32′ fl ue Church wanted a new pipe organ that cel arch and the rectilinear surfaces of the the Great 16′ Violonbass and another 32 and reed ranks—plus a 16′ extension of worked well for choral accompaniment nave presented challenges for the proper pipes from the present Great 8′ Har- the Solo Tuba sounding on 15 inches of and for solo recitals, it primarily sought a transmission of sound without confusing monic Flute were restored and revoiced wind—the full resources of the Pedal stoplist and design that would unfailingly refl ections and echoes. The church wisely in addition to the Swell 16′-8′-4′ reed division are impressive to behold, yet an support congregational singing, providing engaged in the services of acoustician chorus. In the Choir division, the bass abundance of lesser sonorities to balance worshippers with a sense of support and Scott Riedel, who recommended add- octave of the 16′ Dulciana and all 54 the manuals is available as well. propulsion without being overwhelming. ing visually subtle diffusers to various pipes from the Solo 8′ Flute Celeste rank The handsome four-manual console New chambers surrounding the chan- surfaces throughout the sanctuary; these were also reused. Finally, the bass octave resides on a rolling platform for mobility cel were constructed for the Great and

Orgues Létourneau Limitée, Opus 122 Memorial Presbyterian Church, Midland, Michigan

GREAT 4′ Open Flute 61 pipes SWELL (expressive) SOLO (expressive) 2 16′ Violonbass 61 pipes 2⁄3′ Twelfth 61 pipes 16′ Lieblich Gedackt (wood) 61 pipes 8′ Concert Flute 61 pipes 8′ First Diapason 61 pipes 2′ Fifteenth 61 pipes 8′ Open Diapason 61 pipes (1–49 wood, harmonic) 1 8′ Second Diapason 61 pipes 1⁄3′ Mixture IV–V 293 pipes 8′ Viola di Gamba 61 pipes 8′ Dolce Flute 61 pipes 8′ Harmonic Flute 61 pipes 8′ Trumpet 66 pipes 8′ Voix Celeste (from g8) 54 pipes 8′ Flute Celeste (from g8) 54 pipes 8′ Violoncello (ext) 12 pipes Tremulant 8′ Lieblich Gedackt (ext) 12 pipes 8′ Clarinet 61 pipes 8′ Bourdon (1–12 wood) 61 pipes 8′ Tuba [Solo] 4′ Principal 61 pipes 8′ English Horn 61 pipes 4′ Principal 61 pipes Zimbelstern 4′ Spire Flute 61 pipes Tremulant 2 2⁄3′ Nazard 61 pipes 8′ Tuba 66 pipes 2′ Flageolet 61 pipes 3 1⁄5′ Tierce 61 pipes PEDAL 2′ Full Mixture IV–V 288 pipes 32′ Subbass (wood) 32 pipes 16′ Fagotto (full length) 61 pipes 16′ Open Diapason 32 pipes 8′ Trumpet 66 pipes (1–12 wood) 8′ Oboe 61 pipes 16′ Violonbass [Great] 8′ Vox Humana 61 pipes 16′ Subbass (ext, wood) 12 pipes 4′ Clarion 78 pipes 16′ Dulciana [Choir] Tremulant 16′ Lieblich Gedackt [Swell] 8′ Principal 32 pipes CHOIR (expressive) 8′ Violoncello [Great] 16′ Dulciana 61 pipes 8′ Bass Flute (1–17 wood) 32 pipes 8′ Principal 61 pipes 8′ Dulciana [Choir] 8′ Chimney Flute (1–12 wood) 61 pipes 4′ Choral Bass 32 pipes 8′ Dulciana (ext) 12 pipes 4′ Nachthorn 32 pipes 2 8′ Unda maris (from g8) 54 pipes 2⁄3′ Mixture IV 128 pipes 4′ Octave 61 pipes 32′ Contra Trombone 32 pipes 4′ Harmonic Flute 61 pipes (1–12 L/2, wood) 4′ Octave Dulciana 61 pipes 16′ Ophicleide 12 pipes 2′ Fifteenth 61 pipes (ext of Solo 8′ Tuba) 1 1⁄3′ Larigot 61 pipes 16′ Trombone (ext) 12 pipes 2 2⁄3′ Sesquialtera II 122 pipes 16′ Fagotto [Swell] 1′ Mixture III 183 pipes 8′ Tuba [Solo] 8′ Trumpet 66 pipes 8′ Trumpet 32 pipes 8′ Cromorne 61 pipes 4′ Clarion 32 pipes Tremulant 8′ Tuba [Solo] Full complement of inter- and intramanual couplers. Electric-slider wind chests. 55 independent stops 69 ranks 3,813 pipes

Console

34 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Memorial Presbyterian Church Orgues Létourneau Limitée Opus 122

Pedal divisions, and in keeping with the The Solo division’s six ranks are per- slide toward the organist over the Solo about making the instrument accessible architectural symmetry of the sanctuary, haps the instrument’s most distinctive. manual, a useful feature when reading for community purposes and important the design of the façade pipes in four The strong 8′ Tuba can sit atop a very full glasses have gone missing! improvements to the sanctuary’s acoustics bays allowed for two different Great 8′ accompanying registration with ease and The congregation’s support of the organ have made the church even more attrac- diapason ranks. Each has its own color balance. The fl ute stops are exquisite: the project was remarkable in this writer’s tive to community music makers. British and strength, and either can sit equally wooden 8′ Concert Flute has a delight- experience, and their input was sought and organist David Baskeyfi eld performed well under the chorus; when combined, fully realistic orchestral timbre, while nurtured throughout the proposal phase. two inaugural recitals on Opus 122 to the effect is a substantial foundation, the combination of the 8′ Dolce Flute Members and friends were encouraged comfortably large crowds made up from but not an overwhelming one. They and the 8′ Flute Celeste was described to visit the organ committee’s informa- congregation and community members offer a valuable clarity of speech that as “too sinful to be used during worship.” tion display to view Létourneau’s draw- in September of 2012. The dedication makes articulated passagework sound Throughout the remaining manual divi- ings and communications; the displays committee worked with Mr. Baskeyfi eld clean, yet the legato never seems to sions, the instrument’s ability to create a were changed almost each week. Once to offer a program that included main- suffer. The Great principal chorus pos- sense of ensemble seems unfailingly con- the organ project was approved by the stays of the organ repertoire during the sesses the distinctive, clear character sistent and even unconventional registra- church’s leadership, Létourneau supplied fi rst half and an improvised accompani- one would expect and supports congre- tions can yield delicious results. Mutation photographs that kept the congregation ment of the silent fi lm The Phantom of gational singing with great transparency, stops on all the manuals are colorful and informed and enticed during the typical the Opera to conclude. The result was a a word often used in our conversations well balanced, with several unison and lull between contract signature and com- meaningful and delightful evening that with Létourneau. octave combinations in support. pletion. Parishioners even lent quilts and attracted many who otherwise would Throughout the organ’s expressive The extensive Pedal division supplies blankets to cover the sanctuary’s pews for have not attended the inaugural concerts. divisions, the extraordinary thickness the organist with useful choices: While the organ’s delivery; some seventy volun- The people at Létourneau—to the and density of the swell shades yield a the Pedal stops undergird manual regis- teers unloaded the truck and transformed person—possess an unfaltering zeal for usefully wide range of dynamics; some trations in a very satisfying way, they also the sanctuary into a dauntingly large ware- their art. The friendliness, attention to of the softer string and fl ute stops almost speak clearly and quickly—the capable house of pipework, chests, and windways. detail, fl exibility, and stellar profession- disappear completely when the shades organist can keep even the sleepiest Opus 122 was, to a wonderful degree, alism consistently shown to Memorial close. The Swell and Choir divisions churchgoer up to tempo. The Pedal 16′ funded by dollars that came from commu- Presbyterian Church have been and have shades on two sides of their boxes, Open Diapason’s speech is particularly nity sources, and because the campaign to continue to be a blessing. opening towards both the chancel and clean and most distinct. pay for the organ was so oversubscribed, —Guy A. Lynch to the nave, and organists can choose to Organists have found Opus 122’s con- Memorial Presbyterian Church used Director of Music and the Arts leave the nave shades closed if accom- sole to be comfortable and easy to use; those extra dollars to provide fi nancial panying a choir singing in the chancel, its toe pistons are accessible to even the support to important local and distant All photos courtesy of David Morrison for example. shortest pair of legs. The music desk can mission causes. The church is intentional Photography

View of chancel Close-up of chambers and original grille

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 35 New Organs

Temple Organs First United Methodist Church, Burlington, Iowa

GREAT 8′ Gemshorn Celeste 16′ Principal (ext) 4′ Spitz Principal 8′ Diapason 4′ Koppelfl ote 2 8′ Principal 2⁄3′ Quint 8′ Clarabella 2′ Spitz Octave (ext) 8′ Rohrfl ote 2′ Blockfl ote 3 8′ Gamba 1⁄5′ Terz 2 8′ Dulciana (in Choir enclosure) ⁄3′ Scharf III 8′ Unda Maris (in Choir enclosure) 16′ Basson (ext) 4′ Octave 8′ Basson 4′ Rohrgedeckt 8′ Clarinet 2 2⁄3′ Twelfth 4′ Basson (ext) 2′ Fifteenth 8′ Trompette-en-Chamade (Solo) 2′ Nachthorn 8′ Grand Cornet V (Solo) 1 1⁄3′ Fourniture IV Tremulant 8′ Bombarde Chimes 4′ Clairon (ext) 8′ Trompette-en-Chamade (Solo) SOLO 8′ Grand Cornet V (Solo) 8′ Grosse Rohrgedeckt View of façade Tremulant 4′ Choral Octave Chimes 4′ Spitzgedeckt Temple Organs, St. Joseph, custom-made in Germany, while some 2′ Hohlfl ote SWELL 8′ Grand Cornet V Missouri 40 ranks of pipes were procured by the 16′ Lieblich Gedeckt (ext) 16′ Bombarde (ext) First United Methodist Church, company from late-model pipe organs in 8′ Geigen Principal 8′ Bombarde Burlington, Iowa churches that were closing or had been 8′ Gedeckt 8′ Trompette-en-Chamade Temple Organs has built a new pipe sold to congregations that eschewed the 8′ Viole 4′ Clairon-en-Chamade (ext) 8′ Viole Celeste Tremulant organ for First United Methodist Church, traditional American worship sound. 8′ Salicional Burlington, Iowa, to replace an earlier The organ is laid out in the same basic 8′ Voix Celeste PEDAL Temple organ destroyed in a catastrophic format as the 1967 organ, with the Swell 4′ Prestant 32′ Resultant arson fi re in 2007. The organ comprises in the left corner, the Great divided C 4′ Harmonic Flute 16′ Open Diapason 4′ Violina (ext) 16′ Principal (Great) 60 ranks, with a four-manual console, and and C# around a center chest, which in 2 2⁄3′ Nazard 16′ Bourdon includes a polished copper Trompette- the new organ contains the Solo divi- 2′ Geigen (ext) 16′ Lieblich Gedeckt (Swell) en-Chamade. The exposed Great, Solo, sion, and the Choir in the right corner. 2′ Piccolo 16′ Contra Dulciana (Choir) 3 ′ ′ and horizontal Trompette surround the The Pedal is disposed throughout the 1⁄5 Tierce 8 Pedal Principal ′ 2′ Mixture III 8′ Bourdon (ext) unique rose window, which is six windows layout, with the 16 Open Diapason par- 1′ Mixture III (ext) 8′ Gemshorn (Choir) around one, whose concrete frame was tially included in the façade. The three 16′ Trumpet (ext) 4′ Choral Bass (Solo) salvaged after the fi re. A large oak frame unison stops of the Grand Cornet V are 8′ Trumpet 4′ Pedalfl ote (ext) will enclose a future LCD screen. available separately in the Solo division, 8′ Oboe 2′ Super Octave (ext) 2 8′ Vox Humana 2⁄3′ Mixture IV The earlier Temple organ, built in as well as together in the Cornet. The 4′ Clarion (ext) 16′ Bombarde (Great) 1967 by N. Frederick Cool, incorporated Choral Octave, the main tuning rank for 8′ Trompette-en-Chamade (Solo) 16′ Trumpet (Swell) several ranks of pipes from the historic the whole organ, is placed in the Solo for 8′ Grand Cornet V (Solo) 16′ Basson (Choir) Hinners organ in the church, notably another full chorus ensemble. Tremulant 8′ Bombarde (Great) 8′ Basson (Choir) strings and fl utes. In deference to this Dr. Jan Kraybill played the dedicatory CHOIR 4′ Clairon (Great) tonal scheme, the present organ has six recital the afternoon of March 30, to a 16′ Contra Dulciana (ext) 4′ Basson (Choir) ranks of Hinners pipes from a vintage packed house. 8′ Principal 4′ Clairon-en-Chamade (Solo) and untouched instrument purchased —David Cool 8′ Hohlfl ote 4′ Grand Cornet V (Solo) 8′ Cor de Nuit from a church in central Kansas. New 8′ Gemshorn 4 manuals, 60 ranks Principal and Trumpet ranks were Photo credit: Jim Priebe

First United Methodist Church, Burlington, Iowa

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36 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Rebecca Davy, with violin; Bruton Par- Park Ridge Presbyterian Church This calendar runs from the 15th of the month ish Church, Williamsburg, VA 8 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Quire Cleveland; Mary Queen of Peace Pickle Piano / Johannus Midwest is the fi rst of the preceding month (Jan. 1 for NEW YORK Church, Cleveland, OH 7:30 pm Feb. issue). All events are assumed to be organ Bloomingdale, IL Michael Batcho; Cathedral of St. John recitals unless otherwise indicated and are grouped within each date north-south and east-west. •=AGO the Evangelist, Milwaukee, WI 12:15 pm chapter event, • •=RCCO centre event, +=new organ Nathan Laube; Winnetka Congregation- al, Winnetka, IL 10 am dedication, ++= OHS event. Christopher Babcock Information cannot be accepted unless it specifi es artist name, date, location, and hour in 28 SEPTEMBER Nigel Potts; Cathedral of St. John the writing. Multiple listings should be in chronological St. Andrew’s by the Sea, Divine, New York, NY 5 pm order; please do not send duplicate listings. Hyannis Port THE DIAPASON regrets that it cannot assume C. Michael Hawn, hymn festival; Advent responsibility for the accuracy of calendar entries. Lutheran, Melbourne, FL 3 pm Jonathan Ryan; Stambaugh Auditorium, Youngstown, OH 4 pm UNITED STATES Quire Cleveland; Historic St. Peter’s East of the Mississippi Church, Cleveland, OH 4 pm Dean W. Billmeyer GAVIN BLACK Jonathan Rudy; Hatfi eld Hall, Rose-Hul- Princeton Early Keyboard Center 16 SEPTEMBER man Institute of Technology, Terre Haute, University of Minnesota JanEl Will; Bruton Parish Church, Wil- IN 3 pm 732/599-0392 liamsburg, VA 8 pm Nathan Laube; St. Chrysostom’s, Chi- Minneapolis 55455 • [email protected] www.pekc.org Robert Nicholls; Our Lady of Perpetual cago, IL 2:30 pm Help, Campbellsville, KY 12:20 pm 30 SEPTEMBER 18 SEPTEMBER Rebecca Davy, organ & harpsichord; Bru- JanEl Will; Bruton Parish Church, Wil- ton Parish Church, Williamsburg, VA 8 pm Byron L. Blackmore THOMAS BROWN liamsburg, VA 8 pm UNIVERSITY 1 OCTOBER Crown of Life Lutheran Church PRESBYTERIAN CHURCH 19 SEPTEMBER Beth & Ronald Sider; Camp Hill Presby- Sun City West, Arizona CHAPEL HILL, NORTH CAROLINA Daryl Robinson terian, Camp Hill, PA 12:15 pm ; Benson Great Hall, 623/214-4903 ThomasBrownMusic.com Bethel University, St. Paul, MN 7:30 pm 3 OCTOBER 20 SEPTEMBER Stephen Hamilton; National City Chris- TENET & the Sebastians; Holy Trinity Lu- tian Church, Washington, DC 12 pm theran, New York City, NY 7 pm Carol Williams; Naval Academy, Annap- ROBERT CLARK Alan Morrison, masterclass; Band Re- olis, MD 7:30 pm Houston Texas DELBERT DISSELHORST hearsal Hall, Indiana University, Indiana, Alan Morrison, masterclass; Stefanie H. Master Classes, Consultation Professor Emeritus PA 10 am Weil Center for the Performing Arts, She- [email protected] Rebecca Davy, with fl ute & bassoon; Bru- boygan, WI 7 pm 513/478-0079 University of Iowa–Iowa City ton Parish Church, Williamsburg, VA 8 pm 4 OCTOBER 21 SEPTEMBER George Baker, masterclass; Westmin- Hector Olivera; Mechanics Hall, ster Presbyterian, Dayton, OH 10 am, re- JAMES DORROH, AAGO, PhD STEVEN EGLER Worcester, MA 7 pm cital 4 pm Central Michigan University Nigel Potts; St. John’s Episcopal, Cold Alan Morrison; Stefanie H. Weil Center Saint Luke’s Episcopal Church Mt. Pleasant, Michigan Spring Harbor, NY 3 pm for the Performing Arts, Sheboygan, WI Samford University Artist in Residence Ken Cowan; Congregational Church of 7:30 pm First Congregational Church Manhasset, Manhasset, NY 3 pm David Schrader; Lutheran School of Birmingham, Alabama Saginaw, Michigan Alan Morrison; Band Rehearsal Hall, In- Theology, Chicago, IL 7:30 pm Organ Consultant Organ Recitals [email protected] diana University, Indiana, PA 4 pm Don Fellows; St. Paul Cathedral, Pitts- 5 OCTOBER burgh, PA 4 pm Choir & handbell concert; Basilica of Sts. Craig Cramer; Camp Hill Presbyterian, Peter & Paul, Lewiston, ME 6 pm JOHN FENSTERMAKER TEPHEN AMILTON Camp Hill, PA 4 pm Nigel Potts; Christ & St. Stephen’s Epis- S H Evensong; Bruton Parish Church, Wil- copal, New York, NY 4 pm TRINITY-BY-THE-COVE recitalist–clinician–educator liamsburg, VA 5:30 pm Joan Lippincott; First United Church of Raúl Prieto Ramírez; Calvary Baptist, Christ, Reading, PA 3 pm APLES LORIDA www.stephenjonhamilton.com Roanoke, VA 4 pm Stephen Schreiber; Trinity Church, Am- N , F Nathan Laube; St. Paul’s Episcopal, Ak- bler, PA 1 pm ron, OH 4 pm Marek Kudlicki; River Road Baptist, Chelsea Chen; St. John United Method- Richmond, VA 3 pm ist, Augusta, GA 3 pm ANDREW HENDERSON, DMA George Baker; Westminster Presbyte- WILL HEADLEE Isabelle Demers; Vineville United Meth- rian, Dayton, OH 4 pm odist, Macon, GA 4 pm 1650 James Street Madison Avenue Presbyterian Church Craig Cramer, with orchestra; St. Lorenz New York, NY Choral Evensong; Cathedral Church of Lutheran, Frankenmuth, MI 4 pm Syracuse, NY 13203-2816 the Advent, Birmingham, AL 3 pm Karen Beaumont; St. Casimir Church, www.andrewhenderson.net H. Ricardo Ramirez; Madonna della Milwaukee, WI 4 pm (315) 471-8451 Strada Chapel, Loyola University, Chicago, András Gåbor Virágh; St. Chrysos- IL 3 pm tom’s, Chicago, IL 2:30 pm Stephen Alltop & Bruce Barber; St. Aaron David Miller, with trumpet; House Clement’s Catholic Church, Chicago, IL of Hope Presbyterian, St. Paul, MN 4 pm 3:30 pm David Herman St. Olaf Cantorei; Gloria Dei Lutheran, St. 10 OCTOBER Paul, MN 4 pm Dexter Kennedy; United Presbyterian, Trustees Distinguished Professor Emeritus of Music and University Organist Binghamton, NY 7:30 pm 22 SEPTEMBER The University of Delaware Q [email protected] Choir of Claire College; All Saints’ •Michael McCarthy; St. Luke’s Episco- Church, Atlanta, GA 7:30 pm pal, Fort Myers, FL 2 pm Andrea Toschi; Elliott Chapel, Presbyte- Stephen Alltop; Alice Millar Chapel, rian Homes, Evanston, IL 1:30 pm Northwestern University, Evanston, IL 7:30 pm A Professional Card in 23 SEPTEMBER John Cannon; Bruton Parish Church, 11 OCTOBER The Diapason Williamsburg, VA 8 pm Richard Elliott; Greece Baptist, Roches- For rates and digital specifi cations, contact Jerome Butera ter, NY 7 pm 25 SEPTEMBER Dexter Kennedy, workshop; United 847/391-1045; [email protected] Janette Fishell; Cathedral of St. Paul, St. Presbyterian, Binghamton, NY 10 am Paul, MN 7:30 pm Crescent Choral Society & Plainfi eld Symphony Orchestra; Crescent Avenue LORRAINE BRUGH, Ph.D. 26 SEPTEMBER Presbyterian, Plainfi eld, NJ 7 pm Christopher Marks; St. Paul’s Episco- Isabelle Demers; Spivey Hall, Morrow, pal, Greenville, NC 7:30 pm GA 3 pm Associate Professor Peter Dubois; Old Salem Museums & University Organist Gardens, Winston-Salem, NC 7:30 pm 12 OCTOBER Quire Cleveland; St. Paul’s Episcopal, Alan Morrison; Greene Memorial United Valparaiso University Cleveland Heights, OH 7:30 pm Methodist, Roanoke, VA 4 pm Valparaiso, IN Marilyn Keiser, hymn festival and recit- Michael Costello; Grace Lutheran, Riv- al; Christ Lutheran, Kokomo, IN 7 pm er Forest, IL 3 pm www.valpo.edu

27 SEPTEMBER 14 OCTOBER Peter Richard Conte & Ray Cornils, Nevalyn Moore; Ransdell Chapel, 219-464-5084 with brass; Merrill Auditorium, Portland, Campbellsville University, Campbellsville, [email protected] ME 7:30 pm KY 12 noon

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 37 Gary L. Jenkins CALIFORNIA LUTHERAN UNIVERSITY Calendar Central Presbyterian Church Director, Schmidt Concert Series Kyle Johnson, DMA 15 OCTOBER Joan Lippincott; First Presbyterian, Tus- Carmelite Monastery University Organist Cathedral Choir & Orchestra of St. John caloosa, AL 3 pm Curator of Organs 

r
LFKPIOT!DBMMVUIFSBOFEV the Divine; St. John the Divine, New York, Jonathan Ryan; Hyde Park Community Rose-Hulman Institute of Technology NY 7:30 pm United Methodist, Cincinnati, OH 4 pm www.callutheran.edu Terre Haute, Indiana Jonathan Rudy; Cathedral of St. John 17 OCTOBER the Evangelist, Milwaukee, WI 3 pm Todd Wilson; Our Lady of Refuge, KIM R. KASLING Brooklyn, NY 7:30 pm 27 OCTOBER Brian Jones Diane Meredith Belcher; Grace Episco- Tom Trenney, silent fi lm accompani- D.M.A. Director of Music Emeritus pal, Utica, NY 7 pm ment; Capitol Hill United Methodist, Wash- St. John’s University Choirs of University of Georgia & Geor- ington, DC 7:30 pm TRINITY CHURCH gia State University; All Saints’ Church, At- Jean-Baptiste Robin; Cincinnati Muse- BOSTON Collegeville, MN 56321 lanta, GA 7:30 pm um Center, Cincinnati, OH 7:30 pm Peter Latona; Basilica of St. John the Mario Duella; Elliott Chapel, Presbyte- Baptist, Canton, OH 7 pm rian Homes, Evanston, IL 1:30 pm David Schrader; Rockefeller Chapel, JAMES KIBBIE University of Chicago, Chicago, IL 7:30 pm 28 OCTOBER Haig Mardirosian; St. Paul Cathedral, The University of Michigan 18 OCTOBER Pittsburgh, PA 7:30 pm Ann Arbor, MI 48109-2085 Westminster Abbey Choir; Trinity United ORGAN CONSULTANT Nathan Laube, masterclass; First Pres- 734-764-1591 FAX: 734-763-5097 byterian, Haddonfi eld, NJ 2 pm Methodist, Huntsville, AL 7:30 pm www.gabrielkney.com email: [email protected] Ron Rhode; Phipps Center for the Arts, Hudson, WI 7:30 pm 29 OCTOBER Westminster Abbey Choir; Church of the 19 OCTOBER Ascension, Knoxville, TN 8 pm David K. Lamb, D.Mus. A Professional Card in Andrew Henderson, with Mannes Col- The Diapason lege students; Madison Avenue Presbyte- 30 OCTOBER Director of Music Choir of St. Luke in the Fields; St. Luke in For rates and digital specifi cations, rian, New York, NY 3 pm Trinity United Methodist Church contact Jerome Butera Nathan Laube; Haddonfi eld United the Fields, New York, NY 8 pm New Albany, Indiana 608/634-6253 Methodist, Haddonfi eld, NJ 7 pm Westminster Abbey Choir; Cathedral of St. Peter in Chains, Cincinnati, OH 7:30 pm 812/944-2229 [email protected] Ken Cowan; Holy Trinity Lutheran, Lan- Fauré, Requiem; Cathedral Church of caster, PA 4 pm the Advent, Birmingham, AL 7:30 pm William Wharton; St. Mark’s United Jean-Baptiste Robin; Cathedral of St. Methodist, Easton, MD 3 pm Paul, St. Paul, MN 7:30 pm David Heller; Duke University, Durham, NC 5 pm 31 OCTOBER Hector Olivera; Venice Presbyterian, Tom Trenney, with silent fi lm; Merrill Au- Venice, FL 3 pm ditorium, Portland, ME 7:30 pm Todd Wilson, silent fi lm accompaniment; Monte Maxwell; Naval Academy Cha- Stambaugh Auditorium, Youngstown, OH pel, Annapolis, MD 8 pm 4 pm Cameron Carpenter, silent fi lm accompa- Marilyn Keiser; Church of the Savior niment; Symphony Center, Chicago, IL 8 pm United Methodist, Canton, OH 4 pm Evensong; Cathedral Church of the Ad- ANDREW PAUL MOORE vent, Birmingham, AL 3 pm UNITED STATES A.S.C.A.P. West of the Mississippi FELLOW, AMERICAN GUILD OF ORGANISTS HRIST HURCH Marsha Foxgrover; Madonna della Stra- C C da Chapel, Loyola University, Chicago, IL 345 SADDLE LAKE DRIVE 15 SEPTEMBER ROSWELL-ATLANTA, GEORGIA 30076 SHORT HILLS 3 pm (770) 594-0949 Paul Jacobs; Grace Lutheran, River For- Thomas Murray; Grand Avenue Temple, est, IL 8 pm Kansas City, MO 7:30 pm David Jenkins; St. Mary Chapel, St. Paul Seminary, St. Paul, MN 4 pm 16 SEPTEMBER Visit The Diapason website: www.TheDiapason.com Houston Chamber Choir; Co-Cathedral 21 OCTOBER of the Sacred Heart, Houston, TX 7:30 pm Judith Hancock; Savage Chapel, Union Like The Diapason on Facebook: University, Jackson, TN 7:30 pm 18 SEPTEMBER www.Facebook.com/TheDiapason Cameron Carpenter; Davies Symphony 23 OCTOBER Hall, San Francisco, CA 2 pm Edoardo Bellotti, silent fi lm accompani- ment; University of Rochester, Rochester, 19 SEPTEMBER MARILYN MASON NY 6 pm, 7:30 pm Sharon Porter Shull; Christ Episcopal, CHAIRMAN, DEPARTMENT OF ORGAN Cameron Carpenter; Town Hall, New Tacoma, WA 12:10 pm UNIVERSITY OF MICHIGAN York, New York 8 pm Cameron Carpenter; Davies Symphony ANN ARBOR Hall, San Francisco, CA 8 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it 24 OCTOBER James Welch; Church of Jesus Christ of with awesome technique and a thrilling command of its daring writing.” Isabelle Demers; Methuen Memorial Latter-day Saints, Oxnard, CA 7:30 pm The American Organist, 1980 Music Hall, Methuen, MA 8 pm Tom Trenney, silent fi lm accompani- 20 SEPTEMBER ment; Third Presbyterian, Rochester, NY Jonas Nordwall, masterclass; First Unit- 8 pm ed Methodist, Portland, OR 9 am LARRY PALMER Jean-Baptiste Robin; First Presbyte- Cameron Carpenter; Davies Symphony PHILIP CROZIER rian, Lockport, NY 7:30 pm Hall, San Francisco, CA 8 pm James Welch; Bethania Lutheran, Bruce Ludwick; Cathedral Church of the CONCERT ORGANIST Professor of Solvang, CA 1 pm Advent, Birmingham, AL 12:30 pm ACCOMPANIST Harpsichord and Organ Westminster Abbey Choir; Overture Hall, 21 SEPTEMBER 3355 Queen Mary Road, Apt 424 Madison, WI 7:30 pm Tiffany Ng; Plummer Building, Roches- Meadows School of the Arts ter, MN 4 pm Montreal, H3V 1A5, P. Quebec 25 OCTOBER Aaron David Miller; St. Boniface Catho- SOUTHERN METHODIST UNIVERSITY Edoardo Bellotti & Stephen Kennedy, Canada lic Church, Cold Spring, MN 4 pm silent fi lm accompaniment; Christ Church, Jonas Nordwall; Temple Beth Israel, (514) 739-8696 Dallas, Texas 75275 Rochester, NY 8 pm Portland, OR 4 pm Tom Trenney, panel discussion; Third [email protected] Cameron Carpenter; Davies Symphony Musical Heritage Society recordings Presbyterian, Rochester, NY 9 am Hall, San Francisco, CA 2 pm

26 OCTOBER 27 SEPTEMBER Hook Organ Rededication Concert; Me- Julia Brown, Scheidemann works; St. chanics Hall, Worcester, MA 3 pm Andrew’s Episcopal, Antelope, CA 7:30 pm Thomas Murray; Cathedral of the Holy Cross, Boston, MA 2 pm 28 SEPTEMBER CONCORA; First Church of Christ, New Gateway Ringers; Second Presbyterian, Britain, CT 4 pm St. Louis, MO 4 pm Andrew Henderson, with violin; Madi- Carol Williams; Trinity Lutheran, St. Lou- son Avenue Presbyterian, New York, NY is, MO 7:30 pm WARREN D. HOOD II, DSM 3 pm Raúl Prieto Ramírez; Trinity Episcopal, Organist and Director of Music Philip Carli, silent fi lm accompaniment; Tulsa, OK 3 pm Eisenhart Auditorium, Rochester Museum Daryl Robinson; First Baptist, Waco, TX Th e Historic Sharon Baptist Church & Science Center, Rochester, NY 2:30 pm 6:30 pm F. Allen Artz; Crescent Avenue Presbyte- Baltimore, MD 21217 rian, Plainfi eld, NJ 3 pm 30 SEPTEMBER Cherry Rhodes; East Liberty Presbyte- The Chenaults; Wichita State University, rian, Pittsburgh, PA 4 pm Wichita, KS 7:30 pm

38 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Stephen G. Schaeffer LEON NELSON Recitals – Consultations 3 OCTOBER Marek Kudlicki; Arizona State Univer- Director of Traditional Music Hector Olivera; First United Methodist, sity, Tempe, AZ 2:30 pm Director of Music Emeritus Southminster Presbyterian Church Wichita Falls, TX 7 pm Ken Cowan; Cathedral of the Madeleine, Cathedral Church of the Advent Yoon-Mi Lim; St. Alban’s Episcopal Salt Lake City, UT 8 pm Arlington Heights, IL 60005 Birmingham, Alabama Church, Arlington, TX 7:30 Raúl Prieto Ramírez; St. James Episco- St. Martin’s Chamber Choir; St. John’s pal, Los Angeles, CA 6 pm Cathedral, Denver, CO 7:30 pm Christopher Houlihan; Walt Disney Concert Hall, Los Angeles, CA 7:30 pm ROBERT L. 5 OCTOBER Nicholas E. Schmelter Jeremy Haug; Mount Calvary Lutheran, 14 OCTOBER Director of Music and Organist SIMPSON Excelsior, MN 4 pm Carole Terry; Luther College, Decorah, First Congregational Church Christ Church Cathedral Kraig Windschitl; Chapel, St. Mary’s IA 7:30 pm Hospital, Rochester, MN 3 pm Saginaw, Michigan 1117 Texas Avenue Houston, Texas 77002 Hanna Lee; Congregational Church, 17 OCTOBER UCC, Iowa City, IA 4 pm Organized Rhythm, workshop; First Pres- Marilyn Keiser, choral festival; Christ byterian, Fargo, ND 3 pm Church Cathedral, Houston, TX 6 pm Carol Williams; Trinity United Methodist, Stephen Tappe Jeannine Jordan; Christ Presbyterian, Denver, CO 7:30 pm Organist and Director of Music Gardnerville, NV 3 pm Avi Stein, harpsichord, with violin & Mark Steinbach Paul Thornock; Lagerquist Hall, Pacifi c Saint John's Cathedral cello; St. John’s Cathedral, Denver, CO Brown University Lutheran University, Tacoma WA 3 pm Denver, Colorado 7:30 pm Tom Trenney, hymn festival; University www.sjcathedral.org Center for Worship & Performing Arts, Con- Mina Choi; Christ Episcopal, Tacoma, cordia University, Irvine, CA 3 pm WA 12:10 pm

6 OCTOBER 19 OCTOBER ORGAN MUSIC OF THE SPANISH BAROQUE Isabelle Demers; Benaroya Hall, Se- Organized Rhythm; First Presbyterian, attle, WA 7:30 pm Fargo, ND 4 pm David Troiano Joe Utterback Evensong; St. John’s Cathedral, Denver, DMA MAPM COMMISSIONS & CONCERTS CO 3 pm 7 OCTOBER 586.778.8035 • Marek Kudlicki; First United Methodist, David Higgs; First Plymouth Congrega- 732 . 747 . 5227 Casper, WY 7:30 pm tional, Lincoln, NE 4 pm [email protected] Jean-Baptiste Robin; St. Mary’s Col- 8 OCTOBER lege, Moraga, CA 4:30 pm • Marek Kudlicki; First United Methodist, Casper, WY 12:15 pm 21 OCTOBER Marcia Van Oyen Benjamin Sheen; St. Paul’s United David Wagner 10 OCTOBER Methodist, Houston, TX 7 pm First United Methodist Church DMA Todd Wilson, masterclass; B. J. Haan Plymouth, Michigan Auditorium, Sioux Center, Dordt College, www.davidwagnerorganist.com 24 OCTOBER mvanoyen.com IA 3 pm, recital 7:30 pm Andrew Peters, silent fi lm accompani- Marek Kudlicki; Cathedral Basilica of ment; Historic Trinity Lutheran, St. Louis, the Immaculate Conception, Denver, CO MO 6:30 pm 7 pm Dorothy Papadakos, silent fi lm accom- Nigel Potts, with soprano; First Presby- paniment; St. John’s Cathedral, Denver, terian, Fort Smith, AR 7 pm CO 7:30 pm Kevin Walters KARL WATSON Olivier Latry, with Los Angeles Philhar- 11 OCTOBER M.A., F.A.G.O. SAINT LUKE’S John Behnke; First Lutheran, Battle monic; Walt Disney Concert Hall, Los An- Lake, MN 7:30 pm geles, CA 8 pm Rye, New York METUCHEN Raymond Johnston, with brass band; 25 OCTOBER St. Mark’s Cathedral, Minneapolis, MN 7:30 pm Jeannine Jordan, with media artist; United Lutheran, Grand Forks, ND 7 pm Olivier Latry, with Los Angeles Philhar- Alan G Woolley PhD 12 OCTOBER RONALD WYATT Aaron David Miller; Mt. Olive Lutheran, monic; Walt Disney Concert Hall, Los An- Musical Instrument Research geles, CA 8 pm Minneapolis, MN 4 pm Edinburgh Trinity Church Lisa Drontle; St. Boniface Catholic [email protected] Galveston Church, Cold Spring, MN 4 pm 26 OCTOBER Andrew Peters, silent fi lm accompani- Cameron Carpenter; Kauffman Center ment; Second Presbyterian, St. Louis, MO for the Performing Arts, Kansas City, MO 4 pm 7 pm Nigel Potts; St. Andrew’s Episcopal, Am- Clive Driskill-Smith; Boston Avenue DIAPASON Student Rate arillo, TX 7:30 pm United Methodist, Tulsa, OK 5:30 pm RUDOLF ZUIDERVELD Scott Dettra; Grace and St. Stephen’s Philip Manwell; Resurrection Parish, $20 one year Episcopal, Colorado Springs, CO 3 pm Santa Rosa, CA 3:30 pm Illinois College, Jacksonville First Presbyterian Church, NEW! 847/391-1044 Springfi eld [email protected]

Charles Dodsley Walker, FAGO Artist-in-Residence Founder/Conductor 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 , 2UJDQDQG3LDQRLQIHOLFLWRXVIUDWHUQL]DWLRQZLQGEORZQ SLSHVDQGKDPPHUVWUXFNVWULQJVDJDLQSURYHWKHPVHOYHVFRUGLDO 7 DUWLVWLFFROOHDJXHV

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7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK Butera for rates [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM and specifi cations. [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY 608/634-6253 ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽHWVIHJVT House Organist [email protected] The Bushnell Memorial :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 Hartford

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 39 Calendar

Raúl Prieto Ramírez; First United Meth- 21 SEPTEMBER Guy Bovet; Abbatiale, Romainmôtier, GEORGE BAKER, Trinity-by-the-Cove, odist, San Diego, CA 7 pm David Jonies; Marienkirche, Neunkir- Switzerland 4 pm Naples, FL, April 6: Sortie in B-fl at, Lefé- Olivier Latry, with Los Angeles Philhar- chen, Germany 7 pm Beppino Delle Vedove & Manuel To- bure-Wély; Prélude (Suite, op. 5), Durufl é; monic; Walt Disney Concert Hall, Los An- Martin Schmeding, with violin; Castle madin; Confraternita di San Francesco, Huits Chants de Bretagne: Jésus, mon Sau- geles, CA 2 pm Church, Bad Homburg, Germany 7:30 pm Cavaglià, Italy 4 pm veur béni, Langlais; Pièces de Fantaisie: Re- Pierre-Alain Clerc; Abbatiale, Romain- Beppino Delle Vedove & Manuel To- quiem æternam, Vierne; Première Fantaisie, 31 OCTOBER môtier, Switzerland 4 pm madin; Chiesa di S. Michele Arcangelo, JA 72, Alain; Berceuse à la mémoire de Louis Todd Wilson, with silent fi lm; Davies Petra Veenswijk , with narrator; Maria Cavaglià, Italy 9 pm Vierne, Cochereau; Lamento, Variations on Symphony Hall, San Francisco, CA 8 pm van Jessekerk, Delft, Netherlands 3 pm Thomas Dahl; St. Sulpice, Paris, France ‘Rouen’, Baker; Improvisation. James Welch; St. Mark’s Episcopal 4 pm Church, Palo Alto, CA 8 pm 23 SEPTEMBER William Vandertuin, with choirs & in- KERRY BEAUMONT, Our Lady of Sor- Stephanie Burgoyne & William rows Church, Toronto, Canada, April 25: Fan- strumentalists; St. Paul’s United, Paris, INTERNATIONAL Vandertuin; St. Paul’s Cathedral, London, tasia in G, BWV 572, Herr Jesu Christ, dich ON, Canada 3 pm ON, Canada 12:15 pm zu uns wend, BWV 655, J.S. Bach; Concerto II in a, BWV 593, Bach/Vivaldi; Toccata per 15 SEPTEMBER 24 SEPTEMBER 5 OCTOBER l’Elevazione, Frescobaldi; Introduction and Stephen Tharp; St. Peter, Waltrop, Ger- Samuel Kummer; Holy Cross, Bad Frédéric Blanc; Maria van Jessekerk, Trumpet Tune, Greene; Ei Du feiner Reiter, many 5 pm Homburg, Germany 7:30 pm Delft, Netherlands 3 pm Scheidt; Final, Franck; Rumba sur les Grands Iris Rieg; Kreuzkirche, Dresden, Ger- 17 SEPTEMBER Neil Wright; Farnborough Abbey, Farn- many 8 pm Jeux, Cholley; St. Bride, assisted by angels, Holger Gehring; Kathedrale, Dresden, borough, UK 3 pm Bingham; Prelude and Fugue No. 3 in E-fl at, Germany 8 pm Saint-Saëns; Alléluias sereins d’une âme qui 25 SEPTEMBER 9 OCTOBER David Jonies; St. Philippus, Munich, désire le ciel, Messiaen; Niagara, Dove. Nathaniel Keiller; Windsor Parish Christophe Mantoux; Basilique de San Germany 7 pm Church, Windsor, UK 1 pm Edward Reeve; Reading Town Hall, Babila, Milan, Italy 8 pm STEPHANIE BURGOYNE, The Cathe- Reading, Berkshire, UK 1 pm dral Church of St. Paul, London, ON, Can- 26 SEPTEMBER 10 OCTOBER Diego Cannizzaro; Chiesa di S. Sebas- ada, March 11: Marcia Religiosa (Sonata no. Stephen Tharp; Jesuitenkirche St. Mi- 18 SEPTEMBER tiano, Trivero/Bulliana, Italy 9 pm 6 in E-fl at, op. 119), Rheinberger; Andante Escher Quartet; St. George’s Hall, Liver- chael, München, Germany 8 pm Moderato (Symphony no. 4, op. 98), Brahms; pool, UK 7:30 pm 27 SEPTEMBER St. Patrick’s Breastplate (Organ Sonata No. 4, 11 OCTOBER Ton van Eck; Cathedral of St. Bavo, op. 153), Stanford. 19 SEPTEMBER Haarlem, Netherlands 3 pm Daniel Hyde; Merton College, Oxford, Rhonda Sider Edgington; Holy Trinity Klemens Schnorr; St. Jakob, Rothen- UK 4 pm JAMES DAVID CHRISTIE, First Presby- Anglican, Toronto, ON, Canada 7:30 pm burg, Germany 8 pm Janette Fishell; St. Matthias, West- terian Church, Santa Fe, NM, May 2: Praeam- Beppino Delle Vedove & Manuel Toma- mount, Montreal, QC, Canada 5 pm bulun in d, O Gott, wir danken deiner Güt, 20 SEPTEMBER din; Chiesa di S. Pietro, Gattinara, Italy 9 pm Alleluja, laudem dicite Deo nostro, Cantzoenn David Jonies; Basilika St. Johann, Saar- Cathedral Choirs; Metropolitan Cathedral 12 OCTOBER ex G, Scheidemann; Hymne: Ave Maris Stel- brücken, Germany 11:30 am of Christ the King, Liverpool, UK 7:30 pm Stefan Engels; St. James United la, de Grigny; Von Gott will ich nicht lassen, Susanne Rohn, with orchestra; Church Scott Brothers Duo; Victoria Hall, Han- Church, Montreal, QC, Canada 7 pm BuxWV 220, Praeludium in d, BuxWV 140, of the Redeemer, Bad Homburg, Germany ley, Stoke-on-Trent, UK 12 noon Buxtehude; Ciaconna in f, Pachelbel; Prae- 7:30 pm Thomas Trotter; Birmingham Town Hall, 18 OCTOBER ludium in C, Böhm; Fuga g-moll, Reincken; Roland Dopfer; Dreifaltigkeitskirche, Birmingham, UK 1 pm Petra Veenswijk; Old Church, Rotter- Praeludium in G, BWV 550, Bach. Kaufbeuren, Germany 8 pm Jill York; Parish Church of St. James-the- dam, Netherlands 8 pm Gonny van der Maten, with percussion; Less, Pangbourne, UK 7:30 pm Ian Tracey; Liverpool Cathedral, Liver- FABIEN DESSEAUX, Cathedrale Cathedral of St. Bavo, Haarlem, Nether- pool, UK 3 pm d’Évreux, Évreux, France, April 13: Chaconne lands 3 pm 28 SEPTEMBER in f, Partita on O Haupt voll choral Blut und Stephen Hamilton; St. Peter’s Angli- Cameron Carpenter; Mariä Himmel- 19 OCTOBER Wunden, Pachelbel; Stabat Mater, Recordare, can, Ealing, UK 5:30 pm fahrt, Landsberg, Germany 8 pm Elisabeth Ullmann, with cello; Our Lady Et lux perpetua (3 excerpts from the Foot of of Sorrows, Toronto, ON, Canada 4 pm the Cross), Walter; Reverie, Concert Varia- tions, Bonnet; O Haupt voll Blut und Wun- 24 OCTOBER den, BWV 727, Bach. Stephanie Burgoyne & William Vandertuin; Waterford United Church, Wa- JOHN FENSTERMAKER, Church of the terford, ON, Canada 7 pm Redeemer, Sarasota, FL, April 2: Offerte sur “Vive Le Roy!”, Raison; Mein junges Leben 25 OCTOBER hat ein End, Sweelinck; Fountain Reverie, Christophe Mantoux; Notre Dame de Fletcher; Resurrection Dance I, Ridout; Will Paris, Paris, France 8:30 pm o’ the Wisp, Nevin; Tu es Petrus, Mulet.

26 OCTOBER DENNIS GRANNAN, First Prebyterian -+ &62GHOO Martin Baker; Klosterkirche, Roggen- Church, Santa Fe, NM, May 9: Christ lag in burg, Germany 4 pm Todesdanden, Scheidemann; Erscheinen ist odellorgans.com s 860-365-8233 Juan Paradell Solé; St. Sulpice, Paris, der herrliche Tag, Christ ist erstanden, Bach; P.O. Box 405, East Haddam, Connecticut 06423 France 4 pm Variations on O fi lli et fi lliae, Demessieux; REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 ORGAN BUILDERS A. David Moore, Inc. L.and W. BLACKINTONassociates, inc. TRACKER ORGAN DESIGNERS & BUILDERS HC 69 Box 6, North Pomfret, Vermont 05053 ATOS 380 FRONT ST. ExperienceAmerican Theatre Organ Society 802/457-3914 EL CAJON, CA 92020 Preserving a unique art form. Member Firm: The Associated Pipe Organ Builders of America Concerts, education, silent film, preservation, RANDALL DYER fellowship and more. www.atos.org & ASSOCIATES, INC. THE NOACK ORGAN CO., INC. Jim Merry, Executive Secretary, [email protected] PIPE ORGANS OF QUALITY AND DISTINCTION MAIN AND SCHOOL STREETS P.O. Box 5327, Fullerton, CA 92838 GEORGETOWN, MA 01833 BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 www.noackorgan.com [email protected] ◆ www.rdyerorgans.com Member: Associated Pipe Organ Builders of America

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40 Q THE DIAPASON Q SEPTEMBER 2014 WWW.THEDIAPASON.COM Organ Recitals

Esquisse: O fi lli et fi lliae, Jonquilles, Hakim; HATSUMI MIURA, Old West Church, ROGER D. STANLEY, St. Chrysostom’s Night Communion, Hebble; Fantasy on St. Prelude and Toccata on Victimae Paschali Boston, MA, March 28: Ecce lignum crucis, Episcopal Church, Chicago, IL, March 23: Thomas, Payne. laudes, Bédard. Heiller; O Lamm Gottes, unschuldig, BWV Präludium in g, Brahms; Mein junges Leben 656; O Mensch, bewein dein Sünde groß, hat ein End, Sweelinck; Rhapsody No. 1, DEAN E. WHITEWAY, First Congrega- SEBASTIAN KNEBEL, First Evangeli- BWV 622, Fantasia et Fuga in c, BWV 537, Howells; Organ Concerto No. 5, Handel; tional Church, La Crosse, WI, March 9: Pre- cal Lutheran Church, Houston, TX, April 27: Bach; All Glory, Laud, and Honor, Saka- Pastorale, Franck; Prelude and Fugue on O lude and Fugue in e, Bruhns; Chorale, O God, Praeludium pro Organo pleno, BWV 552/1, moto; Es ist ein Ros’ entsprungen, O wie Traurigkeit, Brahms; Herzliebster Jesu, Bach; Thou Faithful God, Gesang-Buch; O God Kyrie, Gott Vater in Ewigkeit, BWV 669, selig seid ihr doch, ihr Frommen, Brahms; Salve Regina, Virgo Dei genatrix, Cortège et Thou Faithful God, op. 122, Brahms; Three Christe, aller Welt Trost, BWV 670, Kyrie, Choral II, Franck. Litanie, Dupré. Improvisations Based on Early American Gott Heiliger Geist, BWV 671, Allein Gott Hymn Tunes, Shearing; Prelude and Fugue in der Höh sei Ehr, BWV 676, Fuga a 5 con ANNA MYEONG, with cello, Bales Or- REBECCA GROOM TE VELDE, Christ in E-fl at, Bach; Song of Peace, Langlais; Les Pedale pro Organo pleno, BWV 552/2, Bach; gan Recital Hall, Lawrence, KS, May 5: the King Catholic Church, Oklahoma City, Cloches, Lebègue. Sonata in d, Mendelssohn; Toccata Ottava, Suite de Deuxième Ton, Clérambault; Poco OK, March 21: Toccata in F, BWV 540/1, Muffat; Alleluja, laudem dicite Deo nostro, Adagio (Symphony No. 3), Saint-Saëns; Toc- Kyrie, Gott Vater in Ewigkeit, BWV 669, THOMAS WIKMAN, Augustana Chapel, Scheidemann; Praeludium in g, Buxtehude; cata, Frescobaldi; Passacaglia (Sonata No. 8), Christe, aller Welt trost, BWV 670, Kyrie, Chicago, IL, April 1: Wenn wir in höchsten Vater unser im Himmelreich, Böhm. Rheinberger; Toccata, op. 9, Guillou; Sonata Gott, heiliger Geist, BWV 671, Bach; O welt, Nöten sein, BWV 668; Praeludium and Fugue on the 94th Psalm, Reubke. ich muss dich lassen, op. 122, no. 11, Brahms; in c, BWV 546 J.S. Bach; Prelude, Adagio ERIC LEBRUN, St. Peter’s Church, St. Sonata in A, op. 65, no. 3, Mendelssohn; (Symphonie #3 in e), Widor; Triptyque (In Albans, UK, March 22: Praeludium in a, Bux- CHRISTA RAKICH, Christ Church Ca- Church Sonata No. 10 in F, K. 244, Mozart, Festo Trinitatis), Tournemire. WV 153, Buxtehude; Trio à claviers séparés, thedral, Springfi eld, MA, March 23: Kyrie en arr. Groom; Apparition de l’église éternelle, op. 10, no. 10, Dialogue de Hautbois et Cro- Taille, à 5, Fugue à 5, Qui renferme le chant Messiaen; Variations on ‘The Servant Song’, ARTIS WODEHOUSE, harmonium, with morne, op. 12, no. 2, Récit de la main gauche, te Velde; Choral varié sur le theme du ‘Veni Marti Newland, soprano, George Spitzer, du Kyrie, Cromorne en taille à 2 parties, Trio sur le jeu de Tierce, op. 10, no. 8, Grand Creator,’ op. 4, Durufl é. baritone, and Andrew Sun, piano, Church of en Dialogue, Dialogue sur les Grands Jeux, Choeur, op. 10, no. 4, Andante con moto, op. the Epiphany, New York, NY, April 6: Sona- Récit de Tierce en taille (Livre d’Orgue), de 18, no. 1, Toccata, op. 43, no. 13, Boëly; Im- LOUISE TEMTE, Maria Angelorum tina, op. 14 no. 2, Karg-Elert; Duos, op. 8, promptu, Andantino, Toccata, Vierne; Varia- Grigny; Prelude in b, BWV 544, Bach; Three Chapel, La Crosse, WI, March 23: Ricer- Saint-Saëns; Air de J. S. Bach, Guilmant; Ich tions sur un thème de Clément Jannequin, Spirituals, Utterback; Fugue in b, BWV 544, car, Gabrieli; Toccata V, Frescobaldi; Pre- sehe dich in tausend Bilden, Meine Seele ist Alain; Passacaille (Sonata No. 1), Aubertin; Bach; Five Variations on Noel Nouvelet, Ra- lude and Fugue (O Darkest Woe), Smyth; still zu Gott, Reger; Prayer in F, Guilmant; Suite, op. 18, Lebrun. kich; An Extravagance of Toccatas, Woodman. Ach Herr, mich armen Sünder, BuxWV 178, Ave Maria, Villa-Lobos; Petite rhapsodie, Buxtehude; Herzlich tut mich verlangen, Tournemire; Serenade Agreste a la Madone, ARDYTH LOHUIS, with Robert Mur- NAOMI ROWLEY, Shepherd of the op. 122, no. 9, Brahms; “The People that Berlioz; Selections from Threepenny Opera, ray, violin, Ginter Park Presbyterian Church, Bay Lutheran Church, Ellison Bay, WI, Walked in Darkness” (Messiah), Handel; Weill/Wodehouse. Richmond, VA, May 4: Sonata, op. 1, no. 1, March 23: Praeludium in d, Pachelbel; Two Litany: Into your hands I commit my spirit, Geminiani; Chant Mystique, Bennett; Sonate, Airs, Telemann; What Wondrous Love Is Choral Paraphrase: Hear Us, O Lord, and ROBERT WOOLLEY, St. Saviour’s op. 60, Schmid; Elegy for Violin and Organ, This, Phillips; Sweet Hour of Prayer, Dake; have mercy on us, Demessieux; Out of the Church, St. Albans, UK, April 26: Fantasia Ut Blank; Sonata: Alyonushka, Komarnitsky; Our Father, God in Heav’n Above, Reger; Depths I Have Cried Unto Thee, BWV 686, re mi fa sol la, Sweelinck; Fantasia, Fantasia Melodie Arabe, Glazunov; Post-Haste (a Ca- Alas, and Did My Savior Bleed, Parry; Par- Bach; If With All Your Hearts Ye Truly Seek mit Bindungen, O Gott du unser Vater bist, price), op. 127, Healey. tita, op. 41, no. 1, Koetsier; Suite Gothique, Me, Mendelssohn; Jesu, Joy of Man’s Desir- Ballo della Granduca, Scheidt; Pièce d’Orgue, op. 25, Boëllmann. ing, BWV 147, Bach; Now Thank We All Our BWV 572, Bach. MITCHELL MILLER, United Church God, Bach, arr. Fox. of Hyde Park, Chicago, IL, March 23: Prae- STEPHEN SCHNURR, Elliott Chapel, ROYCE YOUNG, Christ Cathedral, Sa- ludium in G, BWV 550, Bach; Pastorale, Presbyterian Homes, Evanston, IL, April 28: CHRISTOPHER URBAN, First Pres- lina, KS, March 14: Fanfare for the Common (Symphonie II in D, op. 13, no. 2), Widor; Praeludium in g, BuxWV 148, Buxtehude; O byterian Church, Arlington Heights, IL, Man, Copland; When I Survey the Wondrous Concert Variations on The Last Rose of Sum- Lamm Gottes, unschuldig, BWV 656, Bach; April 2: Fanfare, Wetzler; Aria, Manz; Auf Cross, Mason/Martin; Chant de Paix, Lan- mer, op. 59, Buck; Chorale II in b, Franck; Sonata V in D, op. 65, no. 5, Mendelssohn; Meine Lieben Gott, Hanff; Fugue in g, glais; Trumpeting, Wood; Jesus Walked this Adagio, Final (Symphonie III in f-sharp, op. Introduction, Passacaglia (Sonata VIII in e, Beauvarlet-Charpentier; Medieval Suite, Lonesome Valley, Traditional; Partita on ST. 28), Vierne. op. 132), Rheinberger. Young; Jesus, Lover of My Soul, Hamlin; ANNE, Lasky; Litanies, Alain.

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Advertise in Don’t just tell people what you The Diapason have for sale. Show them! Own a piece of history! For rates and digital specifi cations contact Jerome Butera The cover of the 100th Anniversary 608/634-6253 • [email protected] Issue of The Diapason is now avail- able on a handsome 10″x 13″ plaque. The historic cover image in full color is bordered in gold-colored metal, and Building websites for tomorrow the high-quality plaque has a marble- ized black fi nish; a slot on the back makes it easy to hang for wall display. Made in the USA, The Diapason 100th Anniversary Issue commemora- tive plaque is available for $45, ship- ping in USA included. $10 discount for Content Strategy Custom Coding members of the 50-Year Subscribers Include pictures with your Club. Order yours today: E-Commerce SEO Training classifi ed ads on our website. [email protected] WWW.THEDIAPASON.COM Want to know more? 608/634-6253 www.mediapressstudios.com or Contact Jerome Butera for details. e-mail [email protected] 608/634-6253; [email protected]

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Service Technician: Berghaus Pipe Organ Certifi ed appraisals—Collections of organ Randall Dyer organ, 4 ranks, all-electric action 1981 Casavant tracker—3 manuals, 23 Builders, Bellwood, IL seeks experienced, reli- books, recordings, and music, for divorce, with expansion channel, solid-state relay; 9′ tall stops, 30 ranks. Footprint 10′ x 14′; height 18′. able technician who can tune skillfully, perform estate, gift, and tax purposes. Stephen L. Pinel, x 7′ wide, 4′6′′ deep with bench. randalldyer@ Good working order. Available now. Seller will basic voicing and maintenance, and troubleshoot Appraiser. 629 Edison Drive, East Windsor, NJ bellsouth.net, 865/475-9539. See photo and consider offers on a competitive basis. For problems. Occasional travel, reliable transporta- 08520-5205; 609/448-8427. stoplist at www.TheDiapason.com/classifi ed/ details, contact consultant Dr. David Lowry at tion, and a valid driver’s license required. E-mail dyer-4-rank-organ. [email protected]. [email protected] or for more info visit: www.berghausorgan.com. CC&A announces the publication of a new book by Michael McNeil, The Sound of an Ital- Parsons Opus 2. Exquisite 8-stop, 9-rank, 1986 Rudolf von Beckerath, 2/15 (20 ranks) ian Organ. Drawing on research dating to 1978, two-manual and pedal mechanical-action organ 162″ H, 146″ W, 114″ D. $150,000, Organ Clear- Project Leader: Berghaus Pipe Organ Build- and written for the professional organ builder, available for immediate sale. Voiced and carefully ing House, 617/688-9290, john@organclearing- ers, Bellwood, IL seeks a highly skilled technician tonal designer, and student of the Italian clas- regulated in the Neo-Baroque style, purchaser house.com. to manage and develop service personnel and sical organ, this eBook in PDF format, ISBN has the option to retain the existing stoplist or projects. The successful applicant will have man- 978-0-9720386-6-9, has 78 pages and full color modify to achieve a somewhat broader tone. agement experience and will demonstrate an Bigelow studio/practice organ: two manuals, illustrations. Available on www.lulu.com, the This organ is designed to support a mid-sized absolute commitment to quality. E-mail jobrien@ book is priced at $4.99. six stops—8, 4; 8, 4; 16, 8. Currently being re- berghausorgan.com or for more info visit: www. congregation, but is suitable for a small recital built. 801/756-5777, [email protected]. berghausorgan.com. hall, organ studio or practice room. The organ is See details at bigeloworgans.com. Click on in pristine condition and is currently located at News, then on Opus 3. THE DIAPASON 2015 Resource Directory is Parsons’ shop in Canandaigua, NY. Contact Dave Wanted: Organists visiting Maui. Lahaina’s the most complete listing of products and McCleary at [email protected] or via Holy Innocents Episcopal Church invites visit- services for the organ and church music cell at 585/831-6218. Photo and stoplists at www. 1938 Kimball studio/practice organ, 4 ranks, ing organists to play its Beckerath Positiv organ fi elds. Make sure your ad is included. Con- thediapason.com/classifi ed/parsons-opus-2. 21 stops, excellent condition, 91″ H, 85″ W, at Sunday services. Built in 1972 by Rudolf von tact Jerome Butera, [email protected] 56″ D (+pedalboard). Organ Clearing House, Beckerath and then-apprentice Hans-Ulrich or 608/634-6253. 617/688-9290, [email protected]. Erbslöh for Honolulu’s Lutheran Church, the 408- 1960 two-manual Reuter/Milnar organ 24 pipe Shrankpositiv has a 54-note “split” manual, ranks. For more information please go to www. 30-note pedal, 11 stops, 8 ranks, and 6 registers; REED ORGANS FOR SALE milnarorgan.com. 1955 Rieger tracker. Two manuals and pedal, Holy Innocents acquired the organ in 1977 and 14 stops. 7′ 4″ high, 7′ 4″ deep, 5′ 8.5″ wide. moved it to Maui. The instrument is extremely Playable but needs some repair. In Boulder, responsive and fi lls the worship space beautifully. Completely Restored Pump Organ by Sey- Two pipe organs for sale, from the estate of Colorado. $50,000 or best offer. Contact Bal Pat- The parish community is “exemplary in its hospi- bold Organ Co., Elgin, Illinois. Has reed and the late Dr. James Boeringer. *2MP Tellers pipe terson, [email protected]. tality to all visitors,” and that especially includes pipe action. Certifi ed appraisal (1986) value organ, 3 ranks + mixture, $10,000 (https://sites. visiting organists. For information: 808/661-4202; of $6K. Excellent condition. Beautiful soft google.com/site/tellerspipeorgan/). *One-manual holyimaui.org. tones, also robust sound with all stops. Call Positive pipe organ by Don Marshall Stone, 4 J. W. Steere Opus 1, 1867. Historically sig- 936/569-1101;e-mail: [email protected]. ranks, $2,500 (https://sites.google.com/site/ nifi cant two-manual and pedal, 20-stop, 26-rank positivepipeorgan/). Both organs located in Silver mechanical-action organ offered for immediate PUBLICATIONS / RECORDINGS sale. Unaltered and in very good condition, the ELECTRONIC ORGANS FOR SALE Spring, Maryland. Websites include photographs and details. [email protected]. organ is suitable for church, college, or large resi- Sportive Fauns and three other pieces by dence. Voicing is refi ned and gentle. Sale as-is, Dezsö d’Antalffy are offered as a tribute to this ALLEN MDS 75: 3-manual drawknob, walnut, or inclusive of restoration. Contact Matt Parsons, Hungarian organist who came to America to 68 stops, 7 speakers, 7 audio channels, MIDI. 1965 4-rank Moller pipe organ. Two-manual Parsons Pipe Organ Builders at 585/229- teach at Eastman (Austin), play in Carnegie 20 years old in excellent condition with war- and pedal electro-pneumatic cabinet organ, 5888; e-mail: [email protected]. See Hall (Kilgen) and in Radio City (Wurlitzer). ranty. Steve Beddia 609/432-7876, acorgan@ cherry fi nish, tilting tablets, blower included. Con- photo and stoplist at www.thediapason.com/ michaelsmusicservice.com; 704/567-1066. comcast.net. tact [email protected]. classifi ed/j-w-steere-opus-1.

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1928 Casavant pipe organ, completely Rare 1884 French Choir organ by Louis Complete Pipe Organ Services from the Organ Do you have a pipe organ that you would restored with fi ve new stops by Létourneau Debierre. Also, other small organs available. Clearing House: 450 vintage pipe organs avail- like to interface with an electronic or digital in 1987. Two manuals and pedals, 24 ranks. 817/996-3085. www.redmanpipeorgans.com. able, renovation, tuning, consultation. Other organ? We can interface any digital organ or Organ is in excellent condition and is a good services include transportation, cleaning and any organ console with any pipe organ. For more candidate for solid-state conversion. Asking information e-mail [email protected] (not HYBRID ORGANS FOR SALE renovation of carvings, reredos, liturgical furnish- $65,000 “as is” or can be rebuilt with modifi ca- ings. Call John Bishop at 617/688-9290. john@ Comcast) or call 215/353-0286. tions. For more information, contact Létour- organclearinghouse.com. neau Pipe Organs at mail@letourneauorgans. Three-manual Rodgers Hybrid with seven com or 888/774-5105. sets of Laukhuff/Stinkens pipes; all work- Aeolian/Robert Morton-style maroon ing. For more information please go to Releathering all types of pipe organ actions leather is now available from Columbia Organ www.milnarorgan.com. and mechanisms. Highest quality materi- Leathers! Highest quality. 800/423-7003, Expressive and compact—3/27 Kilgen (1940). als and workmanship. Reasonable rates. www.columbiaorgan.com. Two expressive divisions. 17 manual 8-foot fl ues. MISCELLANEOUS FOR SALE Columbia Organ Leathers 800/423-7003. Reeds include Tuba, Cornopean, Oboe, Clarinet, www.columbiaorgan.com/col. ′ ″, ANNOUNCEMENTS Vox Humana. Harp. 16 Open Wood. H: 237 W: Möller 16′ Principal (32 pipes) in zinc. Suit- ″, ″. 170 D: 189 Stopkey console. Original restor- able for a façade with over-length bodies. Asking able condition. $30,000. Organ Clearing House, $5,000. For information: mail@letourneauorgans. ATTENTION ORGANISTS! Do you hate Complete back issues of THE DIAPASON are 617/688-9290, [email protected]. com or 450/774-2698. having to get up from a practice ses- available (in PDF form) on our website, extending sion just so you can refresh your thirst? back as far as 2006. Click on MAGAZINE, then Is the church kitchen or water fountain select ARCHIVE, then the issue you want. Works 1978 Reuter pipe organ, 22 stops, excellent Consoles, pipes and numerous miscellaneous quite a hike away? We have the answer! great on iPads! condition. For information: www.milnarorgan. parts. Let us know what you are looking for. The Organ Bench Cupholder System will com. E-mail [email protected] (not comcast), phone 215/353-0286 or 215/788-3423. keep you hydrated and happy. The system comprises a portion of a 16’ Bourdon pipe, THE DIAPASON E-Newsletters are e-mailed N.Y. builder Thomas Robjohn’s sole surviv- attached below the seating surface on one monthly to subscribers who sign up to receive ing instrument—1859—2 manuals, 10 stops. Atlantic City Pipe Organ Co. Hook & Hastings side of the bench, and of an 8’ Bourdon on them. Don’t miss the latest news, featured art- pipework restored: Diapasons, Strings, pedal Stunning rosewood case with gold pipes. the other side. Both extend several inches ists, and classifi ed ads—all with photos—some and manual Flutes. C.S. Haskell 16′ Pedal Dul- before they appear in print! Visit www.TheDia- Beautiful sound. Museum piece. 801/756-5777, out on either side of the bench, and have ciana and Bourdon; much more. 609/432-7876, pason.com and click on Subscribe to our news- [email protected]. See photo and [email protected]. been drilled on top to make a cupholder. letter. For assistance, contact Joyce Robinson, more information at http://www.thediapason. The larger holder can accommodate 847/391-1044, [email protected]. com/classifi ed/1859-robjohn-ny. bottles up to 2 liters in size; the smaller SERVICES / SUPPLIES is ideal for coffee and soda cups. Avail- able in a variety of fi nishes and stains to Postal regulations require that mail to The 58-rank beautiful pipe organ. 3-manual draw- New Klann Swell Shoes , now available in black match your bench. Make all that practice Diapason include a suite number to assure knob console with 100 feet of fl exible cable, powder coat, brass and bright nickel fi nishes. time a pleasure! Order yours today. Box delivery. Please send all correspondence adjustable bench, solid-state relays, includes Expression or crescendo with potentiometers Cupholder-Con, THE DIAPASON, jrobinson@ to: The Diapason, 3030 W. Salt Creek Lane, oak casework. $48,000. 248/471-1515 or cell or linear transducers. 877/457-5804 or sales@ sgcmail.com. Suite 201, Arlington Heights, IL 60005. 586/202-9960. klannorgan.com.

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The Diapason 2015 Resource Directory

Reserve advertising space now! Deadline: November 1

Contact Jerome Butera 608/634-6253 [email protected]

CLASSIFIED 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005 ADVERTISING THE DIAPASON 608/634-6253 • [email protected] RATES

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 Display classifi ed advertisements are set ❑ PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ 1.00 Regular Classifi ed minimum 25.00 ______Display Classifi ed, per word 1.40 Display Classifi ed minimum 30.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 18.00 ______($32 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement ______appears should include $5.00 per issue desired with their payment. Name ______Phone ______

THE DIAPASON reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.

WWW.THEDIAPASON.COM THE DIAPASON Q SEPTEMBER 2014 Q 43 Karen McFarlane Artists 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] Web Site: www.concertorganists.com

George Baker Martin Baker* Diane Meredith Belcher Michel Bouvard* Chelsea Chen Douglas Cleveland Jonathan Rudy 2014 AGO National Competition Winner Available 2014-2016

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

Christian Lane Canadian International Organ Competition Winner Available 2012-2014

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

Choirs

The Choir of Trinity College Cambridge, UK Stephen Layton, Director September 2015

Jens Korndörfer Olivier Latry* Nathan Laube Joan Lippincott Alan Morrison Thomas Murray The Choir of Saint Thomas Church, NYC John Scott, Director April 2016

James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Daryl Robinson Daniel Roth* Jonathan Ryan Celebrating Our 93rd Season!

*=Artists based outside the U.S.A.

Ann Elise Smoot Donald Sutherland Tom Trenney Thomas Trotter* Todd Wilson Christopher Young