THE DIAPASON JANUARY 2020

Bruton Parish Church Williamsburg, Cover feature on pages 20–21 PHILLIP TRUCKENBROD CONCERT ARTISTS

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

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

CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE

ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN

HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH SEBASTIAN HEINDL ϮϬϭဓt®Äě٠>ÊĦóÊʗ'ƒÙ—›ÄÝ /Äã›Ùăã®Êă½KÙ¦ƒÄ ÊÃ֛ã®ã®ÊÄ

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ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵͬǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵͬဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 1, Happy New Year 2020 Whole No. 1322 The staff of The Diapason wishes each of you a happy JANUARY 2020 and healthy New Year, continuing through all the days of the Established in 1909 year 2020. We look forward to bringing you many fascinating Stephen Schnurr ISSN 0012-2378 articles for your reading pleasure and edifi cation. This issue 847/954-7989; [email protected] commences our 111th year of bringing you news, features, www.TheDiapason.com An International Monthly Devoted to the Organ, events, and so much more. the Harpsichord, Carillon, and Church Music globe to enrich your continuing education. If your institution is The Gruenstein Award sponsoring an event that should be featured in this list, please CONTENTS Nominations for our fi rst Gruen- be certain to send me the appropriate information this month. FEATURES stein Award are accepted through Ralph Vaughan Williams and the Organ January 31. The award honors the In this issue by David Herman 14 work of a young scholar through a This month, David Herman presents a glimpse into the life The British and French Organ Music feature-length article in the May of Ralph Vaughan Williams as it pertains to the composer’s Seminar, July 4–18, 2019 2020 issue. Submissions of articles work as an and his compositions for the instrument. by Masako Gaskin and David Erwin 19 are sought from those who have not Masako Gaskin and David Erwin report on the July 2019 Brit- NEWS & DEPARTMENTS yet reached their 35th birthday by ish and French Organ Music Seminar. Editor’s Notebook 3 January 31, 2020. For further details, John Bishop, in “In the Wind . . . ,” reports on the new Here & There 3 see the September 2019 issue, page Noack organ at St. Peter’s Catholic Church, Washington, D.C. Appointments 6 3, or visit www.thediapason.com. In “Harpsichord Notes,” Larry Palmer introduces the work of Nunc Dimittis 6 John Walthausen at the harpsichord and organ. Palmer also Harpsichord Notes by Larry Palmer 11 1909 110 2019 2020 Resource Directory lists the many topics of his columns found in the 2019 issues. In the wind . . . by John Bishop 12 The 2020 Resource Directory is Gavin Black will return to writing for us in a month or so, as he REVIEWS presented with this mailing. You will has had orthopedic surgery. We wish him well in his recovery New Organ Music 10, 22 want to keep this booklet handy throughout the year as your and look forward to his further discussion of Bach’s The Art of New Recordings 22 source of information for businesses in the world of the organ, the Fugue. An index for the year 2019 is found at the end of New Handbell Music 22 church music, harpsichord, and carillon. this issue. Our cover feature spotlights the new Dobson organ at Bru- NEW ORGANS 22 Summer conferences, workshops, conventions, etc. ton Parish Church, Williamsburg, Virginia. The instrument is CALENDAR 23 In the April issue, we will print our list of summer conven- a worthy addition to the lengthy history of music in one of the RECITAL PROGRAMS 27 tions, conferences, workshops, and other gatherings around the nation’s oldest churches. Q CLASSIFIED ADVERTISING 28 2019 In Review—An Index 30 Here & There

Events Modern; March 8, Apple Hill String THE Quartet; May 7, Juilliard organ students. DIAPASON JANUARY 2020 For information: www.mmpaf.org.

Bruton Parish Church Williamsburg, Virginia Cover feature on pages 20–21

COVER Dobson Pipe Organ Builders, Ltd., Lake City, Cathedral of St. Mary of the Assumption, Iowa; Bruton Parish Church, Williamsburg, San Francisco, California, Ruffatti organ Virginia 20 The Cathedral of St. Mary of the Editorial Director STEPHEN SCHNURR Assumption, San Francisco, California, and Publisher [email protected] announces recitals, Sundays at 4:00 p.m.: 847/954-7989 January 5, Epiphany Lessons & Carols, St. Luke’s Episcopal Church, Evanston, Illinois, Skinner organ President RICK SCHWER with St. Brigid School Honor Choir and [email protected] Golden Gate Boyschoir and Bellring- Aspen Community United Methodist 847/391-1048 ers; 1/12, Thomas Fielding, organ; 1/19, Opus 327 NFP has established its Church, Aspen, Colorado, Wicks organ Cavatina Chamber Ensemble. St. Mary’s Centennial Fund for continued mainte- Editor-at-Large ANDREW SCHAEFFER [email protected] Cathedral houses a 1971 Fratelli Ruffatti nance and restoration of the organ, which Aspen Community United Meth- organ of four manuals, 89 ranks. For reaches its 100th year in 2022. For infor- odist Church, Aspen, Colorado, Sales Director JEROME BUTERA information: www.stmarycathedralsf.org. mation or to make a donation: announces its 2020 series of organ recit- [email protected] 608/634-6253 www.opus327.org. als: January 29, Simon Jacobs; February Circulation/ Opus 327 NFP, the not-for-profi t 25, James Welch; June 30, Stephen Subscriptions THE DIAPASON foundation established by St. Luke’s Second Presbyterian Church, St. Hamilton; July 19, Christopher Hou- P.O. Box 300 Lincolnshire, IL. 60069-0300 Episcopal Church, Evanston, Illinois, for Louis, Missouri announces events for lihan; August 9, Gregory Zelek. The [email protected] the benefi t of the church’s 1922 Skinner its Couts Music Series, Sundays at 4:00 two-manual, 34-rank Wicks organ was Toll-Free: 877/501-7540 Organ Company instrument, announces p.m.: January 19, singer Anita Jackson built in 1999, with additions in 2019. Local: 847/763-4933 events for 2020: January 19, Happy Birth- and her trio; February 2, Trombones of For information: Designer KIMBERLY PELLIKAN day, Ernest Skinner!, featuring Christine the St. Louis Symphony; March 1, silent www.aspencommunitychurch.org. [email protected] Kraemer, organ, and Jill Shellabarger, movie accompanied by Andrew Peters; 847/391-1024 actor; March 6, Wolfgang Rübsam, works April 26, Easter hymn festival with Quire Cleveland, Cleveland, Ohio, Contributing Editors LARRY PALMER of Franck and Vierne; 3/7, masterclass, Andrew Peters. For information: Jay White, artistic director, announces its Harpsichord Wolfgang Rübsam; April 24, Opusfest, www.secondchurch.net. 2019–2020 season of events, the organi- featuring Jackson Borges, silent fi lm zation’s twelfth: February 28–29, Jour- BRIAN SWAGER Carillon accompaniment, Sherlock Jr. In addition, Great Music at St. Bart’s announces ney Home: Finding Unity after Loss, at Christine Kraemer offers short recit- events at St. Bartholomew’s Church, St. John Cantius Catholic Church and St. JOHN BISHOP als on Wednesdays in Lent, 11:30 a.m.: New York, New York: January 23, Clara Vitus Catholic Church, Cleveland; May In the wind . . . March 4, 11, 18, and 25. Gerdes, organ; February 13, Orchestra ³ page 4 GAVIN BLACK On Teaching THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles Reviewers Charles W. Steele 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. Jay Zoller Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 ( and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Steven Young and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Leon Nelson 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 3 Here & There

³ page 3 8–10, Resonant Glory: Music for Grand Spaces, at the Cathedral of St. John the Evangelist, Cleveland; St. Noel Catho- lic Church, Willoughby Hills; and St. Sebastian Catholic Church, Akron. For information: www.quirecleveland.org.

Competitions The 2019 Utech Hymn Tune Com- petition, sponsored by the George W. Fernand Létourneau signs paperwork Dudley Oakes signs paperwork, com- Utech Congregational Hymnody Fund to sell the company he founded to Dud- pleting his purchase of Orgues Létour- at the Eastman School of Music, Roch- ley Oakes neau from Fernand Létourneau ester, New York, announced the winning Longwood Gardens, Kennett Square, hymntune, Paradise, composed by Pennsylvania, Aeolian organ (photo credit: Létourneau Pipe Organs has Larry Visser, minister of music and Duane Erdmann) announced a new chapter in the com- chancel organist at LaGrave Avenue pany’s management after forty years Christian Reformed Church, Grand For application and further information: of operation. The company’s founder, Rapids, Michigan. The fi rst singing of longwoodgardens.org/organ-academy. Fernand Létourneau, has named Paradise, paired with the newly com- Dudley Oakes to the role of president missioned text “Out of Silence Music The American Guild of and owner. Létourneau’s management Rises,” by Carl Daw, Jr., occurred at the announces its Pipe Organ Encounters team will otherwise remain as before, 2019 Utech Hymnody Symposium, held (POE) for 2020: Manhattan, Kansas, and Fernand Létourneau will remain in Rochester, New York, on November 1. June 22–27; Long Beach, California, involved in daily operations. For information: June 28–July 3; Winston-Salem, North Létourneau Pipe Organs has designed www.esm.rochester.edu/organ/utech/. Carolina, July 19–24; Hartford, Con- and built 132 installations in Canada, Dudley Oakes addresses the team at necticut, August 2–7; POE Advanced, , Austria, , New Zea- Orgues Létourneau while Fernand Lé- The 12th Mikael Tariverdiev Ann Arbor, Michigan, June 29–July 3; land, and across the United States, with tourneau looks on International Organ Competition POE+, Rockford, Illinois, June 14–19; information for each provided at their will be held April through September Allentown and Bethlehem, Pennsyl- website. Fernand Létourneau began working in the pipe organ industry as an appren- 2021. The fi rst round of selection will vania, June 28–July 3; and Richmond, tice voicer for Casavant Frères in February 1965. He continued there for 14 years, occur at the University of Kansas, Virginia, July 26–31. For information: working under the tonal direction of Lawrence Phelps, then Gerhard Brunzema, Lawrence, Kansas (April 8–10); St. www.agohq.org/education/poe/. and served as the company’s head voicer for the last four of those years. Brunzema Michael’s Church, Hamburg, Germany encouraged a 1978 study trip to to see historic voicing techniques fi rsthand. (April 19–23), and the Glinka National Létourneau launched his own company soon thereafter. Among his achievements, Museum Consortium of Musical Cul- he served as co-president of the 2010 joint convention of the American Institute ture, , (August 29–31). for Organbuilders and the International Society of Organbuilders held in Montréal. The second and fi nal rounds will take He also was also the recipient of the Royal Canadian College of Organists Prize of place in Kaliningrad, Russia, Septem- Excellence in 2016. ber 3–9. Contestants born after January Dudley Oakes has been with Létourneau since 1987 at the core of the company’s 1, 1987, are free to choose the place of operations in the United States. He holds a bachelor’s degree from the University their participation in the fi rst round. of Richmond, and a master’s degree and a doctorate from the University of Michi- First prize is $5,000, second prize gan. He has concertized widely in North America and Europe with an emphasis on $3,000, third prize $2,000, with three French and German repertoire from the Romantic era. For information: additional prizes at $1,000 each. Chair http://letourneauorgans.com. Q of the jury is Winfried Bönig. Deadline for application is March 1, 2021 (for Lawrence and Hamburg), and June 1, November 2, 2019. The group of a dozen 2021, for Moscow. For information: students, both fi rst-year beginners and www.organcompetition.ru. more experienced students, visited and played four instruments and heard some of the history of these instruments from Engaging the next Barbara Owen. The organs were First Religious (Uni- generation tarian) Society, 1834 Joseph Alley/2012 Longwood Gardens, Kennett A. David Moore organ of two manuals, Square, Pennsylvania, announces its 27 ranks; St. Paul’s Episcopal Church, summer organ academy for college 1923 Austin Organ Company instru- students, July 20–25. Faculty includes ment of three manuals, 23 ranks; St. Peter Richard Conte, Alan Mor- Ronan Minor and First Religious Soci- Anna’s Chapel, 1863 William Stevens rison, Ken Cowan, and Benjamin ety’s organist Justin Murphy-Mancini of one manual, nine ranks; Old South Sheen. The week’s activities afford (photo credit: Michael Laird) (Presbyterian) Church, 1866 E. & G. G. students the opportunity to study Hook organ of two manuals, 23 ranks. organ transcriptions utilizing Long- The Young Organist Collaborative For information: www.stjohnsnh.org/ wood Gardens’ four-manual Aeolian of Portsmouth, New Hampshire, hosted young-organist-collaborative. organ of 146 ranks, 10,010 pipes. a student fi eld trip to Newburyport, Deadline for application is March 2. Massachusetts, area pipe organs on Conferences Confident pedal work The University of Michigan School of Music, Theatre & Dance Church of the Gesu, Toulouse, France comes with practice and invites proposals for events at its 60th annual organ conference, October 4–6, Stevens and William T. Van Pelt. For the right shoes on the theme “Visionary Collaborations information: [email protected]. in Sacred Music, Worship, and the on the Arts.” Proposals must be received by March 15. Requirements and further People pedals details are available from James Kibbie: Harold G. Andrews retired Septem- [email protected]. ber 29, 2019, as organist and choirmaster x Men’s & Women’s Organ Shoes for St. Mary’s Episcopal Church, High Point, North Carolina, after 55 years of with suede soles and heels Organ tours service to the parish. In 2016, he led the x Whole & Half Historic Organ Study Tours choir of the church for a week’s residency (HOST) announces its 2020 summer at Canterbury Cathedral. Sizes in 3 Widths tour to Southwestern France, August Andrews began piano studies at age x Quick & Easy 20–29. The tour begins in Bordeaux fi ve, moving to the organ at eleven. He Returns and continues through Montpon- earned undergraduate and master’s Ménestérol, Bergerac, Monein, Auch, degrees in organ from Oberlin Conser- OrganMasterShoes.com TOLL FREE: 1 (888) 773-0066 ET to Toulouse, with other stops along the vatory of Music and a doctorate from 44 Montague City Rd Email: [email protected] way. The tour leader is Christophe Boston University. Drafted into the Greenfield, MA 01301 facebook: https://www.facebook.com/OrganShoes Mantoux, and tour directors are Bruce ³ page 6

4 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM

Here & There

Appointments Nunc Dimittis Fredrick Bahr is appointed director Stephen Cleobury, former director of the service department of John-Paul of music at King’s College, Cambridge, Buzard Pipe Organ Builders, Champaign, died November 22 in York, UK, his Illinois. He will oversee all facets of the home since he retired in September, department: mentoring its staff of techni- after a long illness. He was born in cians, servicing its regular maintenance Bromley, in Kent County in southeast clients, and managing special restoration, England, on December 31, 1948. renovation, and rebuilding projects. His musical career began as a boy Bahr, who has more than forty years’ soprano at Worcester Cathedral. He experience in the organbuilding and organ attended St. John’s College, Cambridge, service industry, was most recently shop as an organ scholar, studying organ and manager and instructor of organ technol- choral music with David Willcocks and ogy at the American Organ Institute at George Guest. His fi rst post was as sub- University of Oklahoma. He is editor of organist at Westminster Abbey. In 1976, the American Institute of Organbuilders’ he conducted a new work, The Lion of Journal of American Organbuilding, and Stephen Cleobury (photo credit: King’s Suffolk by Malcolm Williamson, at a Fredrick Bahr is a past president of the AIO. His articles College Cambridge/Ben Ealovega) memorial service for Benjamin Britten, have been published in The Diapason, and he continued to emphasize contem- The American Organist, and the Journal of American Organbuilding. He porary music in his programming. He also worked at the Northampton Grammar has presented several lectures for various chapters of the American Guild of School and St. Matthew’s Church in Northampton in the 1970s. Organists and participated in guild outreach programs, Pipe Organ Encoun- In 1979, Cleobury was promoted to master of music at Westminster Cathe- ters, and Pedals, Pipes and Pizza. For information: www.buzardorgans.com. dral. He moved to King’s College as music director in 1982, a position he would hold for 37 years that involved conducting the school’s centuries-old choir. Keith Williams is appointed director He became director of the Cambridge University Musical Society in 1983. of sales for John-Paul Buzard Pipe Organ Cleobury also served as director of the BBC Singers from 1995 to 2007, and Builders, Champaign, Illinois. He has continued to be associated with the group as conductor laureate. directed the company’s service depart- During his long tenure, Cleobury extended the King’s Choir reach by ment for the past twenty years, guiding developing its activities in broadcasting, recording, and touring. He founded it through its growth of staff and through the tradition of an annual commissioned carol for Christmas Eve, which since maintenance, restorations, renovations, 1984 has made a substantial contribution to contemporary choral repertoire, and rebuilding of extant pipe organs. the works premiered at Lessons and Carols. He introduced the annual festival, Williams is director of music at St. Easter at King’s, from which the BBC regularly broadcasts, and, in its wake, a John’s Lutheran Church, Champaign, and series of performances throughout the year, Concerts at King’s. In December earned a Bachelor of Music degree from 2018, he conducted the choir in the 100th anniversary of A Festival of Nine Oberlin Conservatory of Music. He previ- Lessons and Carols, broadcast live from King’s around the world. Six months ously served as organist and choirmaster later he was knighted for services to choral music. at St. Paul’s Episcopal Church, Troy, New He led the Choir of King’s College in recordings for a wide variety of labels, York, instructor of organ at College of as organist as well as choir director, on the choir’s own label in the 2010s. For Keith Williams St. Rose, Albany, New York, and chapel that label he released a recording of Herbert Howells’s An English Mass in organist at the Emma Willard School, 2019. That year he announced his retirement from his King’s College post. Troy, New York. He has presented recitals at several churches throughout See the interview with Stephen Cleobury by Lorraine Brugh in the June the Midwest, and is the past president and organist for Baroque Artists of 2018 issue of The Diapason, pages 20–23: https://www.thediapason.com/sites/ Champaign/Urbana. For information: www.buzardorgans.com. Q thediapason/fi les/June18FullIssuePDF.pdf. Q

³ page 4 10, 2019. The choir sang Missa de St. Publishers score, EB 8916, €19.90), BWV 247, by Army during the Korean War, he spent Cécile (Tone VI, Paris, 1687). For infor- Augsburg Fortress announces , reconstructed two years at West Point Academy, assist- mation: https://gregoryhamilton.org. new choral publications for Lent: and edited by Malcolm Bruno; and ing with organ maintenance in the cha- Forty Days and Forty Nights Befi ehl du deine Wege (ChB 5361, pel. In 1957, he began teaching music Organist Nicholas Schmelter (9781506463568, $2.25), by Franklin €8.90), by Johann Christoph Altnikol, at Greensboro College, later teaching and pianist Tyler Kivel completed Ashdown, for SATB and organ; Go to edited by Max Schneider, for mixed photography, and in 1964 was hired a Halloween-themed concert tour of Dark Gethsemane (9781506463582, choir a cappella. For information: at St. Mary’s Church. He retired from Illinois, Michigan, and Wisconsin on $1.95), by David W. Music, for SATB www.breitkopf.com. Greensboro College in 1993 as professor November 3, including appearances in and keyboard; Just As I Am, Without emeritus. He established his own organ Caro and Flint, Michigan; La Grange, One Plea (9781506463605, $1.95), by Concordia Publishing House maintenance fi rm, Organcraft, in 1991. Illinois; and Oshkosh and Brookfi eld, Lynette Maynard, for two-part mixed announces new organ publications: Fes- Andrews has been honored by St. Mary’s Wisconsin. Programs included solo and keyboard; and Ride On, King Jesus: tival Partita on Now Thank We All Our Church with the title organist and choir- works and transcriptions by Boëllmann, Palm Sunday Medley (9781506463667, God (977879, $10), by John A. Behnke; master emeritus. Liszt, Fauré, Saint-Saëns, Gounod, $2.25), by Sylvia B. Oines, for SATB Thanksgiving Mosaics (977864, $20), by and others. Kivel is a soloist, freelance and keyboard. For information: Jacob B. Weber; Lord of Our Life: Par- Gregory Hamilton, assisted by the performer, teacher, and chamber musi- www.augsburgfortress.org. tita on ISTE CONFESSOR (977861, $16), by Schola Cantorum of Holy Trinity Sem- cian in the Chicago area. Schmelter is Kenneth T. Kosche; and 11 Composi- inary, Irving, Texas, of which he is direc- director of worship and congregational Breitkopf & Härtel announce new tions for Organ, Set XI (977880, $30), tor of sacred music, presented François life at First Presbyterian Church, Caro, choral publications: St. Mark Passion by Charles W. Ore. Visit: www.cph.org. Couperin’s Messe pour les Couvents in Michigan. For information: www. (full score, PB 5611, €64; piano vocal ³ page 8 concert at the seminary on November schmeltermusic.com.

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Colin R. Monty Elisa Jackson Shin-Ae Leon W. Andrews Bennett Bickers Borges Chun Couch III

Rhonda Sider Laura Faythe Simone Justin Sarah Edgington Ellis Freese Gheller Hartz Hawbecker

James D. Rob Michael Angela David K. Mark Hicks Hlebinsky Kaminski Kraft Cross Lamb Laubach

Yoonmi Wynford S. Colin Katherine Scott Shelly Moorman- Lim Lyddane Lynch Meloan Montgomery Stah lman

David F. Brenda Tom Beth Rodland Duo Oliver Portman Winpenny Zucchino Carol & Catherine Rodland

R. Monty Bennett, Director ([email protected]) Beth Zucchino, Founder & Director Emerita 730 Hawthorne Lane, Rock Hill, SC 29730 PH: 803-448-1484 FX: 704-362-1098 Clarion Duo A non-traditional representation Christine Westhoff Keith Benjamin celebrating its 32nd year of operation & Timothy Allen Melody Steed Here & There

the instrument, all endeavoring to raise awareness of the important organ, hoping to raise funds for its eventual restoration. Structural issues were discovered in the nave of St. James Church, leading to the building’s demolition in 2013. Prior to demolition, Stephen Schnurr, editor of The Diapason, worked closely with the Archdiocese of Chicago to ensure the organ and the chime would be professionally removed to storage, with the intent that the musi- cal instruments would be available when a new church was built for the parish. After consultation with several organ fi rms, the Organ Clearing House was cho- sen to pack the organ and remove it to storage in the basement of St. Mary of the Angels Catholic Church of Chicago. Removal occurred in March 2013 while televised protests occurred outside the building by those who opposed demotion of the church. Although the Roosevelt organ was offered for sale for years by the Organ Clearing House, no buyer came forward. The future safekeeping of the organ was recently placed into doubt, when it became known this past summer that the organ would need to be removed, as the space it occupied in storage was earmarked to house a portion of a new furnace boiler and heating/cooling system for St. Mary of the Angels Church. Organist Brink Bush of Boston, a scholar on the life and music of organist and composer Wilhelm Middelschulte (1863–1943), brought the pending demise of the organ to the attention of Pro Organo’s producer, Frederick Hohman, in September St. James Catholic Church, Chicago, Illinois, 1891 Frank Roosevelt Opus 494, as 2019. Middelschulte was a German organist and composer who spent most of his life removal begins in 2013; Parts of the organ are being packed for storage in America. He played the organ for Mass at St. James Church for some 20 years, and he had been on record commenting that Opus 494 was the fi nest organ of its size Frank Roosevelt Opus 494 was installed in 1891 in St. James Catholic that he had ever played. As a composer, Middelschulte is perhaps best known for his Church, Chicago, Illinois, an instrument of two manuals, 26 ranks, with Roos- Perpetuum Mobile for organ pedals. evelt’s patent tracker-pneumatic key action. St. James, then the wealthiest parish In mid-October, Hohman arrived at an arrangement with St. Mary of the Angels in the city, built its second church to the designs of Patrick C. Keely between Church to remove and acquire ownership of the organ. Hohman and his business 1875 and 1880. The edifice was adorned with marble altars and stained-glass associate (and occasional audio producer and retired electronics engineer), Leon windows, several of which came from the Tiffany studios. The spire housed Giannakeff, took charge of the removal and transport of the instrument to storage Chicago’s first chime of 20 bells, cast in 1895 by McShane Bell Foundry of Bal- in Fort Wayne, Indiana, in November 2019. Over this winter Hohman and Gianna- timore, Maryland. keff intend to clean the instrument, and with help from independent organbuilding The Roosevelt organ has faced several near-destruction calamities in the last fi fty contractors, to refurbish and repurpose the organ. years. The church was nearly destroyed by fi re in December 1972, and demolition The intent is to retain the organ case intact when the organ is placed in its next of the building’s remains was seriously considered at that time. The interior was venue. The original keydesk will also be retained, restored for visual purposes only. It almost completely burned, though the organ in the rear gallery was simply baked, will be returned to the case as it was positioned originally, and a new, detached and but not water logged. The chime in the tower was unscathed. moveable console will be built to control the organ. The church was reconstructed and reopened in 1976. The Roosevelt organ came to Giannakeff and Hohman will serve as co-general contractors, acting on behalf the attention of the Chicago-Midwest Chapter of the Organ Historical Society a few of Zarex Corp. (parent legal entity for the recording label Pro Organo). They hope years later. Money was never available for restoration of the organ, but the chapter to have the refurbished organ ready for placement by August. For information: featured the organ in recitals. It was heard at the 1984 and 2002 conventions of the [email protected] and [email protected]. OHS and at a regional convention of the American Guild of Organists in the early In November, two sets of restored Tiffany windows from St. James Church resur- 1990s. An LP recording was made by William Aylesworth and Wolfgang Rübsam, faced in private ownership and were to be auctioned by Donley Auctions of McHenry reissued on CD in recent decades. The OHS awarded its Historic Organ Citation to County, Illinois. Q

³ page 6 Recordings Texas Pipe Organ Festival. Selections performing on the Klais/Schlueter Edition Walhall announces new include “Tico Tico,” “Ain’t Misbehavin’,” organ at First Presbyterian Church, publications: 31 Bicinien (EW448, and “Over the Rainbow.” For information: , Georgia. Included are works by €16.80), by Johannes Ockeghem, edited www.easttexaspipeorganfestival.com. Rheinberger, Foote, Decker, Bach, by Johannes Geiger, is scored for two Reger, Beethoven, and Wagner. For instruments, compiled bicinia from vari- information: www.grooves-inc.com. ous Masses and motets; and Weihnachts- Korndörfer is director of worship and lieblinge (Christmas Favorites, SN118, the arts and organist at First Presbyte- €67), by Dietrich Schnabel, presents a rian Church, Atlanta, and instructor for medley of Christmas carols for recorder organ at Georgia State University and orchestra with choir ad libitum. For Agnes Scott College. He is represented information: www.edition-walhall.de. by Karen McFarlane Artists, Inc., in North America. For more information Triumph Music Publishing House on the artist: www.jenskorndoerfer.com. announces new transcriptions for organ Tico Tico: Walt Strony, Live in Kilgore, by Kiyo Watanabe: An American in Paris Texas Pro Organo announces a new CD, (duet), by George Gershwin (T-074015); Improvisations at St. Ignatius (7286), the Danse Macabre, by Camille Saint-Saëns The East Texas Pipe Organ Festival fi rst disc in the Pro Organo catalog to fea- (T-074014); The Sorcerer’s Apprentice announces a new CD, Tico Tico: Walt Windows of the Spirit ture a winner of the American Guild of (duet), by Paul Dukas (T-074018); and Strony, Live in Kilgore, Texas, recorded Organists (AGO) National Competition Night on Bald Mountain, by Modest in recital by Strony on the 1949 Aeolian- Organum Classics announces a in Organ Improvisation (NCOI). Kalle Mussorgsky (T-074019). For information: Skinner organ at First Presbyterian new CD: Windows of the Spirit (OGM Toivio was named the NCOI winner at www.trumph.se. Church, Kilgore, during the 2012 East 191036), featuring Jens Korndörfer ³ page 10 Saving organs throughout America....affordably!

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8 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM PLAY ICONIC PIPE ORGANS FROM ALL OVER THE WORLD With the NEW Johannus LiVE 2T-A and 3T-A

The Johannus LiVE 2T-A and 3T-A, bridge the gap between dream For every church, you can choose between four different listening positions and reality. From now on, you can experience playing the world’s – all of which provide you a unique experience. Will you sit at the organ most magnifi cent pipe organs whenever you want to. bench, as the actual organist? Or do you prefer a concert effect and listen as Right in your very own living room. if you are in the middle of the church, even though you’re playing yourself? The possibilities are endless with the new Johannus LiVE 2T-A and 3T-A. With the wave of a hand you fl y to Greeley, Colorado, and take a seat at the Casavant Frères organ of the Trinity Episcopal Church. Another touch of the For more information on the new LiVE 2T-A and 3T-A, button brings you to the Hill & Sons organ of the Holy Name Church in contact your local Johannus dealer or visit www.johannus.com. Manchester, England, or to one of the many other historical pipe organs we’ve recorded for you. Here & There Reviews

³ page 8 New Organ Music smaller registration. The second move- Christ Is Alive! Seven Easter Settings ment, in a contrasting minor mode, for Organ, by J. William Greene. offers the opportunity for the use of Concordia Publishing House, a beautiful solo stop. In the last move- 97-7689, $35.00. Available from: ment, Greene utilizes fanfare-type mate- www.cph.org. rial that also provides the opportunity to This volume contains works based on feature a large solo reed. six tunes, four of which are well known— The subtitle for Vruechten (“This Lasst uns erfreuen, Truro, Azmon, Joyful Eastertide”) indicates that the Vruechten—and two that are probably composition is a “Trumpet Tune and less well known—Dunlaps’ Creek Chorale.” In this more substantial piece and Morgenlied. The composer, Dr. (seven pages), the composer makes J. William Greene, has more than 100 extensive use of two-part writing based choral and organ compositions appear- on thematic material from the chorale François Couperin: Mass for the ing in the catalogs of several publishers. tune. Dunlap’s Creek (“We Walk Parishes/Mass for the Convents A member of ASCAP, he has received by Faith and Not by Sight”), an early Improvisations at St. Ignatius several awards from the society. Greene nineteenth-century shape-note tune, holds a Doctor of Musical Arts degree in has found its way into some recent the 2018 national convention of the AGO. organ and literature from the Eastman hymnals. Though it is not used in either The recording was made on the Mander School of Music, as well as a performer’s Evangelical Lutheran Worship (2006) or organ of St. Ignatius Catholic Church, certifi cate and a master’s degree in harp- Lutheran Service Book (2006, Missouri . Works of Georg Muffat sichord. In addition, he earned degrees Synod), it does appear in both the 1990 and McNeil Robinson are included, as from Northwestern University and and 2013 hymnals of the Presbyterian well as the performer’s transcription of Appalachian State University. Greene Church (PCUSA) and The Hymnal 1982 a Vivaldi concerto. Toivio improvises on also spent a year studying harpsichord in of the Episcopal Church. This is the most themes supplied by David Briggs. For the Netherlands with Gustav Leonhardt. substantial movement in length in this information: www.proorgano.com. He currently serves as organist and collection (eight pages), and Greene’s choirmaster at Holy Trinity Lutheran treatment of the tune consists of fi ve Raven announces new compact discs. Church in Lynchburg, Virginia. variations. The fi nal variation incorpo- François Couperin: Mass for the Par- The tune Lasst uns erfreuen, rates two- and three-part fugal writing in ishes/Mass for the Convents (OAR-153, most often associated with the text “All the manuals with the hymn tune entering $15.98) is a two-disc set as recorded by Creatures of Our God and King,” is in augmentation in the pedal part. Aude Heurtematte, titulaire organist Prairie Sounds the basis of a triptych. The three move- Morganlied, a tune by English at St-Gervais in Paris since 1989, the ments are “Trumpet Tune,” “Trio,” and organist Frederick C. Maker (1844– church where François and other Cou- British composers selected to display the “Fanfare Toccata.” The “Trumpet Tune” 1927), is associated with the hymn text, perins were organists for 173 years. Each cathedral organ, renovated by Casavant features ornamentation of the hymn “Christ Is Risen! Alleluia,” by another of the two Masses consists of a suite of 21 in 1993. Recent works by Ruth Watson tune accompanied in large part by paral- Englishman, John S. B. Monsell (1811– pieces for use during parts of the Mass. Henderson, David L. McIntyre, Gilles lel sixths based on melodic material from 1875). The two-page setting of this tune is Prairie Sounds (OAR-162, $15.98) fea- Maurice Leclerc, and Philip Moore are the tune. “Trio” is marked “Graceful and written as a three-voice fugue for manuals tures Maxine Thévenot performing on recorded for the fi rst time. Other pieces light,” but with a conservative tempo alone and is to be performed “Light and the 1930 Casavant organ at Holy Rosary by Denis Bédard, Dupré, Franck, Clara marking. The composer indicates that happy.” This work can also be adapted to Cathedral, Regina, Saskatchewan, Schumann, Jean-Adam Guilain, and the two manual parts may also be played the piano or another keyboard. Canada, with 18th-, 19th-, and 20th- Frank Bridge complete the program. on one manual. “Fanfare Toccata” could Throughout this collection, Dr. century music by French, Canadian, and For information: www.ravencd.com. Q effectively serve as a grand introduction Greene displays his skillful mastery of to the singing of the hymn, particularly at eighteenth-century counterpoint style festival services. Green also provides an in his two- and three-part writing and alternate version of the toccata in which fugues. Performance of the music in there is a modulation up of one half step this collection will defi nitely require from E-fl at to E major before the closing adequate preparation on the part of the toccata section. A fourth setting of the performer. In addition to use in church tune is included in the volume, but not as service music, several of the pieces

2020 as part of the triptych. It is a three-voice would work well on concert programs. fugue for manuals alone that can easily —Charles W. Steele be adapted to other keyboards. Pisgah Forest, North Carolina Fanfare Prelude on TRURO is cast in A-B-A form with a middle section that Triptych in honorem Gustav is “slower and more serious.” The A Willscher, (2017) by Carson Cooman. sections are defi nitely in fanfare style Zimbel Press, Subito Music Corpora- and provide the opportunity to use a tion, #80101399, 2017, $10.95. Avail- large solo reed stop. Either of the two A able from: www.subitomusic.com. sections could function as a marvelous In the composer’s note in this volume, introduction to the singing of this tune to Gustav Willscher (1882–1937) “was in Summer the text indicated in the score, “Christ is his time a very successful poet, writer,

Experience the brilliance of the Kotzschmar alive! Let Christians sing.” and composer. In addition to his musical Azmon has a signifi cant association talents (he played several instruments, Organ and the beauty of Maine with the Charles Wesley text “O for among others the piano and guitar), he a Thousand Tongues to Sing.” Again, also created a collection of drawings. He Portland Municipal Organist James Kennerley Greene uses the triptych format with was the grandfather of composer and on the Kotzschmar Organ similar styles for the movements as organist Andreas Willscher.” found in Lasst uns erfreuen. The Each of the two outer movements, movements are titled “Trumpet Echos,” “Silesian Prelude” and “Troppauer Post- Guest Artists: Katelyn Emerson, Peter Krasinski and “Arietta,” and “Fanfare Dialogue.” As lude,” quote a musical theme by Gustav , Organiste Titulaire Notre-Dame de Paris indicated by the title, the fi rst move- Willscher, and the second movement, ment incorporates material played on “Minuet,” “refers obliquely to , the Family Concert, Windchest Tours, Fun Group Events the trumpet, which is then echoed on a ³ page 22 along with Portland’s thriving restaurant scene. WEEKEND ORGAN MEDITATIONS Grace Church in New York www.foko.org www.gracechurchnyc.org

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10 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Harpsichord Notes By Larry Palmer

2019 East Texas Pipe more suited to the fortepiano, but a July, page 11: Scarlatti’s Cat in Lon- Organ Festival features goodly number of the earlier and shorter don, Vienna, and Texas a harpsichordist pieces sound wonderful on the harpsi- August, page 11: From A to Z Harpsi- The genial genius who founded and chord, and I encourage their inclusion in chord Notes: A duo and The Harpsichord organizes the annual East Texas Pipe future recitals, both by John and the rest Diaries; Twentieth-century harpsichord Organ Festival in Kilgore, Texas, engaged of us in the harpsichord community. concertos; One Hundred Miracles by a brilliant young artist to present a recital Zuzana Ru˚ žicˇková (with Wendy Holden) on Wednesday, November 13, as the fi rst 2019 Harpsichord Notes: September, page 11: Program planning music on what happened to be my birth- topics and page numbers October, page 13: Celebrating Her- day. John Walthausen, a name new to January, page 8: Harpsichord Notes in bert Howells me, opened the musical festivities of this The Diapason: A bit of history November, pages 12–13: Giving mid-festival day with a splendid recital, the February, pages 12–13: Jane Clark: thanks from A to Z, part 1 fi rst half of which was played on my 1987 “D’un goût nouveau:” The infl uence of December, page 11: Giving thanks Willard Martin Saxon double instrument. Evaristo Gherardi’s Théâtre Italien in from A to Z, part 2. When Lorenz Maycher telephoned to Francois Couperin’s Pièces de Clavecin § ask if I knew of an available German-style March, page 11: A fascinating book instrument I responded, “Yes, I was inti- by Beverly Jerold, Music Performance As we begin another year I have sev- mately familiar with an owner, and, yes, I Issues 1600–1800 eral questions for our readers. 1) Have John Walthausen (photo credit: Martin Chi- would be happy to loan it to the festival for April, pages 12–13: The Diapason any of you played one or more of the ang photography) the recital.” Since a tornado had rocked Harpsichord columns in history part 2: Friedemann Bach polonaises? 2) Does the part of in which I live several front-page features anyone know of a pedal harpsichord for mine). Meanwhile, best wishes for an weeks earlier causing immense damages May, page 11: CD review of Le Clave- sale (a separate unit with an organ-like exciting 2020 and the many musical tallied in the millions of dollars—includ- cin Mythologique; A major instrument pedalboard that is placed beneath the adventures that surely lie before us dur- ing some lesser but still dramatic ones to collection (Hatchlands, Surrey, UK) and regular harpsichord comprising one or ing the coming months. Q my house—I had not intended to travel Claire Hammett two manuals—the pedal unit consisting of in November, but the harpsichord addi- June, page 11: The Cambridge Com- independent registers? John Challis built Comments and questions are wel- tion to the program as well as a Harold panion to the Harpsichord; Replica several of these, most famously one for come. Address them to lpalmer@smu. Lloyd silent movie to end that Wednesday of ’s harpsichord E. Power Biggs, and I am seeking such edu or 10125 Cromwell Drive, Dallas, schedule roused my interest, and I had returns its sounds to Mount Vernon an instrument for a current student of Texas 75229. decided, with the transportation help of a kind neighbor, to spend that one day in the organ capital of East Texas. It was a pleasure to hear such a well- chosen program that the artist began by DISCOVEDISCOVER R playing a magnifi cent rendition of J. S. Bach’s Chromatic Fantasy and Fugue in D Minor. It was a performance that 21st CENTURY I believe might have been greeted with 21st CENTURY favor by Isolde Ahlgrimm (what higher ORGAN BUILDING praise could I offer?). Following that work with Polonaise in C Minor by Wil- ORGANIN NORTH BUILDI AMERICA NG helm Friedemann Bach and two sonatas in D major by Domenico Scarlatti (K. 490, Cantabile, and K. 119, Allegro)— with superb control of the fi endishly IN NORTHORTH AAMERICAMER diffi cult cross-hand top-of-the-keyboard notes—made for an exciting and jubilant conclusion to the fi rst half of the concert. Equally masterful was the ensuing organ half of the program, played on Roy Perry’s own instrument, Aeolian- Skinner Organ Company Opus 1173. It was thoughtful programming to fol- low the all-Baroque fi rst half with an BUILDER MEMBERS: SUPPLIER MEMBERS: all-Romantic second half: Prelude and Fugue in G Minor by Brahms, two of the Andover Organ Company Goulding & Wood, Inc. Integrated Organ Technologies, Inc. Sketches for the Pedal-Piano, opus 58, by Bedient Pipe Organ Company Holtkamp Organ Company OSI - Total Pipe Organ Resources Schumann, and a completely masterful Berghaus Pipe Organ Builders, Inc. Kegg Pipe Organ Builders Peterson Electro-Musical Products rendition of Liszt’s magnum opus, Varia- Bond Organ Builders, Inc. Létourneau Pipe Organs Solid State Organ Systems tions on Weinen, Klagen, Sorgen Zagen. Buzard Pipe Organ Builders, LLC Muller Pipe Organ Company Syndyne Corporation I was especially delighted to learn Casavant Frères Patrick J. Murphy & Associates that the New York-born Walthausen was Dobson Pipe Organ Builders Parsons Pipe Organ Builders a fellow Oberlin alumnus (2011, only Randall Dyer & Associates, Inc. Pasi Organbuilders, Inc. fi fty-one years after I graduated) who C.B. Fisk, Inc. Quimby Pipe Organs, Inc. Schoenstein & Co. furthered his education at the Conserva- Foley-Baker, Inc. Paul Fritts & Co. Organ Taylor & Boody Organbuilders toire National Supérieur de Paris, study- A. Thompson-Allen ing organ with Olivier Latry and Michel Garland Pipe Organs, Inc. Bouvard, following that with a master’s degree in historical performance from the Schola Cantorum of Basel, Switzer- land, where he studied harpsichord with Jörg-Andreas Bötticher and organ with APOBA provides a simple way for you to take Lorenzo Ghielmi. An amazingly wide- advantage of the expertise of the top people in spread series of concerts performed all over the world followed for Walthausen, WKHʦHOGPDQ\RIZKRPEULQJWKHexperience of including a year in as organist in several generations who have preceded them. residence at the Sapporo Concert Hall in Hokkaido. He is currently organist and choirmaster of St. Andrew’s Episcopal Call today for APOBA’s Pipe Organ Church in Glenmoore, Pennsylvania. I, 5HVRXUFH*XLGHDQG0HPEHU3URVSHFWXV for one, look forward immensely to hear- ing this young artist again—and soon. John’s inclusion of Friedemann Bach’s composition encouraged me to play 11804 Martin Rd. Please watch and share CONTACT :DWHUIRUG3$ through the complete set of twelve such our short video at: US pieces (found in my music library in six ZZZDSREDFRPYLGHR 800-473-5270 folios published as part of the Haus- DSREDFRP musik series of the Oesterreichischer Bundesverlag Wien, on paper now as old as I am it seems, and equally crumbling, perhaps). Among these, several seem

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 11 In the wind...

When you blow through and family heard Wendy speaking on All here, music comes out. Things Considered. The long-running syndicated cartoon, I stopped in the church after lunch The Family Circus, features a mother to greet Philippe Lefebvre, the recital- and father and four kids, Billy, Dolly, ist, and Didier Grassin of the Noack Jeffy, and P. J. One early episode had Organ Company, and was privileged to Daddy, Dolly, and Billy coming home walk through the organ with Didier as after attending a game. Daddy was Philippe worked on registrations. Inside bedraggled, carrying a blanket; Dolly the organ is the worst place to listen for and Billy were excitedly carrying team balance, but it sure is fun—all those banners as they shouted to Mom, trackers fl itting about. There is no bet- “. . . and we each had a bottle of soda. ter place to be reminded of Billy’s quip, Daddy brought his own in his pocket.” “When you blow in here, music comes There are several circulating versions out.” There’s a whole lot of blowing that show the family leaving church, going on inside a big organ like that. with one of the kids saying something hilarious. My current favorite shows That ingenious business Billy holding a trumpet and pointing at So reads the title of Ray Brunner’s the mouthpiece, explaining to the tod- monograph about America’s only dler P. J., “when you blow through here, eighteenth-century organbuilder, David music comes out.” Tannenberg, who built his fi rst organ That’s the magic of the pipe organ. in 1770. Recently, I visited a couple of When you blow through here, music organs in Germany built earlier than comes out. We refer to the organ as a that, both huge ebullient ornate mas- keyboard instrument. Fair enough. But terpieces located in stupendously deco- the keyboards are nothing but user inter- rated churches. But think of America in face. The organ is a wind instrument. the 1770s. In Lexington, Massachusetts, I believe that you can tell by listening Minutemen were skulking along behind if the player thinks of it as a keyboard stone walls, peppering British Redcoats instrument or a wind instrument. The with musket fi re. The buildings were legends of Aeolus, the god who in Greek all four-sided, wood-framed structures. mythology is the divine keeper of the Fun-loving Puritans felt that putting dec- winds, and who has given his name to at oration on a wall might inspire dancing, least two organ companies, can provide and only heaven knows what that might a fanciful magical idea of the power of lead to. By comparison, the monks in the wind. But in fact, a musical tone coming Abbey of Saint Martin in Weingarten from a single organ pipe with the Pythag- must have had plenty of fun. Remember, orean overtone series intact is magic that Weingarten translates to “wine garden,” can be explained scientifi cally and can be and the organbuilder Joseph Gabler was left in the background as the tone soars treated to enough wine to fi ll the largest through the air toward the listeners’ ears. organ pipe as a completion bonus. But wait. Draw twenty stops and play Since those beautiful and simple a four-note chord. Now you have eighty organs of Tannenberg, we have had of those Pythagorean masterpieces sing- the robust organs of E. & G. G. Hook, ing at once. As I write, my tuner’s ears the innovative and expressive instru- tingle with delight. Eighty different ments of the Skinner Organ Company, sets of overtones, each in the myriad a the amalgamated workhorse organs of perfect interval, all clanging against the M. P. Möller, the powerful renegade Noack organ, Saint Peter’s Catholic Church, Washington, D.C. (photo credit: Don tempered intervals imposed by the rigors early organs of C. B. Fisk, the procession Boroughs) of the keyboards. No miniscule infl ec- of “boutique” tracker builders like Tay- tion by bending a string with your fi nger lor & Boody, Paul Fritts, and Richards, mechanical keyboard action, quick and all know the saying that is true as well or squeezing your lips around a reed to Fowkes & Co., and the serene majestic silent electric-solenoid slider stop action, as witty, that a camel is a horse that was tweak something into exact tune, just the work of Schoenstein. a sophisticated solid-state combination designed by a committee.” thrilling clangor of pure and tempered The Noack organ at St. Peter’s repre- action, two effective enclosed divisions, Next week, my colleague Amory intervals pushing against each other. It sents a large part of that progression. The a beautiful solid oak case, and an elegant Atkins and I are traveling to visit a future is like combining chili pepper and honey company’s founder Fritz Noack learned detached console, perfectly placed to client to discuss the preparation of a to make sweet-and-sour sauce, or warm the trade at Beckerath in Hamburg, allow an organist to lead a choir and to sit large church building for the installation pastry and cold ice cream to make baked Germany. He worked for Klaus Becker, back a few feet from the organ to better of a new organ. When we arrive at the Alaska. Bourbon and vermouth, gin and Ahrend & Brumzema, and Charles Fisk hear the balance between divisions. church, we will have time to inspect the tonic, peanut butter and jelly. before founding the eponymous com- building before participating in a meet- Wendy and I are in Washington, D.C., pany in 1960. Early Noack organs were Make straight in the desert ing with architects, engineers, clergy, and for the dedication of the new Noack experimental, among the fi rst to reintro- a pathway . . . musicians, with eighteen people present. organ at Saint Peter’s Catholic Church duce tracker action to the United States. You may think that the act of build- No one from the company that’s actually on Capitol Hill. We arrived on the fi rst Some were quirky, some were wind sick, ing an organ is only just that, building building the organ will be there so we day of the public impeachment hearings some were spectacular. Along with Fisk, an organ, but in fact, that is the easy will be representing them in a conversa- in Congress, and we were interviewed the Andover Organ Company, and a part. Behind every new organ there are tion that will include people bringing at by NPR and FOX News as we ate lunch few others, Noack was reinventing the years of discussing, negotiating, and least four different points of view to the in a pub. Text messages and emails wheel, bringing centuries of knowledge compromising before the people of a table. Eighteen people. poured in during the evening as friends to a new forum. church ever talk with an organbuilder. This may seem unwieldy and wasteful, Fritz Noack told me that Main Street Providing an organ with a comfortable and in fact, it probably will be unwieldy. in Georgetown, Massachusetts, is the only political base is the fi rst challenge. One But the point of the meeting is at least A. E. Schlueter Pipe Organ Co. street in the United States zoned specifi - might think that the process of creat- parallel and in some ways unrelated to cally for pipe organ building, so designated ing a work of art is simple. Choose an the building of the organ. The point of when he applied for a variance to convert artist, pay the money, and sit back and the meeting is to prepare a place for the an old school building into a workshop. watch—but no. Start with the organist organ, making “the crooked straight, and Entering the workshop, you encounter a who “needs” a Flûte Harmonique, and the rough places plain.” It will be our job photo gallery showing each instrument, up the organbuilder who says it will not fi t. to produce a level fl oor (place a marble to Opus 162 at Saint Peter’s in Washington. Continue with the architect who resents on the fl oor, and it will stand still), square One hundred sixty-two organs is an impres- the imposition of something designed walls, neat and smooth surfaces, and to sive life’s work, produced over fi fty-nine by others being plopped into his perfect create an environment for the organ that years, with the Washington organ being space. And what about the priest who will be dry, clean, and have an even and the fi rst to be produced entirely under the considers the organ a distraction from reliable climate. If the fl oor is not level, leadership of Didier Grassin. One hundred the liturgy? A harmonica and kazoo duet the organ’s soft metal pipes will be fi rst  New Instruments  Tonal Additions sixty-two organs that represent the last would be less intrusive. leaning, then bending, then crimping  Rebuilding  Maintenance fi ve decades of the organ in America. The American comedian Allen Sherman at the rackboards and falling over. If  New Consoles  Tuning designs evolve from simple and unadorned (1924–1973, famous for Hello mudda, the fl oor is not level, the mechanical to a variety of lavishly decorated styles and hello fadda, here I am at Camp Grenada parts will operate with extra friction. How can we help you? show the development of an artist over a . . . .) created a hilarious parody of Peter If the fl oor is not level, the organ will long career. and the Wolf that he sang with Arthur look cockeyed. If there is not a reliable 800-836-2726 The organ at Saint Peter’s combines Fiedler and the Boston Pops Orchestra, climate, the organ will not retain tuning, www.pipe-organ.com elements of all these styles. It has sensitive which included the quip, “. . . and we and soft parts will get moldy, hard parts

12 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM By John Bishop

“So that our song may rise more worthily to your majesty,” we tune and maintain these organs, keeping their tones true and pure, and their mechani- cal systems function reliably in support of the efforts and skills of those who play them. “So that our song may rise more worthily to your majesty,” we practice diligently to develop the skills you have given us, learning and polishing the familiar and creating new music to offer in your praise. “So that our song may rise more wor- thily to your majesty,” we lead and train choirs who offer music of praise in times (photo credit: Félix Müller) of sadness and jubilation. “So that our song may rise more of praise, preparing the instruments worthily to your majesty,” we gather to for leading worship and the music that dedicate and celebrate a new organ, and will be played on them, expressing our return to our workshops and rehearsal prayer and praise in melodies that are rooms with alacrity to repeat the cycle pleasing to you. Q

Noack organ console, Saint Peter’s Catholic Church, Washington, D.C. (photo credit: Didier Grassin) SOLID STATE ORGAN SYSTEMS will oxidize, and the whole system will which I believe is a metaphysical argu- slow down. ment in favor of acoustic pipe organs. It seems natural to expand that image to A living art give the organ a three-to-one advantage The art of organbuilding came alive in breath capacity over a congregation for me again last night as we sat in Saint of a thousand people. Use it wisely, you Peter’s Church. The evening began with organists. No one likes a bully. a service of sung vespers. The church’s Didier concluded with the image of the organist Kevin O’Brien led choirs of organbuilder returning to the workshop, children and of adults through the world taking on the next project, knowing that premieres of several settings of antiphons, the organ would be present for the people and Bishop Michael Fisher of the Arch- of the church, “Sunday after Sunday.” diocese of Washington blessed the organ: Parish organist Kevin O’Brien refl ected on the seventeen years that Lord God, your beauty is ancient yet ever new, your wisdom guides the world have passed between expression of a in right order, and your goodness gives the vision and the dedication of the new world its variety and splendor. The choirs of organ. He acknowledged his gratitude angels join together to offer their praise by for the opportunity to work with the 1970 obeying your commands. The galaxies sing your praises by the pattern of their move- several priests who led that journey. He ment that follows your laws. The voices of thanked the choir for their companion- 1980 the redeemed join in the chorus of praise ship and musicianship, expressing his to your holiness as they sing to you in mind love for them and calling them the “hard- and heart. We your people, joyously gath- ered in this church, wish to join our voices est working people on Capitol Hill.” to the universal hymn of praise. So that our Philippe Lefebvre’s recital was sen- song may rise more worthily to your majes- sitively chosen and masterfully played. ty, we present this organ for your blessing: Each piece had signifi cant chromatic grant that its music may lead us to express 1990 our prayer and praise in melodies that are content, especially Bach’s Chromatic pleasing to you. Fantasy and Fugue. He neatly dem- onstrated the difference between There was a collective gasp from the eighteenth-century French and German organbuilders present as the bishop music by juxtaposing Louis Marchand’s 2000 sprinkled holy water toward the organ. “Grand Dialogue” from his Troisième MultiSystem II We were in about the fi fth pew from the livre d’orgue and Bach’s Chromatic front, a hundred feet from the organ so Fantasy and Fugue (listed in the pro- The world’s we could not really see, but I guessed gram as Fantaisie chromatique et fugue, most advanced that the water did not actually hit the transcription by Lefebvre)—the organ organ—I suppose the bishop had been showed the majesty equal to both the and intuitive coached—but I am sure some choir French king and the German duke. pipe organ members went home blessed. While some organists might refuse to control system After an interval before the recital, the play Franck’s Choral in B Minor on an 2010 Reverend Gary Studniewski, the gregari- organ lacking a Vox Humana, Lefebvre ous pastor of Saint Peter’s, addressed the dipped into alchemy and invented one congregation, referring to the long his- by combining Oboe, a fl ute, a string, and tory of parishioners who “provided the a tremulant. Dupré’s Cortège et Litanie, means” for this organ and to the “passion Debussy’s Claire de Lune as transcribed of not a few” as he introduced Didier by Lefebvre, and Durufl é’s Prélude et Grassin, president of the Noack Organ fugue sur le nom d’Alain joined as tribute Company. Didier poetically compared to great organists, now deceased, who the role of the organbuilder at the dedi- were important to Lefebvre. The closing cation to the boat builder who launches improvisation opened with a fugue, and his product on the sea, or the parent who moved from impudent to Messiaenic 2020 launches a child into the world—the (watch your spelling), from majestic to organ enters the world with its unique ferocious, and from academic to fanciful, voice, and “ultimately, its soul.” all built on the deep harmonic under- He pointed out that the pipes that standing of a real master of music. are visible, including thirty polished Principal façade pipes and forty-two Why are we here? horizontal Trumpet pipes, are among the I was fed by the prayer of dedication 2,599 pipes in the organ, and he color- offered by Bishop Fisher as it elo- fully compared the nine hundred cubic- quently summed up fi fteen centuries feet-per-minute capacity of the organ’s of sacred music. “So that our song may blower to the breath of three thousand rise more worthily to your majesty,” we 5600 General Washington Dr., people. I like the imagery of the organ design and build these instruments, Now representing Espressivo Suite B21, Alexandria, VA 22312 and the singing congregation sharing the placing their voluminous lungs in sup- in the USA, Canada, and UK t: +1 (703) 933 0024 e: [email protected] same body of air to produce their tones, port of singing congregations.

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 13 Composers

Ralph Vaughan Williams and the Organ

By David Herman

It was the only paying job I’d A fi nal theory offered by some in ever had. explaining Vaughan Williams’s relatively So said Ralph Vaughan Williams, small output for the organ is that he sim- speaking on the biographical DVD, O ply couldn’t play the organ well. Thou Transcendent, as he talked about his I cannot tell that I think he is justifi ed fi rst—and only—church organist position. in going in for an organist’s career which is Ralph Vaughan Williams (1872–1958), his pet idea. He seems to me so hopelessly arguably the most imaginative, prolifi c, ‘unhandy’ . . . . I can never trust him to play and engaging British composer of the a simple service for me without some dread fi rst half of the twentieth century, wrote at what he may do. so relatively few works for solo organ.1 Why was this? Other twentieth-century So wrote Alan Gray, Vaughan Williams’s British composers (such as Matthias, organ teacher at Trinity College.4 Leighton, Wills, Jackson, and, espe- Vaughan Williams himself, likely with cially, Howells) contributed to the a degree of false modesty, was critical organ’s literature in major ways. Some of his own playing. We should take Photograph of Ralph Vaughan Williams by Frank Chappelow (used with permission) say Vaughan Williams did not like the care, however, in believing that he was organ. It is more accurate, I believe, not a competent organist, as many fac- to suggest he did not enjoy playing the tors suggest otherwise. To begin with organ. It might have been diffi cult for a signifi cant milestone, he studied for him; he was, after all, a large man and and passed (in 1898) the demanding had (as noted by relatives speaking on Fellowship exams for the Royal College the DVD) long fi ngers and “enormous” of Organists (only to resign his mem- feet! Others suggest his personal brand bership a few years later). John Francis, of Christian agnosticism got in the way Vaughan Williams scholar, author, and of composing solo organ music.2 But vice president/treasurer of the Ralph there are, of course, British organs in not Vaughan Williams Society, suggests only churches and cathedrals but also in that the situation above that Alan Gray many town halls and other non-religious complained of was due to the fact that concert venues. There was even an organ Vaughan Williams was “unpredictable set up in his childhood home in Surrey so rather than technically incompetent.”5 that he could practice. Francis continues: Perhaps Vaughan Williams could not Self-deprecatory remarks by Vaughan quite sort out how to translate some Williams in later years have perhaps been musical thoughts into organistic musical taken too often at face value. We have no thoughts. In one of his many profoundly account of his [organ] playing by anybody important observations on playing the who heard him play. organ, the late Erik Routley once wrote, The Royal College of Music, London (used with permission of the Royal College of Music and “The organist must translate the [hymn] Further, Gray himself followed his the photographer, Chris Christodoulou) score into organ language [author’s lament by adding, emphasis] when he or she plays.”3 At age 11 [1883] I was sent to a horrid Place near Dorking, the seventeenth- It is true that while many places And this he combines with considerable school at Rottingdean. Three years later I century house in Surrey, wherein lived knowledge & taste on organ and musical arrived at Charterhouse [1887]. They still in Vaughan Williams’s organ works matters generally.6 sing my hymns there to this day. From Wedgwoods and Darwins and which had have the ingredients for great musical Charterhouse I was sent off to the RCM become Vaughan Williams’s childhood expression, they are not entirely easy to This essay is not a biography of Ralph [1890], and there I met a fellow pupil home. (He later remarked that Dorking bring off at the organ, due to matters Vaughan Williams; fortunately, there are called Gustav Holst. was “my home for nearly 40 years.”12) He of fi ngering, pedaling, and especially many excellent volumes available, some inherited the house from his brother in of texture. The same could be said of issued quite recently. Nevertheless, In his youth Holst had also secured a 1944, whereupon he gave it to Britain’s organ music by some other composers many events in his childhood, youth, and church position involving considerable National Trust.13 Breakfast at Leith Hill (Jehan Alain comes to mind), for which university days are intertwined with a responsibility. Vaughan Williams’s niece, was at 7:30, and “Mr. Ralph” normally the player’s creative imagination must study of his organ music. The reader will recalling these early days with Vaughan practiced beforehand. “The trouble be called upon to combine with the note at the end a list of some twenty-four Williams, remarked, about the early morning was fi nding composer’s notes. sources consulted. Also particularly use- a blower for the organ.”14 The butler, It is the goal of this short work to ful is the Timeline found on the website We used to laugh about Uncle Ralph but housemaids, groom, and gardener all he wasn’t very good at the organ, and yet he 15 consider Vaughan Williams’s views about of the Ralph Vaughan Williams Society: was always playing for funerals or weddings avoided him! On Sundays he would and experiences with the organ and to www.rvwsociety.com. or things.10 practice long after the rest of the house- examine the organ works that he left Vaughan Williams’s father was the vicar hold had started to walk the two miles us. In so doing we will note some of the of Down Ampney (which Vaughan Wil- While at Charterhouse he was once to church, usually arriving just as the important infl uences on his composi- liams pronounced “Amney”)7 in Glouces- greatly impressed by a schoolmate’s play- service was starting. While a student at tional life, including his friendship with tershire. He died when his son was only ing of Bach’s “St. Anne” fugue—a work Charterhouse he was allowed to practice Gustav Holst, and especially his long and two years old. His mother came from that would remain a favorite throughout on the chapel organ. (One wonders what admiring relationship with the music of families of means: she was the daughter his life and which he himself designated pieces he was working on!) In any case, Johann Sebastian Bach. And, we will see of Josiah Wedgwood (of pottery fame) as the postlude for his memorial service from an early age Vaughan Williams that the organ had an important role in and the niece of Charles Darwin.8 Let in Westminster Abbey.11 seemed committed to the organ. Vaughan Williams’s life from his early Vaughan Williams’s own words summa- During school holidays he practiced Throughout his childhood Vaughan teens through his funeral in Westminster rize the next few years, as spoken in Tony diligently, and the family even arranged Williams was steadfast in declaring his Abbey in August 1958. Palmer’s video, O Thou Transcendent:9 for an organ to be installed at Leith Hill desire to be a professional musician. His

14 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM atheist, could not. So he resigned, with- out any apparent regret.25 First, however, resolving to go abroad to study (with Max Bruch), he requested from the church, and was granted, a leave of absence. It is here that his friend Gustav Holst enters the picture.

Vaughan Williams and Holst Vaughan Williams met Holst (1874– 1934) at the Royal College of Music in 1895, and they remained fast friends for forty years until Holst’s death, going for extended hikes in the countryside and critiquing each other’s compositions. These “fi eld days,” when they played and dissected their respective works were to prove invaluable to them both. Although in his youth Holst also had various tries at being a church organist, he was instead to become a professional trom- bonist (recommended as a treatment for his asthma). The Church of St. Barnabas, South Lambeth (exterior) (photo credit: David Herman) Vaughan Williams and Gustav Holst (re- produced with permission from The Holst Birth- He [Holst] left the College of Music to place Trust, The Cheltenham Trust, and Chelten- abandon the eminently respectable career ham Borough Council) of an organist . . . and to get at music from the inside as a trombonist in an orchestra. The very worst that a trombonist has to put up with is as nothing compared to what a of “council fl ats” (low-income housing). church organist has to endure.26 Interestingly, when I visited there, the building manager was astonished to learn that a very famous composer had In taking leave of the organ bench once served as organist of the church! at Saint Barnabas it was natural for Vaughan Williams presided over a lar- Vaughan Williams to think of his friend gish instrument built by Hill and rebuilt Holst. There are somewhat differing by Bishop.22 At the time of his tenure accounts of the manner in which he Vaughan Williams and Holst on a “ram- the church supported an ambitious broached the subject with Holst. Heirs ble” (reproduced with permission from The Holst music program with a sizeable budget. and Rebels,27 the collection of letters Birthplace Trust, The Cheltenham Trust, and The duties, for which Vaughan Williams exchanged between the two composers, Cheltenham Borough Council) was paid a salary of £50 per year, were establishes some clarity. First, in a letter demanding and time consuming.23 His from Vaughan Williams to Holst, prob- Vaughan Williams would have heard wife Adeline reported that he worked ably July 1897: many organ recitals and services at very hard and practiced on the organ up I am leaving this damned place [Saint Cambridge and in nearby Ely Cathedral to fi ve hours per day. For Vaughan Wil- Barnabas] in October and going abroad. The Church of St. Barnabas, South (whose organist then was T. Tertius liams the salary was probably incidental Lambeth (interior, showing some coun- Nobel, later to become organist at Saint to the experience. And then, contrary to some accounts cil fl ats) (photo credit: David Herman) Thomas Church, Fifth Avenue, New York in which he offered Holst the job, he in He did not need to earn a living, having City). Undergraduates at Trinity College a healthy but not excessive private income. fact inquired about the latter’s interest: family agreed, with the provision that were obliged to attend chapel services, His work as an organist was for his continu- he became an organist. (Thoughts were and Vaughan Williams sometimes avoided ing education, not to keep body and soul Suppose you were offered it would you 24 consider the matter? The screw [sic!] is £50 different in the late nineteenth century!) this duty by retreating to the organ loft. together. [per annum] and the minimum duties . . . He later wrote: At Cambridge he studied the organ with Alan Gray19 (organist of Trinity College) His time at Saint Barnabas was not And here he lays out what sounds like I believe I should have made quite a de- cent fi ddler but the authorities [!] decided and left the university with a B.Mus easy. He told his friend Holst that his a demanding list of tasks, working on that if I was to take up music at all the vio- degree in 1894, returning to the Royal choristers were “louts” and the vicar Mondays, Wednesdays, Thursdays, and lin was too ‘doubtful’ a career and I must College of Music in 1895. There Vaughan “quite mad.” The vicar insisted on the Sundays, as well as running the choral seek the safety of the organ stool, a trade 16 Williams began composition study with organist’s taking communion; Vaughan society and giving occasional organ recit- for which I was entirely unsuited. Charles Villiers Stanford, with whom Williams felt that he, as a principled als. Vaughan Williams later states: he had a famously diffi cult relationship; It should be noted that when he sub- Stanford’s comment on Vaughan Wil- sequently left his only church position liams’s music often consisted only of “All after only four or so years, it would rot, me boy.” Vaughan Williams, however, seem that, although he disliked being was in later years to speak warmly of him.

an organist, there is no evidence that he disliked the organ. The Church of Saint Barnabas, South Lambeth The Royal College of Music Vaughan Williams was appointed Vaughan Williams entered the Royal organist here in 1895. Since this was to College of Music in 1890, just prior to his be his fi rst and only church position it eighteenth birthday, and there became seems appropriate to include here some a pupil of Charles Hubert Hastings details of the place and his duties. It Parry. His family wanted him to com- seems that he held this post until 1899. mute, which he usually did by rail but Vaughan Williams describes his work occasionally on foot! (Really? London to there, again with some false modesty: Leith Hill in Surrey—some thirty miles! I was appointed to my fi rst and last or- Proud builders of the Far from the 200 miles Bach suppos- gan post, at St. Barnabas, South Lambeth. pipe organ kit edly walked from Arnstadt to Lübeck, As I already said, I never could play the but . . . ). He often announced his arrival organ, but this appointment gave me an at Leith Hill Place by fi rst having a go at insight into good and bad church music which stood me in good stead later on. I the organ.17 follow also had to train the choir and give organ us on While studying at the Royal College recitals and accompany the services, which facebook! of Music he also entered Trinity College, gave me some knowledge of music from Cambridge (1892), and there experi- the performer’s point of view.21 enced a “spiritual awakening.” Photo courtesy of Eric Harrison This was a large church (originally As my mother insisted that I had a ‘prop- seating 1,500 people) on Guildford er’ education, I was sent to Cambridge . . . Road in South Lambeth. The parish, as 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA what an awakening that was! You might t 800 625-7473 [email protected] almost say a spiritual awakening. The confi rmed by the Diocese of Southwark sense that even if you didn’t believe in offi ce, exists no more. Visit our website at www.letourneauorgans.com God, there was something beyond. Some- The building, however, is still there, thing mysterious.18 having been gutted and refi tted as a series

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 15 Composers

Author’s photo of the bas-relief by Da- Vaughan WIlliams during World War I vid McFall, RA, outside the Dorking (used by permission of The Vaughan Williams Halls (used by permission of www.davidmcfall. Charitable Trust) co.uk)

Mind I AM NOT OFFERING IT YOU Willcocks when he was director of the [VW’s caps] only [sic] if you would like it I Bach Choir). He did not have patience will do my best to Back you. with so-called “authentic performance practices” of early music. He concludes by asking Holst to Bach, though superfi cially he may speak deputize for him while he is gone and the eighteenth-century language, belongs provides many specifi c instructions on to no school or period.29 getting through the service (pitches, cues, etc.). He suggests beginning the Vaughan Williams had a clear and morning service with a “short and easy oft-stated aversion to the harpsichord! voluntary” and concluding with a “long He used the grand piano as the con- and diffi cult voluntary.” He notes about tinuo instrument in his many Bach the choir: performances. Opening of BRYN CALFARIA, No. 1 of Three Preludes (Founded On Welsh Tunes), fi rst Those louts of men will slope in about The harpsichord, however it may sound published by Stainer & Bell, Ltd., 1920 8.45 and make you mad—the only ones in a small room—and to my mind it never who can sing will be away. [author’s emphasis] has a pleasant sound— in a large concert room sounds just like the of music making. “Vaughan Williams musician. Nonetheless, his many choral As a postscript VW adds, “The vicar ticking of a sewing machine.30 paid tribute to Bach practically, in his works, large (Hodie) and small (O Taste is quite mad.” (Does any of this sound non-authentic but deeply moving per- and See), enrich the repertory of all familiar to us today?) In any event, the He had similar thoughts about the formances of the major choral works at manner of choral organizations, ranging position was not taken by Holst but so-called Baroque organ, which in the Dorking.”32 [For the Leith Hill Festivals, from parish singers to concert choirs. His probably by William H. Harris (later 1950s put him distinctly at odds with founded in 1905, which he conducted choral music was written not so much for a faculty member at the Royal College those planning the new organ for Lon- from 1905 to 1953.] places (as with Howells’s many settings of Music and organist at Saint George’s don’s Royal Festival Hall. of the services for various cathedrals Chapel, Windsor).28 The Great War and collegiate chapels) but for occasions By the way, I see there is a movement afoot to substitute the bubble-and-squeak The effect of war on musicians has (coronations, victories, and more). Vaughan Williams and Bach type of instrument for the noble diapason been a topic of lengthy and interest- One of Vaughan Williams’s most Vaughan Williams showed nearly and soft mixtures of our cathedral organs.31 ing studies. In addition to the English monumentally important works in the life-long fondness and admiration for composers who did not return from fi eld of church music was as editor of the music of Johann Sebastian Bach, It is interesting to note that the opening the First World War, the Second World The English Hymnal. In 1904 a com- whom he placed above all musicians. He recital on the Royal Festival Hall organ War took the lives of many composers, mittee headed by the Reverend Percy regarded the Saint Matthew Passion, a included Vaughan Williams’s Three Pre- including Jehan Alain and Hugo Distler, Dearmer34 set about creating a new work that he would conduct many times, ludes Founded on Welsh Hymn Tunes. and affected the lives of countless oth- hymnbook, in succession to the vener- to be Bach’s greatest achievement. These views on instruments and per- ers. Although space does not permit an able Hymns Ancient and Modern.35 Vaughan Williams had clear and strongly forming practices may now be consid- excursion on this topic, it seems relative Vaughan Williams was invited to be the held thoughts on performing Bach’s ered old-fashioned and out-of-date. They to touch on Vaughan Williams’s army ser- musical editor and, by his own testi- music. First, he insisted that, for his are, nonetheless, the beliefs of a great vice, which relates to his work as organist mony, in the process learned a great deal audiences, the choral works, including musician whose musical thoughts and and church musician. about music—the good and the bad. He the Matthew Passion, be sung in English ideas, planted in the mid-Victorian era, Vaughan Williams volunteered for introduced several new tunes of his own (a preference shared by the late David grew through more than a half-century military service in the Royal Army creation as well as folk melodies, making Medical Corps (in 1914, at age 42!) and it a thoroughly “English” book. He suc- from May 1915 was stationed at Saffron ceeded in purging the new hymnal of Walden where he spent considerable many poor Victorian hymn tunes (while time at the organ of the parish church,33 retaining the better ones), and those fi nding refuge from the horrors of war which he was forced to keep he banned through playing Bach. At the outbreak to the back of the book in a section he of war he was for a time stationed with called “The Chamber of Horrors.” his unit in Dorking. When there was a Songs of Praise followed in 1925, once death in the company and no organist more with Dearmer as general editor and could be found for the service at Saint Vaughan Williams, assisted by Martin Martin’s Church, Vaughan Williams Shaw, the musical editor. It is said that offered to play, providing he could Vaughan Williams was thrilled by the have some volunteers to form a choir. sound of an enthusiastic congregation In the same year he was posted to a singing a great hymn. The same trio of fi eld ambulance brigade. The following Dearmer, Vaughan Williams, and Martin year he was sent to France (at the rank Shaw worked together again to produce of lieutenant) and was involved in the The Oxford Book of Carols in 1928. Battle of the Somme. Vaughan Williams’s patriotic spirit was Organist friends of evident during the Second World War Vaughan Williams through his composing of fi lm music to Vaughan Williams loved the typical aid the war effort and in many types of cathedral organs of the fi rst half of the volunteer work. For example, he regularly twentieth century and liked hearing gathered scrap metal. His Thanksgiving them played. In return, many cathedral for Victory was written and performed in organists enjoyed playing for him—often 1945 in celebration of the war’s end. at night when the building was closed, often playing works of Bach. Such spe- Vaughan Williams and cial playings took place often—by Walter “superb musicianship, masterly technique and savvy programming … Archer’s church music Alcock at Salisbury; Herbert Sumsion sweeping assurance and stamina enable you to hear the music behind the virtuosity.” We have seen that, with the one in Gloucester; William McKie in West- — GRAMOPHONE (JAN 2018) — exception of four or so years at the end minster Abbey, as they worked together of the nineteenth century, Vaughan preparing for the 1953 coronation. After MORE INFORMATION: gailarcher.com TO PURCHASE: meyer-media.com Williams never functioned as a parish Vaughan Williams’s death in 1958, it was

16 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Closing section of BRYN CALFARIA, No. 1 of Three Preludes (Founded On Welsh Tunes), fi rst published by Stainer & Bell, Ltd., 1920 decided to place his ashes next to those • Three Preludes Founded On of Stanford and Purcell in the Abbey. Welsh Hymn Tunes, published in 1920 Other prominent organists who were by Stainer & Bell. The second prelude friends and colleagues, and from whom of the set, Rhosymedre, was played at he no doubt learned much about the Vaughan Williams’s funeral in 1958. Opening of RHOSYMEDRE, No. 2 of Three Preludes (Founded On Welsh Tunes), fi rst instrument: Thomas Armstrong, Ivor Clark observes that the registrations published by Stainer & Bell, Ltd., 1920 Atkins, Harold Darke, Walford Davies, in the score likely refl ected the organ John Dykes Bower, Alan Gray, Herbert at Trinity College. He further suggests frequent use of manual 16′s) and manual however, manages these brilliantly on the Howells, John Ireland, Henry Ley, that Vaughan Williams fi rst encountered divisions. The piece has quite a lot of two-CD set of the complete organ music Christopher Morris, Boris Ord, Cyril these tunes when editing The English bitonal dissonance. Ley was right: it (original and transcriptions) of Vaughan Rootham, Martin Shaw, R. R. Terry, and Hymnal (1906). The preludes are likely is not easy play, due to the constantly Williams, Bursts of Acclamation. (Albion George Thalban-Ball.36 among the fi rst works completed after changing chord colors, large amount ALBCD021/2, available from the Ralph In considering Vaughan Williams and his leaving the army in 1919.38 of chromaticism, and fast contrapuntal Vaughan Williams Society, https:// the organ, Relf Clark suggests an inter- Bryn Calfaria is at once the most passages. Vaughan Williams employed rvwsociety.com). esting comparison with Elgar:37 interesting musically and, although fun chords in parallel sweeping lines, often The prelude is somewhat impression- to play, nonetheless the most challenging in contrary motion. Thick homophonic istic in sound, using parallelism, tonal Early in their careers, both were briefl y the organist of a parish church. Neither of to bring off at the organ. It is dramatic passages alternate with longer sections vagueness (often resulting from mixed them appears to have enjoyed the experi- and improvisatory; fragments of the tune of thinner, busy counterpoint, generat- modes), the use of ninth and major- ence very much. Both wrote for the instru- are given out through a thick and tangled ing an ABABA design. The quick B seventh chords, as well as tetra- and pen- ment a handful of not entirely character- texture. Like many other fi ne organ sections are terrifi cally fast at the speci- tatonic scales. The result: the prelude istic works. Both made notable use of the organ in a few orchestral scores. And both works (some of Alain’s come to mind) the fi ed tempo of quarter = 120 beats per clearly sounds like Vaughan Williams. It enjoyed the friendship and support of pro- piece involves the player as interpreter: minute. Thinking I could not play it that ends suddenly in C major, a somewhat fessional organists. adding musical imagination to the text. fast, I initially suspected a case of “com- astonishing tonality not really heard Rhosymedre is the most well liked and poser tempo overreach.” David Briggs, before in the piece. In a famous letter to The Daily Tele- often played of the three. Simple, quiet, graph, January 14, 1951, Vaughan Wil- and gently dance-like, it states the tune liams makes some views clear, beginning twice, in a straightforward manner. Scattered leaves ... from our Scrapbook with his thoughts on the “bubble and Hyfrydol makes a bit of an odd con- squeak” tones of continental organs. clusion to the set: a very thick-textured setting of the tune (diffi cult to play, espe- Is it really proposed that we should A master gave a recital last evening in Music Hall. abandon in favour of this unpleasant sound cially for those with small hands) above a The voice is one of the loveliest to be heard in the the noble diapasons and rich soft ‘mixtures’ constantly moving pedal part that romps world today. In range it is virtually limitless, its of our best church organs? over two octaves (get out your Gleason depth being of wondrous warmth and richness, its book to help your feet prepare). middle portion brilliant and vibrant, yet filled with a sympathy and nobility that charm, and its upper He particularly admired the organ at • Prelude and Fugue in C Minor, tone being of a clarity, a sweetness and an exquisite Saint Michael’s Church, Cornhill (Hill; composed in 1921 for orchestra and fineness that ravish the sense. In volume it is full Rushworth & Dreaper), presided over fi rst performed in that year at the Three and strong, capable of voicing of the most intense by his friend Harold Darke, and believed Choirs Festival in Hereford. The orches- emotion and dramatic feeling when these are it possessed the ideal English organ tone. tral version was performed fi rst (con- demanded, and yet when the master owner wishes ducted by the composer). The piece was it, sinks down to the softest possible pianissimo, and back of this voice is an artist and a personality. The works for organ then arranged for organ between 1921 Who was the singer? This essay offers not so much analyses and 1930 (completed in 1921, revised in Fritz Kreisler. but comments on Vaughan Williams’s 1923, published in 1930). Vaughan Wil- It is true that it was the voice of his violin that sang, music. For structural and thematic anal- liams told the dedicatee Henry Ley that but that fact makes him none the less a Master yses of the organ works see the excellent the work was modeled on Bach’s Prelude Singer (Meistersänger). articles by Hugh Benham [See “Sources and Fugue in C Minor, BWV 546.39 Ley W.L. Hubbard and further reading,” B/2] and Relf Clark (pronounced “Lee”), then organist at Chicago Tribune [See “Sources and further reading,” C]. Christ Church, Oxford, commented on January 8, 1908 It would seem that Vaughan Williams’s the piece’s diffi culty. According to Ley, major organ works were conceived or Vaughan Williams said that the work was written at Saint Mary’s Church, Saffron written in 1915 while he was stationed at Walden, where he spent a great deal of Saffron Walden using the organ at Saint time practicing while stationed there in Mary’s Church.40 The prelude and fugue Schoenstein & Co. 1915. The late Michael Kennedy, the together occupy some ten minutes. chief authority on the works of Ralph The Prelude is very well written for Established in San Francisco š 1877 Vaughan Williams, cites the following as the organ. Vaughan Williams was atten- www.schoenstein.com ❧ (707) 747-5858 “The Organ Works:” tive to details of registration (including

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 17 Composers

For someone who was a master at con- cantata Rejoice in the Lamb, containing Supplement II: selected choral 24. Heffer, p. 18. trapuntal writing and an ardent admirer some of the most original and dramatic works in which the organ has a 25. Ibid., p. 19. of Bach, Vaughan Williams seems not writing for organ in any choral work). prominent role 26. VW/1, p. 71. 27. VW/4, pp. 5–6. to have written very many fugues. This These preludes and fugues, valued for [These lists extracted from Neil But- 28. F/5, p. 9. fugue is a good one, a double fugue in their singular stature, are nonetheless terworth: Ralph Vaughan Williams: A 29. VW/1, p. 122. fact, whose two subjects are fi rst treated not entirely representative of their com- Guide To Research. New York and Lon- 30. Ibid., p. 123. separately and then combined at the posers’ genius, language, invention, and don: Garland Publishing, 1990.] 31. Ibid. 32. Mellers, p. 158. climax. It begins not so much in C minor musical imaginations. Vexilla Regis (for the Cambridge B.Mus), 33. F/2 (pages unnumbered). but C Aeolian. The omnipresent triplets Douglas Fairhurst suggests that 1894 34. Vicar of Saint Mary’s, Primrose Hill, against duplets, which get a bit wearing Vaughan Williams, as a great artist, was Mass (for the Cambridge D.Mus), 1899 where his organist was Martin Shaw. 35. Hymns Ancient & Modern, fi rst pub- (to this player, at least), is an element in more at ease and naturally expressive Toward the Unknown Region, 1907 lished in 1861, continues to be found, in sub- both fugue subjects. Parallel chords in having a larger canvass for his music. Fantasia on Christmas Carols, 1912 sequent editions, in some British church pews contrary motion, drawn from the pre- Former Sancta Civitas, 1923–1925 today, often next to The English Hymnal. lude, occasionally interrupt the rather Rowan Williams commented that, while Three Choral Hymns, 1929 36. All listed in B/3, Personalia, pp. 315–345. 37. Clark, p. 7. dissonant fugal entries. it was unorthodox to consider canoniza- Flourish for a Coronation, 1937 38. Ibid., p. 10. • Two Organ Preludes, founded on tion for a non-believer, the Christian Six Choral Songs: To be sung in time of 39. F/4, p. 8. Welsh Folk Songs, published in 1956. church owed a great deal to him for his war, 1940 40. F/3. p. 16. These are Romanza (“The White Rock”) contributions.43 In any case, after his England, My England, 1941 41. For details of these, see Randy L. Neigh- and Toccata (“St. David’s Day”). These death in 1958 Vaughan Williams’s ashes Thanksgiving for Victory (later A Song of barger’s, “Organ Music of Ralph Vaughan Wil- liams: A Descriptive List of Original Works works are generally regarded as being less were buried in Westminster Abbey, Thanksgiving), 1945 and Transcriptions,” The Diapason, October than indicative of the composer’s skill and appropriately near those of Stanford and Folk Songs of the Four Seasons, 1949 1991, p. 10. imagination and not very “organistic.” Purcell. Of special note: his was the fi rst Fantasia (Quasi Variazione) on the “Old 42. K/2, p. 3. • In 1964 Oxford University Press funeral service held in the Abbey for a 104th Psalm Tune,” 1949 43. Palmer. 44. Ibid. published A Vaughan Williams Organ commoner since that of Purcell, nearly Hodie, 1953–1954 33. Written for RVW’s good friend Harold Album (still in print) consisting of 300 years earlier.44 Q Drake, organist at the Church of Saint Mi- transcriptions as well as the two organ Supplement III: some choral music chael’s, Cornhill, the work sets the dramatic preludes of 1956. Various composers, Supplement I: some other works in for the church account of the whirlwind, cloud, and fi re from the book of Ezekiel. including Henry Ley, have made organ which the organ is prominent O Clap Your Hands, 1920 transcriptions of several of Vaughan Wil- The organ has played a central role in Lord, Thou Hast Been Our Refuge, 1921 Sources and further reading 41 A: Aldritt, Keith. Vaughan Williams: Compos- liams’s orchestral works. many centuries of choral music. Vaughan Magnifi cat and Nunc Dimittis (The Vil- er, Radical, Patriot—A Biography. Rams- • Kennedy mentions an Organ Williams realized the expressive and dra- lage Service), 1925 bury, Wiltshire: Robert Hale Books, 2015. Overture, from 1890 (the manuscript of matic powers of the organ and used them The Pilgrim Pavement, 1934 B/1: Barber, Robin. “Vaughan Williams in 42 Hamburg, 1938: A Brush with Nazi Ger- which is in the British Library). to good effect in some of his orchestral O How Amiable, 1934 many.” Ralph Vaughan Williams Society • A Wedding Tune for Anne, 1943 works as well. Festival Te Deum in F, 1937 Journal, Issue 66, June 2016. (contained in A Vaughan Williams • Job, A Masque for Dancing. In All Hail the Power (Miles Lane), 1938 B/2: Benham, Hugh. “Music for Solo Or- Organ Album). Scene VI (the Dance of Job’s Comfort- Services in D Minor, 1939 gan by Ralph Vaughan Williams.” Ralph Vaughan Williams Society Journal, Issue • Various incomplete sketches left at ers) we see/hear a vivid representation of Hymn for St. Margaret, 1948 55, October 2012, 3–8. the time of his death. Satan and his retinue in Hell. Included is a The Old Hundredth Psalm, 1953 B/3: Butterworth, Neil. Ralph Vaughan Wil- part for “Full Organ with Solo Reeds Cou- Te Deum and Benedictus, 1954 liams: A Guide to Research. New York and Returning to the opening question pled,” supplementing the full orchestra. A Vision of Aeroplanes, 1956 London: Garland Publishing, Inc., 1990. 45 C: Clark, Relf. “Vaughan Williams and the There are two Vaughan Williams • A Vision of Aeroplanes is a sub- Organ: An Anniversary Review.” Organists’ organ works of relatively major stature, stantial late work (1956) for chorus and Notes Review, August 2008, 7-15. dating from during and just after the organ, setting familiar words from the 1. In this he does not stand alone, of course. F/1: Francis, John. Vice-Chairman of the time of the First World War: the pre- fi rst chapter of the Book of Ezekiel. It The same could be said of RVW’s best friend, Ralph Vaughan Williams Society (UK) in Gustav Holst (who around 1930 started what correspondence with the author. ludes on Welsh hymns and the Prelude opens with a dramatic, dissonant organ he hoped would be an organ concerto). We F/2: Francis, John. Notes in the booklet ac- and Fugue in C Minor. A generation solo that, as with subsequent organ wish Alain and Distler could have had longer companying Bursts of Acclamation, two later would come Benjamin Britten’s interludes, reminds one of the organ’s lives in which to continue their composing for CD recordings of organ works by RVW organ. And, although the organ parts in many comparable opus, Prelude and Fugue on use in Howells’s A Sequence for St. published by Albion Records. of Benjamin Britten’s choral works are tour F/3: Francis, John. “Composers of the Great a Theme of Vittoria (1946). They have Michael, to be written some fi ve years de forces of rhythm, texture, and organ color, War Revisited.” Ralph Vaughan Williams not much in common, save being one later. Britten, too, left us a regrettably small num- Society Journal, Issue 65, February 2016, of few examples of their masters’ con- • A Sea Symphony includes passages ber of organ works (which reveal relatively 15–16. little of his musical genius). tributions to the canon of organ music. for organ, more for support, as a mem- F/4: Francis, John. “Ralph Vaughan Williams 2. Many have pondered this seeming con- and the Organ.” Ralph Vaughan Williams Both composers wrote for situations or ber of the orchestra, than for effect. tradiction between belief and the creative set- Society Journal, Issue 63, June 2015, 3–11. performances: Vaughan Williams for • However, the dramatic blast of tings of sacred texts. One factor: he had, of F/5: Francis, John. “A Question of Chronolo- course, a life-long love affair with Elizabethan gy.” Ralph Vaughan Williams Society Jour- the Three Choirs Festival in Hereford, chords occurring about 3/4th through English. for example; Britten’s was a commission the “Landscape” (Lento) movement in nal, Issue No. 74, February 2019, 9. 3. Church Music and the Christian Faith, H/1: Heffer, Simon. Vaughan Williams. Bos- from Saint Matthew’s, Northampton Sinfonia Antarctica, shows the organ as by Erik Routley. Carol Stream, Illinois: ton: Northeastern University Press, 2000. (for which he had earlier written the hair-raising, important, and soloistic. Agape, 1978, p. 105. 4. Quoted in Aldritt, p. 55. H/2: Holmes, Paul. Holst; Illustrated Lives of 5. Francis/2. [The booklet pages are not the Great Composers. London: Omnibus numbered.] Press, 1997. 6. RVW/3, p. 42. K/1: Kennedy, Michael. The Works of Ralph 7. Palmer. Vaughan Williams. Oxford: Oxford Univer- 8. Reference to the famous remark about sity Press, 1964; 2nd edition,1996. Darwin is irresistible. As a child, VW asked K/2: Kennedy, Michael. A Catalogue of the his mother what was all the fuss about Great- Works of Ralph Vaughan Williams. Oxford: Uncle Charles? She replied that the Bible says Oxford University Press, 1996. the earth was created in six days; Great-Uncle M/3: Manning, David, ed. Vaughan Williams Charles believes it took somewhat longer. on Music. Oxford University Press, 2008. 9. Palmer. M: Marshall, Em. Music in the Landscape. London: Robert Hale, 2011. 10. Ibid. M/2: Mellers, Wilfrid. Vaughan Williams and 11. Aldritt, p.30. the Vision of Albion. London: Barrie & Jen- 12. Palmer. kins, 1989. 13. VW/3, p.258. N: Neighbarger, Randy L. “Organ Music of 14. Ibid., p. 28. 15. As stated by J. Ellis Cook, son of the gar- Ralph Vaughan Williams: A Descriptive dener at Leith Hill Place; quoted in Tributes, List of Original Works and Transcriptions,” p. 25. The Diapason, October 1991, 10–11. 16. VW1, p. 134. T: Tributes to Vaughan Williams: 50 Years On. 17. Aldritt, p. 37. A reprint of The RCM Magazine, Vol. LV, No. 18. Palmer. 1, Easter Term 1959. 19. “Our friendship survived his despair at P: Palmer, Tony. O Thou Transcendent (a my playing and I became quite expert at man- video commemorating the fi ftieth anniver- aging the stops at his voluntaries and organ sary of Vaughan Williams’s death). Isolde recitals.” And then wrote Alan Gray: “I cannot Films, 2007. tell him that I think he is justifi ed in going in VW/1: Some Thoughts on Beethoven’s Choral for an organist’s career which is his pet idea. Symphony, With Writings on Other Musi- He seems to me so hopelessly ‘unhandy.’ I can cal Subjects. London: Oxford University never trust him to play a simple service for me Press, 1953. without some dread as to what he may do.” VW/2: National Music and Other Essays. Aldritt, p. 55. VW clearly achieved signifi cant London: Oxford University Press, 1987. improvement by 1898, when he passed the VW/3: Vaughan Williams, Ursula. R. V. W.: F.R.C.O. exams! A Biography of Ralph Vaughan Williams. 20. The British title “organist” usually im- Clarendon Press, Oxford, 1964. plies “organist and choirmaster.” VW/4: Heirs and Rebels: Letters written to 21. VW/1, p. 146. each other and occasional writings on mu- 22. Clark, p. 9. sic by Ralph Vaughan Williams and Gustav www.ruffatti.com 23. In addition to services, these included Holst. Edited by Ursula Vaughan Williams four choral rehearsals each week as well as and Imogen Holst. London: Oxford Uni- giving occasional organ recitals. Kennedy, p. 41. versity Press, 1959.

18 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Seminar report

The British and French Organ Music Seminar July 4–18, 2019

By Masako Gaskin and David Erwin

he British and French Organ Music church, Elise Friot demonstrated one where titulaire Loïc Mallie demon- TSeminar (FOMS) took place in Lon- of the ancient instruments in Paris, with strated the organ of Guilmant, Messiaen, Jean-Baptiste Robin with seminar par- don, Paris, and Alsace, July 4–18, 2019. reportedly the oldest keyboards still in and Hakim, and then gave very helpful ticipants at Notre Dame-des-Champs, Founded by Christina Harmon in 1986, use in the city. That evening featured a comments as group members played Paris, France (photo credit: Masako Gaskin) FOMS has taken place biennially since. concert by the Duo Merlin at Notre- for him. Many in the group rushed Dame-des-Champs, parish church of back to St-Eustache to hear Baptiste- of French and German styles, which London organbuilder Aristide Cavaillé-Coll. The Florian give a Bastille Day recital prior is typical for Alsatian organs. The city Thirty-seven organists and friends Duo Merlin consists of Yannick Merlin to evening Mass. This day concluded at then hosted a reception for us and began the seminar with a Fourth of July and his wife Béatrice Piertot, who St-Sulpice. Following a pontifi cal Mass some members were interviewed for celebration at Saint Paul’s Cathedral, specialize in organ music for four hands. (St-Sulpice is currently being used for the local newspaper, which ran a story London. The group was treated to Even- They did much of the work in organizing large episcopal services that would have about FOMS the following day. The day song and a concert by Ken Cowan on FOMS from the French side, securing normally taken place at the cathedral) continued with a visit to the abbey at the Henry Willis organ (1872), originally venues and recruiting faculty. with a brilliant sortie improvised by Ebersmunster, a magnifi cent building in built by Bernard Smith (1697). After- On Wednesday, July 9, Susan Lan- Sophie Choplin, the church was ours the high-Baroque style with an organ by wards, our host Simon Johnson dem- dale lectured and led a masterclass for the next few hours as the building André Silbermann (1730). onstrated the instrument and invited on the works of at Église was locked and nighttime fell. The fi nal day for FOMS 2019 began participants to play. St-Louis des Invalides. Then, several in The fi nal day in Paris, Fréderic at the Protestant Church of St-Martin The following morning the group trav- the group walked to Ste-Clotilde to hear Blanc hosted us at La Madeleine, in Barr. This Lutheran church boasts a eled to All Saints Church, Tooting, to visit and play the organ, hosted by Olivier talking about the history of this early Stiehr-Mockers organ from 1852. We the 1904 Harrison & Harrison organ, Penin. The next day saw a return to Cavaillé-Coll instrument and then then headed up in the mountains above hosted by Mark Pybus. Then on to Notre-Dame-des-Champs for playing demonstrating it. Group members Pfaffenheim for a luncheon of traditional Notre Dame de France for a masterclass time, followed by a masterclass on works spent the remainder of the morning Alsatian foods at the religious com- in improvisation with Duncan Middle- of Jean Langlais by Béatrice Piertot. This trying out this organ. The group moved munity of Schauenberg. The afternoon ton on the organ tonally reconstructed was followed by a class led by Jean-Bap- to the chic Champs-Elysées neighbor- consisted of a visit to our fi nal church, and enlarged by B. C. Shepherd & Son tiste Robin. That evening we visited hood for a visit to St Pierre-de-Chaillot, St-Martin, with its 1839 Callinet Broth- of Edgware (1986). The afternoon was the auditorium at Radio France, with its where titulaire Samuel Liégeon pre- ers organ. After the demonstration of spent at St. George’s Hanover Square, 2016 Gerhard Grenzing organ (IV/87). sented an improvisation. On the way the organ, some members of the group hosted by Simon Williams. The organ, We were welcomed by M. Grenzing, back to the métro we stopped at the remained to prepare for the evening’s built by Richards, Fowkes & Co. (2012) and then each person in the group was American Cathedral to meet organist recital, while others enjoyed a visit to a inside the old case used for the fi rst organ able to play from the main stage console. Andrew Dewar. The next event was a family-run chocolatier and a tasting of of 1725 by Gerald Smith, nephew of the A trip to Auvers-sur-Oise (the village visit to the Durufl é apartment, where local Alsatian wines. FOMS concluded builder of Saint Paul’s Cathedral organ, where painter Vincent Van Gogh spent host Fréderic Blanc demonstrated the with a recital played by several members. is the fi rst American-built organ in Lon- his fi nal days) was scheduled for the next organ and spoke of Maurice and Marie- The following day, a smaller group don. That evening some members of the day. A short train ride from Paris, Auvers Madeleine Durufl é. The fi nal event that had originally registered for an group attended vespers at Westminster is home to Église Notre-Dame d’Auvers- was a session with Blanc at his church, extension to play at Notre-Dame de Cathedral before the demonstration of sur-Oise, which Van Gogh immortalized Notre-Dame-d’Auteuil, where the Paris, sadly devastated by the tragic fi re its Henry Willis III organ (1922) and free in a painting. The church has a newer organ was recently renovated. of April 15, was hosted by Notre-Dame playing time hosted by Peter Stevens. organ built in the neo-Baroque style titulaire Johann Vexo in his charming Saturday, July 5, started at Chelmsford by Bernard Hurvy, demonstrated by Alsace hometown of Nancy. Eighteen organists Cathedral, with James Davy as host for M. Hurvy and the titulaire Jean- Tuesday, July 16, began with an express and friends enjoyed the Dupont organ the group as they visited the Mander Charles Gandrille. Playing time for train from the Gare de l’Est to Stras- (modifi ed later by Cavaillé-Coll) at organs (nave and chancel). The second the group followed, while some explored bourg. Daniel Roth joined us and shared Cathédrale Notre-Dame de Nancy and stop was at Saint Edmundsbury Cathe- the village. In the evening we visited insights of the heritage of his native the Dalstein & Haepfer organ at Église dral hosted by James Thomas, playing St-Étienne-du-Mont, Durufl é’s church Alsace. The afternoon was spent visit- St-Sébastien. the Harrison & Harrison organ (2010). known for its elegant ornate rood screen. ing two churches in the old part of this In addition to Yannick Merlin, Béa- Next was Cambridge, with Evensong Titulaire Vincent Warnier welcomed us. city. St-Pierre-le-Jeune Protestant (the trice Piertot, and Daniel Roth, Christina conducted by Stephen Cleobury, who On Saturday, July 13, we had an early church has been Lutheran since 1524) is Harmon was assisted by co-directors performed his fi nal organ recital. morning visit to Sacré-Coeur, where home to an instrument built in 1780 by David Erwin, Masako Gaskin, and Cliff The fi nal day in England was Sunday, we had permission to play the organ. Johann Andreas Silbermann. This was Varnon. Plans are already underway for July 6, and group members went to wor- Titulaire Gabriel Marghieri explained followed by a visit to St-Pierre-le-Jeune the next FOMS, which will take place in ship at churches of their choice. In the to the group how plans for work on the Catholic Church, a massive nineteenth- July 2021. Look for announcements at afternoon, one could attend a recital organ have been drawn, funding has century domed edifi ce built in the neo- www.bfoms.com for updates. Q at Westminster Abbey or Westminster been secured, yet approval is tied up in Romanesque style. The present organ in Cathedral. The fi nal playing session on a the French bureaucracy. So in the mean- this church is the work of Manufacture Submitted by Masako Gaskin, BFOMS two-manual George Pike England organ time M. Marghieri must deal with severe d’orgues Koenig from Sarre-Union, co-director, and David Erwin, director took place at Saint Margaret Lothbury, a winding issues, which does not permit which incorporates some pipework of the of music at Ladue Chapel Presbyterian church designed by Christopher Wren, him to use the Récit division at all. That earlier organ. After dinner, the group met Church, St. Louis, Missouri. with host organist Richard Townend. afternoon featured a masterclass on works at the church of St-Paul that was origi- of César Franck led by Béatrice Piertot at nally built for members of the military, Paris the Church of St-Laurent where she is but since 1919 has been part of the Prot- On Tuesday, July 8, forty-four organ- titulaire. Mme. Piertot shared some of estant Reformed Church of Alsace and ists and friends converged in Paris at her recent research into Franck’s organ Lorraine. The church contains a notable St-Augustin. Titulaire Didier Matry works, including observations about Walcker organ (III/87) from 1897 in the demonstrated the organ and allowed tempi. That evening fi nished with a ses- gallery (the largest instrument in Alsace) participants to try it out. The fi rst full day sion at St-Eustache, with co-titulaire and an eighteen-rank instrument (1976) of the seminar began with an emphasis Baptiste-Florian Marle-Ouvrard play- built by Garnier Facteurs d’Orgues of on French classical music with visits to ing the Van den Heuvel (V/101) organ. Niiza in the chancel. St-Sevérin and St-Gervais. François On Sunday morning, July 14, partici- The next day we traveled to the village Espinasse led a masterclass at St-Sevé- pants had the choice of visiting several of Erstein, where we were welcomed rin, and he talked about the importance organ lofts in order to watch the work by the mayor and tried out the 1914 of singing and dancing in one’s playing. of the titulaires up close. The group instrument by Edmond-Alexandre At St-Gervais, the Couperin family then met up that afternoon at La Trinité Roethinger. This organ is a synthesis

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 19 Cover feature

Dobson Pipe Organ Builders, Ltd., Lake City, Iowa Bruton Parish Church, Williamsburg, Virginia Bruton Parish Church is immediately recognizable as an important and large edifi ce among eighty-eight original and intact eighteenth-century structures in where hundreds of other early houses, shops, and pub- lic buildings have been reconstructed. Founded in 1674, the name of the par- ish comes from the town of Bruton, in the English county of Somerset, which was the ancestral home of several lead- ing Colonial fi gures. Construction of the present building began in 1712 to a design of Governor and was completed three years later. It was enlarged in 1752 when the Vestry voted to make the east end as long as the west, extending the chancel by twenty-fi ve feet. The tower was added in 1769. It was Bruton’s rector, the Rev- erend William A. R. Goodwin, D.D., who fi rst conceived the restoration of Williamsburg to its colonial state. Good- win removed Victorian changes to the General view (photo credit: Wm. T. Van Pelt) church early in the twentieth century, and his work was later taken up by the supervised the printing of currency, and Colonial Williamsburg Foundation in its was appointed keeper of the Public Gaol. restoration of the building between 1938 He conveniently merged this last activity and 1941. It was designated a National with his playing, frequently pressing a Historic Landmark in 1970. prisoner into service to pump the organ. Bruton has a lengthy organ history. In The instrument Pelham knew was 1729, Governor William Gooch wrote to replaced in 1835 with an organ by Henry an unidentifi ed English Lord: Erben, about which little is known apart from its installation in a newly built gal- I am prevailed upon by Gentlemen of the Country to Beg the favor of your lery in the church’s east end, now the Lordship to intercede with His Majesty liturgical west after a re-ordering of the for an organ for our church at Williams- space earlier in the decade. In 1856, burg . . . . As such gifts my Lord have Erben’s organ was in turn replaced by sometimes been made by royal Bounty to other places in America; the subjects here Pomplitz & Rodewald of Baltimore. most humbly presume to hope, that they At the dawn of the twentieth century, may have as just a claim . . . as any people the Hutchings-Votey Organ Co. provided in any part of his Majesty’s Dominions. a new instrument, installed in the chan- cel, which by this time had been returned The parish’s unrequited interest found ad orientem. Some of its pipes were expression in the 1741 Journals of the retained in Opus 968 of the Aeolian- Virginia Legislature, where it was asked: Skinner Organ Co. That instrument, “whether an organ, to be bought by the rebuilt on six occasions since its construc- Public, and appropriated to the Use of tion in 1937 and growing from 12 ranks Divine Service, at the Church where the to 105, was crowded into the attic, into Seat of Government shall be, will not add the east galleries (including inside a 1785 greatly to the Harmony of Praise to the organ case by Samuel Green set up there Supreme Being?” Further disappoint- in 1939), and within the church tower. ment followed until fi nally, in 1752, the Faced with increasing mechanical unreli- Assembly passed an act authorizing “the ability and advised by consultants that a purchase of a musical organ, for the use new, smaller organ more advantageously of, and to be placed and kept in the said sited would yield both musical and main- church.” Still, three years elapsed before tenance benefi ts, the parish undertook a View from west gallery (photo credit: Wm. T. Van Pelt) an organ was ordered from London, its search for an organbuilder. That process maker unknown to us today. came to its conclusion in February 2016 church, extending its design upward even out its color, a process that trades The new organ was played by Peter with the signing of a contract between in a way that honors the older material richness for consistency. Instead, we Pelham, who was born in England but Bruton Parish Church and Dobson. without copying it. It is built of yellow obtained locally grown lumber from a raised in Boston, where he studied with This organ, the ninety-sixth new poplar that is painted to match the exist- sawmill in Albert City, Iowa, that was Charles Theodore Pachelbel and eventu- instrument our workshop has created, ing woodwork. The front pipes of 75% dried in the traditional way; its varied col- ally served as organist of Trinity Church stands in the east gallery, in the space tin are drawn from the Great Principal 8′ ors are complemented by the Carpathian following a sojourn of several years in formerly occupied by the Green organ and the Pedal Octave 8′, and are overlaid elm burl that enriches the console interior. Charleston, South Carolina. He moved to case and multitudes of concealed pipes with 22-karat gold leaf. Unlike the bulky previous console, the Williamsburg around 1750, where he not from the previous organ. It takes its The organ console, like the pulpit, is new one is movable, supported by an inte- only became Bruton’s organist but also visual cues from the reredos, recreated constructed of black walnut. Most walnut gral dolly that needs no space-consuming ran a music store, gave keyboard lessons, in the 1939–1940 restoration of the sold commercially today is steamed to platform. It normally lives in the front

Dobson Pipe Organ Builders, Ltd., Opus 96

GREAT (Manual II) SWELL (Manual III, enclosed) POSITIVE (Manual I) PEDAL 16′ Bourdon 61 pipes 8′ Diapason 61 pipes 8′ Principal 61 pipes 16′ Principal 32 pipes 8′ Principal 61 pipes 8′ Bourdon 61 pipes 8′ Gedeckt 62 pipes* 16′ Subbass 32 pipes 8′ Gamba 61 pipes 8′ Viole 61 pipes 4′ Octave 62 pipes* 16′ Bourdon (Gt) 8′ Chimney Flute 61 pipes 8′ Viole Celeste 61 pipes 4′ Chimney Flute 62 pipes* 8′ Octave 32 pipes 4′ Octave 61 pipes 4′ Octave 61 pipes 2′ Super Octave 62 pipes* 8′ Gedeckt (ext 16′) 12 pipes 1 4′ Flute 61 pipes 4′ Harmonic Flute 61 pipes 1⁄3′ Larigot 61 pipes 4′ Super Octave 32 pipes 2 2 1 2⁄3′ Twelfth 61 pipes 2⁄3′ Nasard 61 pipes ⁄2′ Sharp Mixture II 122 pipes 16′ Trombone 32 pipes 2′ Fifteenth 61 pipes 2′ Octavin 61 pipes 8′ Clarinet 61 pipes 8′ Trumpet 32 pipes 3 3 1⁄5′ Seventeenth 61 pipes 1⁄5′ Tierce 61 pipes Tremulant Great to Pedal 1 2′ Mixture IV 244 pipes 1⁄3′ Mixture III 183 pipes Swell to Positive Swell to Pedal 8′ Trumpet 61 pipes 16′ Bassoon 61 pipes Positive to Pedal Swell to Great 8′ Trumpet 61 pipes Positive to Great 8′ Oboe 61 pipes Tremulant 4′ Clarion 61 pipes Tremulant

20 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Console in concert position (photo credit: Wm. T. Van Pelt)

The 1856 Pomplitz & Rodewald organ (photo courtesy Wm. T. Van Pelt)

and Brady Lanier, strings; Amy Miller, baroque fl ute; Suzanne Daniel, bassoon; and Wendell Banyay, trumpet. And on September 28, Rebecca Davy and JanEl Will presented a program featur- ing new music, including commissioned pieces by Dan Locklair, Aaron David Miller, and Tom Trenney. Beyond these celebratory events, Bruton continues a tradition begun by Peter Pelham of offering recitals and concert programs throughout the year, more than 130 in all, presented by choirs, instrumentalists, and keyboardists. Installation of one of the three Swell slider windchests (photo credit: Lynn A. Dobson) The Reverend Christopher L. Epper- son is the rector of Bruton Parish Church. line-of-sight relationship with the nave. Rebecca Davy is music director and Thus, the Great, Positive, and part of the organist, and JanEl Will is organist; James Pedal are located in the new case. The Darling is choirmaster-organist emeritus. Swell and largest Pedal pipes are in the It has been a privilege and joy to work attic directly above the case and speak Organ technician David Storey, a Dob- with everyone at Bruton Parish Church through grilles. Portions of the old organ son alumnus and Opus 96’s curator, in- to create this individual work of art. May spects the organ during voicing. Seen were similarly installed in the attic, but here are Pedal pipes and walkboards it long serve and encourage God’s people we have constructed much heavier walls built with grilles to permit passage of in Williamsburg and beyond. around the Swell for a more effective sound down into the church. (photo credit: —John A. Panning swell when the shades are closed and Wm. T. Van Pelt) Vice President and Tonal Director better refl ection of sound into the church Dobson Pipe Organ Builders, Ltd. Delivery day! Windchests and pipes in when they are open. Equally important, provides an electro-mechanical valve in the churchyard, February 2019 (photo a dedicated HVAC system for the attic addition to the main pallet, permitting a For information regarding the history credit: Lynn A. Dobson) organ area keeps the temperature up smooth pressure rise in the key channel of Bruton’s earlier organs, the author there comparable to that around the analogous to a mechanical action played acknowledges with gratitude the contri- box on the south side, but it can easily be pipes in the case below, giving a stability legato, with none of the abruptness of butions of William T. Van Pelt, Stephen moved by a single person into the central of tuning that was never possible before. what are sometimes derisively termed Pinel, and Jonathan Ortloff. For further aisle or transepts for recitals or concerts. Each of the four divisions of the organ “yank-down” actions. This design allows information, readers may wish to seek out The manual keys have bone naturals and is built around traditional principal cho- the main pallet springs to be quite James S. Darling’s book, Let the Anthems ebony sharps, while the pedal keys have ruses. These are augmented by colorful strong, yielding extremely prompt Swell: Musical Traditions at Bruton Par- hard maple naturals and rosewood sharps. fl utes, those in the Great and Positive note repetition—since good repetition ish Church, published in 2003. An adjustable bench and 300-level com- being more classical in nature, while depends not only on a speedy opening bination action is provided. those of harmonic construction in the of the valves but also a prompt closing. Dobson Pipe Organ Builders, Ltd. An organ of the size of Opus 96 is Swell recall romantic examples. Each When individual valves are required William Ayers anachronistic in a North American Colo- division is rounded out by characteristic in electric-action organs for large bass Abraham Batten nial building, as most instruments from reed stops. The pipes standing within the pipes, for duplexing, or for high wind Kent Brown that era were modest chamber organs case are voiced on a wind pressure of 3½ pressures, we use traditional electro- Lynn A. Dobson like the 1785 Green organ. We sought inches, the Swell is voiced on 5 inches, pneumatic windchests. Donald Glover to accommodate an instrument of the and the larger Pedal stops above are on Though smaller in number of pipes Randy Hausman size expected for a present-day church 4½ inches. Because the organ so often than the previous organ, Opus 96’s Dean Heim music program by placing as much of accompanies historic instruments tuned simple layout and straightforward place- Donny Hobbs the organ as possible in a traditional, one half step below modern pitch, there ment allow it to speak with greater pres- Deana Hoeg-Ryan is a transposer to allow the organ to play ence and authority in the church, and Ben Hoskins at A–415 Hz in addition to the normal makes tuning and maintenance far easier Albert Meyers Bruton Parish Church A–440 Hz. Four Positive stops have an than before. Arthur Middleton Williamsburg, Virginia additional 415 bass pipe so that low C First used in worship on August 25, Dwight Morenz will play when the transposer is in use; 2019, the new organ was celebrated in Ryan Mueller Zimbelstern these pipes are also utilized for the low a series of September 2019 events. On John A. Panning Great/Positive Manual Transfer A-415/A-440 Transposer (* denotes stops with Cs of other stops throughout the organ the September 7 and 8, Gordon Stewart, Kirk Russell an extra low C pipe for A-415) when it is played at low pitch. The organ Borough Organist of Huddersfi eld Town Robert Savage is tuned to equal temperament. Hall, presented identical back-to-back Jim Streufert Summary Like all instruments we build with inaugural recitals. On September 15, John Streufert 39 Registers 41 Stops electric action, the main windchests the parish musicians offered a service Jon H. Thieszen 45 Ranks are of slider and pallet design, which of Choral Evensong, with premieres of Pat Thieszen 2,587 Pipes supports a natural style of voicing and music by Philip Stopford and Sondra Adam Ullerich speech. Unlike simple versions that Tucker. On September 21, a program Sally J. Winter Builder’s website: www.dobsonorgan.com Church website: www.brutonparish.org have a single large pulldown magnet per of music for organ and instruments was Dean C. Zenor note for electric operation or some sort presented by Rebecca Davy and JanEl Cover photo credit: Wm. T. Van Pelt of pneumatic apparatus that relies on Will, organists; Susan Via and Susan- Laurent Robert, wood carving extensive amounts of leather, our design nah Livingston, Jennifer Edenborn Christopher Swan, gilding

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 21 Reviews New Organs

³ page 10 by Gaston Litaize, and three selections city in which Willscher died.” “Silesian from Vierne’s Pièces de Fantaisie (the Prelude,” which is marked “Adagio,” calls well-known “Impromptu,” the exquisite for fl utes, strings, and quiet principals, “Claire de Lune,” and the technical and opens with a short allusion to the tour-de-force “Toccata”) are time-tested Willscher theme before the main theme. repertoire standards that are performed Cooman has clearly marked the theme. with great éclat, but they pale in com- A middle section utilizes this theme in parison to the majesty of the symphony. imitative fashion, before it is repeated The organ, a three-manual, 76-rank again, suggestive of the beginning. Casavant Frères, Opus 3898, installed in “Minuet” is a happy little piece remi- the First Presbyterian Church of Kirk- niscent of the carefree Vienna minuets wood, Missouri, in 2013, is more than that one calls to mind. It is in A–B–A able to handle this inspired repertoire, form with the B section transposing to as it was designed after the French sym- G-fl at from the G major of the A sections. phonic organ style of the great Parisian “Troppauer Postlude” is in triple church instruments. The repertoire, meter throughout and defi nitely could performer, and organ make for a perfect be described as “driving.” Opening with musical match. upward leaping octaves, its 6/8 meter —Steven Young dances along. The theme, in the form Bridgewater, Massachusetts that Cooman uses it, is individual enough to immediately demand your attention. This music is not diffi cult, but it does New Handbell Music have some moments that will need extra Sunrise, Sunset, arranged for 3–7 practice. I recommend it highly. octaves of handbells, by Andrea —Jay Zoller Handley. Agape (a division of Hope Newcastle, Maine Publishing Company), Code No. 2812, Level 4 (D-), $5.50. From the popular musical, Fiddler New Recordings on the Roof, this beloved piece by Jerry Charles-Marie Widor: Organ Sym- Bock has been given a well-crafted treat- phony No. 7 in A Minor, works by ment by Andrea Handley. There are spe- Vierne and Litaize. Jeremy David cial effects that set this piece apart and Tarrant, organist. Raven OAR-146 make the melody and text come alive. (2018), $15.98. Available from: www. Special care should be given to ringing ravencd.com. the dynamics as marked, making the The seventh organ symphony of music all the more effective. Here is a Charles-Marie Widor may be one of great addition to your concert repertoire. the least known of the master’s mature works for the organ. Written circa 1887, How Can I Keep from Singing?, Lovallo organ for Renaissance Choir Sacramento it contains six movements and is the fi rst arranged for 3, 4, or 5 octaves of of his symphonies to make use of a cyclic handbells, by John Atteberry. GIA tuned in a mean- unity, something one fi nds frequently Publications, Inc., G9448, Level 2 tone temperament. in the organ music of César Franck and (M), $4.95. Key and stop Louis Vierne. Following the powerful This familiar tune by Robert Lowry action is mechani- and dramatic fi rst movement, where the begins with a fl owing ostinato that cal. A silent blower theme is introduced in the B section in introduces the melody. The melody lies is found in the G minor, the simple theme appears most underneath this pattern, and ringers base, which can clearly in the second movement, “Cho- should take care to keep that melodic be detached from ral,” set in six voices, requiring double line front and center throughout the the top for moving. pedal. Its presence in the remaining four piece. This arrangement is beautifully The cabinet is of movements is not always as obvious, but written and will certainly be an uplifting American cherry with careful listening, it can be heard musical offering for worship or concert. with rosewood despite the altered rhythms. Widor’s lyri- accents. The key- cal style appears in the third movement Make Me A Channel of Your Peace, board naturals are and the exquisite “Lento.” The fi ery arranged for 3 octaves of handbells, covered in bone, “Finale” allows the organist to explore all by Jeffrey Honoré. Agape (a division while the sharps the tonal resources of the organ. of Hope Publishing Company), Code are of rosewood. Jeremy David Tarrant does a master- No. 2787, Level 1+ (E+), $5.50. The Gedackt is of ful job, keeping the listener’s ears fresh This setting was simply designed for African mahogany with his tasteful registrations and tempo a beginning group to sound full and with revoiced spot- choices in the nearly forty-fi ve minutes it accomplished with the conscious pur- ted metal pipes takes to complete the entire piece. The pose of keeping all of the ringers busy. for the Principale. combination of lyrical playing contrasted This “Prayer of St. Francis” by Sebastian Design, cabinetry, with the exciting, energetic technical Temple can also be used to accompany Lovallo organ, façade pipes action, and pipe- fi nesse makes this recording a delight. the singing of the hymn. work are by Lee The remaining pieces on the disc, the —Leon Nelson Lee T. Lovallo Pipe Organs Lovallo. Paul Dessau made the keyboard “Lied” from Douze pieces pour orgue Vernon Hills, Illinois Antelope, California and pallets. Renaissance Choir Sacramento The instrument was fi rst used in Sacramento, California choral and keyboard performances of Designed to support rehearsals and music by Thomas Tallis at the Sisters of performances of a community ensemble Mercy Convent, Auburn, California, in that specializes in fi feenth- and sixteenth- May 2018. century sacred music, the range of this —Lee T. Lovallo portable organ mirrors that of most early MANUAL choral music, EE—g2, with extensions 8′ Gedackt for the playing of early organ literature. 4′ Principale (TC, divided b/c1) The single manual is fully transposable at A = 415Hz and 440Hz. Transparently Manual compass 44 notes, C,D,E–a2 voiced, with racking above the pipe mouths, low wind pressure, and with its Builder’s website: http://lovallo.org/ divided keyboard, the organ suggests Renaissance Choir Sacramento website: early Italian practice, particularly when http://renaissancechoirsacramento.com

AUSTINORGANS.COM JL Weiler , Inc. t8PPEMBOE4U)BSUGPSE$5 Museum-Quality Restoration of Historic Pipe Organs jlweiler.com

22 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Calendar Bert Adams, FAGO PATRICK ALLEN Choral Evensong; Washington National Park Ridge Presbyterian Church This calendar runs from the 15th of the month Cathedral, Washington, DC 5:30 pm Park Ridge, IL GRACE CHURCH of issue through the following month. The deadline Students of Indiana University Jacobs Pickle Piano & Church Organ Systems is the fi rst of the preceding month (Jan. 1 for NEW YORK Feb. issue). All events are assumed to be organ School of Music; Alumni Hall, Indiana Uni- Bloomingdale, IL recitals unless otherwise indicated and are grouped versity, Bloomington, IN 12:15 pm within each date north-south and east-west. •=AGO chapter event, • •=RCCO centre event, +=new organ 24 JANUARY dedication, ++= OHS event. Jeremy Filsell; St. James’s Episcopal, Christopher Babcock Michael J. Batcho Information cannot be accepted unless it West Hartford, CT 7:30 pm specifi es artist name, date, location, and hour in Chenault Duo; St. Bridget Catholic Director of Music writing. Multiple listings should be in chronological Church, Richmond, VA 7 pm St. Andrew’s by the Sea, order; please do not send duplicate listings. Andrew Scanlon; First United Method- Hyannis Port CATHEDRAL OF ST. JOHN THE DIAPASON regrets that it cannot assume ist, Wilson, NC 7 pm MILWAUKEE responsibility for the accuracy of calendar entries. Duo MusArt Barcelona (Raúl Prieto Ramírez, organ; Maria Teresa Sierra, pi- ano); Moorings Presbyterian, Naples, FL UNITED STATES 7:30 pm East of the Mississippi Dean W. Billmeyer Three Choirs Festival; Cathedral of the Assumption, Louisville, KY 7:30 pm University of Minnesota 15 JANUARY Michael Hey; St. James Episcopal, Rachel Raphael; St. Luke Catholic Fairhope, AL 7:30 pm Church, McLean, VA 12 noon Minneapolis 55455 • [email protected] Florence Mustric; Trinity Lutheran, 25 JANUARY Cleveland, OH 12:15 pm Yale Schola Cantorum; St. Ignatius Loyola Catholic Church, New York, NY 2 pm 16 JANUARY Edward Nassor, carillon; Washington Na- GAVIN BLACK Byron L. Blackmore David Briggs; St. Paul’s Chapel, Trinity tional Cathedral, Washington, DC 12:30 pm Church Wall Street, New York, NY 1 pm Eric Plutz; Duke University Chapel, Dur- Princeton Early Keyboard Center Crown of Life Lutheran Church Choral Evensong; Cathedral Church of ham, NC 8 pm 732/599-0392 Sun City West, Arizona the Advent, Birmingham, AL 5:30 pm www.pekc.org 26 JANUARY 623/214-4903 17 JANUARY Yale Schola Cantorum; Christ Episcopal, Students of Eastman School of Music; New Haven, CT 4 pm Church of the Ascension, Rochester, NY Renée Anne Louprette; Taft School, 7 pm Watertown, CT 4 pm THOMAS BROWN Mark Dwyer; St. Paul’s Episcopal, Carson Cooman Choral Evensong; St. John’s Episcopal, UNIVERSITY Greenville, NC 7:30 pm West Hartford, CT 5 pm PRESBYTERIAN CHURCH Composer and Concert Organist Hymn festival; Peachtree Road United Ryan Kennedy; Woolsey Hall, Yale Uni- CHAPEL HILL, NORTH CAROLINA Harvard University Methodist, Atlanta, GA 7 pm versity, New Haven, CT 7:30 pm Students of Indiana University Jacobs ThomasBrownMusic.com www.carsoncooman.com Richard Spotts; St. Patrick’s Cathedral, School of Music, works of Bach; First Pres- New York, NY 3:15 pm byterian, Bloomington, IN 7 pm Avi Stein; St. Thomas Church Fifth Av- David Jonies; Fourth Presbyterian, Chi- enue, New York, NY 5:15 pm cago, IL 12:10 pm Your professional card Karl Moyer; St. Anthony Catholic Church, DELBERT DISSELHORST 18 JANUARY Lancaster, PA 2:30 pm could appear here! Isabelle Demers; Episcopal Church of Choral Evensong; Washington National Professor Emeritus Cathedral, Washington, DC 4 pm Contact: [email protected] the Redeemer, Bethesda, MD 7 pm University of Iowa–Iowa City or 608/634-6253 Edward Nassor, carillon; Washington Na- Eric Plutz; Duke University Chapel, Dur- tional Cathedral, Washington, DC 12:30 pm ham, NC 5:15 pm Monica Czausz; Spivey Hall, Morrow, Sue Mitchell-Wallace; Cathedral of St. GA 3 pm Philip, Atlanta, GA 3:15 pm; Choral Even- Chanticleer; Cathedral of St. John the song 4 pm STEVEN EGLER JOHN FENSTERMAKER Baptist, Savannah, GA 5 pm Bradley Hunter Welch; Decatur Presby- Central Michigan University terian, Decatur, GA 5 pm School of Music TRINITY-BY-THE-COVE 19 JANUARY Gail Archer; St. Paul’s Episcopal, Flint, Mt. Pleasant, MI 48859 Richard J. Clark; St. Patrick’s Cathedral, MI 4 pm NAPLES, FLORIDA New York, NY 3:15 pm Kirk Michael Rich; St. John the Evange- [email protected] Jeremy Filsell; St. Thomas Church Fifth list Episcopal, St. Paul, MN 4 pm Avenue, New York, NY 5:15 pm Norberto Robert McCormick, with brass; St. 27 JANUARY Mark’s Episcopal, , PA 4 pm Choral Evensong; Washington National Junior Mendelssohn Choir of Pittsburgh Cathedral, Washington, DC 5:30 pm Susan Goodson Guinaldo and Pittsburgh Youth Symphony; Shady- His Music side Presbyterian, Pittsburgh, PA 3 pm 28 JANUARY Emanuel United Church of Christ See—Listen—Buy Choral Evensong; Washington National Kent Tritle; Cathedral of St. John the Di- Manchester, Michigan Cathedral, Washington, DC 5:30 pm vine, New York, NY 7:30 pm www.GuinaldoPublications.com Anthony Williams; Cathedral of St. Phil- Choral Evensong; Washington National ip, Atlanta, GA 3:15 pm; Choral Evensong Cathedral, Washington, DC 5:30 pm 4 pm Cristiano Rizzotto; St. Louis King of A Professional Card in Johann Vexo; Vanderbilt Presbyterian, France Catholic Church, St. Paul, MN STEPHEN HAMILTON Naples, FL 4 pm 12:35 pm The Diapason Dexter Kennedy; Christ Episcopal, Bra- For rates and digital specifi cations, recitalist–clinician–educator 29 JANUARY denton, FL 4 pm contact Jerome Butera Choral Evensong; First Congregational, Choral Evensong; Washington National www.stephenjonhamilton.com 847/391-1045; [email protected] Columbus, OH 4 pm Cathedral, Washington, DC 5:30 pm Sarah Simko; St. John Lutheran, Fraser, Florence Mustric; Trinity Lutheran, MI 4 pm Cleveland, OH 12:15 pm Kipp Cortez; Loyola University, Chicago, IL 3 pm 30 JANUARY David Herman Christine Kraemer; St. Luke’s Episco- Diane Meredith Belcher; St. Paul’s Cha- pal, Evanston, IL 3:30 pm pel, Trinity Church Wall Street, New York, Trustees Distinguished Professor Emeritus of Music and University Organist NY 1 pm 21 JANUARY Choral Evensong; Washington National The University of Delaware Q [email protected] Choral Evensong; Washington National Cathedral, Washington, DC 5:30 pm Cathedral, Washington, DC 5:30 pm Michael Ging; St. Louis King of France 31 JANUARY Catholic Church, St. Paul, MN 12:35 pm Alcee Chriss; Lutheran Church of the Redeemer, Atlanta, GA 7:30 pm Gail Archer 22 JANUARY John Sherer; Fourth Presbyterian, Chi- organist Chase Loomer; Dwight Chapel, Yale cago, IL 12:10 pm University, New Haven, CT 12:30 pm www.gailarcher.com Lorraine Brugh, Ph.D. Brian Wentzel, works of Scheidemann; 1 FEBRUARY Professor of Music Trinity Lutheran, Cleveland, OH 12:15 pm Raúl Prieto Ramírez; Rockefeller Chapel, Vassar College University of Chicago, Chicago, IL 7:30 pm Barnard College, Columbia University University Organist 23 JANUARY [email protected] Valparaiso, Ind. Renée Anne Louprette; St. Paul’s Cha- 2 FEBRUARY (212) 854-5096 pel, Trinity Church Wall Street, New York, Cheryl Wadsworth; St. John’s Episco- valpo.edu NY 1 pm pal, West Hartford, CT 12:30 pm Promotion 219.464.5084 SOZO Media Clara Gerdes; St. Bartholomew’s Jerrick Cavagnero; Woolsey Hall, Yale [email protected] [email protected] Church, New York, NY 7:30 pm University, New Haven, CT 4 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 23 WILL HEADLEE ANDREW HENDERSON, DMA Calendar 1650 James Street Madison Avenue Presbyterian Church David Brock; Washington National Ca- 11 FEBRUARY New York, NY Syracuse, NY 13203-2816 thedral, Washington, DC 5:15 pm Daniel Roth, masterclass; Cathedral of www.andrewhenderson.net Duke Bach Ensemble, Bach, Cantatas 9, St. Joseph, Hartford, CT 6 pm (315) 471-8451 55, 151; Duke University Chapel, Durham, Jennifer Shin & Alden Wright; NC 5:15 pm Peachtree Road United Methodist, Atlanta, Choro Vocati; Peachtree Road United GA 7 pm Methodist, Atlanta, GA 3 pm Jillian Gardner; Church of the Cove- Richard Barrick Hoskins Brian Jones Joseph Golden, with oboe, bassoon, nant, Cleveland, OH 12:05 pm Director of Music & Organist tenor; Cathedral of St. Philip, Atlanta, GA Andrew Scanlon; St. Louis King of Director of Music Emeritus 3:15 pm, Candelmas Procession 4 pm France Catholic Church, St. Paul, MN St. Chrysostom's Church Jillian Gardner 12:35 pm Chicago TRINITY CHURCH ; Advent Lutheran, Mel- [email protected] bourne, FL 3 pm BOSTON Choral Evensong; Cathedral Church of 12 FEBRUARY St. Paul, Detroit, Michigan 4 pm Daniel Roth; Cathedral of St. Joseph, Gail Archer; First United Methodist, Hartford, CT 7 pm South Bend, IN 4 pm KIM R. KASLING JAMES KIBBIE 13 FEBRUARY D.M.A. The University of Michigan 4 FEBRUARY Avi Stein; St. Paul’s Chapel, Trinity Church Wall Street, New York, NY 1 pm St. John’s University Ann Arbor, MI 48109-2085 Daniel Roth; St. Chrysostom’s Episco- 734-764-1591 FAX: 734-763-5097 pal, Chicago, IL 7:30 pm Collegeville, MN 56321 14 FEBRUARY email: [email protected] Christopher Ganza; St. Louis King of France Catholic Church, St. Paul, MN Chuyoung Suter, with Erik Wm. Suter, 12:35 pm piano; National City Christian, Washington, DC 12:15 pm David K. Lamb, D.Mus. 5 FEBRUARY Charles W. Ore; Zion Lutheran, Wausau, Karen Schneider Kirner Douglas O’Neil; Cathedral of St. Matthew WI 7 pm Director of Music Director, Notre Dame Handbell Choir the Apostle, Washington, DC 12:45 pm Trinity United Methodist Church 15 FEBRUARY Assistant Director, Notre Dame Folk Choir New Albany, Indiana 6 FEBRUARY Nathan Laube; St. Thomas Church Fifth University of Notre Dame 812/944-2229 St. Olaf Choir; Battell Chapel, Yale Uni- Avenue, New York, NY 3 pm versity, New Haven, CT 7 pm Daniel Roth; Christ Church, Pelham, NY Choral concert; Church of St. Luke in the 7:30 pm Fields, New York, NY 8 pm • Charles W. Ore, workshop; Zion Lu- Students of University of Michigan; Hill theran, Wausau, WI 11 am Auditorium, University of Michigan, Ann A.S.C.A.P. 16 FEBRUARY Arbor, MI 8 pm FELLOW, AMERICAN GUILD OF ORGANISTS CONCORA, works of Durufl é; Immanuel 345 SADDLE LAKE DRIVE 7 FEBRUARY Congregational, Hartford, CT 4 pm ROSWELL-ATLANTA, GEORGIA 30076 Nathan K. Lively & Peggy Brengle; St. (770) 594-0949 Joshua Stafford; Trinity College, Hart- ford, CT 7:30 pm Patrick’s Cathedral, New York, NY 3:15 pm Richard Spotts, works of Tournemire; Lynn Trapp; Cathedral of St. John the St. John United Church of Christ, Lans- Divine, New York, NY 4:45 pm dale, PA 7:30 pm George Fergus; Washington National Cathedral, Washington, DC 5:15 pm Read our May 2020 issue, which will include the Dan Miller, with trombone; St. John’s Episcopal, Hagerstown, MD 7 pm Jacob Reed; Cathedral of St. Philip, At- work of the winner of our C rst Gruenstein Award. James Hicks; National City Christian, lanta, GA 3:15 pm, Choral Evensong 4 pm Washington, DC 12:15 pm Choral Evensong; First Congregational, Thomas Murray; Church of the Epipha- Columbus, OH 4 pm ny, Miami, FL 7:30 pm Katelyn Emerson; Hyde Park Commu- nity United Methodist, Cincinnati, OH 4 pm 8 FEBRUARY Chenault Duo; Second Presbyterian, A two-inch Professional Card in The Diapason Yale Schola Cantorum; Trinity Lutheran, Louisville, KY 3 pm New Haven, CT 7:30 pm Bach Vespers; Calvary Episcopal, Louis- For information on rates and specifi cations, contact Jerome Butera: Thomas Murray, masterclass; Trinity ville, KY 4 pm Episcopal Cathedral, Miami, FL 11 am Irene Beethe, workshop; Zion Lutheran, [email protected] 608/634-6253 David Jenkins, organ and harpsichord, Wausau, WI 3 pm with guitar; Seminaries of St. Paul, St. Paul, Charlie Sega; Loyola University, Chi- MN 7:30 pm cago, IL 3 pm

9 FEBRUARY 17 FEBRUARY LARRY PALMER Arvid Gast; Woolsey Hall, Yale Univer- Peter Richard Conte, silent fi lm; Temple PHILIP CROZIER sity, New Haven, CT 7:30 pm Emanu-El, New York, NY 3 pm David Hurd; St. Philip Episcopal, Brook- CONCERT ORGANIST Harpsichord – Organ 18 FEBRUARY lyn, NY 3 pm Ethan Haman & Abraham Wallace; ACCOMPANIST David Reccia Chynoweth; St. Patrick’s Professor of Music, Emeritus Woolsey Hall, Yale University, New Haven, Cathedral, New York, NY 3:15 pm 3355 Queen Mary Road, Apt 424 CT 5 pm James Kealey; Cathedral of St. John the Colin MacKnight; Church of St. Paul the , H3V 1A5, P. Quebec SMU, Dallas, Texas Divine, New York, NY 4:45 pm Apostle, New York, NY 7 pm Canada Daniele Dori; St. Thomas Church Fifth Josh Duncan; Campbellsville University, Avenue, New York, NY 5:15 pm (514) 739-8696 Recitals — Lectures — Consultancies Campbellsville, KY 12:20 pm Students of Eastman School of Music; Christopher Wallace; St. Louis King [email protected] Bethany Presbyterian, Rochester, NY 4 pm of France Catholic Church, St. Paul, MN [email protected] + 214.350-3628 Pittsburgh Camerata; Shadyside Presby- 12:35 pm terian, Pittsburgh, PA 3 pm Christiana Hundred Choir; Emmanuel 19 FEBRUARY Episcopal Church, Chester Parish, Ches- Jeffrey Porter; St. Luke Catholic Church, tertown, MD 4 pm McLean, VA 12 noon Randall Sheets, with trumpet; Francis- A gift subscription to can Monastery of the Holy Land, Washing- 20 FEBRUARY ton, DC 4 pm Jeremy Filsell; St. Paul’s Chapel, Trinity Choral Evensong; Cathedral of St. Philip, Church Wall Street, New York, NY 1 pm The Diapason Atlanta, GA 4 pm Choral Evensong; Cathedral Church of • David Harrison, hymn festival; Christ the Advent, Birmingham, AL 5:30 pm The perfect gift for Church United Methodist, Fort Lauderdale, + organist colleagues + choir directors FL 4 pm 21 FEBRUARY Scott Dettra; Christ Lutheran, Athens, Simon Johnson; St. John’s Episcopal, + students + organ builders OH 4 pm West Hartford, CT 7:30 pm + teachers + clergy Christa Rakich; Warner Concert Hall, Manhattan School of Music students; Oberlin Conservatory, Oberlin, OH 7:30 pm Madison Avenue Presbyterian, New York, Each month your gift will keep on giving by providing the Ken Cowan; First Congregational, Battle NY 7:30 pm important news of the organ and church music fi eld. Know that Creek, MI 4 pm Michel Bouvard; Christ Episcopal, Karen Beaumont; St. Hedwig Catholic Rochester, NY 7:30 pm your gift will be just right. Church, Milwaukee, WI 2 pm Natalia Kazaryan; National City Chris- For information, The Diapason, P.O. Box 300, Lincolnshire, IL Gail Archer; Grace Lutheran, River For- tian Church, Washington, DC 12:15 pm 60069-0300, [email protected]; Toll-Free: 877/501-7540; Local: est, IL 4 pm Jillian Gardner; Zoar Lutheran, Perrys- 847/763-4933. Or visit www.thediapason.com and click “subscribe.” burg, OH 7:30 pm 10 FEBRUARY Charles Kennedy, harpsichord; Cathe- $44 one year USA; $35 one year digital; $20 one year student Cathedral Choir; Cathedral of St. John dral Church of the Advent, Birmingham, AL the Divine, New York, NY 7:30 pm 12:30 pm

24 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Calendar ANDREW PAUL MOORE LEON NELSON Director of Traditional Music CHRIST CHURCH Tate Addis; Cathedral Church of St. 27 FEBRUARY Southminster Presbyterian Church Paul, Detroit, Michigan 7:30 pm Julian Wachner; St. Paul’s Chapel, Trin- SHORT HILLS Arlington Heights, IL 60005 ity Church Wall Street, New York, NY 1 pm 22 FEBRUARY Amy Cerniglia; Christ Episcopal, Bra- Blue Heron; First Church Congregation- denton, FL 12:15 pm al, Cambridge, MA 8 pm Students of Indiana University Jacobs EREK ICKELS Mozart, Requiem; Woolsey Hall, Yale School of Music; Alumni Hall, Indiana Uni- Tiffany K. Ng, PhD D E. N , DMA University, New Haven, CT 8 pm versity, Bloomington, IN 12:15 pm University Carillonist | New Music Performer Church of the Holy Comforter Michel Bouvard, masterclass; Sacred The University of Michigan, Ann Arbor Kenilworth, IL 60043 Heart Catholic Cathedral, Rochester, NY 28 FEBRUARY [email protected] 10:30 am Samantha Scheff; National City Chris- soundcloud.com/carillonista (847) 251-6120 • [email protected] Georgia Boy Choir Festival; Peachtree tian Church, Washington, DC 12:15 pm Road United Methodist, Atlanta, GA 7 pm John Sherer; Fourth Presbyterian, Chi- Students of Indiana University Jacobs cago, IL 12:10 pm School of Music; Auer Hall, Indiana Univer- Andrew Peters, silent fi lm, Safety Last; ANDREW SCHAEFFER Jeffrey Schleff, Ed.D. sity, Bloomington, IN 4 pm Principia College, Elsah, IL 7:30 pm Luther Memorial Church (ELCA) Organist/Director of Music Madison, Wisconsin 23 FEBRUARY 29 FEBRUARY First Presbyterian Church Choral Evensong; St. John’s Episcopal, Peter Krasinski; St John Nepomucene [email protected] Gainesville, Texas West Hartford, CT 5 pm Catholic Church, New York, NY 7 pm Recitals — Hymn Festivals [email protected] Aaron Tan; Woolsey Hall, Yale Univer- David Briggs, masterclass; Auer Hall, sity, New Haven, CT 7:30 pm Indiana University, Bloomington, IN 9 am Jennifer Pascual; St. Patrick’s Cathe- dral, New York, NY 3:15 pm UNITED STATES David Briggs; Cathedral of St. John the West of the Mississippi STEPHEN SCHNURR Divine, New York, NY 4:45 pm Saint Paul Catholic Church Organogenesis Artists LLC Nicholas Quardokas; St. Thomas 17 JANUARY Church Fifth Avenue, New York, NY 5:15 pm Valparaiso, Indiana ; St. Andrew United [email protected] Robert McCormick; St. Mark’s Episco- Methodist, Plano, TX 7:30 pm pal, Philadelphia, PA 4 pm Wyatt Smith; Christ Episcopal, Tacoma, Gail Archer; University of Delaware, WA 12:10 pm Newark, DE 3 pm Aaron Tan; St. Mark Lutheran, Salem, ROBERT L. Benjamin LaPrairie; Cathedral of St. OR 7:30 pm Matthew the Apostle, Washington, DC SIMPSON Mark Steinbach 3:30 pm 18 JANUARY Brown University Tom Sheehan; Washington National Ca- Christ Church Cathedral Thierry Escaich, masterclasses; St. An- 1117 Texas Avenue thedral, Washington, DC 5:15 pm drew United Methodist, Plano, TX 10 am & , Texas 77002 Duke Evensong Singers; Duke University 1 pm Chapel, Durham, NC 4 pm

Choral Evensong; Cathedral of St. Philip, 19 JANUARY ] Atlanta, GA 4 pm Aaron Tan; Southern Oregon University, Joe Utterback Mozart, Mass in C, K. 257; Christ Epis- Ashland, OR 3 pm David Wagner copal, Bradenton, FL 11 am Raúl Prieto Ramírez; Village Presbyte- www.jazzmuze.com]] ] DMA Choral Evensong; St. Paul’s Episcopal, rian, Rancho Santa Fe, CA 4:15 pm Delray Beach, FL 5 pm 203 386 9992 www.davidwagnerorganist.com Choral Evensong; Cathedral Church of 21 JANUARY St. Paul, Detroit, MI 4 pm Monica Czausz; St. Margaret’s Episco- pal, Palm Desert, CA 7 pm 25 FEBRUARY Works of Palestrina, Rossini, & Verdi; St. 24 JANUARY Ignatius Loyola Catholic Church, New York, Todd Wilson; Texas Christian University, Kevin Walters KARL WATSON NY 3 pm Fort Worth, TX 7 pm M.A., F.A.G.O. FIRST PRESBYTERIAN CHURCH Alan Morrison, with DeKalb Sympho- Clive Driskill-Smith; Redeemer Presby- ny Orchestra; Georgia State University, terian, Austin, TX 7:30 pm Rye, New York WOODBRIDGE, NJ Clarkston, GA 8 pm Alcee Chriss; University of Nevada Las Vegas, Las Vegas, NV 7:30 pm 26 FEBRUARY Candlelight Vespers; Shadyside Presby- 25 JANUARY Alan G Woolley PhD terian, Pittsburgh, PA 7 pm Incarnatus; St. Stephen Presbyterian, RONALD WYATT Olivier Latry, David Briggs, & Wayne Fort Worth, TX 7:30 pm Musical Instrument Research

Marshall; Kimmel Center, Philadelphia, PA Johann Vexo; St. James Catholic Cathe- Edinburgh Trinity Church

8 pm dral, Seattle, WA 7:30 pm [email protected] Galveston

A one-inch Professional Card DIAPASON Student Rate in The Diapason $20 one year For information on rates and specifi cations, 847/954-7989 WOW! contact Jerome Butera: [email protected] [email protected] 608/634-6253

2001 - Alsacian Adventure . . . a preview of some incredible instruments to be visited during the upcoming Spring J Pipedreams Tour (May 23-June 7, 2020). A two-inch Professional Card in The Diapason A 2002 - The Marvels of Mexico . . . we delight in the historic For information on rates and specifi cations, contact Jerome Butera: N sounds of modest and monumental instruments in Mexico City and Oaxaca province. [email protected] 608/634-6253 2 2003 - Longwood’s Legacy . . . prize winners Sebastian Heindl, Bryan Anderson and Colin MacKnight perform at the 2019 0 Longwood International Organ Competition. ArtistArtist Spotlights Spotlightspotlight s 2 0 2004 - What’s in a Name? . . . you may recognize the familiar Artist Spotlights surnames Bach, Couperin, Schumann, Mendelssohn and are available on Your professional card Vierne, but the individuals attached to them here are not The Diapason whom you might expect. website and could appear here! e-mail newsletter. Contact Jerome Contact: [email protected]

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

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 25 Calendar

26 JANUARY 14 FEBRUARY INTERNATIONAL 7 FEBRUARY Choral Evensong; Epiphany Episcopal, • Svyati Duo (Julian Collings, organ, & Stephen Farr; St. Michael & All Angels, Bedford Park, UK 12:30 pm Seattle, WA 5 pm Rebecca Hepplewhite, cello); University of 18 JANUARY Robert McCormick; Grace Cathedral, Nevada Las Vegas, Las Vegas, NV 7:30 pm John Scott Whitely; Cathedral, St. Al- 8 FEBRUARY San Francisco, CA 4 pm Kimberly Marshall; Catalina United bans, UK 5:30 pm Zara Jealous & Bethann Williams; St. Methodist, Tucson, AZ 7 pm Fauré, Requiem; Royal Festival Hall, Michael’s, Highgate Village, UK 6 pm 29 JANUARY London, UK 7:30 pm 9 FEBRUARY Wyatt Smith; St. Mark’s Episcopal, Cas- 15 FEBRUARY Gail Archer; Elma Arts Center, Tel Aviv, Tyler Boehmer; Our Savior’s Lutheran, Israel 11:30 am Matthew Jorysz; Westminster Abbey, par, WY 12:15 pm London, UK 5:45 pm Simon Jacobs; Aspen Community Unit- Sioux Falls, SD 7 pm Jean-Willy Kunz; Westminster United 19 JANUARY Church, Winnipeg, MB, Canada 2:30 pm ed Methodist, Aspen, CO 6:30 pm 16 FEBRUARY Gerald Brooks; Methodist Central Hall, Scott Turkington; St. Mark Episcopal London, UK 3 pm 16 FEBRUARY 31 JANUARY Cathedral, Minneapolis, MN 2:30 pm David Bednall; Westminster Abbey, Lon- Martin Ellis; Methodist Central Hall, Wyatt Smith; First United Methodist, don, UK 5:45 pm London, UK 3 pm Caspar, WY 7 pm 21 FEBRUARY David Bendix Nielson; Westminster Ab- bey, London, UK 5:45 pm Janette Fishell; St. John in the Wilder- Joshua Stafford; All Saints’ Episcopal, 20 JANUARY David Pether; Reading Town Hall, Read- Adam J. Brakel; Knox United Church, ness Episcopal Cathedral, Denver, CO Fort Worth, TX 7:30 pm ing, UK 1 pm Parksville, BC, Canada 4 pm 7:30 pm Paul Tegels; Christ Episcopal, Tacoma, WA 12:10 pm 21 JANUARY 18 FEBRUARY 2 FEBRUARY Alexander Ffi nch; St. George’s, Ha- Joseph Adam, works of Vierne; St. Katherine Meloan; St. George’s Ha- Wyatt Smith; University of Puget Sound, nover Square, London, UK 1:10 pm Joseph Catholic Cathedral, Seattle, WA nover Square, London, UK 1:10 pm Cicely Winter, with percussion; Basílica Tacoma, WA 2 pm 7:30 pm Johann Vexo; Maison Symphonique, de la Soledad, Oaxaca, Mexico 8 pm Michael Kleinschmidt, with string quar- Montréal, Québec, Canada 8 pm 3 FEBRUARY tet; St. Mark Episcopal Cathedral, Seattle, 19 FEBRUARY Chanticleer; St. Margaret’s Episcopal, WA 7:30 pm 22 JANUARY João Vaz; Cathedral, Oaxaca, Mexico 8 Palm Desert, CA 7 pm Katherine Meloan; Temple Church, Lon- pm don, UK 1:15 pm 23 FEBRUARY 20 FEBRUARY 7 FEBRUARY Michael Burkhardt, hymn festival; Au- Daniel Chappuis 23 JANUARY ; St. Margaret Roth- Eric Plutz, works of Vierne; Basilica of gustana Lutheran, West St. Paul, MN 8:30 bury, London, UK 1:10 pm Christian Gautschi; St. Margaret Roth- St. Mary, Minneapolis, MN 7:30 pm & 9:45 am Pavel Kohout; San Matías Jalatlaco, bury, London, UK 1:10 pm Robert McCormick; First Presbyterian, Aaron David Miller, with harp; Elizabeth Oaxaca, Mexico 8 pm Little Rock, AR 7:30 pm Chapel, House of Hope Presbyterian, St. 25 JANUARY 21 FEBRUARY Daniel Roth; Christ the King Catholic Paul, MN 4 pm Emma Gibbons; St. Paul’s, Deptford, Craig Cramer; Basilica de la Soledad, Church, Oklahoma City, OK 7 pm Bradley Hunter Welch; Memorial Drive UK 1 pm Oaxaca, Mexico 8 pm United Methodist, Houston, TX 7 pm 22 FEBRUARY 8 FEBRUARY Olivier Latry; St. Rita Catholic Church, 26 JANUARY James Lancelot; Victoria Hall, Hanley, Jan Kraybill; Co-Cathedral of St. John Dallas, TX 7:30 pm John Kitchen; All Saints, Margaret UK 12 noon the Evangelist, Rochester, MN 7:30 pm Janette Fishell; Trinity Episcopal Cathe- Street, London, UK 3:30 pm Sue Heath-Downey; St. Paul’s, Dept- dral, Phoenix, AZ 3 pm Hans-Peter Retzmann; Westminster Ab- ford, UK 1 pm 9 FEBRUARY Jan Kraybill; St. Margaret’s Episcopal, bey, London, UK 5:45 pm Konstantin Volostnov; Cathedral, St. Albans, UK 5:30 pm Daniel Roth; Highland Park United Palm Desert, CA 4 pm 28 JANUARY Pavel Kohout; San Andrés, Zautla, Mex- Methodist, Dallas, TX 6 pm Jeremy Lloyd; Grosvenor Chapel, Lon- ico 8 pm Clive Driskill-Smith; Broadway Baptist, 25 FEBRUARY don, UK 1:10 pm 23 FEBRUARY Fort Worth, TX 7 pm James Welch; Aspen Community United Methodist, Aspen, CO 6:30 pm Nicholas Freestone; Westminster Ab- Paul Thornock; Gethsemane Lutheran, 2 FEBRUARY bey, London, UK 5:45 pm Seattle, WA 4 pm Yves Castagnet, with trumpet; Berliner João Vaz; San Jerónimo, Tlacochahua- 29 FEBRUARY Philharmoniker, Berlin, Germany 11 am Christopher Keady; Grace Cathedral, ya, Mexico 11 am Daryl Robinson, with brass; Church of Alexander Hamilton; Westminster Ab- Craig Cramer; Santa María, Tlacolula, San Francisco, CA 4 pm St. John the Divine, Houston, TX 5 pm bey, London, UK 5:45 pm Mexico 6 pm Nicholas Quardokus; St. Mark’s Epis- copal, Berkeley, CA 4 pm 28 FEBRUARY 3 FEBRUARY 25 FEBRUARY George Parsons John Wright; St. Margaret’s Episcopal, Gerard Brooks ; Grosvenor Chapel, Isabelle Demers; St. James-in-the-City ; Royal Festival Hall, London, UK 1:10 pm Episcopal, , CA 6 pm Palm Desert, CA 12 noon London, UK 7:30 pm 28 FEBRUARY 4 FEBRUARY Denis Bédard & Rachel Alfl att; Holy Peter Wright; St. Lawrence, Alton, UK Rosary Catholic Cathedral, Vancouver, BC, 8 pm Canada 8 pm 6 FEBRUARY 29 FEBRUARY Johannes Krahl; St. Margaret Rothbury, David Davies; Bloomsbury Central Bap- London, UK 1:10 pm tist, London, UK 4 pm

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Jacques Stinkens Orgelpijpenmakers B.V. sinds 1914 David E. Wallace A N D C O M PA N Y, L. L. C. Flues - Reeds Pipe Organ Builders Your personal wishes are in good hands New Organs www.stinkens.nl Restoration / Renovation / Relocation [email protected] www.wallacepipeorgans.com ATOS ExperienceAmerican Theatre Organ Society Visit The Diapason website: www.TheDiapason.com Preserving a unique art form. Concerts, education, silent film, preservation, Like The Diapason on Facebook: fellowship and more. www.atos.org Jim Merry, Executive Secretary, [email protected] www.Facebook.com/TheDiapason P.O. Box 5327, Fullerton, CA 92838

26 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM Recital Programs

THOMAS FROELICH, First Presbyterian SARAH KIM, Stiftskirche, Stuttgart, Ger- Christe qui lux es et dies, Clarifi ca me, Pater, in C, BuxWV 136, Buxtehude; Sonata II in c, Church, Dallas, TX, July 16: Et in terra Pax à many, July 12: Sinfonia (Wir danken dir, Gott, Byrd; Voluntary in G, Double Voluntary, Pur- op. 65, no. 2, Mendelssohn; Prelude and Fugue 5, Fugue à 5 (Livre d’Orgue), de Grigny; Trois wir danken dir, BWV 29), Bach; Scherzo, op. cell; Allemanda gravis pour l’orgue, Dumont; in c, BWV 546, Bach. Danses, JA 120, Alain. 2, Durufl é; Variations sérieuses, Mendelssohn, Fantasia, de La Grotte; Prélude de Mr. Rich- transcr. Smits; Mad Rush, Glass; La Valse, ard, Richard; Fugue, d’Anglebert; Dialogue à DANIEL SEEGER, Katholische JILLIAN GARDNER, Sinsinawa Mound, Ravel, transcr. Kim; Pavane, Fauré, transcr. 4 claviers, anonymous; Ricercar, Froberger; Pfarrkirche Mariae Verkündigung, Heiden- Sinsinawa, WI, July 3: Variations de Concert, Kim; Danza ritual del fuego (El amor brujo), Vater unser im Himmelreich, Böhm; Chaconne bergen, Germany, July 13: Prelude and Fugue op. 1, Bonnet; Amazing Grace! How Sweet the de Falla, transcr. Kim. in F (Musikalische Parnassus), Fischer. in c, BWV 546, Bach; Schmücke dich, o Sound!, There Is a Happy Land, Jerusalem, My liebe Seele (Eleven Chorale Preludes, op. Happy Home, Shearing; Fantasia and Fugue in SARAH MAHLER KRAAZ, Our Saviour’s KIMBERLY MARSHALL, University Park 122), Brahms; Orpheus, Liszt, transcr. g, BWV 542, Bach; Fugue in g, Barnes; Largo United Church of Christ, Ripon, WI, July 17: United Methodist Church, Dallas, TX, July 14: Schaab; O Welt, ich muß dich lassen, Mein (Symphony No. 9), Dvorák, transcr. Lemare, Prelude in F, Fanny Mendelssohn; Offerto- Plein jeu, Tierce en taille, Marchand; Variations Jesu, der du mich (Eleven Chorale Preludes, Gardner; Allegro, Largo (Sonata in C, BWV rio, Chorale, Toccata (L’œuvre pour orgue), sur La Marseillaise, Balbastre; Mein junges op. 122), Brahms; Scherzo, (Zwölf Stücke, 529), Bach; Improvisation on St. Clement, Bonis; Prelude and Fugue in c, BWV 549a, Leben hat ein Ende, Sweelinck; Batalha de op. 80), Reger; O Welt, ich muß dich lassen Hancock; Variations on America, Ives. Liebster Jesu, wir sind hier, BWV 731, Bach; 5° Tom, da Conceição; Mass L’Homme armé, (Eleven Chorale Preludes, op. 122), Brahms; Sunset Congregational Church, Deer Isle, Jesus Calls Us O’er the Tumult, Jesus, the Very Sandresky; Pièce héroïque (Trois Pièces pour Introduction and Passacaglia in d, Reger. MI, July 14: Prelude and Fugue in E, BWV Thought of Thee, All Hail the Power of Jesus’ grand orgue, FWV 37), Franck. Evangelische Kirche, Armsheim, Germa- 566, Bach; Scherzo, Prayer (First Sonata in G), Name, Diemer; Toccata, Pasquini; Offertorio, ny, July 14: Praeambulum in d, Vater unser im Becker; Prelude and Fugue in E-fl at, op. 99, Elevazione, Post Communio, Ite missa est JOEL MARTINSON, Episcopal Church of Himmelreich, Scheidemann; Canzona in d, no. 3, Saint-Saëns; Fountain Reverie, Fletcher; (Missa Pistoiese), anonymous; Come, Thou the Transfi guration, Dallas, TX, July 18: Prelude BuxWV 168, Buxtehude; Daphne (Utrechter Nun Danket Alle Gott (Choral-Improvisa- Fount of Every Blessing, M. Biery. and Fugue in C, BWV 545, Bach; Ciacona in f, Camphuysen Manuscript), anonymous; Er- tionen für Orgel, op. 65, no. 59), Karg-Elert; Pachelbel; Partita on NETTLETON, Martinson. barm dich mein, Sweelinck; Verbum caro fac- Andante sostenuto (Symphonie Gothique, op. NATHAN LAUBE, St. Joseph Catholic Ca- tum est, Scheidemann; Ick voer al over Rhijn, 70), Widor; La Fille aux Cheveux de Lin, Bal- thedral, Buffalo, NY, July 1: Choral No. 1 in E, ROLAND MÖHLE, Evangelische Sweelinck; Credo, Hassler; Toccata in e, BWV let (12 Pièces pour Orgue), Debussy, transcr. Franck; Fantasie Choral No. 1 in D-fl at, Whit- Kirche, Eichelsdorf, Germany, July 27: Pre- 914, Bach. Roques; Carillon-Sortie, Mulet. lock; Salve Regina, Latry; Overture (Tannhäus- lude in E-fl at, BWV 552i, Kyrie, Gott Vater in er), Wagner, transcr. Warren, Lemare, Laube. Ewigkeit, BWV 672, Christe, aller Welt Trost, DAMIN SPRITZER, Murchison Perform- SAMUEL GASKIN, Main Auditorium, BWV 673, Kyrie, Gott heiliger Geist, BWV ing Arts Center, Denton, TX, July 18: Marche University of North Texas, Denton, TX, July RENÉE ANNE LOUPRETTE, Christ the 674, Allein Gott in der Höh sei Ehr, BWV de fête, Büsser; Invocation, Kunc; Psalm Rhap- 18: Cantabile (Trois Pièces pour grand orgue, King Catholic Church, Dallas, TX, July 15: 675, Fughetta super Allein Gott in der Höh sody, Gilbert; Allein Gott in der Höh sei Ehr, FWV 36), Franck; Petite Pièce, JA 33, Deux Pièce héroïque (Trois Pièces), Franck; Deux- sei Ehr, BWV 677, Dies sind die heilgen zehn BWV 662, Bach; Chaconne in d, BWV 1004, Danses à Agni Yavishta, JA 78, Alain; Deux- ième Fantaisie, JA 117, Alain; Prélude (Trois Gebot, BWV 679, Wir glauben all an einen Bach, transcr. Messerer. ième Symphonie, op. 26, Dupré. Pièces pour orgue ou harmonium), Boulanger; Gott, BWV 681, Vater unser im Himmelreich, Cantilène, Final (Symphonie Romane, op. BWV 683, Christ, unser Herr, zum Jordan JOSHUA STAFFORD, Park Cities Presby- JONATHAN GREGOIRE, Highland Park 73), Widor. kam, BWV 685, Aus tiefer Not schrei ich zu terian Church, Dallas, TX, July 15: Cortège et United Methodist Church, Dallas, TX, July 17: dir, BWV 687, Jesus Christus unser Heiland, litanie, op. 19, no. 2, Dupré; Jesus Loves Me Starlight (3 Compositions for Organ, op. 108, BARTOMEU MANRESA, Evangelische BWV 689, Fugue in E-fl at, BWV 552ii, Bach. (Gospel Preludes, Book 2, no. 4), Bolcom; Till no. 2), Karg-Elert; Naïades (24 Pièces de fan- Kirche, Rüdigheim, Germany, July 6: Tiento Eulenspiegels lustige streiche, op. 28, Strauss, taisie, Quatrième suite, op. 55, no. 4), Vierne; Ileno sobre Ut re mi la sol la, Bruna; Dife- EDWARD ALAN MOORE, St. Paul Cath- transcr. Stafford. Grand Dramatic Fantasia, Neukomm. rencias sobre la gallarda milanesa, de Ca- olic Cathedral, Pittsburgh, PA, July 7: Introduc- bezón; Sonata en Do mayor, Soler; Wie schön tion and Passacaglia in f (Monologues, op. 63), SEAN TUCKER, St. Stephen’s Church, STEPHEN HAMILTON, Aspen Com- leuchtet der Morgenstern, BuxWV 223, Bux- Reger; Andante with Variations in D, Men- Bournemouth, UK, July 20: Fanfare, Cook; O munity Church, Aspen, CO, July 14: Hymne tehude; Pastorella in F, BWV 590, Fuge über delssohn; Fantasy on the Chorale Wie schön My Soul, Rejoice With Gladness, O God, Thou d’Actions de grâces “Te Deum” (Trois Para- das Magnifi cat, BWV 733, Bach. leuchtet der Morgenstern, op. 25, Reimann. Faithful God, Deal With Me, God, According phrases Gregoriennes), Chant de Paix, Lan- Evagelische Kirche, Armsheim, Germany, to Your Kindness, Karg-Elert; Sonata I in f, op. glais; Choral in E, Franck; Joie et Clarté des July 7: Pasacalles II, Corrente Italiana, Caba- LARRY PALMER, Meadows Museum, 65, no. 1, Mendelssohn; Adagio (Symphonie II, Corps Glorieux (Les Corps Glorieux), Messi- nilles; Partite sopra l’aria della folia de Espagna, Southern Methodist University, Dallas, TX, op. 13, no. 2), Widor; Dankpsalm (op. 145, no. aen; Le Jardin Suspendu, JA 71, Litanies, JA Variationi, Pasquini; Tiento de 2o tono por Ge- July 17: Tiento lleno por B cuadrado, Caba- 2), Reger. 119, Alain; Prelude and Fugue in B, op. 7, no. solreut sobre la letania de la Virgen, Bruna; nilles; Dos Prados, Sargon; The Cat’s Fugue 1, Dupré. Wer nur den lieben Gott läßt walten, BWV (Sonata in g, K. 30), Scarlatti; Sonata in c, HENRY WEBB, Northaven United Meth- 690, 691, Pastorella in F, BWV 590, Fuge über Seixas; Orlos, Dulzainas y Chirimias de ambos odist Church, Dallas, TX, July 15: Fugue on the MARGARET HARPER, Episcopal School das Magnifi cat, BWV 733. Bach. manos, Lidon. Magnifi cat, BWV 733, Bach; Concerto in d, of Dallas, Dallas, TX, July 15: Est-ce Mars, BWV 596, Vivaldi, transcr. Bach; Variations on Sweelinck; Offertoire, Stang; Les espaces infi - DAVITT MARONEY, Main Auditorium, STEPHEN SCHNURR, Trinity Lutheran a theme by Clement Jannequin, JA 118, Alain; nis, Arcuri. University of North Texas, Denton, TX, July 18: Church, Kaukauna, WI, June 19: Praeludium Fugue sur le nom d’Alain, op. 7ii, Durufl é.

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Don’t just tell people what you _ have for sale. Show them! Own a piece of history! The cover of the 100th Anniversary www.thediapason.com 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]

WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 27 Classifi ed Advertising

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

Wanted: Organists visiting Maui. Lahaina’s For a musical toast to launch the new year, Raven has imported for sale in America a CD of 26-rank Casavant pipe organ for sale. Orgues Holy Innocents Episcopal Church invites visit- please visit Fruhauf Music Publications’ Nathan Laube playing a live organ concert in the Létourneau is offering a 22-stop Casavant ing organists to play its Beckerath Positiv organ home page Bulletin Board to download a set of Black Forest, Nagold, Germany, on a 4-manual Frères pipe organ (Opus 2295 from 1955) for at Sunday services. Built in 1972 by Rudolf von Variations on Greensleeves; written originally for organ of 81 ranks as rebuilt in 2012 to incorporate sale. This electro-pneumatic instrument is cur- Beckerath and then-apprentice Hans-Ulrich carillon, the setting is featured here for carillon romantic ranks from 1874 and classical ranks rently in storage at the Létourneau shops and Erbslöh for Honolulu’s Lutheran Church, the 408- (optional duet), harp, or keyboard instruments. from 1971. Nathan plays his transcription for is available for purchase in “as is” condition for pipe Shrankpositiv has a 54-note “split” manual, The score is accompanied by an audio .wav organ of the Mendelssohn piano masterpiece US $45,000 with its original three-manual con- 30-note pedal, 11 stops, 8 ranks, and 6 registers. fi le (ca. 50 MB), prepared from a Garritan harp “Variations Serieuses;” Reubke: Sonata on the sole. Likewise, Létourneau would be pleased to Holy Innocents acquired the instrument in 1977 track. Please note that other previously issued 94th Psalm; Widor: mvt. 1 Allegro from Symphony provide a proposal to rebuild this instrument, and moved it to Maui where it has been played gratis scores for organ solo, choir and organ, 5; and Bruhns: Praeludium in E Minor. Ambiente taking into account any desired changes to the by parish musicians such as Carol Monaghan and for carillon continue to be available from ACD-1062, $16.98 postpaid in the US from stoplist as well as installation costs, voicing, and visiting artists including Angus Sinclair of FMP’s complimentary Download page at www. RavenCD.com 804/355-6386. casework as required, and rebuilding the three- Canada and Dalibor Miklavcic of Slovenia. The frumuspub.net. manual console with a new solid-state switch- instrument is extremely responsive and fi lls the ing system. The organ requires approximately worship space beautifully. The parish community The Organ Historical Society e-shoppe is tak- 360 sq. ft. with 15′ ceilings. For more details, is “exemplary in its hospitality to all visitors,” and Consoliere Classic Series for Organ: Complete ing orders for a new DVD by Fugue State Films, visit www.letourneauorgans.com, email info@ that especially includes visiting organists. For Set of Six Books. An outstanding collection com- The English Organ, a three-part documentary letourneauorgans.com or call Andrew Forrest at information: 808/661-4202; holyimaui.org. piled from World Library Publication’s extensive presented by Daniel Moult. In addition to three 450/774-2698. hours of documentary, almost eight hours of organ library. A must for any church organist. music is presented on DVD or CD (in both stereo 003067, $54.00, 800/566-6150, Wlpmusic.com. PUBLICATIONS / RECORDINGS and surround). More than thirty organs have been Pfeffer and Debierre organs. Circa 1860 Pfeffer fi lmed and recorded, including Christ Church eight-rank organ, available rebuilt and custom The Lent and Easter Music of Norberto Gui- Prairie Sounds (OAR-162, $15.98) features Spitalfi elds, Truro Cathedral, Town Hall, fi nished. Also 1884 choir organ by Louis Debi- naldo. The drama of the Cross outstandingly Maxine Thévenot performing on the 1930 Casa- St. George’s Hall Liverpool, St. Paul’s Cathedral erre. Both are pictured on the Redman website: portrayed in the following works: Seven Pieces vant organ at Holy Rosary Cathedral, Regina, , and King’s College. The set can be www.redmanpipeorgans.com. for the Season of Lent; Agnus Dei (Six Pieces); Saskatchewan, Canada, with 18th-, 19th-, and ordered for $98, and orders will ship directly from Lauda Sion Salvatorem; Prelude for the Passion 20th-century music by French, Canadian, and the UK. For information: https://ohscatalog.org. 3/27 Reuter (1966) available at no charge to party of the Lord; O Sons and Daughters of the King; British. Recent works by Ruth Watson Hender- who will remove before July 2020. Releathered “Lauda Sion Salvatorem” a shorter setting in the son, David L. McIntyre, Gilles Maurice Leclerc, The new Nordic Journey series of CD record- 2011; Peterson system 1996. Located in Hershey, The New Paltz Organ Book. See, listen, buy: and Philip Moore are recorded for the fi rst time. ings reveals premiere recordings of symphonic PA. Contact [email protected] for www.guinaldopublications.com. Other pieces by Denis Bédard, Dupré, Franck, organ music—much still unpublished—from specifi cation. Clara Schumann, Jean-Adam Guilain, and Frank Nordic composers, played by American organist Certified appraisals—Collections of organ Bridge complete the program. For information: James Hicks on a variety of recently restored books, recordings, and music, for divorce, www.ravencd.com, 804/355-6386. Swedish organs. It’s a little bit like Widor, Reger Recent studio organ (2008), 2/6 + Mixture. estate, gift, and tax purposes. Stephen L. and Karg-Elert, but with a Nordic twist. Visit Beautiful custom pipework, OSI chests, Peterson Pinel, Appraiser. 629 Edison Drive, East Wind- www.proorgano.com, search for Nordic Journey. relay, additions available $4,500 obo. André CT The Organ Historical Society has released its sor, NJ 08520-5205; phone: 609/448-8427; 860/664-0046 [email protected]. 2020 calendar, celebrating the OHS 65th annual email: [email protected]. Convention in Columbus, Ohio, July 26–31. The Raven has published a 32-page catalog of CD calendar features organs by Kimball, Schuelke, recordings and DVD videos, mostly produced by 1964 Möller studio organ, 3 manuals, 22 Richard Peek (1927–2005) was best known for Koehnken, Skinner, Klais, Brown, Beckerath, Raven but with a few items produced by Fugue ranks, 36 stops, renovated console. Best bid “Aria.” His Festive March (en rondeau), known to Schantz, Fisk, and Paul Fritts, with photography State Films and others. The catalog is free by March 15, buyer to remove by May 1. For more friends for years, is now available in a printed edi- by Len Levasseur. Non-members $21; members upon request to [email protected] or information: James Kibbie, University of Michi- tion. michaelsmusicservice.com 704/567-1066. $18. For information: organhistoricalsociety.org. 804/355-6386. gan, [email protected].

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Consider a gift subscription to THE DIAPA- PIPE ORGANS FOR SALE PIPE ORGANS FOR SALE MISCELLANEOUS FOR SALE SON for all your friends who love the organ, harpsichord, carillon, and church music. Your Zoller home pipe organ (1985) for sale. One E. & G. G. Hook & Hastings, 1879. $45,000. String sale: 16′ Austin Gamba, triple mitered; gift will be remembered throughout the year. manual and fl at pedalboard, cherry case with II/25. For more information, visit https://www. three ranks Austin 8′ strings, block tin; two (And don’t forget our special bargain for stu- doors, bench. Six stops divided at middle C: organclearinghouse.com/organs-for-sale#/2181- ranks Skinner strings. Flue Pipework: 8′ Spitz dents at $20!) Visit www.thediapason.com 8′ Stopped Diapason, 8′ Krummhorn, 4′ Flute; e-gg-hook-hastings-manchester-nh Principal, new Gemshorn with Estey Haskel and click on “subscribe.” 2-2/3′ Nazard, 2′ Principal, 1-3/5′ Tierce (no basses, 12 Haskel Diapason Basses, 12 Prin- pipes). $15,000 or best offer, buyer to remove, cipal bases with racking & chest, 4′ wood Flute located Newcastle, Maine. 207/563-5679. 1916 Hook & Hastings, 2 manuals, 14 stops. d’Amour, Moller Doppelfl ute, Berkshire III Mix- THE DIAPASON’S new website has an increased Includes Cornopean, 16′ Open Wood. E-P action. ture. Several (1970s) OSI chests available. 400 capacity for new videos. Go to www.thediapa- Beautiful period console. $20,000. Contact John feet of PVC cable, 4 sets of 8 pair. Best offers. son.com and click on videos to see what you’ve 1954 Walcker, 2 manuals and pedal, 8 stops, Bishop, the Organ Clearing House, john@organ- Must clear warehouse. André CT 860/664-0046 missed! Visit www.thediapason.com often and tracker action. Great condition, excellent voicing, clearinghouse.com. [email protected] keep up to date with all the news items. well maintained. Free standing oak case. Suit- able for home or chapel. $20,000 or best offer. Kimball Organ (3/29, 1930), all enclosed, terrifi c Contact: Julio Blanco-Eccleston: jublec18@ SERVICES / SUPPLIES THE DIAPASON E-Newsletters are e-mailed Swell reeds, four 8-foot Diapasons, two sets of earthlink.net, 703/582-8308. monthly to subscribers who sign up to celestes (and you known those Kimball strings!). receive them. Don’t miss the latest news, $70,000. The Organ Clearing House, 617/688- Complete Pipe Organ Services from the Organ featured artists, and classifi ed ads—all with Patrick J. Murphy & Associates Opus #47 9290, [email protected]. Clearing House: 450 vintage pipe organs avail- able, renovation, tuning, consultation. Other photos—some before they appear in print! (2006). Three manuals, 61 stops, includes 32′ services include transportation, cleaning and Visit www.TheDiapason.com and click on Bombarde. Reading, Pennsylvania. $200,000, renovation of carvings, reredos, liturgical furnish- Subscribe to our newsletter. For assistance, exclusive of OCH fees and relocation costs. ELECTRONIC ORGAN FOR SALE ings. Call John Bishop at 617/688-9290. john@ contact Stephen Schnurr, 847/954-7989, Video recordings and layout plans are available organclearinghouse.com. [email protected]. by request. Contact John Bishop, the Organ Two-manual Rodgers with midi, excellent con- Clearing House, [email protected]. dition. Episcopal church in South Carolina is get- ting a larger organ! Asking $7,000 or reasonable Releathering all types of pipe organ actions THE DIAPASON’s website (www.thediapason. offer. Ideal home practice or church. For informa- and mechanisms. Highest quality materi- Expressive and compact—3/27 Kilgen (1940). com) features an ever-increasing number of tion, contact organist, Roberta Rowland-Raybold: als and workmanship. Reasonable rates. Two expressive divisions. 17 manual 8-foot fl ues. PDFs of vintage issues. Search the website 607/282-2350 orSOLD [email protected]. Columbia Organ Leathers 800/423-7003. Reeds include Tuba, Cornopean, Oboe, Clarinet, now for selected issues, as most are avail- www.columbiaorgan.com/col. Vox Humana. Harp. 16′ Open Wood. H: 237″, W: able from 1944–1945, 1966–1993, and 2005 170″, D: 189″. Stopkey console. Original restor- MISCELLANEOUS FOR SALE to the present! able condition. $30,000. Organ Clearing House, Aeolian/Robert Morton-style maroon 617/688-9290, [email protected]. leather is now available from Columbia Organ 16′ reed sale. Three by Skinner: Ophicleide Leathers! Highest quality. 800/423-7003, Postal regulations require that mail to THE (low 6 wood), Bombard, Bassoon, triple miters; ′ www.columbiaorgan.com. DIAPASON include a suite number to assure Aeolian-Skinner, 1962. III/50. $45,000. For more OSI ½-length Fagotto; also three 8 Trumpets delivery. Please send all correspondence to: (Moller–Zajic), OSI, Berkshire; also Clarinet, information, visit https://www.organclearing- THE DIAPASON, 3030 W. Salt Creek Lane, Suite house.com/organs-for-sale#/2997-aeolianskin- English Horn, Rohr Schalmei. Best offers. André Contact Jerome Butera to see how Classifi eds 201, Arlington Heights, IL 60005. ner-new-york-city CT 860/664-0046 [email protected] can work for you: [email protected].

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WWW.THEDIAPASON.COM THE DIAPASON Q JANUARY 2020 Q 29 2019 In Review—An Index

Articles, Reports, and Reviews — by author (boldface) and subject

20 under 30. See Diapason staff. Kraaz, Sarah Mahler. William Albright, Whistler (1834–1903): Three Nocturnes. Albright, William. See Kraaz. April 20 American Organ Institute. See Eddington. Letters to the Editor. Nov 3 Bach, J. S. The Art of the Fugue, BWV 1080, see Black, On Teaching. Messiaen Competition. See Brugh. Bishop, John. In the wind . . . Jan 12–13*, Meszler, Alexander. A brief introduction Feb 16–17*, March 12–13*, April 14–15*, to the organ works of Klaus Huber. May May 14–15*, June 14–15*, July 14–15*, 16–18*+ Aug 14–15*, Sept 14–15*, Oct 14–15*, Nov Mexican organs. See Winter. 14–15*, Dec 14–15* Moreda, Eva. The fi rst International Late Medieval and Renaissance Music Course, Black, Gavin. On Teaching. Feb 18–19+, Recital Programs. Jan 27, Feb, 33, March 29, Schroeder, Joy. Trailblazers: Women’s San Marino, August 27–September 2, March 14–15+, April 10, May 12–13*, April 29, May 33, June 29, July 29, Aug 29, Impact on Organ, Carillon, Harpsichord, June 13+, July 13+, Aug 12–13, 24+, Sept 2018. April 21* Musforum. See Powell. Sept 29, Oct 29, Nov 29, Dec 29 and Sacred Music, University of Michigan 12–13*+, Oct 12, Nov 11, Dec 12–13+ Robinson, Joyce Johnson. An interview 58th Annual Organ Conference, Septem- Brugh, Lorraine S. 2018 Three Choirs Fes- Nelson, Leon. New Handbell Music. Feb with Paul Jacobs. Oct 18–20* ber 29–October 2. Feb 22–23* tival: Hereford Cathedral, UK. Feb 20–21* 15, March 11, July 12, Aug 24, Oct 24 ———. Ernest M. Skinner in The Diapa- Skinner, Ernest M. See Robinson. ———. An interview with Olivier Latry at the New Handbell Music. See Nelson. son. Dec 16–20* Speller, John. New Recordings. Feb 14–15, Three Choirs Festival, Hereford Cathe- New Organ Music. See Collins, Schleff, ———. New Recordings. Oct 10–11, 24 March 10–11, April 13, June 14, Sept 11, dral, England. June 16–18* Steele, Troiano, Zoller. Nov 24, Dec 10 ———. An interview with Colin Walsh, New Recordings. See Parkins, Robinson, Steele, Charles W. New Organ Music. July 12 Organist Laureate, Lincoln Cathedral. Aug Sadoh, Godwin. Celebrating the Centennial Speller, Young. of the Cathedral Church of Christ Choir, Swager, Brian. Carillon News. Jan 8, Feb 20–21* Nickels, Derek E. Choral Music. Sept 10 8–10*, March 8*, June 24*, July 8, 10* ———. Olivier Messiaen Competition: Lagos, Nigeria, 1918–2018. Jan 14–16* Nigerian church music. See Sadoh. Szostak, Michał. A 157-stop organ in the Church of St. Pothin and the Auditorium- Sayer, Roger. A history of the Temple Basilica of Our Lady of Licheˇ, Licheˇ Orchestre National de Lyon, Lyon, France, Church organs. Nov 19–21* † Oaxaca, Mexico. See Winter. Stary, Poland. Aug 16–19* † # June 17–23, 2019. Oct 16–17* Sequencers. See Bishop, Oct 14–15. On Teaching. See Black. Three Choirs Festival. See Brugh. Book Reviews. See Schnurr. St. Thomas Church, Fifth Avenue, New York. Organ Historical Society. See Ortloff. Troiano, David. New Organ Music. Sept Buttstett, Johann Heinrich. See Elsholz. See Cantrell. Organ, Anne Krentz. Choral Music reviews. 10–11 July 12, Aug 24 Schafer, Kimberly. Carillon Profi le. St. Cantrell, Scott. The new Dobson organ at Ortloff, Jonathan and Kola Owolabi. Chrysostom’s Episcopal Church, Chicago, University of Michigan conference. See Saint Thomas Church, Fifth Avenue, New Organ Historical Society 2018 Convention, IL, Feb 10* Schroeder. † York. March 16–19* Rochester, New York: A review. March ———. Carillon Profi le. Naperville Millen- University of Michigan Organ Department. Carillon News. See Ellis, Swager. 20–21* nium Carillon, Naperville, IL. April 8* See Kibbie. Carillon Profi le. See Schafer. ———. Carillon Profi le. Bok Tower Gardens, University of Oklahoma. See Eddington. Palmer, Larry. Harpsichord Notes. Jan 8*, Choral Music. See Nickels, Organ, Schneider. Lake Wales, FL, June 24* Feb 12–13*, March 11*, April 12–13*, May Collins, John. Early Composer Anniversa- Winter, Cicely. Twelfth Inter- 11*, June 11*, July 11*, Aug 11*, Sept 16*, ———. Carillon Profi le. Salisbury University, ries in 2019. Feb 24–25* national Organ and Early Oct 13*, Nov 12–13*, Dec 11* Salisbury, MD. Aug 8* ———. New Organ Music. Oct 10, Dec 10 Music Festival, Oaxaca, Mexico, February Parkins, Robert. The Complete Organ ———. Carillon Profi le. Trinity Episcopal Composers’ anniversaries. See Collins. 14–21, 2018. April 16–19* Correa de Arauxo, Francisco. See Parkins. Works of Francisco Correa de Arauxo: Cathedral, San Jose, CA. Oct 9* Correa in the New World, Robert Bates ———. Carillon Profi le. Holy Name of Jesus Young, Steven. Aloÿs Claussmann, Organist performs. Jan 17–20* Cathedral, Raleigh, NC. Dec 8* Diapason staff. The Class of 2019: 20 lead- and Composer (1850–1926): A re-estima- ers under the age of 30. May 19–25* Philadelphia, Pennsylvania, historic organs. Schleff, Jeffrey. New Organ Music. Jan 10 See Eifert. tion. Nov 16–18*+ Dobson organs. See Cantrell. Schneider, Karen. Choral Music. Nov 10 ———. New Recordings. Oct 24, Nov 10, 24 Portative organs. See Moreda. Schnurr, Stephen. Book Reviews. Sept 10 Powell, Susan. A formidable sisterhood: a Eddington, Jelani. A revolution in Norman: ———. Editor’s Notebook. Jan 3, Feb 3, review of the 2019 Musforum Conference, Zoller, Jay. New Organ Music. Jan 10, Feb how a visionary idea is transforming the March 3, April 3, May 3, June 3, July 3, Aug Northfi eld, Minnesota, June 13–14. Oct 21* 13, March 10, June 14, Sept 11, Oct 10, organ industry. April 1, 22-23* 3, Sept 3, Oct 3, Nov 3, Dec 3 Nov 10 Eifert, Jonathan. Partners for Sacred Radulescu, Michael. J. S. Bach’s Organ Places announces initiative to Music and Lutheran Theology: The Cla- Obituaries preserve historic organs in Philadelphia. vier-Übung Third Part. July 16–21+ Dec 21* Argento, Dominick. April 10 Jacobsen, Jared. Nov 8 Ellis, Laura. Carillon News. Nov 6* Banks, Roger Allen.* Aug 10 Marshall, Jane Manton.* Aug 10 Elsholz, Scott. Johann Heinrich Buttstett, Bellocchio, Elizabeth Ayers Compton. Mason, Marilyn.* June 9 Part 1: His life and work. June 19–21* Nov 8* Moen, Kathryn Ulvilden.* July 10 Carey, Roy Henry, Jr.* July 10 Parrella, Nancianne B.* Aug 10 Harpsichord Notes. See Palmer. Coleberd, Robert Edward. June 8 Partridge, Peter M.* Feb 10 Howells, Herbert. See Palmer, Oct 13 Crowle, William A. “Bill.”* May 6 Rawsthorne, Noel. April 10 Huber, Klaus. See Meszler. Flummerfelt, Joseph Ross.* May 6 Terry, Brett Austin.* June 8 Gifford, David. April 10 Thiry, Louis.* Sept 8 In the wind. . . See Bishop. Giroir, Robert “Robbie” Anthony, Jr. Wedd, Patrick.* July 10 April 10 Wharton, William “Bill” Freestate.* Jacobs, Paul. See Robinson. Gothold, Steven.* Feb 10 July 10 Guillou, Jean Victor Arthur.* March 6 Zabel, William “Bill” Peter. Feb 10 Kibbie, James. The University of Michigan Hurford, Peter John.* May 6

Organ Department. Sept 1, 22–24 aleksei_derin - stock.adobe.com

Organ Stoplists Austin Case/Aeolian-Skinner Glück Quimby “Father” Smith The First Church, UCC, Nashua, Holy Name Catholic Center, Cathedral of Christ the King, Dunwoody United Methodist Temple Church, London, UK. NH. 3/60*, Nov 1, 22–24 Madison, WI. 2/19*, Feb 28 Superior, WI. 3/37*, March 1, Church, Dunwoody, GA. 3/??, Nov 19 22–23 4/100*, Dec 1, 22–24 Ballantyne/Möller Dobson Snetzler Pasadena Stake Center, The St. Thomas Church, Fifth Avenue, Harrison & Harrison Clare College, Cambridge, UK. Schoenstein & Co. Church of Jesus Christ of New York, NY. 4/126*, March Temple Church, London, UK. 1/9*, Sept 17–21 Cathedral of St. Philip, Mikell Latter-day Saints, Pasadena, 16–19 4/??*, Nov 20–21 CA. 2/18*, Jan 22 Chapel, Atlanta, GA. 2/16*, Wicks Foley-Baker/Hall Kegg May 28 Basilica and National Shrine of Banks/Reuter Putnam Congregational Church Main Street United Methodist Our Lady of Lebanon, North First Presbyterian Church, (UCC), Putnam, CT. 2/13*, Church, Abbeville, SC. 2/10*, Church of the Redeemer, Jackson, OH. 2/17*, April 24 May 1, 26–27 Oklahoma City, OK. 4/91*, Jan Aug 1, 22–23 Chestnut Hill, MA. 3/31*, Oct 1, 20–22 Zakłady Organowe Zych Foley-Baker/E. & G. G. Hook 1, 22–23 Létourneau Basilica of Our Lady of Licheˇ, Central Congregational Church Licheˇ Stary, Poland. 4/157*, Berghaus/Bennett (UCC), Newburyport, MA. Christ Episcopal Church, St. John’s Episcopal Church, St. Paul’s Memorial United Tuscaloosa, AL. 3/38*, June 1, Aug 16–19 2/24*, May 1, 26–27 Tulsa, OK. 3/38*, Feb 1, 26–27 Methodist Church, South 22–23 Bend, IN. 3/33*, March 24 Foley-Baker/J. W. Steere & Schulze and Norman and Sons Pasi Beard Buzard/Hinners Ellington Congregational Church Westport Presbyterian Church, Bethlehem Lutheran Church, (UCC), Ellington, CT. 2/9*, Kansas City, MO. 2/28*, July Temple Church, London, UK. Hortonville, WI. 2/22*, July 24 May 1, 26–27 1, 22–23 4/??, Nov 19–20

30 Q THE DIAPASON Q JANUARY 2020 WWW.THEDIAPASON.COM *=picture +=musical examples †=stoplist #=diagrams

Honors and Competitions

Amos, Emily Dawn,* awarded third and Ficarri, Daniel,* named to “20 Under 30” Lippincott, Joan,* awarded International Reincke, Ivan-Bogdan,* wins Northern audience prizes, wins David Spicer Hymn Class of 2019. May 20 Performer of the Year, New York City Chap- Ireland International Organ Competition. Playing Competition, high school division, Gehring, Philip,* honored as facutly emeri- ter, American Guild of Organists. Dec 3 Nov 4 Albert Schweitzer Organ Festival Hartford tus, Valparaiso University, Valparaiso, IN. MacKnight, Colin,* named to “20 Under 30” Romeri, John A.,* awarded 2019 Paul Cres- Competition. Jan 4 April 4 Class of 2019. May 22 ton Award, St. Malachy’s Church —The Anderson, Bryan,* awarded Firmin Swinnen Gibson, Michael,* awarded third and Bach ———.* awarded Clarence Snyder Third Second Prize, Longwood Gardens Interna- Actor’s Chapel, New York, NY. July 8 prizes, East Carolina University Young Prize, Longwood Gardens International tional Organ Competition. Aug 4 Artists Competition in Organ Performance. Russell, Joseph,* awarded second and audi- Organ Competition. Aug 4 Anderson-Besant, James, awarded second July 4 ence prizes, Miami International Organ Mellan, Thomas,* named to “20 Under 30” prize, Northern Ireland International Organ Goods, Julian,* named to “20 Under 30” Competition. May 10 Competition. Nov 4 Class of 2019. May 21 Class of 2019. May 22 ———.* awarded second and hymn-playing Meszler, Alexander, receives Ruth and Clar- Baquerizo, Elena,* awarded third prize, Gress, Richard,* awarded second prize, prizes, young professional division, Albert young professional division, Albert Sch- ence Mader Memorial Scholarship. April 4 Arthur Poister Scholarship Competition in Schweitzer Organ Festival Hartford. Dec 4 weitzer Organ Festival Hartford. Dec 4 ———.* named to “20 Under 30” Class of Organ Playing. June 6 Sadoh, Godwin, awarded a grant by the Becker, Julian, wins intermediate section, Hamill, Josiah,* wins pre-professional divi- 2019. May 22 Association Ephemere Classique/Project Northern Ireland International Organ sion and audience prize, Sursa American Miller, Collin,* named to “20 Under 30” Class Myrelingues. Feb 4 Competition. Nov 4 Organ Competition. Nov 4 of 2019. May 23 Berghaus, Leonard,* awarded Organ Heaton, Charles Huddleston,* honored on Mueller, Ryan,* named to “20 Under 30” Smith, Alexandria,* named to “20 Under 30” Builder Appreciation Award, Fox Valley his 90th birthday. Jan 4 Class of 2019. May 23 Class of 2019. May 24 Chapter American Guild of Organists. July 6 Heindle, Sebastian,* wins Pierre S. DuPont Naegele, Elizabeth,* honored upon retire- Solomon, Emily,* named to “20 Under 30” Boehmer, Tyler,* wins Miami International First Prize, Audience Choice Prize, and Class of 2019. May 24 Organ Competition. May 10 ment, Moody Bible Institute, Chicago, IL, Philadelphia Chapter AGO Prize, Long- Spritzer, Damin, receives Ruth and Clarence Bruggemann, Justin,* awarded second prize, after 42 years of teaching. Aug 4 wood Gardens International Organ Compe- East Carolina University Young Artists Nafziger, Ken,* honored as fellow, Hymn Mader Memorial Scholarship. April 4 tition. Aug 4 Competition in Organ Performance. July 4 Society of the United States and Canada. Stecker, Michell,* named to “20 Under 30” Hettrick, Jane Shatwin, receives Ruth and Budácová, Mária,* awarded second prize, Dec 9 Class of 2019. May 25 Clarence Mader Memorial Scholarship. Arthur Poister Scholarship Competition in Neel, Kevin,* named to “20 Under 30” Class Suk, Adam, wins junior category, Northern April 4 Organ Playing. June 6 Holman, Christopher, receives Ruth and of 2019. May 23 Ireland International Organ Competition. Buie, Matthew,* wins fi rst prize and awarded Clarence Mader Memorial Scholarship. Niedmann, Peter,* wins Sewanee Church Nov 4 hymn playing prize, East Carolina Univer- April 4 Music Conference choral composition con- Sweet, Ryan, awarded Kotzschmar Memorial sity Young Artists Competition in Organ test. May 4 Performance. July 4 Homburg, Killian, awarded Bach prize, Trust Fund scholarship. May 4 Park, Jessica,* named to “20 Under 30” Class Buller, Matthew,* named to “20 Under 30” Northern Ireland International Organ Troeger, Thomas H.,* honored as fellow, of 2019. May 24 Class of 2019. May 19 Competition. Nov 4 Hymn Society of the United States and Burk, Katie,* named to “20 Under 30” Class Hughes, Joshua, awarded third prize, North- Pattavina, Alexander,* wins young profes- Canada. Dec 9 ern Ireland International Organ Competi- of 2019. May 19 sional division, Albert Schweitzer Organ Wareham, Grant,* named to “20 Under 30” tion. Nov 4 Festival Hartford. Dec 4 Centorrino, Ilaria,* awarded third prize, Class of 2019. May 25 Kunz, Conner,* named to “20 Under 30” Patterson, Elizabeth C.,* awarded 2019 Miami International Organ Competition. Wright, Alden,* wins fi rst prize and awarded May 8 Class of 2019. May 21 American Prize Ernst Bacon Memorial audience prize, Arthur Poister Scholarship Choi, Jihye,* awarded second prize, pre- Labounsky, Anne,* honored for 50 years of Award. Dec 6 Competition in Organ Playing. June 6 professional division, Sursa American Organ teaching, Duquesne University, Pittsburgh, Perneker, Chiara, awarded third prize, inter- Competition. Nov 4 PA. Nov 9* mediate section, Northern Ireland Interna- Xu, Bruce,* awarded second and audience Lee, Rebecca,* awarded second prize, high Colaner, Daniel,* wins high school division, tional Organ Competition. Nov 4 prizes, high school division, Albert Sch- school division, Sursa American Organ Sursa American Organ Competition. Nov 4 Prescott, Jordan,* named to “20 Under 30” weitzer Organ Festival Hartford Competi- Cook, Jared,* named to “20 Under 30” Class Competition. Nov 4 tion. Jan 4 Levai, Kamilla, awarded second prize, inter- Class of 2019. May 24 of 2019. May 19 Zhang, Yong,* awarded third prize, pre- Craig, Carolyn Ann,* named to “20 Under mediate section, Northern Ireland Interna- Raasch, Julia, awarded Dame Gillian Weir professional division, Sursa American Organ 30” Class of 2019. May 20 tional Organ Competition. Nov 4 prize, Northern Ireland International Organ Dunnewald, Bryan,* named to “20 Under Lincoln, William,* honored upon retirement Competition. Nov 4 Competition. Nov 4 30” Class of 2019. May 20 after 50 years of service as director of music Reed, Connor,* awarded Penn Brown Zheng, Eddie,* wins high school division, Eifrig, William,* honored as facutly emeritus, and worship, St. Boniface Catholic Church, Memorial Scholarship, Young Organist Albert Schweitzer Organ Festival Hartford Valparaiso University, Valparaiso, IN. April 4 Louisville, KY. Feb 3–4* Cooperative. Oct 8 Competition. Jan 4 Appointments Ball, Steven,* appointed director of sacred Highben, Zebulon,* appointed director of Rakich, Christa,* appointed visiting professor Haven, CT, and interim conductor, Yale music, Oratory of St. Francis de Sales, St. chapel music, Duke Chapel, Duke Univer- of organ, Oberlin Conservatory of Music, Camerata. Dec 6 Louis, MO. Jan 6 sity, Durham, NC. Aug 6 Oberlin, OH. March 4* Vogt, Sean,* appointed director of choral Baskeyfi eld, David,* appointed to the faculty Hohman, Frederick,* appointed organist, Rich, Kirk Michael,* appointed director of activities, Clayton State University, conduc- of the Sacred Music Institute of America, Sunnyside Presbyterian Church, South music, All Saints’ Episcopal Church, Atlanta, tor of Spivey Hall Masterworks Chorus, Columbus, OH. Oct 4 Bend, IN. Dec 6 Georgia. Feb 6 Morrow, GA, and director of music, Holy Benda, Jacob,* appointed director of sacred Jelinek, Jeremy Paul,* appointed principtal Robin, Jean-Baptiste,* appointed visiting Innocents’ Episcopal Church, Sandy music and liturgy, Our Lady of Lourdes artist-in-residence, Oberlin Conservatory, organist, St. Dominic Catholic Church, Springs, GA. Aug 6 Catholic Church, Minneapolis, MN. Dec 6 Oberlin, OH. June 6 Washington, DC. Oct 4 von Behren, David,* appointed assistant Bonner, Liam,* appointed executive director, Shahawy, Shireen S.,* appointed executive Keatley, Ian,* appointed director of music, Indianapolis Symphonic Choir, Indianapolis, director, Friends of the Kotzschmar Organ, university organist and choirmaster, Memo- IN. Jan 6 Southwark Cathedral, London, UK. Aug 6 Portland, ME. Aug 6 rial Church, Harvard University, Cambridge, Brightwell, Giles,* appointed associate music Latry, Olivier,* appointed William T. Kemper Sheehan, Thomas,* appointed organist, MA. June 6 director, All Saints’ Episcopal Church, Artist-in-Residence, University of Kansas Washington National Cathedral, Washing- White, Jonathan,* appointed director of Atlanta, Georgia. Feb 6 School of Music, Lawrence, KS. Aug 6 ton, D.C. June 6 religious music, Christ Church Cathedral, Cen, Hannah Lingen,* appointed organ McEldowney, Ryan P.,* appointed director Thomas, André J.,* appointed visiting pro- Montreal, Canada. July 6 scholar, Grace Church, New York, NY. Aug 6 of music and organist, St. Boniface Catholic Williams, Carol,* appointed organist, Ran- Coffey, Richard,* appointed organist and fessor of choral conducting, Yale School of choir director, Union Church, Pocantico Church, Louisville, KY. Sept 9 Music and Institute of Sacred Music, New dolph College, Lynchburg, VA. April 6. Hills, NY. April 6 Drewes, Isaac,* appointed Association of Anglican Musicians Gerre Hancock Intern, St. James Episcopal Cathedral, Chicago, IL. THE DIAPASON is accepঞ ng submissions of arঞ cle-length May 8* Dunnewald, Bryan,* appointed interim essays unঞ l January 31, 2020, for its inaugural Gruenstein assistant organist and choirmaster, St. Mark’s Church, Philadelphia, PA. July 6 Award, honoring Siegfried E. Gruenstein, founding editor Foxgrover, Marsha,* appointed organist, of the journal, for publicaঞ on in the May 2020 issue. New England Congregational Church, Aurora, IL. Aug 6 The award recognizes the scholarly work of a young Gardner, Jillian,* appointed director of music author who has not reached her or his 35th birthday as of and organist, Huntsville First United Meth- odist Church, Huntsville, AL. March 4* January 31, 2020. Gast, Arvid,* appointed visiting professor of organ, Oberlin Conservatory of Music, Oberlin, OH. March 4* Gerdes, Clara,* appointed assistant organist, For complete details, visit www.thediapason.com St. Bartholomew Episcopal Church, New York, NY. Nov 9* or see the September 2019 issue, page 3. Higgins, Floyd,* appointed senior design

engineer, Austin Organs, Inc., Hartford, CT. Annettetttte - stock.adobe.comsstto ob o Jan 6

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

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

Alcee Chriss Canadian International Organ Competition Winner Available 2018-2021

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

Choirs Available

Trinity College Cambridge (September 2019)

David Higgs Jens Korndörfer Christian Lane Olivier Latry* Nathan Laube Amanda Mole Notre-Dame Cathedral Paris (April 2020)

Alan Morrison James O’Donnell* Thomas Ospital* Jane Parker-Smith* Daryl Robinson Daniel Roth*

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