DOCSLIB.ORG

APRIL, 2008 St. Vincent's Cathedral Church Bedford, Texas Cover

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
APRIL, 2008 St. Vincent's Cathedral Church Bedford, Texas Cover THE DIAPASON APRIL, 2008 St. Vincent’s Cathedral Church Bedford, Texas Cover feature on pages 30–31 Apr 08 Cover.indd 1 3/10/08 11:12:05 AM Visit us at Anthony & Beard The Chenaults James David Christie Peter Richard Conte Clive Driskill-Smith AGO ‘08 Minneapolis Booths Jeremy Filsell S. Wayne Foster Gough Duo David Hurd Paul Jacobs 302 & 400 just inside the main entrance to the exhibition room Martin Jean Huw Lewis Bruce Neswick New York Piano Organized Rhythm Organ Duo Paulsson & Canning Pierre Pincemaille Mary Preston Jean-Baptiste Robin John Rose John Scott Dong-Ill Shin (Chartres) [email protected] toll-free phone: (888) 999-0644 outside US & Canada: Herndon Spillman Daniel Sullivan Carole Terry Johannes Unger (860) 560-7800 fax (860) 560-7788 1 Gold St, #R Hartford CT 06103-2914 Unger-Ochoa Duo Olivier Vernet Vernet Duo Ulrich Walther (St.Albans) CONCERTARTISTS.COM Bradley Welch William Whitehead Carol Williams nental Europeans, yet we now look back also have worked directly for the factory on those instruments as quite dated— in voicing (analog, digital and pipe), as THE DIAPASON though, to be sure, a start in the right a voicer and consultant, and with many A Scranton Gillette Publication direction. In my view it was not until the pipe organ companies. My work affi lia- Ninety-ninth Year: No. 4, Whole No. 1181 APRIL, 2008 mid-1970s that American builders really tions have absolutely nothing to do with caught up to the classical sounds of the the current sorry situation at Trinity. I am Established in 1909 ISSN 0012-2378 harpsichord. currently employed by Chad Perry and An International Monthly Devoted to the Organ, Of particular interest in the articles Associates, the Tristate Rodgers dealer. the Harpsichord, Carillon, and Church Music was the discussion of performance for As Owen Burdick is no longer em- the moment for live audiences vs. how, ployed at Trinity, there may be some hope for instance, Walcha played for the re- for either restoring or using signifi cant cord on recordings. My feeling is that it portions of the 154/IV Skinner. I cannot CONTENTS Editor & Publisher JEROME BUTERA [email protected] is possible to capture a lot of the excite- believe that this organ was so maligned 847/391-1045 ment of the moment in a recording, and and obviously left to deteriorate through FEATURES that the best recordings are fi lled with the years. The ‘drastic reconfi guration The Clarence Dickinson Festival enough of this vitality so that, for that over the years’ (the original organ was William Carey University, Hattiesburg, Mississippi Associate Editor JOYCE ROBINSON very reason, they do not become tire- 151 ranks) was partially due to moving by Gene Winters 21 [email protected] some after more than one hearing. More the choir to the chancel. In Larry King’s 847/391-1044 Celebrating a milestone birthday: documentary types of recordings do tenure, the choir was moved to the gal- “Guardian Angel” not seem to wear as well. I suggest that lery and would perform from the chancel by Oswald Ragatz 22 Contributing Editors LARRY PALMER this difference of perceptions is partly a occasionally. A ‘drastic reconfi guration’ Harpsichord function of the Zeitgeist—the spirit of meant three added ranks of pipework to The Musical Tradition at the Sainte-Clotilde the times. Much of the period instru- the chancel organ. Yes, it is still an Aeo- Basilica in Paris, France JAMES MCCRAY ment movement has changed directions lian-Skinner. I’m sure there are many by Carolyn Shuster Fournier 26 Choral Music in the last 15-plus years, moving perhaps more than 21 stops (unless the rest were more toward the true spirit of bygone damaged to the point of no return) to be NEWS & DEPARTMENTS BRIAN SWAGER days, though we cannot be certain. The ‘good enough’ to incorporate into a new Letters to the Editor 3 Carillon question of such certainty is of less inter- pipe instrument. Here & There 3, 4, 5, 6, 8, 10, 12 est to me than it used to be, inasmuch as As many fi gures have been misquoted HERBERT L. HUESTIS Appointments 6 OrganNet Forum I feel that what has happened has, above in the past, let it suffi ce to say that the Nunc Dimittis 8 Osiris Organ Archive all, succeeded in bringing the music to Skinner would have cost about half the Rockefeller Chapel, Chicago 12 www.wu-wien.ac.at/earlym-l/organs/local.html life. There was a lot of hiding behind a quoted price that was made public to Carillon News by Brian Swager 12 e-mail: [email protected] screen of correctness for many years (not totally rebuild the organ by several very that Walcha needed to hide behind any- reputable companies. The organ was not In the wind . by John Bishop 13 thing). With the likes of such new Ital- damaged physically during the 9/11 at- On Teaching by Gavin Black 15 Prepress Operations DAN SOLTIS ian groups as that led by Fabio Biondi, tack except for dust, grit and small debris, performances have indeed become alive. some of which could have been there pre- REVIEWS The Germans are also catching on; I was viously due to below-par maintenance. Music for Voices and Organ 16 THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Communications, Inc., 3030 W. Salt most impressed last season with the work There is an insurance report about the Book Reviews 17 Creek Lane, Suite 201, Arlington Heights, IL 60005-5025. of the Akademie für alte Musik Berlin actual damage on fi le. New Recordings 18 Phone 847/391-1045. Fax 847/390-0408. Telex: 206041 as well as a recent performance by the Per St. Paul’s Chapel, I suggested MSG RLY. E-mail: <[email protected]>. New Organ Music 19 Subscriptions: 1 yr. $35; 2 yr. $55; 3 yr. $70 (Unit- Berliner Barock-Solisten (members of (again because of the historicity of the the Berlin Philharmonic) using modern edifi ce), a mechanical-action organ built NEW ORGANS 29 ed States and U.S. Possessions). Foreign subscrip- tions: 1 yr. $45; 2 yr. $65; 3 yr. $85. Single copies $6 instruments—but with clear awareness as a worship instrument in the style of SUMMER INSTITUTES, WORKSHOPS (U.S.A.); $8 (foreign). of some of the current practices of the an early American organ. I did suggest & CONFERENCES 32 Back issues over one year old are available only from The Organ Historical Society, Inc., P.O. Box 26811, early instrument groups. It’s all part of some digital stops, but only if space CALENDAR 33 Richmond, VA 23261, which can supply information on the movement of life. (pedal stops) would not permit a prop- availabilities and prices. ORGAN RECITALS 36 While diverging in part from Paul Jor- er pedal division. In no way did I ever Periodical postage paid at Rockford, IL and additional dan’s subjects of organ music and of the intend this to be a mechanical/digital CLASSIFIED ADVERTISING 38 mailing offi ces. POSTMASTER: Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, beloved Helmut Walcha in particular, combination with lots of digital stops. Arlington Heights, IL 60005-5025. these thoughts were stimulated by his The Schlicker had mechanical problems Cover: Redman Pipe Organs, Fort Worth, Routine items for publication must be received six recent Diapason articles. (both key and stop actions) from the day Texas; St. Vincent’s Cathedral Church, weeks in advance of the month of issue. For advertising copy, the closing date is the 1st. Prospective contribu- Edward Brewer it was installed; I played it many times Bedford, Texas 30 tors of articles should request a style sheet. Unsolicited Leonia, New Jersey and it was quite frustrating. The sound reviews cannot be accepted. was very rough and grating as most late- www.TheDiapason.com This journal is indexed in the The Music Index, an- notated in Music Article Guide, and abstracted in RILM Trinity Church, Wall Street revisited 1960s organs strove for the Baroque ideal Abstracts. My fi rst letter to The Diapason re- textbook organ without the magnifi cent Send subscriptions, inquiries, and ad- Copyright ©2008. Printed in the U.S.A. garding Trinity Wall Street was published acoustics available in St. Paul’s to temper dress changes to THE DIAPASON, in the December issue. As far as I knew at the sound. 3030 W. Salt Creek Lane, Suite 201, THE DIAPASON accepts no responsibility or liability the time, everything was absolutely factual, What would you rather play: a 154/IV Arlington Heights, IL 60005. for the validity of information supplied by contributors, but some information I had was erroneous Aeolian-Skinner, a 0/III ‘virtual organ’ or vendors, advertisers or advertising agencies. and I would like to correct these errors. anything else digital? You be the judge. To set the record straight: Schoenstein Rick Tripodi No portion of the contents of this issue may be reproduced in any form without the specifi c written permission (Jack Bethards) is installing two new or- Greenwich, Connecticut of the Editor, except that libraries are authorized to make photocopies of the material contained herein for the purpose of course reserve reading at the rate of one copy for every fi fteen students. Such copies may be reused for gans at St. James Episcopal on Madison other courses or for the same course offered subsequently. Avenue, NYC. The cost for these instru- Welte Organ in Boston ments will be around $2 million rather Kudos to David Rumsey and Chris- than $3 million (which I had been told toph E.
Load more

Recommended publications
  • Dillinger Basilikakonzerte
    DILLINGER BASILIKAKONZERTE SCHIRMHERR: REGIONALDEKAN MONSIGNORE GOTTFRIED FELLNER www.dillinger-basilikakonzerte.de JAHRES- PROGRAMM 2010 »JAUCHZET, FROHLOCKET, AUF, PREISET DIE TAGE, RÜHMET, WAS HEUTE DER HÖCHSTE GETAN! LAssET DAS ZAGEN, VERBANNET DIE KLAGE, STIMMET VOLL JAUCHZEN UND FRÖHLICHKEIT AN!« JOHANN SEBASTIAN BACH Eingangschor aus dem Weihnachtsoratorium BWV 248 2 INHALT GRUSSWORT DES SCHIRMHERRN 4 INTERNATIONALE ORGELKONZERTE 6 SONDERKONZERTE 12 4. DILLINGER ORGELSOMMER 20 DISPOSITION 28 DISKOGRAPHIE 30 IMPRESSUM 31 GRUSSWORT DES SCHIRMHERRN Im 25. Jahr meiner Tätigkeit als Seelsorger der Basilika St. Peter in Dillingen wurde mir vom Vorstand der „Dillinger Basilikakonzerte e.V.“ die Schirmherrschaft für dieses Kon- zertjahr übertragen. Ich freue mich darüber, weil ich dieses internationale Kirchenmusik- und Orgelfestival gemeinsam mit unserem Basilikaorganisten Axel Flierl im Jahr 2007 aus der Taufe heben durfte. Anlass war damals die Generalsanierung und Erweiterung unserer großen Basilikaorgel, die neben dem liturgischen Einsatz auch im Konzert erklingen soll und seither zum An- ziehungspunkt für renommierte Organisten aus aller Welt geworden ist. Dass sich die Dillinger Basilikakonzerte in we- nigen Jahren zur festen musikalischen Größe und zum Glanz- punkt in unserer Stadt und weit darüber hinaus entwickeln würden, ist ein lang gehegter Traum, der nun Wirklichkeit werden konnte. Ist doch Dillingen mit einer reichen Musikgeschichte geseg- net. Nicht umsonst wollte Leopold Mozart, mit seinen Kin- dern Nannerl und Wolfgang in Dillingen 1768 nicht nur den Augsburger Bischof treffen, sondern auch den berühmten Organisten und Komponisten an der Kollegiatstiftskirche St. Peter, Josef Anton Laucher (1737-1813), dessen Tochter im Salzburger Dom unter der Leitung Mozarts als erste Vokal- solistin wirkte. Die ältere Generation kennt noch den langjährigen Seminardi- rektor, Chorregenten und Komponisten Msgr.
    [Show full text]
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
    [Show full text]
  • CAZAGO 50 Year History
    1948:1999 Years W? Central 19 Arizona w Chapter J? 50th ANNIVERSARY CELEBRATION Januaw 15-17. 1999 jfi TABLE OF CONTENTS 50th Anniversarv Weekend Programs Member’sRecital.......r....r..., .................................... 2 Saturday Morning Workshops ............................................ 3 Gala Banquet ......................................................... 4 Mel Butler Recital Program .............................................. 5 Mel Butler Biography & Dessert Reception Invitation .......................... 6 111 Merrill N. Davis Recital Program ....................................... 7 N1 Merrill Davis 111 Biography ............................................ 8 Anniversary Greetings Recent Greetings Mrs Louise Bergmann, Ventura County Chapter Dean .................... 9 Gordon McMillan, Past Dean 1972-73 ............................... 10 Laurel Watkins, Chapter Dean 1975-55 .............................. 11 Noel-Paul Laur, Chapter Member 1982-86 ............................ 11 Previous Greetings (reprinted from Yearbook) Philip Hahn, National President .................................... 12 Margaret Kemper, Past National President ............................ 12 Wilbur (Bill) Martin, Region IX Councillor ............................ 13 Sandra Soderlund, Past Region IX Councillor .......................... 13 Janet Tolman, Grand Canyon District Convener ........................ 14 Charter Members & Chapter Deans ............................................. 15 Current Chapter Executive Board Members ......................................
    [Show full text]
  • Ofmusic PROGRAM
    GUEST ARTIST RECITAL OLIVIER LATRY, Organ Tuesday, February 21, 2012 7:00 p.m. Edythe Bates Old Recital Hall and Grand Organ ~herd RICE UNIVERSITY Sc~ol ofMusic PROGRAM Cortege et litanie Marcel Dupre (1886-1971) ,._ Petite Rapsodie improvisee Charles Tournemire (1870-1939) L'Ascension Olivier Messiaen Majeste du Christ demandant sa gloire a son Pere (1908-1992) Alleluias sereins d 'une ame qui desire le ciel Transports de Joie d 'une ame Priere du Christ montant vers son Pere INTERMISSION Trois danses JehanAlain Joies (1911-1940) Deuils Luttes Improvisation Olivier Latry Olivier Latry is represented by Karen McFarlane Artists, Inc. .. The reverberative acoustics of Edythe Bates Old Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. BIOGRAPHY Olivier Latry, titular organist of the Cathedral ofNotre-Dame in Paris, is one of the world's most distinguished organists. He was born in 1962 in Boulogne-sur-Mer, France, and began his study ofpiano at age 7 and his study of the organ at age 12; he later attended the Academy ofMusic at St. Maur-des-Fosses, studying organ with Gaston Litaize. From 1981 until 1985 Olivier Latry was titular organist ofMeaux Cathedral, and at age 23 he won a competition to become one of the three titular organists of the Ca­ thedral ofNotre-Dame in Paris. From 1990 until 1995 he taught organ at the Academy ofMusic at St. Maur-des-Fosses, where he succeeded his teacher, Gaston Litaize. Since 1995 he has taught at the Paris Conservatory, where he has succeeded Michel Chapuis.
    [Show full text]
  • PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
    PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer.
    [Show full text]
  • Concert Programs for Pipe Organ Encounter 2012 July 22 — July 28
    Concert Programs For Pipe Organ Encounter 2012 July 22 — July 28 Sponsored by the San Diego Chapter of The American Guild of Organists Ron McKean First Presbyterian Church, 320 Date Street San Diego, CA 92101 Sunday July 22 7:00 PM PROGRAM Improvisation: Toccata, Variations and Fugue — Ronald McKean (b.1958) (Amer.) Trumpet Medley — Henry Purcell (1659-1695) arranged by Williams Prelude and Fugue in G Minor (BWV 525) — J.S. Bach (1685-1750) Dance Etudes (2010-11) — Ronald McKean Bojnurdi Abenaki Luri Fandango Improvisations on Popular Themes — Ronald McKean Short vignettes, in classic or free form, will be based on submitted popular or current themes from movie, TV or video. BRIEF INTERMISSION Improvisations on POE Themes — Ronald McKean Improvisations will be based on hymn, chant or composed themes submitted by POE stu- dents. Improvisations will be in the form of: symphonic tone poem, prelude and fugue or French symphony in the 18th, 19th or 20th century styles. Alison Luedecke, Organ Bill Owens, Trumpet St. James by-the-Sea Episcopal Church 743 Prospect Street, La Jolla, CA 92037 Monday July 23 3:30 PM PROGRAM Prelude to Te Deum — Marc-Antoine Charpentier (1634-1704) (Fr.) Sonata Prima Per Trombetta Sola — Giovanni Bonaventura Viviani (1638-1693) (It.) Andante Allegro Presto Allegro Adagio "Landrellec” — a Plinn (a traditional Breton Dance) — arranged by Étienne André Gavotte — Montagne Ceathair: Irish Summer Carol — John Karl Hirten (b. 1956) (Amer.) Choral and Variations on “Veni Creator” — Maurice Duruflé (1902-1986) (Fr.) O Voy — Roman (C. 1474-1516) Si n’os Huviera Mirado — Anonymous (circa 1556) Sentirete Una Canzonetta — Tarquinio Merula (1595-1665) (It.) Suite in D Major — Jeremiah Clarke (1674-1707) (Engl.) Prelude - (The Duke of Gloucester's March) Minuet Sybelle Rondeau - (The Prince of Denmark’s March) Serenade Bourree Ecossaise Hornpipe Gigue Diane Bish Spreckel’s Organ Pavilion, Balboa Park San Diego, CA 92101 Monday July 23 7:30 PM CONCERT PROGRAM Toccata — Gaston Bélier (1863-1938 ) (Fr.) Adagio Cantabile — J.
    [Show full text]
  • Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
    University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support.
    [Show full text]
  • O Flos Colende Musica Sacra a Firenze XXIII Edizione È Con Grande Soddisfazione Che L’Opera Di S
    O FLOS COLENDE Musica Sacra a Firenze XXIII EDIZIONE È con grande soddisfazione che l’Opera di S. Maria del Fiore presenta la XXIII edizione della rassegna O flos colende - Musica sacra a Firenze nata nel 1997, anno in cui fu celebrato il VII centenario della fondazione della Cattedrale fiorentina. La prestigiosa rassegna è un punto di riferimento per i tantissimi appassionati e cultori che accorrono da Firenze e da tutta la regione ad ogni appuntamento concertistico. L’originalità dei programmi e l’eccellenza degli interpreti, sapientemente selezionati dal direttore artistico, hanno reso O flos colendeun evento unico nel suo genere, che mette in dialogo l’Opera con l’intera cittadinanza. Nei vari appuntamenti concertistici viene proposto un repertorio di grande fascino, in parte legato alla storia liturgica della nostra Cattedrale, spesso appartenente a secoli lontani, ma che sa parlare ancora oggi al cuore degli ascoltatori, sia quelli più consapevoli sia quelli meno preparati. Dal suggestivo concerto inaugurale dedicato all’Ufficio delle Tenebre in Francia, affidato a Les Talens Lyriques, un ensemble fra i più apprezzati a livello internazionale per il repertorio barocco, fino al concerto conclusivo affidato al celebreTölzer Knabenchor che proporrà un repertorio vario e gradevole per tutti, la rassegna si compone quest’anno di cinque appuntamenti concertistici in Cattedrale preceduti dal ciclo di quattro meditazioni quaresimali che il nostro Arcivescovo terrà nello splendido spazio del Battistero. Ringrazio Sua Em. Rev.ma il Cardinale Giuseppe Betori per il forte sostegno con cui segue l’iniziativa. Ringrazio il Proposto della Cattedrale e il Capitolo Metropolitano Fiorentino per la generosa disponibilità con la quale accolgono gli eventi musicali.
    [Show full text]
  • View PDF Editionarrow Forward
    T H E DIAPASON APRIL 2019 American Organ Institute University of Oklahoma Norman, Oklahoma Cover feature on pages 22–23 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 SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 4, 20 Under 30 Whole No. 1313 We thank all those who submitted nominations for our Class APRIL 2019 of 2019. We are impressed by the number of f ne nominations Established in 1909 for the brightest and most promising our young leaders in the Stephen Schnurr ISSN 0012-2378 f eld of the organ, church music, harpsichord, and carillon. 847/954-7989; [email protected] To see the 20 Under 30 Class of 2019, visit The Diapason www.TheDiapason.com An International Monthly Devoted to the Organ, website (www.thediapason.com, click on “20 Under 30”). Next the Harpsichord, Carillon, and Church Music month’s issue will include in-depth entries and photographs of In “Harpsichord Notes,” Larry Palmer reprises various front- each member of the class.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer
    SUMMER 2009 BOSTON SYM ON Y ORCH E RA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY r ^ m I &£ V + i HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstenpalleries.com i photo: Icrcsa Nouri I O l \ e Broun and Coral Pink Persian Set They're Not Only Preparing ^ / for a Changing World They're Preparing to Change the World y M 1 what girls have in mind 'J'NZib-iS 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] V Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " 'Hot is the WOrdfor this show. —The New York T Museum of Fine Arts, Boston March 15- August 16, 2009 Tickets: 800-440-6975 or www.mfa.org BOSTON The exhibition is organized by the Museum The exhibition is PIONEER of Fine Arts, Boston and the Mus6e du fcUniCredit Group sponsored by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937. 1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 *f=^y Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M.
    [Show full text]
  • Olivier Latry Organ
    Wednesday, April 15, 2009 · 7:30 PM OLIVIER LATRY ORGAN Prelude and Fugue in E-flat Major, Op. 99, No. 3 Camille Saint-Saëns (1835-1921) Choral No. 2 in B minor César Franck (1822-1890) Symphonie Gothique, Op. 70 Charles-Marie Widor (1844-1937) Andante sostenuto Symphonie No. 1, Op. 14 Louis Vierne (1870-1937) Allegro vivace Final INTERMISSION Deuxième Fantaisie Jehan Alain (1911-1940) Salve Regina (U.S. Premiere) Olivier Latry (b. 1962) Gregory Purnhagen, baritone This recital is made possible in part by generous support from the New York City Chapter of the American Guild of Organists. __________________________ Please turn off all cellular phones, wristwatch alarms, and beepers. Taking photographs and making recordings of this concert are strictly prohibited. Church of St. Ignatius Loyola 980 Park Avenue at 84th Street, New York City · Notes on the Program · Camille Saint-Saëns (1835-1921) was born and raised in Paris by his mother and great-aunt who provided him his first keyboard instruction at the piano. Considered a child prodigy, he began studies in organ, composition and orchestration at the Paris Conservatoire in 1848. Appointed as organist to l’Eglise de la Madeleine in 1857, Franz Liszt apparently heard him improvise there and proclaimed him to be the greatest organist in the world. Indeed, among the most beloved and well-known symphonic works is his Third “Organ” Symphony, with its famed C major chord resonating as the most glorious moment shared by organ and orchestra in the entire repertory. His Prelude and Fugue in E-flat major is the third of Op.
    [Show full text]
  • Récital D'orgue
    Récital d'orgue MERCREDI 8 JANVIER 2020 20H PIERRE COCHEREAU Boléro sur un thème de Charles Racquet, pour orgue et percussions* (15 minutes environ) MARCEL DUPRÉ Symphonie no 2 en ut dièse mineur op. 26 1. Preludio : Allegro agitato 2. Intermezzo : Très modéré 3. Toccata : Très animé – Più lento – A tempo (20 minutes environ) - Entracte - PHILIPPE HERSANT Les Cloches d’Orléans (commande de Radio France, création mondiale) (13 minutes environ) JULIUS REUBKE Grande Sonate en ut mineur « sur le Psaume 94 » 1. Grave – Larghetto 2. Allegro con fuoco 3. Adagio – Lento 4. Allegro (Fugue) – Allegro assai (26 minutes environ) YVES CASTAGNET orgue GABRIEL BENLOLO et HERVÉ TROVEL percussions* Ce concert, présenté par Arnaud Merlin, est diffusé en direct sur France Musique. Il est disponible à l'écoute sur francemusique.fr PIERRE COCHEREAU 1924-1984 et exige tant de l’organiste que des percussionnistes une rythmique d’airain, un souffle aussi canalisé qu’inépuisable. Sous les voûtes de Notre-Dame, la Boléro sur un thème de Charles Racquet, présence mêlée de l’orgue et des percussions est phénoménale : on conçoit l’authentique et passionnant défi consistant à faire revivre cet hypnotique pour orgue et percussions Boléro dans l’acoustique – un autre monde en termes de résonance – de Improvisé en mai 1973 à Notre-Dame de Paris, avec Michel Gastaud et Michel Cals aux percussions. l’Auditorium de Radio France. Transcrit par Jean-Marc Cochereau. Publié en 1996 aux éd. Chantraine (Tournai). Interprète majeur et génial improvisateur, Pierre Cochereau n’a laissé que peu d’œuvres écrites : Trois Variations sur un thème chromatique, Micro-So- nate en trio, Thème et variations sur « Ma jeunesse a une fin », Symphonie posthume, Paraphrase de la Dédicace.
    [Show full text]