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
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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:
APRIL, 2008 3
Apr 08 pp. 2-21.indd 3 3/10/08 11:15:26 AM Apostle, West Hartford, under the direc- sic of Roberta Bitgood (1908–2007) sung and Vaughan Williams, Five Mystical William Carey University will pres- tion of Richard Coffey, artistic director. by the choirs of First Church of Christ; Songs. For information: 801/328-8941; ent Frederick Swann and Mina Belle CONCORA will perform the same pro- June 8, fi rst-place winners of the 2007
Canterbury Singers USA at York Minster, UK University of Evansville AGO members at the Taylor & Boody organ in Vincennes, Indiana (l to r): Zachary Guenzel, Douglas Reed (sponsor), Michael Salazar, The Canterbury Singers USA (To- dent composer, Mark Bunce, received Matthew Vanover, Joshua Goodwin, Patrick Ritsch, Karol Farris, Cal Leferink, ledo, Ohio) sang for a week in residence its European premiere at York Minster. Jeremy Webster, and John Posey following Christmas at York Minster in This was the choir’s eleventh choral tour the UK. The seven services included fi ve to the UK and third visit to York. James The University of Evansville AGO works by Buxtehude on the Taylor & Choral Evensongs, one Choral Matins R. Metzler (front row, left) serves as chapter sponsored a concert commem- Boody organ (1981, II/22) at the First and one Choral Eucharist. A new setting director and Michael Gartz (front row, orating the 300th anniversary of Dietrich Christian Church in Vincennes, Indiana. of the Evening Canticles (Magnifi cat right) serves as organist. The choir will Buxtehude’s death on October 21, 2007. Some compositions were performed on and Nunc Dimittis) by the choir’s resi- return to the UK in 2009. Douglas Reed’s students performed the university’s McGary harpsichord.
4 THE DIAPASON
Apr 08 pp. 2-21.indd 4 3/10/08 11:15:48 AM manual organ of 72 ranks was dedicated shire. In support of this effort, the “Villa” in recital by Frederick Swann, who will is providing a special package rate of return to play its 40th anniversary recital $398 for four night’s lodging and eleven on May 4 at 4 pm. In addition to his re- meals in the hotel dining room, inclusive cital, Mr. Swann will also be playing the of all taxes and tips. organ for the Sunday morning worship Organ demonstrations will be pre- service on May 4. For further informa- sented by John Atwood, Kevin Birch, tion, contact Lorenz Maycher, organist Ed Boadway, Carol Britt, Lynn Edwards at the church, at 601/428-8491. Butler, Charles Callahan, Michael Frie- sen, Mark Howe, Peter R. Isherwood, The American Organ Archives Barbara Owen, Lois Regestein, Permelia of the Organ Historical Society is Sears, and James L. Wallmann, and the sponsoring a tour of Vermont and New tour will visit two organ shops, those of Hampshire organs in the Lake Sunapee A. David Moore and Andrew T. Smith. region of New Hampshire as a benefi t for Restoration work by E. A. Boadway, A. the archives. Between August 25 and 29, David Moore, Stephen Russell, Andrew the tour will visit 15 historical organs by R. Smith, and Robert N. Waters will be Clarence Dickinson Casavant, Hook, Estey, Hamill, Hook & prominently featured. All participants Hastings, Hutchings, Plaisted, Johnson, are donating their efforts in support of discussing their lives and contributions Marklove, Alexander Mills, and A. David the American Organ Archives, the re- to church music. William Carey Uni- Frederick Swann Moore. Edgar A. Boadway, of Claremont, search library of the Organ Historical versity houses the Clarence Dickinson New Hampshire, is chairman. Of the $189 Society, located at Talbott Library, West- Collection, Dr. Dickinson’s own personal First Presbyterian Church, Laurel, registration, $130 of it will be tax deduct- minster Choir College, Rider University, library. For further information, contact Mississippi, announces the fortieth anni- ible as a charitable contribution. Princeton, New Jersey. Patricia Furr, head librarian at Carey versary of its 1968 Aeolian-Skinner, Opus Headquarters will be at Twin Lake For information, contact Stephen L. University, at 601/318-6170, or
Colin Andrews Cristina Garcia Banegas Emanuele Cardi Sophie-Véronique Shin-Ae Chun Organist/Lecturer/ Organist/Harpsichordist/Conductor Organist/Lecturer/ Cauchefer-Choplin Organist/Harpsichordist/ Recording Artist Organ Faculty and Chair Recording Artist Interpreter/Improviser/ Recording Artist Lecturer, Organ Performance University of the Republic Organ and Soprano with Lecturer/Recording Artist Music Director and Organist & Sacred Music Studies Conductor, De Profundis Polina Balva (St. Petersburg) Titular Organist First Congregational Church East Carolina University Vocal/Instrumental Ensemble Titular Organist St. Jean-Baptiste de la Salle Toledo, Ohio School of Music Director, International Organ Festival St. Maria della Speranza Deputy Titular Organist Greenville, North Carolina Montevideo, Uruguay Battipaglia, Italy St. Sulpice, Paris, France
Maurice Clerc Leon Couch Laura Ellis Catherine Ennis Faythe Freese Interpreter/Improviser/ Organist/Lecturer Organist Organist/Lecturer/Recording Artist Organist/Lecturer Recording Artist College Organist Associate Professor of Director of Music Associate Professor of Organ Titular Organist Assistant Professor of Organ Organ and Carillon St. Lawrence Jewry School of Music St. Benigne’s Cathedral and Music Theory University of Florida Trinity Laban Organ Professor University of Alabama Faculty Converse College Gainesville, Florida Irish Piper & Organ Duo Tuscaloosa, Alabama National Conservatory Spartanburg, South Carolina The Reduced Handel Company Dijon, France London, England
Johan Hermans Michael Kaminski Angela Kraft Cross William Kuhlman Tong-Soon Kwak Organist/Lecturer/ Organist Organist/Pianist/Composer/ Organist Organist Recording Artist Director of Music Ministries Recording Artist Professor of Music Emeritus Professor of Organ Conservatory of Music Saint Francis Xavier Church Organist Luther College College of Music Cathedral Organist Brooklyn College Faculty The Congregational Church Decorah, Iowa Yonsei University St. Quintinus Cathedral St. Francis College Faculty San Mateo, California Artistic Director Artistic Director Brooklyn, New York Torch International Organ Academy International Organ Festival Seoul, Korea Hasselt, Belgium www.ConcertArtistCooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: (707) 824-5611 FX: (707) 824-0956 Established in 1988
APRIL, 2008 5
Apr 08 pp. 2-21.indd 5 3/10/08 11:16:12 AM of Music degree in organ performance Appointments and the Sacred Music Diploma from the Eastman School of Music, where he studied with David Higgs and Wil- Jennifer Bauer has been named di- liam Porter; he earned his Bachelor of rector of marketing and public relations Music degree at St. Olaf College under for VocalEssence. She holds a Bachelor John Ferguson. He is a graduate of the of Music in bassoon performance and American Boychoir School in Prince- an MBA from the University of Wis- ton, New Jersey, where he began his consin (Madison). Bauer previously musical career as a treble chorister un- served as direct marketing manager for der James Litton. the Chicago Symphony Orchestra, and Jacobson has earned fi rst prize in sev- has held positions with the DePaul Uni- eral organ competitions: the 2005 John versity School of Music, and the Elgin R. Rodland Scholarship Competition, Choral Union. For information:
University of Michigan Forum • 29th International Organ and Church Music Institute “Music of César Franck & Olivier Messiaen” June 15–17, 2008 Ralph Kneeream, Gordon Atkinson, Tapani Yrjola with U-M Faculty CONCORA executive director Jane Penfi eld, CONCORA board president Robert M. Borden, CONCORA artistic director Richard Coffey, Hartford Symphony Orchestra music director Edward Cumming U-M Historic Organ Tour 55 CONCORA celebrated the 60th birth- Church Music Institute in Waterville, Three Great Cities: Budapest, Vienna, Prague day of its founder and artistic director, Maine, and the University of Connecti- July 11–23, 2008 Richard Coffey, on February 2 at the cut at Storrs. Farmington Club in Farmington, Con- Coffey has served on the boards of Information from Conlin Travel, Ann Arbor necticut. The evening included dinner directors of the New Britain Symphony, 734/677-1562 and testimonials by Hartford Symphony the Hartford AGO chapter, and Chorus Orchestra music director Edward Cum- America. He also serves regionally as ad- ming and CONCORA executive director judicator and clinician for keyboard and Jane Penfi eld. Musical entertainment was choral competitions and festivals. He 48th Conference on Organ Music provided by the CONCORA singers. served for fi ve years on a panel of advi- October 5–8, 2008 Richard Coffey founded CONCORA, sors to the Institute of Sacred Music at Connecticut Choral Artists, as a profes- Yale University, and has made presen- “Music of Messiaen” sional vocal ensemble in 1974. He is or- tations at conventions of the American Commemorating the centenary of the composer’s birth ganist and minister of music of the South Choral Directors Association, Chorus Church of New Britain, where he con- America, and the American Guild of Or- Almut Rossler, Carolyn Shuster Fournier, Denny Wilke ducts a choir of professional and amateur ganists. He frequently writes reviews for singers and serves as artistic director of The Choral Journal. and U-M Faculty its music series. He is also music director Coffey holds degrees in music from the • of the Hartford Chorale. University of North Carolina at Greens- Coffey has prepared choruses for boro and the School of Sacred Music of For additional information: many orchestras and festivals, and was New York’s Union Theological Seminary. chorusmaster of the Connecticut Opera He was awarded France’s “premier prix” Dr. Marilyn Mason, Professor of Music Association for fi ve seasons. For three in organ performance following stud- The University of Michigan School of Music, Theatre and Dance years, Coffey was visiting artist in cho- ies with organist Marie–Claire Alain. In 1100 Baits Drive ral music at the Hartt School, Univer- 1992 Coffey was named Choral Director sity of Hartford, where he conducted of the Year by the Connecticut Chapter Ann Arbor, MI 48109 the Hartt Chamber Singers and taught of the American Choral Directors As- 734/764-2500 graduate seminars in choral literature. sociation. In 2007 he was awarded the [email protected] He has served on the faculties of Sum- Lifetime Achievement Award by the merTerm at Central Connecticut State Greater New Britain Arts Alliance and a University, the President’s College of Major Achievement Award by the Hart- the University of Hartford, the Colby ford Symphony Orchestra.
6 THE DIAPASON
Apr 08 pp. 2-21.indd 6 3/10/08 11:16:32 AM
Frank Ferko Scott Hanoian Iain Quinn Martin Argall at Medinah Temple, 1978
-page 6 Fugue in A Minor, Prelude and Fugue on works including Bless the Lord, all you survived by his wife of 65 years, Charب ing in Action, 1943, which the Gunns “O Traurigkeit,” Fugue in A-fl at Minor, his hosts, Mirabile Mysterium, O esca lotte, two daughters, four grandchildren, have performed regularly in their all- and Prelude and Fugue in G Minor. Ha- viatorum, and the Magnifi cat and Nunc and a brother. American programs. The April concert noian was recently appointed director of dimittis, respectively. Quinn is director will focus on the life of monks, and it will music and organist at Christ Episcopal of cathedral music and organist at the Lloyd E. Cast, Jr. died on January also include works of Samuel Barber and Church in Grosse Pointe, Michigan. The Cathedral Church of St. John, Albuquer- 26. He was 75. Born in Hollywood, Cali- Olivier Messiaen. booklet comes with notes on the music, que, New Mexico. fornia, he received bachelor and master Ferko’s setting of O salutaris hostia for a full stoplist and an interview with Ha- of music degrees from Indiana Univer- unaccompanied SSAA chorus is featured noian about his career as a professional Daniel Roth is featured on a new sity, as well as a Doctor of Music (honoris on a new recording by the St. Mary’s musician. For information:
EHGLHQWRUJDQFRP Christian Lane • Thomas Winpenny • Samuel Gaskin
RONALD CAMERON BISHOP Consultant Distinguished pipe organ builders of Padua, Italy Pipe Organs Digital Enhancements Via Facciolati, 166 • 35127 Padua, Italy All-digital Instruments Telephone (39-049) 750-666 • Telefax (39-049) 850-483 • In the United States: 330-867-4370 8608 RTE 20, Westfield, NY 14787-9728 www.ruff atti.com • organs@ruff atti.com Tel 716/326-6500 Fax 716/326-6595
8 THE DIAPASON
Apr 08 pp. 2-21.indd 8 3/10/08 11:17:00 AM DIANE BISH SIGNATURE SERIES COMBINATION ORGAN INSTALLED AT CORAL RIDGE PRESBYTERIAN CHURCH
new combination Diane Bish A Signature Series™ digital and pipe organ has been installed in DeVos Chapel at Coral Ridge Presbyterian Church, Fort Lauderdale, Florida. Ms. Bish served as senior organist and artist-in-residence at Coral Ridge for over 20 years. The stunning three-manual, 58 stop instrument includes 20 ranks of pipes, including a Trompette en Chamade, in addition to its complement of digital voices. Burton K.Tidwell oversaw the details of the organ, including design, pipe scaling and tonal finishing.
Coral Ridge Presbyterian Church highlighted the new organ at Church Music Explosion 2008!
Diane Bish Signature Series™ Quantum™ DB-58Q Diane Bish has recorded a stunning virtuoso performance on the DeVos Chapel organ at Coral Ridge Presbyterian Church. This performance will be featured on the nationally broadcast Joy of Music television program. A DVD will be available for purchase on the Joy of Music web site: www.dianebishtv.com
150 Locust Street, P.O. Box 36 Macungie, PA 18062-0036 Phone: 610-966-2202 Fax: 610-965-3098 ® E-mail: [email protected] Web site: www.allenorgan.com state area of Iowa, Illinois and Wisconsin. Jean Langlais. After two years as director stein, grandsons of Felix F. Schoenstein, Scientist (The Mother Church), both in He was an inveterate convention-goer at of music at the First Unitarian Church who founded the company in 1877. In Boston, well into the 1980s. McKown meetings of both the American Guild of in Worcester, Massachusetts, he moved the 1980s Bertram came out of retire- cared meticulously for the Casavant or- Organists and the Organ Historical So- to New York in 1962 and enrolled at the ment for several years to help his brother gan as a gift to his church. ciety. He served on the committee that Union Theological Seminary, joining the Lawrence and new owner Jack Bethards The Organ Clearing House man- planned and executed the 1986 OHS seminary faculty in 1963 and completing to enlarge the fi rm’s operations. Edward aged the purchase and sale and served convention in eastern Iowa. his doctorate in sacred music in 1968. and Vincent have also been involved with as general contractor for the renovation August Knoll was well known as a suc- In 1964 Westenburg was hired as or- the company from time to time. The and modifi cation of the organ. The pit- cessful mentor of many music students, ganist and choirmaster at Central Pres- three brothers were proud to see that the man windchests were releathered by and many of these students went into byterian Church in Manhattan, and he traditions established by their family are Columbia Organ Works of Columbia, careers in music. He was also a famil- quickly assembled an early version of the continuing in the 21st century. Pennsylvania. The new case and build- iar fi gure playing and directing in many Musica Sacra Choir. He was also music —William Vaughan ing frame was designed by Jay Zoller community bands throughout the area. director of the Collegiate Chorale from and built by QLF Pipe Organ Compo- His constant support and interest in all 1973 to 1980 and a lecturer at the Metro- John-Paul Buzard Pipe Organ nents of Rocky Mount, Virginia. The things musical will be deeply missed. politan Museum of Art from 1979 to 1982. Builders is undertaking a comprehen- façade pipes were made of polished tin —Mark R. Nemmers In 1990 he became music director at the sive rebuilding of the Wicks organ at Holy with gilded mouths by Organ Supply In- Fifth Avenue Presbyterian Church. Cross Lutheran Church in Collinsville, dustries of Erie, Pennsylvania. Karlheinz Stockhausen, age 79, died In addition to conducting, Westenburg Illinois. The church (in whose cemetery The organ was installed in Midlothian December 5, 2007. He began musical taught choral music and conducting at the 19th-century St. Louis organbuilder by Amory Atkin, president of the Organ studies at age six, with a local organist, the Mannes College of Music from 1971 Wilhelm Metz is buried) had at one point Clearing House, Joshua Wood, vice- Franz-Josef Kloth, and studied composi- to 1977, and led the choral department a 1914 tubular-pneumatic action Wicks president, and Terence Atkins, Dean tion with Swiss composer Frank Martin at the Juilliard School from 1977 to 1989. organ. This was replaced in 1946 by a Conry, and Nicolas Bruno of the OCH in Cologne and with Olivier Messiaen He was also a visiting professor at Rut- 2-manual, 11-rank electromechanical ac- crew. Executive director John Bishop and Darius Milhaud in Paris. An infl uen- gers University from 1986 to 1992. He is tion Wicks instrument, which was altered coordinated the various phases of the tial German composer, he was prominent survived by his two sons, two daughters, and enlarged by Wicks in 1976. The pres- project. Robert Waters and Scot Hun- in the avant-garde movement in the mid and six grandchildren. ent project includes complete rebuilding tington performed tonal fi nishing. to late 20th century; he wrote many com- of the console; installation of a new solid- Salisbury Presbyterian Church is positions that included electronic sound. state relay and combination action; total home to an active music program led by His 362 compositions include 45 choral refurbishment of all wind system compo- Sharon Miller, director, and John Miller, works. He founded the Stockhausen Here & There nents and windchests; installation of new organist. A dedication recital was played Foundation for Music in 1994, to pre- expression equipment; total revoicing of in November of 2007 by Bradley Welch serve his works and provide instructions the organ to bring its disparate pipes into of Dallas, Texas. on performing his music. Details can be Bärenreiter announces the release harmony with each other, and the instal- found at
www.mander-organs.com 27 Marlboro Lane • Eugene, OR 97405 Imaginative Reconstructions (541) 521-7348 [email protected]
10 THE DIAPASON
Apr 08 pp. 2-21.indd 10 3/10/08 11:17:32 AM Celebrating 50 Years of
1950s
Rodgers Instruments A member of the Roland Group 1300 NE 25th Avenue Hillsboro, Oregon 97124 503.648.4181 [email protected] www.rodgersinstruments.com 2000s 1990s 1980s 1970s 1960s
FOUNDED 1958 Rockefeller Chapel, Chicago Carillon News by Brian Swager The Schantz Organ Company has completed the rebuild of and modifi - cations to the E. M. Skinner Opus 634 Sixth International Queen Fabiola (1928) at Rockefeller Chapel, Chicago. Carillon Competition When installation and tonal fi nishing Since its foundation in 1922, the Royal is complete the organ will stand at 132 Carillon School “Jef Denyn” in Mech- ranks. The tonal design of the instrument elen, Belgium, has been involved in the was restored to the original Skinner de- support and development of the art of sign. Additions and tonal modifi cations carillon playing. As part of this effort, to the organ have been made in keeping the school organizes the international with Skinner tonal concepts. The project Queen Fabiola Carillon Competition in is scheduled for completion later this cooperation with the city of Mechelen. spring. Built into the chapel in 1928, this This competition, widely recognized as organ is one of the few remaining mas- the most prestigious of its kind, provides terworks of Skinner. The original design a powerful stimulus for the recognition featured four manuals and 126 stops. For of carillon playing as an artistic expres- information:
Atlanta First United Methodist Church A.E. Schlueter Pipe Organ Company and Atlanta First United Methodist Church are pleased to announce the recent com- pletion and dedication of their new pipe organ.
This instrument features a 5-manual console and 93 ranks of pipes in 9 divisions. The complete specification is available at www.pipe-organ.com for this and other pro- jects. A.E. Schlueter Pipe Organ Co.
P.O. Box 838, Lithonia, GA 30058 800-836-2726 www.pipe-organ.com
12 THE DIAPASON
Apr 08 pp. 2-21.indd 12 3/10/08 11:17:59 AM and one contemporary. On Sunday, the round before May 15 to the Royal Carillon trips, I’ve visited art museums from candidates will perform the obligatory School “Jef Denyn,” Frederik de Merod- Whitney to Walker and from Getty work as the contemporary composition, estaat 63, B-2800 Mechelen, Belgium. to Guggenheim. I’ve participated in a a baroque or classical work chosen by The organizers may refuse any submis- census of migrating whales in southern the jury, and a romantic composition also sions that do not meet the required stan- California, been to baseball games in chosen by the jury. dards. No appeal against their decision is a dozen cities, and attended a perfor- First Prize: €3000, Prize of the Minister possible. After approval by the organiz- mance of A Prairie Home Companion at of Culture of the Flemish Government ers, candidates will receive a confi rma- the Fitzgerald Theater in St. Paul. I’ve Second Prize: €2000, Prize of the tion and additional practical guidelines. worshipped in many of America’s great Province of Antwerp churches. On one notable Sunday morn- Third Prize: €1500, Prize of the City ing, I attended the radio broadcast at of Mechelen and the Mechelen City the Mormon Tabernacle, a nine o’clock Guides League service at the Episcopal cathedral, and Fourth Prize: €1300, Prize of the City In the wind . . . eleven-thirty at the Roman Catholic ca- of Roeselare and the Royal Tower and by John Bishop thedral, all in Salt Lake City. I’ve visited Carillon Society “Jef Denyn” John Bishop organbuilding shops all over the country. Fifth Prize: €1000, Prize of Mr. A. And restaurants—sushi in Los Angeles, Jans, honorary president of the Archeo- Life’s rhythm bers for the installation of new instru- an Argentinean steak house in Dallas, logical Society and Mr. P. van den Broek, Working with the Organ Clearing ments built by others. This means that Dungeness crab and salmon in Seattle, honorary director of the carillon school House is all about travel. Most organ- we travel frequently—sometimes it feels and I’ve mentioned before the Brazilian Extra Prize: €1000, Prize of SABAM builders spend most of their time in the like constantly. Many of our trips last two steak house in Philadelphia next to the for the best interpretation of a Belgian workshop building an instrument, and or three weeks. We arrive in a city, settle Wanamaker store. contemporary work. then go on the road to install it. Ours into a hotel, fi nd our way around, and es- Applicants should send their curricu- is mostly site work. The OCH crew is tablish a temporary life rhythm of work, “If you got to ask, you ain’t got it . . . ” lum vitae with a suitable photograph, busy dismantling or installing organs, rest, meals, and calling home. (Fats Waller answering a fan’s question the nine scores, and the choice of which shipping organs and organ parts around It’s fun to visit the sites that make a about rhythm) work they will perform in the elimination the country, or preparing organ cham- distant city special. While on business Exotic and exciting to be sure, but
EXCEL.
IN WORSHIP
IN PERFORMANCE
At Goulding & Wood, we understand that an instrument must serve the musicians who play it. Every aspect of our design is focused on providing the resources for the varying roles organists must fill. Our tonal designs offer creative and comprehensive resources for the authoritative performance of literature, the nuanced accompaniment of choirs, and the imaginative leadership of congregational singing. Our exclusive slider chest design, with our full ten-year war- ranty, ensures an unsurpassed reliability and effective musical response to the organist’s touch. Our visual designs sensitively complement the surroundings of the instrument while giving the musician ergonomic, intuitive control of the organ’s resources. In all aspects, the instrument creates an ideal setting for the musician’s inspiration to excel, both in worship and performance.
823 Massachusetts Avenue • Indianapolis, Indiana 46204 Voice: 800.814.9690 • Facsimile 317.637.5236 www.gouldingandwood.com
APRIL, 2008 13
Apr 08 pp. 2-21.indd 13 3/10/08 11:18:17 AM often while traveling I miss the rhythm the quiet and regular pace of Pentecost of life at home—chores, meals, errands, through the summer, when choirs are on the familiarity of place. And while many recess, there’s no Sunday school, services evenings on the road bring thrilling new are moved to the chapel, fi sh are jumpin’, experiences, others are dull and lonely. and the cotton is high . . . one of these Recently I ate alone in a restaurant in mornings you’re gonna rise up singing, New York, where a young man was play- so hush little baby, don’t you cry. ing the piano. The food was good, service I’m thrilled by the rhythm of good friendly, and there was a pleasant bustle hymn playing. A steady and stately tem- in the place, but the piano playing was po, quick enough that the average con- deadly. He sat with rigid spine, ninety- gregant can sing a phrase in one breath, degree angle between neck and chin, slow enough that everyone can sing all never moving his head. He was play- the words. Some ebb and fl ow of regis- ing standard crooner-type stuff as if he tration—not only playing each stanza on a were an animatron in a department-store different setting or manual, but including Christmas tableau. (Some- plink, plink, some Swell-box action and a knob or two where- plink, plink, over the rainbow- to accentuate the text within the stanza. plink . . . skies- plink, plink, are- plink, The organist who can’t think of anything plink . . . ) Yikes. special to do with stanza three of Hymn As he went from one song to another, 432 in The 1982 Hymnal (O praise ye the I refl ected on rhythm, how on the one Lord!) isn’t worth listening to: hand it’s important for musical rhythm to be fi rm and clear, even dependable, O praise ye the Lord! All things that give and on the other hand it’s essential that sound; rhythm be fl exible and alive. A listener Hermann Eule keydesk, Ladegast organ, St. Nikolaikirche, Leipzig (copyright © each jubilant chord re-echo around; Hermann Eule Orgelbau, Germany; reprinted with permission) loud organs, his glory forth tell in deep is troubled by the unpredictability of tone, poor rhythm. A congregation is afraid to and sweet harp, the story of what he sing if the organist’s rhythm is untrust- company logo on the right-hand end of (ba-) long (ba) day, (ba-dump) . . .” My hath done. worthy. But if it’s too rigid or too strict, it the keydesk. car’s directional signals have a triplet stops being music. It’s like the little girl beat to them and make me think of the Doesn’t that imply some pistons being dressed up in a starched pinafore, afraid “I got rhythm . . . ” subject of Mendelssohn’s C-minor fugue pushed? (It was sung at our wedding and to move. Swiss musician and educator Émile (Prelude and Fugue in C minor) when I it gets me every time!) Once at lunch with colleagues (it was Jaques-Dalcroze (1865–1950) is best sit at a traffi c light: (ba-dee, ba-dah, ba- Stanza three of O little town of Bethle- the Brazilian place in Philadelphia, you known for the development of Eurhyth- dee, ba-dah . . .). hem gives another registration hint: How really have to try it!), we were joined by a mics, a study of motion as it relates to the Nowadays, carpenters often use pneu- silently, how silently, the wondrous gift lover of organ music who was also a clas- performance of music. As a student at matic nail guns that are loaded with car- is given. Please don’t tear into that with sic-car enthusiast. He talked about driv- Oberlin in the 1970s, I was lucky to par- tridges of nails or staples. But watch a mixtures and trumpets a-popping. ing on a beautiful road in a terrifi c car, ticipate in a special month-long seminar skilled carpenter using an old-fashioned Or how about Dear Lord and Father up and down hills, slowing a little before in Eurhythmics, led by Oberlin’s retired “analog” hammer—it’s a pleasure to see of Mankind (I know, I know, it’s not in- a curve and accelerating through it, tak- professor of Eurhythmics Inda Howland, his natural rhythm as even, free strokes clusive . . .), stanza fi ve: ing a moment to notice a beautiful view who had studied with and was a disciple of the hammer send the nail into the or a particular building. He compared of Dalcroze. wood in even increments. Twenty nails, Breathe through the hearts of our desire this with musical performance. A great There’s a touching anecdote about how a hundred strokes, no bruised thumbs, I thy coolness and thy balm; musician, he said, knows how to step on Dalcroze was led to develop this special- feel another song coming on (and it’s not Let sense be dumb, let fl esh retire; speak through the earthquake, wind, and fi re, the gas just enough to make a passage ty. He was working with a piano student If I had a hammer . . . ). O still, small voice of calm. thrilling, how to slow slightly to notice a whose rhythm was poor enough that he We think of rhythms in larger cycles. special sight, how to put the pressure on had trouble playing even beats. Look- Where we live, the ocean’s high tides are That’s one hymn I wouldn’t end on Gen- when things get exciting. ing out his window across the campus about twelve hours and twenty or thirty eral 8. Listening to Mr. Plink-Plink in New where he taught, Dalcroze happened to minutes apart. It’s not an exactly regular The organist reads the words and York, I thought of that Philadelphia see this student striding along with pur- cycle, but high tide advances by about thinks of stop combinations, rhythmic lunch where all of us around the table re- poseful rhythmic footsteps. It was clear forty-fi ve minutes each day. It affects liberties, commas inviting breaths. The sponded to the driving metaphor. I loved to him that the student had good rhythm the rhythm of life in subtle ways. My organbuilder thinks of quiet stop actions, the images from that conversation. I pic- at least in his walking, and Dalcroze was wife takes a water shuttle to her offi ce. If fast pistons, swell shutters that don’t tured an organist wearing Great Race- inspired to understand how to connect it’s low tide at seven-thirty in the morn- squeak, bass pipes that speak promptly. style goggles, gloves, and scarf playing a the easy rhythms found in everyday life, ing, the ramp to the boat is dramatically How can your organist play rhythmically snazzy toccata. such as footsteps and heart beats, with steeper than if it’s high tide—an issue in if low C says fffffwwwaah? Having never owned a Porsche, I musical performance. winter weather. The cycles make it be And this is where the art of organbuild- didn’t know until recently that the auto- Dalcroze exercises are tailored to em- something like high tide one Monday, ing really gets special. Of all the musi- maker publishes a magazine for its cus- ulate natural and easy forms of rhythm. low tide the next Monday. cal instruments, the organ is the most tomers. One of our neighbors does drive You toss or bounce a ball back and forth We tell time in days, weeks, and mechanical. Any medium-sized organ a Porsche, and he thought I’d be inter- in musical time with a partner for ex- months. The tides tell time in lunar has thousands upon thousands of mov- ested in an article about a pipe organ that ample, establishing a beat and letting the months—the tide clock on our wall ing parts, little things pushing and pull- he read in the Porsche magazine. bounce of the ball occupy one beat, two counts lunar seconds. For centuries, the ing, huffi ng and puffi ng. Switches open In 2002, Porsche established a new beats, or a four-beat measure. The pace British Navy used tide cycles as pay peri- and close, magnets are energized by the factory in Leipzig, Germany, joining of the rhythm is defi ned by the arc of the ods—there are thirteen lunar months in hundred, huge masses of wood move si- luminaries like Franz Liszt, J. S. Bach, bounce—it fl oats or soars, giving the im- a year so there were thirteen paychecks. lently as a swell pedal is moved by the Johann Goethe, Robert and Clara age or feeling of freedom within rhyth- Ocean tides give us the image of ebb organist. A rhythmical poke at a toe stud Schumann, and Kurt Masur as good citi- mic defi nition. If it’s a four-beat bounce, and fl ow, and we translate that into larger gives a rhythmic response. No organ- zens. As the fi rm was introducing itself it has a life and airiness not found in the cycles like the rhythm of holiday seasons. ist, chorister, or congregant has to wait to the city, it provided funding for the pile-driving, one-beat bounce, a great As I write, Lent has just started. We’re or be jarred by a machine responding a renovation of the great Ladegast organ demonstration of rhythmic principles. coming out of the post-Christmas ebb, split-second late. A good tracker action at St. Nikolaikirche, the “other” church Where do we fi nd rhythm in our lives? getting ready to step on the gas and ac- operates in real time. A good electric or in the town where Bach made music. Drive on a concrete highway. There are celerate into Easter with its strong ju- electro-pneumatic action operates at the Hermann Eule of Bautzen, Germany, expansion joints every fi fty feet or so and bilant rhythms (a-ha-ha-ha-ha lay-hay speed of light: 670,616,629.2 miles per was the organbuilder, and the artists at the tires of your car go ba-dump, ba- looo-ooo ya). Many church musicians hour or 186,282.397 miles per second. Porsche won a major design prize for the dump, ba-dump. When I was a kid these see post-Easter ebbs, followed by spe- Let’s face it, we can argue about control- keydesk. (See photo.) Hang on to your rhythms inspired family singing: “I’ve cial services at Pentecost, church-school ling the speed of attack but there’s no ap- hats! Form follows function? Careful of been working on the rail- (ba-dump) Sunday, and something around high- preciable difference in response time. your tempos. And be sure to note the road (ba-dump), all (ba-dump) the live- school graduation, all of which leads into The machines we build that blow air into organ pipes must support the player with instant response so the machine can THE ORGAN CLEARING HOUSE vanish into the art. That achieved, the rhythm can be free, the music alive, and CASAVANT ORGAN, OPUS 3178, 1972 we can leave Mr. Plink-Plink sitting stiffl y on a piano bench in New York, stifl ing an Before(left): otherwise pleasant dinner, while we ac- Centre Methodist celerate into a turn with the sun shining Church, Malden, MA and the wind in our hair. Q After(right): Salisbury Presbyterian Church, Midlothian, VA OrganmasterShoes FAST Delivery Ɣ 3 Widths Renovated and installed by the Organ Clearing HALF Sizes Available House. New Case by QLF Pipe Organ Components.
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14 THE DIAPASON
Apr 08 pp. 2-21.indd 14 3/10/08 11:18:34 AM Bach’s E-fl at major fugue: bine stops that don’t even produce the gression or a bit of a hymn is good—add- b-fl at – g – c – b-fl at – same letter-name notes as one another. ing and taking away various 4′ and higher On Teaching e-fl at – e-fl at – d – e-fl at This is certainly the thing that seems the stops at random. by Gavin Black Depending on what the overtones of least intuitive and the most questionable 4) after a while, remove the 8′ stop. each pipe happen to be doing, a counter about registration to many of those who The student will hear the music sudden- melody could arise that went like this: are not yet experienced with the organ. ly jump up in pitch. Registration and teaching—Part II d – d – g – d – g – g – f# – g (This can be true especially if someone 5) repeat all of this with a softer 8′ stop. In last month’s column, I emphasized or that went like this: stops to think about all of the pitches that Anyone performing or listening to this the usefulness of starting off the teach- f – b – e – f – b-fl at – are present in a thick texture. For exam- exercise will certainly notice that not all ing of registration with a clear explana- b-fl at – f# – b-fl at ple, a G-major 7th chord played on a reg- of the combinations work equally well. 2 tion of the meaning of the foot-desig- or any number of other possibilities. It istration that includes a 2 ⁄3′ stop includes Some of the sounds that could blend in nation of organ stops and with a set of will be different for each different stop on the pitches g, a, b, c, d, f, f#. If you throw theory will not seem to blend very well in demonstrations of that meaning. This is a which you play the melody. The “extra” in a tierce you add a d#. That this would practice, perhaps because a 4′ or higher necessary foundation for understanding melody will be quiet, and usually it will be acceptable makes a lot more sense if stop is too loud or too bright (or for that everything about combining stops and range from one to three octaves above you know that all of those “extra” pitches matter out of tune) or because a given 8′ about choosing organ sounds for music. the “offi cial” melody. It is quite possible are present anyway as overtones.) stop is too thin or weak or has something Once a student clearly understands the that these inherent counter-melodies are So the most basic description of the about its intrinsic overtone development meaning of all the numbers on the stop one source of the human invention of structure of the art of combining organ that confl icts with rather than supports knobs, it is time for that student to be- counterpoint. This is all a bit of a detour stops, and the most useful as a starting the addition of higher-pitched stops. gin exploring the art of combining stops. from learning techniques of registration point, goes something like this: that, as These considerations are extremely im- This starts with developing an awareness as such, but it is a useful exercise both for long as you have one or more 8′ stops portant. They are also subjective and in of what the stop pitch levels imply about learning to listen carefully to sound and present in your combination of stops, the end belong to the realm of artistic the structure of stop combinations, and for remembering that sounds themselves anything and everything higher than 8′ judgment or discretion. A student listen- continues with the development of an are complex and interesting, often doing pitch has the potential to blend with the 8′ ing to or trying out this exercise should be ear for the aesthetic nature of different more than we might at fi rst expect.) sound. In so doing, it will change the na- encouraged to notice aesthetic aspects of sounds, and then with the acquisition of Once a student understands the basic ture of the sound by changing the overall each sound. However, the main point for knowledge about registration practices concept of overtones (and believes in balance of the overtones, and by changing the moment is that the dropping of the 8′ in different schools of organ composition them!), it is easy for him or her to under- the volume, but it will not upset the pitch pitch makes a sound that is utterly differ- or in the work of specifi c composers. stand the blending of stops of different identifi cation of the notes that you play. ent in kind from the adding or dropping The concept that it is OK to combine pitches: a 4′ stop blends with and rein- A simple exercise to demonstrate this of any higher-pitched stops. stops that are not at the same pitch level as forces the fi rst upper partial of an 8′ stop, would be as follows: Of course, it might occur to a student, 2 one another, and that the resulting sound a 2 ⁄3′ stop the second upper partial, a 2′ 1) choose a keyboard that has more or a teacher might want to mention for will be (or at least can be) a coherent mu- stop the third, etc. One advantage of go- than one 8′ stop and several higher- completeness if nothing else, that it is per- sical sound at a coherent pitch level, is not ing through all of this quite systematical- pitched stops. fectly possible to use sounds that omit 8′ self-evident. In fact, it is counterintuitive ly is that it answers the question of how 2) draw the louder (loudest) 8′ stop. stops, for some special reason or in some to most people who have not already be- in the world it can make sense to com- 3) play a simple passage—a chord pro- special way. The simplest of these is the come well versed in organ registration. It seems, if anything, self-evident that this kind of mixing will result in obvious paral- lel octaves and fi fths, and also in a gener- alized jumble of pitches, which would at a minimum make clarity impossible (be- cause notes that you play in the tenor reg- ister, for example, would produce pitches proper to the treble register, etc.). Since the blending of stops at different pitch levels in fact can work the way it does be- cause of the overtone series, it is useful to explain something about overtones to students. It is certainly not necessary to go into all of the scientifi c details—the physics of the creation of overtones, the reasons for inharmonicity of overtones in certain situations, or even what the notes of the overtone series are, above the fi rst few. However, it is a good idea to review the basics: 1) Almost all musical sounds pro- duced acoustically have many frequen- cies blended together. (It usually takes a Uif!Sfw/!Tvtbo!Gmboefst! computer to produce a sound at exactly Sfdups one frequency.) Uif!Sfw/!Ibssjtpo!Xftu 2) These frequencies are (usually) a) a given frequency and b) other frequencies !Bttpdjbuf!Sfdups that are multiples of that fi rst frequency. (Of course we use the lowest frequency Boof!Ujnqbof to identify the note, as in “A 440.”) Ejsfdups!pg!Nvtjd!Njojtusjft 3) These multiples produce sounds Tu/!KpioÖt!! that are related to the lowest frequency Dzouijb!Tuspnbo by common musical intervals: octave, Fqjtdpqbm!Divsdi Pshbo!Dpnnjuuff octave-and-a-fi fth, two octaves, two-oc- taves-and-a-third, etc. Opsxppe!Qbsjti Tv{boof!Xfmdi On most organs it is possible to fi nd PxofsÖt!Sfqsftfoubujwf individual notes on some stops in which Difwz!Dibtf-!Nbszmboe some specifi c overtones can be heard as Uisff!nbovbm!boe!qfebm!.! separate pitches. These can be used to demonstrate the existence of overtones 74!Sbolt-!69!Tupqt and the pitch levels of some of them. Gedeckts, fl utes, and quintadenas are of- Efejdbujpo!.!Tbuvsebz-!Nbz!21 ten the most fruitful for this, and notes in Gps!beejujpobm!jogpsnbujpo-!dpoubdu!uif! the octave and a half or so below middle c are the most promising, because they are divsdi!pgßdf!bu!412.765.8878/ the easiest to hear. Usually it is possible to fi nd a pipe or two in which the twelfth is clear (quiet, perhaps, but clear), others in which the seventeenth is, and others in which the octaves are. To someone who has never tried to listen to overtones be- fore, these sounds are usually hard to hear at fi rst, but then suddenly “come in.” The teacher can help with this, fi rst by mak- Uif!Efßojujpo!pg!Mfhbdz ing sure to zero in on the pipes with the clearest individual overtones, and then by briefl y playing, singing, or whistling the actual note corresponding to the overtone that you wish to help the student to hear. *«iÊ"À}>Ê Õ`iÀÃ This will attune the student’s expectation to that pitch, and it will probably only be Ejsfdu!jorvjsjft!up;!! necessary for the fi rst few notes. (A further exercise in listening to over- tones is this: play a simple melody on one Cfshibvt!Qjqf!Pshbo!Cvjmefst stop. Try to hear and follow the counter- 3262!Nbejtpo!Tusffu-!Cfmmxppe-!JM!71215 melody created by the clearest and most 819.655.5163!¦!xxx/cfshibvtpshbo/dpn noticeable overtones. For example, con- sider the notes of the fugue subject of
APRIL, 2008 15
Apr 08 pp. 2-21.indd 15 3/10/08 11:18:53 AM use of a 4′ or higher sound to play the mu- three. In planning registration for a piece Using a trumpet with the weekly an- sic at an octave or more higher than the on the harpsichord, it is always possible Music for Voices them and as an addition to the singing of written pitch. Also fairly common is the to use what I consider to be the soundest hymns will certainly add spark to the ser- use of a non-8′ registration accompanied and most artistically thorough approach: and Organ vice. As William Rice says in A Concise by the moving of the hands to a differ- simply trying the piece out on every pos- by James McCray History of Church Music: ent position on the keyboard to bring the sible sound, listening carefully and with pitch in line with original expectations. attention, and deciding which sound you Church music is suffering from severe These are useful things to bear in mind as like best. Choir with trumpet growing pains. Interest in the development a performing organist, but they are spe- This approach is almost always impos- of an effective program of church and The quality of tone of the trumpet is no- church-school music was, until recently, cial cases that can best be thought about sible on the organ. It is always impossible limited to a few more or less well-trained at a slightly later stage in learning, and on any organ but the very smallest. How- ble and brilliant; it comports with warlike ideas, with cries of fury and of vengeance, musicians, ministers, and even fewer educa- that should certainly not distract a stu- ever, it seems to me that it is still—albeit as with songs of triumph; it lends itself to tors. The present trend is toward involving dent from developing the most thorough only in an underlying theoretical way— the expression of all energetic and grand all who are directly or indirectly affected by possible understanding of “normal” stop the best approach, and the right concept sentiments, and to the majority of tragic church music in the exciting and disturbing combination and registration. The same to have in the back of one’s mind when accents. exploration of the contributions music can can be said about the use of 16′ sound in working out registrations. That this is —Hector Berlioz (1803–1869) make to the total life of the church. multi-voiced or chordal manual playing. true can, I think, be almost proven logi- This, in theory, just transposes the music cally. If you are using a given registration, Berlioz’s description quoted above The reviews below feature choir an- down an octave, but often doesn’t—for whether it comes from an editor, or from certainly lends itself to use with choirs, thems with trumpet. As the church year some psychoacoustic or just plain acoustic your teacher, or from something that you although in church situations the trum- for the choir winds down this spring fol- reasons—quite sound like that. jotted down in your copy years before, pet is most often found as a component lowing an early Easter, programming a So far we have developed a rather or from any other source, but there is of a brass ensemble. Easter may be the work with trumpet may be inspirational scientifi c approach—perhaps too sci- in fact a different registration that you most frequently consistent use of choir not only to the congregation, but also to entifi c for some people’s taste—to the would like better if only you heard it, with brass in church services; however, the choir. teaching or learning of registration. We then you should in theory be using that there is a wealth of repertoire available have asked students to think very clearly other registration. Therefore, ideally, to choral directors that uses the trum- Remembrance, Dan Locklair. SATB, about the pitch designations of stops, one would always hear every registration pet as a solo instrument. Smaller church trumpet in C, and organ, Subito Mu- about overtones, about what overtones before making a fi nal choice. choirs often are overpowered by a brass sic, 9148000-445, $2.25 (M). imply about the use of different pitches (I am not right now dealing with the ensemble, so using just the trumpet still Using the famous Matthew 5 text of of stops, and about how to make sure extra-musical quasi-ethical consider- gives a noble quality to the choir without the Beatitudes, Locklair’s sensitive work that a sound is grounded in unison pitch. ations of authenticity that arise when sacrifi cing the voices. A prime example is a tribute to the memory of his par- We have not yet talked about either how a specifi c registration comes from the of this may be seen in Dan Locklair’s Re- ents. The choir is often divisi, with the to choose registrations that “sound good” composer. I will address that at least membrance reviewed below. women and/or men in four parts singing (or “beautiful” or “appropriate” or any- briefl y next month.) In a recommended book by James close harmonic chords that unfold dia- thing else) or about how to respect com- The purpose of taking a student very Ode titled Brass Instruments in Church tonically to create the warm, mild dis- posers’ wishes or any other way to tailor systematically through what I described Services (Augsburg Publishing House), sonances. The trumpet part adds to the sounds to pieces. We have also barely above as a scientifi c approach to the the author reminds the reader that “The serenity of the music with slow, sustained mentioned stop names, or even names technique of registration—the feet, the sounds of the ram’s horn in Biblical times, lines of a repeated theme between the of important categories of stops, diapa- overtones, the combinations at different while not producing beautiful tones, did textual verses. The organ part, on three sons, fl utes, reeds, and so on. Nor have pitch levels—is to allow the student then convey defi nite messages to the people staves, includes registrations and is very we mentioned any rules or even ideas to feel free to try anything and everything of God and became a traditional part of easy, often doubling the choral parts. about how or whether to combine stops (again, knowing that there won’t really be the worship service.” This useful book This gentle music is fi lled with repeti- of different types, or for that matter of time for everything!) without fear of do- has three parts to it: I: Brass Instruments tion, making the music easy to learn and the same type. ing something that really, in some con- in Worship since the Reformation; II: perform. Highly recommended to choirs Organs have lots and lots of sounds. crete way, doesn’t and can’t work. This Preparations for Church Performances; capable of singing in four parts for both For example, by my calculations, allow- will enable the student to be relatively III: Scoring for Brass Instruments. The the women and the men. ing only for sounds that include 8′ pitch independent of outside guidelines, and historical background in chapter I is of and leaving cornets and “céleste” stops increase the chance that the student will particular interest, although the appen- I Am Forever Who I Am, Kurt von out of any ensemble, but taking into ac- contribute something new and interest- dix contains collections of music suitable Kampen. SAB or SATB, congrega- count couplers, the Grand Orgue of the ing to the world of the organ. It will also for use in church services. Today, with tion, trumpet, suspended cymbal, Mander organ at St. Ignatius Loyola in almost certainly provide the student with the myriad of publications for choir/ timpani, and organ, Concordia Pub- New York—a well-known, recent, large a great measure of out-and-out fun, and brass, the scoring chapter (III) may be of lishing House, 98-3865, $1.60 (M-). but not gargantuan organ—commands keep the job of practicing as interesting the least interest to most directors. This is the choral score; full score and 121,889,158,594,564 different sounds. as it can be. The trumpet is especially useful instrumental parts are separate although A hypothetical medium-sized organ in Next month I will talk about ways to in hymn singing. In many of today’s a reproducible congregational page is on which three manuals have 25 to 30 stops practice listening to the more subjective, churches congregational singing has lost the back cover. There are fi ve verses to would have about 200 million to about sound-quality-oriented aspects of the its fervor. The melody is often barely the text, with the congregation joining on a billion 8′-based sounds available in the blending and combining of stops. I will heard rising from the congregation, but some of them and always on the refrain. manual divisions. If the pedal division also talk about helping students to begin if enhanced with a trumpet on some of Most of the choral music is in unison or of such an organ had eight stops, then, to relate sound to other aspects of their the verses, it will burst forth regally, es- two parts and repeats the basic melody assuming normal couplers, the pedals concept of a piece of music, and to both pecially on hymns having a robust text with additional obbligato or harmony would have a quarter of a trillion differ- structural and historical considerations. Q of praise. Furthermore, adding a trum- lines. The organ part, on two staves, gen- ent sounds available. pet to the introduction of the hymn may erally doubles the voices. Gavin Black is director of the Princeton Harpsichords, on the other hand, have Early Keyboard Center in Princeton, New inspire the congregation to sing with rather few sounds. Most large harpsi- Jersey. He welcomes feedback by e-mail at greater enthusiasm than usual. To save You Call Us, Lord, William Braun. chords have seven to ten different avail-
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16 THE DIAPASON
Apr 08 pp. 2-21.indd 16 3/10/08 11:19:10 AM Father’s God in Years Long Gone.” This sings alternating phrases with the adults. It would be diffi cult to fi nd a person gation participate in the music of that version is primarily a unison statement The opening has a trumpet fanfare, which more qualifi ed than William Smith to worship and not simply appreciate it as with an obbligato line or contrasting bass later continues above the choir before an write this book. From his doctoral dis- concertgoers might; and yet, inasmuch line for the men. The setting is easy, with extended, more lyrical solo section with sertation (“Musical Aspects of the New as he recognizes that any “group noise” limited trumpet music. the organ. There is a reproducible page Testament”) through his work as a mu- requires leadership, he devotes a good for the congregation; they join the choir sical educator and pastor, to his current deal of space to choirs, soloists, instru- Praise We the Lord, Michael Larkin. on the refrains. The music is not diffi cult work as an active member of the Hymn mentalists, and even “song leaders.” As SATB, trumpet, and keyboard, Con- and is a wonderful simple setting that Society of the United States and Canada for matters of taste, “[n]o kind of music cordia Publishing House, 98-3800, brings children and adults together. and chaplain of a chapter of the Ameri- is barred from the church’s worship as $1.75 (M). can Guild of Organists, Smith marshals long as it is useful to the congregation.” A transposed trumpet part is included Around the Throne They Stand, Dan- his years of experience and the depth These statements, taken together, point on the back cover. The trumpet plays iel Preus. SATB, trumpet, organ, and of his thoughtful consideration to guide to the sorts of tensions the pastors and throughout most of the anthem with congregation, Concordia Publishing the reader through some of today’s more musicians, for whom the book is written, a simple lyric line that soars above the House, 98-3684, $1.60 (M-). perplexing issues regarding music in increasingly face. Before he gets into choir. The keyboard part, on two staves, The fi rst three pages are for trumpet/ Christian worship. He is even married to the labyrinthine byways of choice facing is a chordal accompaniment that is very organ, who play a long introduction be- a church organist! I am a retired pastor those who design worship services today, easy. With the choral parts on two staves fore the choir enters. The fi rst two verses who—having been guided in these mat- he examines the biblical, historical, and and often in two parts, this anthem will are for the choir in unison to the same ters over the years by knowledgeable and theological perspectives on music as wor- very useful to smaller church choirs, but music. The third verse employs the con- perceptive music colleagues—never had ship. Virtually every page is replete with it is strange that there is no tempo indi- gregation, and the fourth the unaccom- to face or solve many of the problems he citations of biblical passages, allusions to cation in the score. panied choir; everyone sings on the fi fth examines. And yet I fi nd myself mutter- historical debates and revolutions in ser- verse, which grows to an “alleluia” and ing occasionally, “I wish I’d had this book vice music, and his theological justifi ca- Nations, Hear the Prophet’s Word, “amen.” Music for the trumpet and con- 30 years ago!” tions for his position. arr. Jeffrey Honoré. SAB, trumpet, gregation is included on the back cover. Smith sets forth his theological posi- Readers of this book will search for optional fl ute, and keyboard, Choris- tion early on: “the most fundamental his opinions on some of the larger issues. ters Guild, CGA 1002, $1.85 (E). axiom of music in the church” is that the Is contemporary worship music, with its Subtitled “All Creation Clap Your “role of music in the church is that of ser- “praise teams” and rock-and-roll beats, Hands,” this setting has two different Book Reviews vant; its task is functional, diaconal, and replacing our more traditional music, and texts, one for Advent and one for Epiph- pastoral.” And lest the word “servant” if so, to what effect? Is the organ a dying any. The choral parts are on two staves mislead, he maintains that music is not instrument? Are hired professional mu- with the theme based on “Good King Joyful Noise: A Guide to Music in the intended merely to facilitate worship, sicians replacing volunteer choirs in our Wenceslas.” The fl ute and trumpet parts Church for Pastors and Musicians, but rather that the “music of the church’s newer churches? In his examination of are included separately at the end. The William S. Smith. Providence House service is itself worship.” Given the fact each of these—and many, many more— music is bouncy, rhythmic and is useful Publishers, Franklin, TN, 2007. Pa- that a worship service is literally for the questions Smith provides a useful his- for small choirs. With the pre- and post- per, $24.95; purpose of worship by all participants, torical context, from ancient Israeli wor- Christmas texts it is not only a bargain
APRIL, 2008 17
Apr 08 pp. 2-21.indd 17 3/10/08 11:19:29 AM the early church and Reformation, to celebratory mass on November 29, 1926, ing the resources of the Cavaillé-Coll the mid-20th century, before turning to New Recordings when the Cavaillé-Coll Grand Orgue at organ extremely well. This is the longest more recent changes, and demonstrates St. Sulpice was rededicated after ma- movement on the recording and much of thereby that our current disputes are not jor restoration work. Philippe Bellenot it is played on full organ. so new after all. Obstinate adherents to The Widor Mass, Op. 36: The Grand (1860–1928), who is represented by four A soft, much shorter improvisation, single positions on any of these questions 19th-Century St. Sulpice Tradition. choral works on this recording, was the Salut du Saint-Sacrement, then sets the may be disappointed that Smith usually Daniel Roth, grand orgue; Mark organist of the Orgue de Chœur and mood for Benediction, which follows the winds up looking at both sides, point- Dwyer & Stephen Tharp, orgue choir director at St. Sulpice from 1878 Mass. The fi rst choral work in this section ing out the pros and cons, and taking a de chœur; Chœur Darius Milhaud, to 1922. Thus, for 44 years he worked is Philippe Bellenot’s Tantum Ergo, and middle position. But his conclusions are Camille Haedt-Goussu, director. in tandem with Widor in arranging the this is a little disappointing, suggesting inexorably determined by the general Recorded at Saint Sulpice, Paris, music. After Bellenot’s death in 1928, that the earlier and equally disappointing theological understanding of worship France. JAV Recordings compact disc Widor commented that he had lost a Ave Maria might have been fairly charac- set forth in the early chapters; and such JAV 158;
18 THE DIAPASON
Apr 08 pp. 2-21.indd 18 3/10/08 11:19:51 AM time meeting with brides or recording Dr. Pascual, appointed in 2003, is the publishers and catalog numbers in the were published in his lifetime, op. 8 for their own renditions. fi rst woman to hold this distinguished accompanying booklet. A group of seven organ or harpsichord, and op. 10 for or- These performances feature the large post; her musical playing places her instrumentalists, the Ars Nova Brass, gan, pianoforte or harpsichord; but the 106-rank Aeolian-Skinner organ at the squarely in line with such predecessors play in Bruckner’s elegant Tota pulchra two sets of Nine Voluntaries were pub- National Presbyterian Church in Wash- as Pietro Yon and the blindingly brilliant es as well as the concluding number by lished posthumously, with only the organ ington, DC. Installed in 1969 and report- Charles Courboin. It is great to hear Jiʼní Ropek, Salve Regina. being mentioned on the title page, and edly built in “American Classic” style, the Bruce Simonds’ Dorian Prelude on “Dies —Charles Huddleston Heaton the Voluntary in D survives in MS only. organ is a fi ne but not remarkable instru- Irae,” one of his two classic compositions Pittsburgh, Pennsylvania In these fi ve volumes, David Patrick has ment. Its strengths seem aligned with the for organ. Lynn Trapp’s exciting Images
APRIL, 2008 19
Apr 08 pp. 2-21.indd 19 3/10/08 11:20:11 AM sages marked p and f, and also full organ Flute, which could well be used through- from bar 7 to be taken too quickly), no. Swell, with an even greater leaning to- (which was occasionally suggested as an out apart from where the direction “Di- 5/3 in D minor, where the echoing phras- wards the language of the galant, and the alternative to Diapasons by some com- aps” appears between the staves in the es are marked for fl ute, no. 7/2 in E with fi rst movements are again richly varied posers). The second movements of Set I original; the original contains the direc- triplet 16th-notes, and no. 8/3 in A, both in style—only nos. 3, 5 and 6 are in the are for Trumpet, although here marked tion “Gr. Organ” at a distance of two for Echo Cornet. The one movement for older style for Diapasons. as for Swell, with a 26-bar conclusion for bars from “Diaps,” which is retained in Trumpet and Echo is no. 5/2 in D, the Many of the pieces contain full four- Diapasons in no. 1, fugal (Nos. 2 and 3), the modern edition, but it does not seem instruction Trumpet Bass appearing in note chords in the bass, and particular for Cornet (Nos. 5–9), of which 3, 5 and to make sense without linking the two; bar 47; there is no instruction to revert to care should be exercised that the stops 7 have short written-out cadenzas over a footnote to this effect may well have the Choir in bar 58 when the Echo reap- selected are not too thick and muddy in the 6/4 chords supplied by the editor, been useful in guiding the less-experi- pears, the Trumpet bass probably being the bottom octaves. There are several which could be used as a model to deco- enced player. used from bar 68 to the end. passages in thirds that will require care- rate the 6/4 chord in no. 9. No. 8 ends The one-movement Voluntary No. 5 The middle movements of nos. 1, 3, 8, ful practicing to ensure a clean perfor- with ten bars, which, although without varies from chordal writing for Full, to and 10 are written for the Swell (in no. mance. A few movements call for a low registration in the original, were prob- indications for Swell and for Choir when 10 the indication is omitted in this edition, B, A or G, which was available on the ably intended as a close on the Diapa- p is also present against both at their fi rst although printed clearly in the original) English organ of Dupuis’ time; today sons, as Jonas Blewitt recommended in appearance; in addition there is the use and comprise cantabile decorated me- these notes will have to be supplied on his treatise; here the editor has marked of p and f without manuals being speci- lodic lines against chords, with written- the pedals. The editor has suggested them as Swell. In this voluntary, the fi - fi ed. First movements are also quite var- out cadenzas. In no. 3 f and p are marked, other places where the pedals (normally nal chord in the Cornet movement con- ied, with 1/1 and 2/1 being for Diapasons but there is plenty of scope in the others pull-downs permanently coupled to the tains a tenor A, which was not available only. No. 3/1 is a bright Allegro for Full for judicious use of the swell pedal. The Great) could be used. on the 18th-century Cornet, suggesting Organ, with testing 16th-note passages middle movement of no. 8 is a short Si- The total of 37 voluntaries (if we ac- to me that Dupuis intended the bass to in thirds and interludes on the Swell; 6/1 ciliano also for the Swell. No. 2 is an Ada- cept the editor’s division of the Pieces be played on the Great Diapasons in this is marked Full without the Sesquialtera, gio without registration indication, but into Voluntaries) is greater than any oth- movement, as the A could not be taken with LH passages in eighth-note thirds; could be played on the Choir or possibly er contemporary composer, and there is by the LH, a point not commented on and 7/1 is an Adagio in G minor in 6/8 with Swell for RH and Choir for LH. much fi ne music to be discovered within by the editor. for Swell in the RH against LH Choir The fi rst movements are as varied as these fi ve volumes, all of which are very No. 6 in the original misses out some Stop Diapason and Flute, a cadence on the two sets of nine voluntaries, particu- clearly printed and are produced in spi- of the manual changes, here suggested the dominant leading to a Cornet move- larly good being the Moderato in C mi- ral ring binding, which ensures that they by the editor in brackets, although he ment in B-fl at. nor in no. 3 and the more chordal no. 5. lie fl at on the music stand. Each contains also uses brackets for some of the mark- Nos. 4/1 and 8/1 alternate passages Nos. 7 and 8 hark back to the older Dia- a short biography and notes on the edito- ings that are in the original, leading to for the Diapasons with the Swell, while pason movements, and the rhythmically rial procedure, with a list of corrections a lack of clarity. No. 4 has a movement 9/1 contrasts chords on full organ with varied no. 9 makes a stirring prelude to either listed in the introduction or clear- in 3/4, with tuneful solo writing for the Swell. Several movements again contain the fugue. In no. 1 there is a slur cov- ly marked in the score with footnotes. Swell mainly in one but occasionally in written-out cadenzas, this time from the ering groups of 16th-notes in arpeggio Useful comments on registration, par- two parts against a bass line, conclud- original print. The MS Voluntary in D is patterns, with the tail of the fi rst note of ticularly the concept of full organ at the ing with a written-out cadenza over a dated October 2, 1789—the fi rst move- each group also being set as a quarter- time, are included from the treatises by dominant pedal. The original contains a ment alternating Swell with Full, the note—this is also seen in the volumes of Blewitt and Marsh, but in the two earlier whole-note middle E in the second part fugal second movement concluding with pieces by J. Worgan that are described sets of nine voluntaries some of the edi- of the bar, but this is omitted in this mod- half-note chords. The very attractive on the title page as being for organ only, torial suggestions are for interpretations ern edition. concerto movements included in this and may just imply that a similar treat- on a modern instrument rather than re- The second set contains a greater va- volume are the Gavot and Minuet in C, ment for such fi gures was expected in printed accurately from the original. riety of voluntaries, including no. 1 and both with variations, from no. 3, and the other pieces of the period. For example, in Set I, No. 2, the open- 8 in four movements (although the third Minuet with variations in B-fl at from no. In op. 10, the editor has arranged ing is marked Diapasons or Full Organ, movement of no. 8 is only a four-bar 6; the latter includes crossed-hands pas- the 21 pieces into seven voluntaries, of and the Swell is suggested in brackets Grave for Diapasons, linking the Cornet sages in variation 6. which nos. 3 and 7 have two movements, for the Diapasons—possibly a closer ap- movement and the fi nal 3/8 lyrical an- The two volumes entitled Pieces for nos. 1, 2, and 5 have three movements, proximation to the sound required, given dante larghetto), nos. 3 and 7 in three, the Organ, opp. 8 and 10, contain sepa- and nos. 4 and 6 have four movements. that the majority of modern instruments and no. 5 in only one; only voluntaries 2, rate movements not divided into volun- Fugues close each group, nos. 5 and 7 have thick diapasons—with the com- 4, 6, and 9 are in two movements. There taries as such, but the keys used allow an being unexpectedly in the tonic minor. poser’s indication of p being suggested is one movement for Trumpet and Echo arbitrary arrangement to be selected. In (There is a printing error in the subject as played on the Swell, when the Choir (1/4), fi ve for Cornet (1/2 for Cornet op. 8, six of the editor’s groupings of the of the fugue in no. 7: the 16th-note form- would have been more suitable and his- Swell and Flute, 2/2 marked Andante, 28 pieces fall into three movements (nos. ing an “extra” alto part should be delet- torically accurate. 6/2 without tempo, and 7/2 and 8/2 both 1–3, 5, 8 and 10)—the third movement of ed!) The movements for solo stops are Inaccurate from a historical perspec- marked Moderato). Fugues appear as nos. 1, 3 and 10 being in the dominant— no. 4/2 for the Flute in the RH against tive are the indications in voluntaries 5 1/4, 3/3, 7/3 and 9/2. with nos. 2 and 5 being in the tonic major, the Stop Diapason in the LH—unusual and 6 from the fi rst set for the LH to be The remaining movements include a and no. 8 in the tonic minor. The other since the treatises tell us that the fl ute played on the Swell in the Cornet move- most expressive Adagio for Swell (3/2)— fi ve voluntaries comprise a grouping of at 4-ft pitch is usually accompanied by ment, with the RH Echo passages in the editor is surely mistaken when, al- two movements each. Fugues close all of itself—followed in 4/3 by a movement no. 5 and the RH Swell passages in no. though he keeps the original marking the pieces except for 5, 7 and 8, each one for Trumpet, implied Echo (marked p) 6 also suggested as being played on the of Swell against the LH, he suggests being in the major. The example in 12/8 and with the bass also marked Trumpet Swell. The inclusion of the specifi cation that the RH be played on the Great—a that closes no. 11 is marked Allegro ma in places. A further similar movement of a typical 3-manual organ of the period movement switching between Full non Presto, a clear warning against tak- for Trumpet is no. 6/2, followed by the would have been most helpful as well, so Swell, Choir Organ and Full without the ing the piece too quickly. only movement in Dupuis’ works for Vox that players could select the stops for the Sesquialtera (4/2), and the Andante lar- There are far fewer movements for Humana in the RH over Diapasons. The Swell passages in particular from a point ghetto mentioned above (8/4), in which solo stops, the Cornet being represented Cornet and Echo feature in 5/2 with a of historically informed knowledge. It the two-part RH calls for Swell, Diaps in no. 2/3 (marked for Swell, with p and f cadenza in 32nd-notes covering two would also have been helpful if the fact Great Organ and Choir Organ. The LH dynamics; the moderato tempo is neces- octaves. Middle movements of nos. 1 that the Swell descended only to tenor is marked for Choir Stop Diapason and sary to prevent the 32nd-notes appearing and 2 are of the cantabile type for the G had been mentioned so that players would realize that if the LH contained notes below this, then it would have to have been played on the Choir. However, in the other volumes the /44/ (%533 /2'!. 0!243 original instructions (suggestions) re- garding stop selection are transcribed accurately. Not included is a commen- 4RADITION AND 0ROGRESS tary on the interpretation of most of the ornaments, a most tricky concept at this later stage, the beat still being played as &OR MORE THAN YEARS WE HAVE BEEN DESIGNING AND BUILDING ORGAN a four-note ornament as late as the early CONSOLES CHASSIS AND PARTS AS WELL AS COMPLETE MECHANICAL AND 19th century; however, the editor’s sug- ELECTRICAL TRACKER AND REGISTRATION SYSTEMS FOR PIPE ORGANS gestion of how to play the idiosyncratic sign of a turn preceded by a horizontal dash is practical and convincing. Source /UR ENTHUSIASM n COUPLED WITH THE OPPORTUNITIES PROVIDED BY details are given. MODERN TECHNOLOGY AND FUELLED BY OUR GENUINE EXCITEMENT FOR The music is well worth reviving; some EXPERIMENTS n l NDS EXPRESSION IN THE CONTINUOUS FURTHER DEVELOP of the movements for solo stops show the MENT OF THE /44/ (%533 RANGE OF PRODUCTS AND SERVICES transition to the galant style in their fl u- idly decorated writing, and in particular the fugues, with their rhythmic vitality 7HATEVER YOU TOUCH AND HEAR IN ORGAN BUILDING and generally tautly crafted counterpoint, 9OULL ALWAYS COME ACROSS ONE OF OUR IDEAS show just why Dupuis was so highly re- garded by Haydn. The few adverse com- %VERYWHERE AND AROUND THE WORLD ments above notwithstanding, this set of volumes is highly recommended, and /44/ (%533 n 9OUR CREATIVE PARTNER IN ORGAN BUILDING can easily be ordered by e-mail direct from the editor. A visit to the website will reveal that David Patrick has done us a great service in making available the output of a number of other volumes of /44/ (%533 'MB( n 'ERMANY voluntaries by later 18th-century English composers including Blewitt, Garth and 0HONE n s &AX n E -AIL HALLO OTTOHEUSSDE s )NTERNET WWWOTTOHEUSSDE Beckwith, which I shall hope to review in later issues of The Diapason. —John Collins Sussex, England
20 THE DIAPASON
Apr 08 pp. 2-21.indd 20 3/10/08 11:20:38 AM The Clarence Dickinson Festival William Carey University, Hattiesburg, Mississippi Gene Winters
Pearl Choi, David Harrison, Carlena Speed, Jane Butler (judge), and Marissa Hipp
Patrick Scott, Kathy Vail, Christopher Ray libraries, Patricia Furr at
APRIL, 2008 21
Apr 08 pp. 2-21.indd 21 3/10/08 11:20:55 AM Celebrating a milestone birthday: “Guardian Angel” Oswald Ragatz
Introduction by David K. Lamb of the Pan Hellenic Society, the Associ- For more than 40 years, Oswald ated Women’s Students, etc. Gleason Ragatz served as chairman of So my fi ngers (on the ivories) were do- the Organ Department of the Jacobs ing the walking—well, the earning, and School of Music at Indiana University. my parents did not have to fork over that On October 30, 2007, “Ozzie” celebrat- fi rst dollar for my undergraduate training, ed his 90th birthday. Witnessing many just an occasional dressed chicken sent changes through those years at Indiana by my mother to Aunt Ruth, but that was University, Dr. Ragatz has also seen it. I felt that I was independent, I was liv- many changes in the organ world and in ing in a sophisticated environment at my church music practices in the years since uncle’s, and I no longer felt inhibited by his retirement from IU in 1983. my strict parents’ restrictions—and I had I recently enjoyed the chance to visit a ball! I was pretty naïve and thoughtless with Dr. Ragatz in his home at Meado- though; things had worked out so well for wood in Bloomington. Full of stories and me, so why worry about the future? Inci- anecdotes, as always, he was ready to re- dentally, I did graduate eighth from the count his years at IU in full detail. What top in my class, due to the chancellor’s a joy it was listening to those refl ections veiled admonitions four years earlier. as Dr. Ragatz revisited the events in his But I must continue. early life that led him to his 40-year teaching position at Indiana University. Clarence who? “Guardian Angel” is a wonderful expo- I am not quite fi nished with under- sé by Dr. Ragatz, detailing the sequence graduate years. The next vignette may of events that made up the path leading Dr. Oswald G. Ragatz at the console of the 4/86 Schantz in the I.U. Auditorium at the seem inconsequential, but keep in mind, him to Indiana University in 1942. In the time of his retirement from the I.U. School of Music in 1983 it turned out to be very signifi cant. The words of Oswald Ragatz, please prepare setting: a picnic in the mountains. Who to travel with him on this journey to In- to the newly hired empathetic gym ver Symphony. I don’t remember what was there? I don’t remember, just a diana University. teacher, who had taken me in hand and we played, but there must have been an bunch of college students. What? I was • had introduced me to gymnastics. This important oboe part. At any rate, when I sitting on a big rock eating a hot dog had had a marvelous effect on me. I was enrolled in music theory the fi rst semes- when a blonde girl I didn’t know joined During my 25-year employment as no longer the class wimp with C and D ter at the university, who should be the me and initiated conversation. She was organist-choirmaster in Presbyterian grades in gym. I now got an A in gym, teacher but Horace Tureman! And won- quite hep, and shortly had me telling churches, I never heard the term predes- which got me that one-half grade point der of wonders, he recognized me. After her about my interest in organ playing. tination mentioned from the pulpit. But above Verda Guenzi. (Was possibly Mr. class, he asked to talk to me, saying that At that point, she became very excited I understand that belief in predestination Durfee the gym instructor an assistant he remembered me from the orchestra and said that I must meet her uncle is one of the tenets of the Presbyterian Guardian Angel? Whatever.) concert he had conducted in Sterling, from New York, Clarence Dickinson, faith. My Unitarian and agnostic friends At any rate, Miss Smith pointed out and would I like to fi ll the opening in the who would be in Denver in a couple of shake their heads in patronizing dismay, that the University of Denver gave a Denver Civic Symphony for the second weeks. Her enthusiasm caused me to when, instead of attributing some event four-year, full-tuition scholarship to the chair oboe? The pay was not great, but think that Uncle must be a man of some to predestination or to sheer luck, I refer graduating senior valedictorian in the it enabled me to pay my uncle for my importance. And indeed the name was to my “Guardian Angel.” Probably infl u- six largest high schools in the state. If I board. Did my Guardian Angel arrange familiar to me: Dickinson was the author enced by all those charming angels in Re- maintained a straight A average for the for all this? But I continue. of the organ method text given to me by naissance paintings and those lovely little remaining years in Sterling High School, I had played piano since I was six my cousin, my fi rst organ teacher, that winged cherubs in the rococo churches I would be able to go to college at the years old, my mother being a piano summer after my eighth grade. in Europe, I personally would rather at- prestigious university in Denver, a city teacher. And I had my fi rst organ les- I was only mildly impressed, however, tribute the chain of events that greatly where there could also be numerous sons the summer after the eighth grade, but I did mention this information to my determined my life to an angel than to musical opportunities. That put on hold and became the organist at the Method- organ teacher at my next lesson. Well, luck or to predestination. Luck never did my interest in architecture; the nearest ist church that fall. During my last year his reaction let me know that Clarence me any good in those very brief encoun- school offering architecture was Kansas in high school, my parents managed to Dickinson was indeed a person of impor- ters with the slots in the casinos in Las U., which of course was out of the ques- scrape up enough cash to enable me to tance, being the head of the School of Vegas, and of course no serious angel tion. And anyway, no one was employing drive the 140 miles up to Denver once Sacred Music at Union Theological Sem- would look after anyone foolish enough architects during the Depression. a month for oboe lessons and organ les- inary in New York City. So, a week later, to wager hard-earned cash on those au- My parents were elated by this news, sons with the organist-choirmaster of I was playing two of my biggest pieces tomated bandits. And I’m not a Presby- and my mother, who was your basic task- St. John’s Episcopal Cathedral. Now, at St. John’s Cathedral for Dr. Dickin- terian. But let me recount those events mistress, went into a full cry. For the next living in Denver, I hoped to be able to son, my teacher having somehow made that directed my life, and the reader or two and half years, I became no longer the continue organ lessons, although pay- contact with him in Denver. Tall, digni- listener can decide, Guardian Angel, class wimp but now the class grind, the ment for same would be a problem. But fi ed, with white hair and mustache, Dr. Lady Luck, predestination, or whatever. resident ant being held in some awe by not to worry, said my teacher. There was Dickinson was cordial, and, I thought, I guess I must start way back in the the grasshoppers, my classmates. Verda an opening for an organist at Broadway politely complimentary. But I was still midst of the Great Depression and Guenzi didn’t have a chance, poor girl. Baptist Church. He told me to try out only mildly interested; I was probably the Democratic landslide of 1932 that for the job; I did and got the job. Those preoccupied thinking about the impend- brought Franklin Roosevelt into the Off to the University of Denver four years of playing for First Methodist ing fall Pan Hellenic formal. By the way, presidency, and that cleaned out all of Now things were getting under way in Sterling for little more than a Christ- I never encountered the blonde niece the Republican county offi ce holders in in this chain of events. My dad’s brother mas remuneration had prepared me for on campus again. Was she my Guardian Logan County, Colorado, including my lived in Denver and was married to a the paying job in Denver. Angel in disguise? If so, she must have dad. The ensuing years found the Ragatz professional musician, a singer of some So now I had enough monthly income been pretty bored by my lackadaisical family trying to make a meager living note in the city. They suggested that I to pay for organ lessons, textbooks, and lack of enthusiasm. But guardian angels from a small, 40-acre farm at the edge live with them while attending the Uni- music. I had been pretty burned out by must be patient, and fortunately Guard- of my hometown, Sterling, Colorado. versity of Denver. Their four sons were the tension of making straight A’s dur- ian Angel didn’t forsake me, as will soon Farm labor, dust storms, locust plagues, grown and out of college. I could pay for ing high school, so now I had decided become evident. She just became a bit and fundamentalist, straight-laced par- my room by accompanying students in to slack off a bit in college. However, more devious. So I continue. ents contributed nothing to the wished- my aunt’s studio and eventually accom- shortly after the fi rst semester had be- for joie de vivre of high school student panying her on singing engagements. gun, I received a nice letter from the Aunt Ruth: gateway to Eastman Oswald Ragatz. It must have been about There would be other duties—in-house University Chancellor congratulating me I have mentioned my Aunt Ruth pre- then that Guardian Angel was assigned chore boy, chauffeur for Aunt Ruth on on having won the scholarship and indi- viously. There is no doubt that she was to look out for this puny kid, whose inter- occasions, etc. cating that academic excellence would my mentor if indeed not my Guardian ests were music and architecture, thus Sterling, a town of less than 8,000, be expected of me. Furthermore, he in- Angel. She introduced me to the facets contributing to the general scorn of his had a remarkable music program in the dicated that since scholarship students of the professional musical world, and macho classmates. schools; the high school band and or- were expected to give some services to she and Uncle Arthur took consider- chestra perennially won fi rst place in the the university, and in view of my experi- able pains to civilize their shy and unhep High school days state competitions. I had begun playing ence as an organist, I would be expected nephew from Sterling. By my senior year, The angel fi rst appeared in the guise oboe when just out of the sixth grade, to play the organ for university functions Aunt Ruth had sensed my lack of a clear of a high school math teacher, Miss and in six years had become quite pro- as needed—before lecture in the chapel, picture of what I was going to do the next Smith. It was she who set me on the fi cient. In 1938 a symphony orchestra for example. year after graduation. My Bachelor’s de- path that would lead to my escape from was formed in Sterling to accommodate This was OK by me. It gave me unlim- gree in Social Sciences had presumably the dead-end existence of life on the the sizable number of graduates of the ited access to the chapel organ for prac- prepared me for getting a job in some dreary eastern plains of Colorado. It school’s music program who still lived in tice and resulted in my being asked by the small-town high school teaching history was Miss Smith who asked me to stay town and who wanted an outlet for their Dean of Women to furnish background or social studies. But it was obvious that after algebra class so that she could talk talent. Though still in high school, I was music on the Hammond electric organ my interest and talents lay elsewhere—in to me, as she had some very exciting playing oboe in this symphony that had in the posh Renaissance room in the li- music, of course. information to impart. My grade aver- been organized during my senior year. brary where teas were the style in those Aunt Ruth had a former voice student age was one-half point above that of Guest conductors were brought in days. For each of these events I was paid who had gone to the Eastman School of one Verda Guenzi, and Verda and I had for the three concerts that we played. $3 and engendered a high profi le among Music in Rochester, New York, and had the highest grade average of our class. I The most important of these guests was the female elite of the student body who high praise for the school. It sort of be- probably should at this point give credit Horace Tureman, director of the Den- were wanting to go to the teas—the girls came understood during my senior year
22 THE DIAPASON
Apr 08 pp. 22-25.indd 22 3/10/08 11:22:14 AM Symphony with the Denver Civic Sym- offered me the job. A real teaching job walking aimlessly up town on Fifth Av- phony. Big deals!!! Big toad in what I now with a salary—$850 for the semester as I enue, my mind swirling. I may even have found out had been a fairly little puddle. remember it! But that was 1940, and re- contemplated how near the Hudson Riv- My uncle, who was somewhat of a VIP in member, I was eating on a dollar a day, so er was and how long would it take one to some circles in the city, reported stiffl y that seemed like a gold mine. I was just drown oneself. But maybe I wasn’t that one evening at dinner that when he had beginning to cope with the competitive far down or that stupid. At any rate, by that day been introduced to someone, he stress of Eastman and the demanding the time I’d walked from the ’40s where was asked, “By any chance are you relat- teaching of Harold Gleason, my organ the agencies’ offi ces were and reached ed to Oswald Ragatz that young organ- professor, so I was very glad to stay on at 59th Street and the beginning of Cen- ist?” May I say, that that “made my day.” Eastman for the summer and fall semes- tral Park, my befuddled mind began to Country nephew, indeed! ters, which enabled me to get a second remember that Selma, who of course But things now were different in Roch- major, namely in music theory. Then in had lived in New York City while attend- ester. I was just a new student in one of January of 1941, I arrived at Wilson Col- ing N.Y.U., had at some point asked me the top professional music schools in lege, with its faculty comprising chiefl y why didn’t I look into Union Theological the country. And believe me, there is no elderly ladies. Now that was an inter- Seminary. That had seemed like a dumb place more competitive than a big music esting experience for a 23-year-old kid statement. A seminary? I didn’t want to school. Nearly all of my fellow graduate hardly dry behind the ears. It could fur- be a preacher! Far from it! students had undergraduate degrees in nish material for another different docu- music, many from Eastman itself. Dur- ment, but that would have no relevance Oh, that Clarence ing my time at Eastman I learned disci- in this tale, except for two non-Wilson But now my tiny memory began to pline, humility, and respect for what the people with whom I made friends. function, and by the time I got up to the music profession really was like. There was a young lawyer in Cham- Metropolitan Museum, I thought of the Oswald Ragatz ca. 1940s My Guardian Angel was no doubt bersburg who was very interested in mu- blonde at that picnic in the mountains cheering a bit seeing her/his protégé get- sic, and since there were not many oppor- years ago, and her uncle, Clarence Dick- that I should go to graduate school the ting his comeuppance. But I was not be- tunities for social contacts with people in inson, who was the head of the School of year after graduation from Denver. So I ing crossed off the list that year. Oh no! their twenties, he immediately contacted Sacred Music at—yes—Union Seminary applied to Eastman and was accepted. So I must continue this saga. me, and we became lifelong friends. He in New York City. With a quick visit to However, I don’t remember now that About the Lutheran church: it had an lived with his mother in Chambersburg, a phone booth, where wonder of won- I was particularly concerned about the organ the likes of which I had not en- and they were frequently visited by his ders there was a phone directory, I de- fi nancial requirements this expensive countered. At that point, the organ world sister Selma, a music teacher in Balti- termined that Union Seminary was at school would entail. I guess that I naïvely in the United States was just beginning more and a graduate of N.Y.U. Selma 120th Street and Broadway. The next 50 assumed that it would work out some to become aware of a renaissance in or- was about my age, and we became good or so blocks were covered with consider- way. It always had, hadn’t it? Of course, gan tonal design that had begun in the friends also—we dated in fact. able resolution, and crossing over west to if there were sounds of fl uttering angel middle of the 20th century. The new in- The semester at Wilson College was Broadway, past the Cathedral of St. John wings, I didn’t notice. struments that were being built by many all too short, and I was having to face a the Divine and Columbia University, I I taught some organ students dur- European builders and by a few avant very uncertain future. World War II was found the Gothic towers of Union Semi- ing the summer and played oboe in the garde builders in the United States were in full cry, and I had registered for the nary and its quadrangle, which occupied Sterling summer band. So I had a little referred to as Baroque organs because draft while in Rochester. So that dark two city blocks. money in my pocket when I started out the builders were attempting to design cloud was hovering over my head. But I Hot, tired, still dispirited and thinking for New York with my two friends in the their organs on the tonal principles of had had no word from Uncle Sam, so in that this was totally mad, I entered the model A Ford. We traveled economy the great old European organs of the the meantime I had to hunt for a job. I main entrance and located the offi ces class, camping out, cooking our own food, 17th and 18th centuries. The organ at registered membership with a teacher’s of the Music School. When I made it and cheating on entrance fees at places my church was a newly built instrument placement agency in Chicago—Clark known to the secretary that I might be like Mount Vernon. After two weeks of by the Walter Holtkamp Company, one Brewer. And in May I went to New York interested in becoming a student there, travel and visiting the 1939 World’s Fair of the fi rst of these avant garde American to interview with a couple of agencies things began to move very rapidly. I in New York, we arrived in Rochester. builders. After a year with this organ at there. But they wouldn’t even take my was ushered into Dr. Dickinson’s of- The semester had not yet started, but I Emanuel Lutheran, I understood how to registration. Colleges were retrenching fi ce, where I was warmly greeted by Dr. went into the Eastman offi ce to see what use it. This experience became very valu- because of the war and were hiring no Dickinson and then was introduced to a student did about housing. There was able for me, as will be noted later on. new faculty. Mrs. Dickinson, who, it developed, actu- no men’s dormitory, but I was given a The choir director at church was a That was a very low moment in my ally seemed to manage the business end sizeable list of rooming houses near the talented young man who was the choral life. For the fi rst time I was faced with of the school. The introductions were school that catered to Eastman students. person in one of the big Rochester high having no idea what to do next. I was barely over when Dr. Dickinson said The person I talked to about this looked schools, and his church choir was made suddenly out in the big world. I started he remembered my playing for him in at a register of entering students (prob- up almost entirely of high-school age ably to see if I were indeed a legitimate singers. I was getting some very good entrant), and seeing that I was to be an experience in choral techniques by ob- The Second Decade organ student she immediately told me serving how Ernie Ahern worked with that an organ job was open and would I the choir. I had had no training in choral Albert Schweitzer Organ Festival like to try out for it? work up to this point. The second year And OK, yes, a lady had called for in Rochester, I actually did some private A Weekend in Celebration of Excellence in Organ Music: an organ student to come to her home coaching with Mr. Ahern, and what I A Gala Concert, ORGAN COMPETITION, Services, and Masterclass and play her pipe organ during tea that learned became the basis of my career as she was hosting. It was intimidating choirmaster through all my life. that in view of the address this would One other facet of the Rochester ex- High School Division Panel of Judges undoubtedly be in one of the mansions perience must now be mentioned to out on East Avenue where the old elite make clear how the chain of events de- Provided by Ahlborn-Galanti Organs, First Prize: $2,000 Other prizes awarded of Rochester held forth. Well, I had veloped. If one link in the chain had not brought with me my “tea time” music, been there, there would have been no thanks to those $3 gigs I’d played for chain. When I obtained the list of room- College/Young Professional* at the University of Denver—I’d “been ing houses suitable for an Eastman stu- there, done that.” This gig was indeed in dent, my choice was purely arbitrary (or a mansion on East Avenue and was on was Guardian Angel getting into the act First Prize: $3,500 Other prizes awarded an Aeolian pipe organ, the instrument again?). The fi rst place I investigated was Marilyn of choice in those days for those who a big, old, three-story Victorian home, This includes an appearance on Mason could afford such a pipe organ in their housing a dozen or so men, half of whom home. And needless to say, the pay was were students, the others single profes- our 2008-2009 Concert Series considerably more than $3. And, when sional men. The maiden lady that ran the I had my audition at Emanuel Lutheran establishment had a nice vacant room *Through age 26 Church, I got that job. So I had money (due, I presume, to the fact that I had to pay for my room and board—board gotten there before other students had by eating on $1 a day at a cafeteria arrived in the city). It was a congenial AUDITION TAPES/CDS: across the street from the school. bunch of fellows, who all seemed to be Did Guardian Angel arrange it that I on a tight budget, so we frequently ate Due on June 1, 2008 Gerre got to Eastman several days before the supper en masse (I could hardly honor Hancock other students arrived, so I had no com- the meal as dinner) at the aforemen- THE COMPETITION: petition for these jobs and the opportu- tioned cafeteria. nities to make some money? September 5-7, 2008 By this time things had improved for Wilson College my parents. Sterling was having a mod- One of the students, a fi ne violin- est oil boom, and new houses were being ist, and I became very good friends. It For Information & built. Three blocks of our farm abutted turned out that John’s father was the Application: on a subdivision, and it became possible head of the music department of Wil- Frederick to sell some of our property for city lots. son College, an undergraduate woman’s First Church of Christ Hohman I felt able to ask for tuition money, since college in Chambersburg, Pennsylvania. I’d cost my parents nothing for my un- When John came back from Christ- 250 Main Street dergraduate education. mas holidays, he told me that the organ Wethersfield, CT 06109 teacher at Wilson College was going on PAST JUDGES: Colin Andrews, Life at Eastman sabbatical the second semester the next Diane Meredith Belcher, Benjamin I found life at Eastman a far cry from year, and his father, Prof. Golz, thought I Doby, Paul Fejko, Janette Fishell, www.firstchurch.org/asof my Denver experience. As an under- might want the job as substitute for a se- Paul Jacobs, Marilyn Mason, graduate in Denver, I had played an mester. Of course I was most interested, organ concerto with the Denver Junior and as a matter of fact I went down to 860.529.1575 Ex. 209 Katharine Pardee, Cherry Rhodes, Symphony, the Grieg piano concerto Chambersburg with John during spring Catherine Rodland, John Rose, with the University Orchestra, and the break to be interviewed. I played for [email protected] John Walker and John Weaver organ part to the Saint-Saëns Organ Prof. Golz, and he seemed pleased and
APRIL, 2008 23
Apr 08 pp. 22-25.indd 23 3/10/08 11:22:30 AM Rocky Mountains? And all of that other stuff we went through to get you this far!” Of course I wasn’t listening, but I do hope that I had the good grace to think that too many good coincidences were beginning to occur. My parents once had told me that the German name Oswald meant “Chosen of God.” What’s in a name? Maybe I should have paused to think. But of course, pausing and think- ing were two things I’d not yet learned to do. So I was set for two more years, Uncle Sam willing. I went back to Rochester for the summer to fi nish my master’s thesis. I had enough money saved up from that great salary at Wilson College to pay for a room at the Y, eat at the cheap cafeteria, and pay train fare to New York City twice for auditions. The second audition was at Hitch- cock Memorial Presbyterian Church in Scarsdale, a posh suburb in Westchester Oswald Ragatz at the organ in studio County. As it turned out, this was one of Oswald Ragatz with student Kay Greenshaw MA407 the prime jobs the Union students had. I would be replacing Robert Baker, a doc- at dinner, hold the chair for the lady, use been home for two years. I would go by Denver, and that I had played very well. toral candidate at Union, who had just the fl atware from the outside in, etc. I train and stop off in Rochester to take Where had I been since then? Eastman? been hired at First Presbyterian in Brook- seemed to pass muster with my hostess, my orals on my master’s thesis. Sneaky. Teaching at Wilson College? Interesting. lyn, a real, full-time professional position. since she informed me at the conclusion Smart. I wasn’t even remotely interested Well, of course they would be delighted I felt the audition went well, but nothing of the evening that I was hired. Eureka! in a job in Indiana. to accept me as a student working on the defi nite was said at the conclusion of my Not only was the salary quite suffi cient So that is what I did, and after a night two-year curriculum leading to the Mas- playing and answering questions. I would to pay for the organ lessons (which were sitting up on a train from Rochester to ter of Sacred Music degree. have a junior choir, a choir of twelve high outrageously high even for those times), Indianapolis, and then a bus to this vil- I had no money? No problem! The school girls, and a professional quartet— tuition, and incidental living expenses, lage in the wilderness, I was even less in- dormitory had two-room suites for stu- VERY professional. The soprano had just but even for a concert and opera now clined to take it seriously. After a night in dents at $10 a month, and I could work sung a solo recital at Town Hall and the and then and a few heady evenings tak- a hot room in the Graham Hotel, I wan- a shift in the refectory for all my meals. contralto was singing at the Metropolitan ing a date dancing to big name bands on dered out to the campus, past yellow clay And all of their students were placed in Opera a couple of years later, and several the Astor roof. around the old business school and the churches in Manhattan and in commu- years later I read a rave review of her Car- auditorium, both of which had just been nities around New York City—on Long men sung in Vienna. Life in New York City completed. With the help of a kind lady Island, in Westchester County, in Con- This would not be the fi rst time I was Guardian Angel now left me for a time who thought I was a new student (my necticut or over in New Jersey. Auditions faced with a task for which I was not re- as I devoured the life in New York. Our ears were slow to dry), I found the new for a job would be set up for me during ally prepared. But I will say, without pro- church jobs only required our presence music building. First I was interviewed the next month. fessing any modesty, that I never ducked. at Sunday morning services, so a num- by Dean Sanders, a smooth, formidable, I could hardly believe all this. An I learned how to conduct from the con- ber of very compatible friends from sophisticated young man, and then by hour earlier I was plodding the streets sole by doing it—not that that quartet Union would rush back to Manhattan the chairman of the theory department. of New York wondering if I should be needed as much conducting as I thought by 3 o’clock, meeting at one of the big Then I was taken up to a small practice heading for the Hudson River. And had I should be doing. At the end of the inter- churches that had afternoon vesper ser- room where the only organ on the cam- I listened, I might have heard Guardian view the chairwoman, an elegant middle- vices, oratorios, etc. A typical Sunday pus existed. And guess what? The instru- Angel wildly fl apping wings and snarling, aged lady, said she would like to take me afternoon would be St. Bartholomew’s ment was a Holtkamp almost identical to “Oh ye of little faith, you silly twit. Why to dinner at the Scarsdale Country Club. on Park Avenue at 3, where the 60-voice the one I’d had in Emanuel Lutheran in do you think I had that blonde girl join That didn’t scare me: my aunt and uncle choir sang an oratorio every Sunday with Rochester. And of course I knew how to you on that rock that afternoon in the had seen to it that I knew how to behave a stunning organist on an enormous handle it. (Did Guardian Angel snicker triple organ—chancel, rear gallery, and smugly?) dome, playable from a single console in So I played a couple of big pieces, INTHROP NIVERSITY The work of the the chancel. Then over to St. Thomas on and because I didn’t give a tinker’s cuss W U Æolian-Skinner Organ Fifth Avenue to hear a fi ne boy’s choir about the job, I was cool, probably to the Rock Hill, South Carolina sing the 5 o’clock vesper Evensong. point of being arrogant. Consequently, Company under the Then after a quick snack at our favorite I greatly impressed the interviewers. It leadership of G. Donald Harrison (1889-1956) has garnered much interest bar, Tops, it was to St. Mary the Virgin was explained to me that there was one in the past decade, though the number of instruments remaining in Church on 46th Street, where the young organ major who would be a senior. Her avant garde organist, Ernest White, pre- organ teacher, who was also a pianist unaltered condition from his tenure is lamentably few. Winthrop sided over a high-church late Evensong and taught theory, had been drafted. University’s Opus 1257 was an service. When I heard Mr. White play, I The organ “department” had been set all-new instrument when knew that I would have to study with him up two years before when one Mary someday—which I did one summer after Christena had come over from the main completed in 1955 and has seen I had been at I.U. for a couple of years. campus wanting to major in organ. An only two minor changes since These experiences taught me more than organ curriculum was hastily fabricated, then, showing a respectful all the courses at the School of Sacred the Holtkamp was promptly purchased, awareness of this instrument’s Music about what music could be in and now they needed a regular organ an enlightened church—with money. I teacher to get Miss Christena through value. HAD A BALL, needless to say. her senior recital. The D. B. Johnson Memorial It was the summer after the fi rst year I would teach any other organ students Organ is located in the resonant in New York, and I had had a very lu- that might show up when it was learned crative June playing for eight or more that there was an organ teacher (there Byrnes Auditorium and fashionable Scarsdale weddings. I was were nine of them), I would teach two displays all of the hallmarks of set indefi nitely at the Scarsdale church sections of freshman music theory (after Harrison’s style, including a relatively mild Great division without reeds; and at Union, and after the M.S.M. de- observing the chairman of the depart- gree I could continue working on a doc- ment teach another section of the same several mixtures with each providing a different texture; a powerful Swell toral degree at Union, as had my friend, class each day), a music appreciation division with French-inspired reeds; and a general emphasis on tonal clarity Robert Baker. I had dreams of eventually class for the general student body (there over density. also moving on to some big Manhattan were about 70 enrolled, it turned out), church. But this had to wait for a few de- and I would conduct the Choral Union, We are honoured to have been selected by Winthrop University to carry cades for one of my students, who now is the only choral group on campus. This out a mechanical restoration of this exceptional instrument. At the at the First Presbyterian Church in New would result in my conducting in the completion of our work in the fall of 2008, every aspect of Æolian- York and is a big name there. Guardian auditorium a performance of Messiah, Angel had other plans. with orchestra, just before Christmas. Skinner’s Opus 1257 will have been examined, documented and I had never conducted an orchestra, to conservatively restored without tonal changes. Throughout this project, it Hoosier holiday say nothing of an orchestra with a big is our pleasure to work in close consultation with the instrument’s curator Mail time was always a time of anxiety. chorus of 90 or so singers. But as I said Several of my friends had been drafted, earlier, I was not one to duck. I was new and Professor of Music Emeritus at Winthrop, Dr. David Lowry. but there was no message from the gov- at academia and didn’t know that this ernment for me. BUT, there was a let- teaching load was brutal and now would ter from Clark Brewer Teachers’ Agency be considered illegal. It was a job, and I ORGUES LÉTOURNEAU LIMITÉE in Chicago telling me that there was an intended to be a success at any cost. opening for an organ teacher at Indiana But I wasn’t offered the job on the United States Canada University. INDIANA? That was just a spot, which was of no concern to me. I 1220 L Street NW 16355 avenue Savoie state to quickly get through when one wanted to go back to New York. As a mat- Suite 100 – No. 200 St-Hyacinthe, Québec was en route from Colorado to New York ter of fact, I called my parents and sug- Washington, DC J2T 3N1 (with the exception of that adventure at gested that they come east instead of my 20005-4018 Tel: (450) 774-2698 Spring Mill Park in 1939). But I could going on to Colorado. They would meet Tel: (800) 625-PIPE Fax: (450) 774-3008 get my expenses paid to Bloomington, me in Chambersburg, where I would go Fax: (202) 737-1818 [email protected] and—always on the lookout for a deal—I to visit Rudy and Selma Wertime. Did [email protected] www.letourneauorgans.com fi gured I’d go to Indiana and then on to I tell Dean Sanders about this? NO, of Colorado to visit my parents. I hadn’t course not. (Guardian Angel almost gave
24 THE DIAPASON
Apr 08 pp. 22-25.indd 24 3/10/08 11:22:50 AM month, and after the examining doctors ments in the United States. Currently, the took a good look at me and they took a organ department of the Jacobs School of look at my 1-A-O classifi cation, I was told Music at Indiana University is one of the that I probably wouldn’t do much good largest institutions offering degrees in or- for the U.S. Army and to go back to I.U. gan in the United States. “and teach them how to sing the Star- With approximately 400 living IU Spangled Banner.” alumni organists, the former students So that’s how I met my wife. Do I be- of Oswald Ragatz can be found all over lieve in a Guardian Angel? Sometimes I the U.S. and in several foreign countries. almost think that I do. Maybe everyone Teaching and playing in both churches has a similar chain of events that direct and universities, these Indiana Univer- them through life. They just don’t spill sity organists carry the Ragatz legacy the whole tale in a writer’s club. I leave with them in all of their endeavors. We it up to you, with apologies for being too salute you, Dr. Ragatz. Happy birthday forthcoming. Q and many happy returns. —David K. Lamb What a pleasure it has been to pre- pare this essay for publication in THE Oswald G. Ragatz served as professor of DIAPASON to honor and celebrate the 90th organ and chairman of the organ department birthday of Dr. Oswald G. Ragatz. This at the School of Music at Indiana University inspirational tale provides a glimpse of from 1942–1983. Sadly, Mrs. Ragatz passed away after a long illness in 1998. When the the organ and church music scene in Positive division was added to the organ at New York in the early forties, as well as First Christian Church, where Mary so lov- Dr. and Mrs. Oswald G. Ragatz. Mrs. Ragatz (Mary Christena) was the fi rst organ the documentation of the beginning of ingly played for so many years, the Reuter graduate of the Indiana University School of Music. the I.U. Organ Department at that same organ was dedicated in her memory. Dr. time. When Dr. Ragatz retired in 1983, Ragatz can be reached by contacting him at up on me at this point.) Three days later, found me, it was discovered that I had that organ department that he found in Meadowood Retirement Center in Blooming- my family and I were at the Wertimes in registered as a conscious objector—and Bloomington in 1942 with the Holtkamp ton, Indiana. Chambersburg, when I got this irate call that is another story—so interviews organ in the practice room had grown to David K. Lamb is currently the organ- from Dean Sanders wanting to hire me. had to be made with all sorts of people a department with a notable historic con- ist/choir director at First United Methodist Church in Columbus, Indiana. Graduating I don’t know how he found me. He prob- in Colorado to see what sort of a jerk I cert organ in the I.U. Auditorium, two from IU in 1983, the year Ragatz retired, ably contacted someone at Union who was. (Was Guardian Angel back of all respectable studio organs, and eleven he completed the Doctor of Music degree at knew I had a girlfriend in Chambersburg this? Surely not . . . ) But now I was go- pipe organs in practice rooms for student Indiana University in 2000. Dr. Lamb was and knew the name. I never asked. May- ing through induction in Indianapolis, use. Ragatz built the department to a lev- recently appointed the District Convener for be Guardian Angel slipped him a note. then, pale, and suspect. The late January el where it could take its place along with the State of Indiana by the American Guild So I was being offered a real job, a quota for draftees was unusually low that the other large university organ depart- of Organists. permanent job, albeit in the hills of In- diana. Well, I stalled a bit. My parents pushed, Guardian Angel was pushing, I ANDOVER BEDIENT BERGHAUS BIGELOW BOND BUZARD am sure. I thought that surely that draft would get me any day, and a job at In- DYERCASAVANT FISK GARLAND GOULDING & WOOD HENDRICKSON FRERES DOBSON R. diana University would look good on my résumé some day, so I gave the dean a reluctant “yes.” The Dickinsons called
me a day later suggesting that I postpone BOODY the appointment for a year, so I could fi nish the degree, but that was out of the question since Miss Christena would be awaiting her new teacher in September. So after a week in the city with my par- ents, I was off to Bloomington, Indiana, for an entirely new life, and as it turned out, a wife. Mary Christena turned out to be a fi ne organist, and again I was faced with a situation I wasn’t quite ready for. But I didn’t duck, and she got a performer’s certifi cate with distinction for her se- nior recital. It was not until after Mary’s graduation that the student-teacher re- lationship segued into a more personal one. After a summer of dating, Mary went to New York to Union Seminary on my recommendation. I wanted her to experience the school, and especially the milieu of New York City and the great church music. However, she spent only one semester at Union, terminated by my going to New York to propose at Christ- mas. And that event can be subject for another paper—shorter than this one, I assure the reader. We were married June 4, 1944. (I never had trouble remember- ing that date. The assault on Normandy was to take place that week.) There is one loose end that must be taken care of in closing: THE DRAFT. During my fi rst Christmas vacation at Your Church Needs a New Pipe Organ. I.U., I had three recitals scheduled in the East—for the American Guild of Organists Chapter of Baltimore, before What’s the First Step? the New Year’s midnight service at First Baptist Church in Washington, D.C., Call or e-mail us! From information for your architect through fund-raising, APOBA and in Chambersburg. Of course I had as yet not learned how to cope with the has helpful publications concerning every aspect of an organbuilding project. stress of this sort of behavior, and I took sick on the B. & O. train returning from Washington to Indiana. A few days later, And, they’re FREE for the asking! my landlords called a doctor, and I was promptly swished off to the hospital in an ambulance with a severe case of pneumonia. (Guardian Angel was taking To receive information about pipe organs severe measures!) I was very ill, and had not the sulfa and recognized pipe organ builders drugs just come on the market, I might A write or call toll free 1-800-473-5270 have died. But after three weeks, I was P released, only to go back to my room to or on the web @ www.apoba.com fi nd THE letter from Uncle Sam telling BO Associated Pipe Organ Builders of America me to report for induction in Indianap- A P.O. Box 155 • Chicago Ridge, Illinois 60415 olis. Why had it taken them so long to
fi nd me? I had registered in Rochester, & REDMAN SCHANTZ SCHOENSTEIN TAYLOR QUIMBY PARSONS OTT giving my address as Sterling, Colorado, but I found out later that my registration had been sent to Sterling, Pennsylvania, NOACK MURPHY LéTOURNEAU KEGG JAECKEL HOLTKAMP wherever that is. And when they fi nally
APRIL, 2008 25
Apr 08 pp. 22-25.indd 25 3/10/08 11:23:08 AM The Musical Tradition at the Sainte-Clotilde Basilica in Paris, France Carolyn Shuster Fournier
1. In the beginning the fi rst decade of his service as choir- Jean Langlais (1931) As soon as he was appointed choir- master: in addition to his three-voice Bernard Piché (1938–1939) master at the Sainte-Clotilde church in Mass, op. 12, a dozen offertories, mo- Paris, France, Franck had the ambition tets and several hymns, his oratorio The Jean Langlais (private organ students or of becoming the titular of the Cavaillé- Seven Last Words of Christ on the Cross, those enrolled at the Schola Cantorum) Coll under construction: one of his pro- fi nished on August 14, 1859, and nota- Pierre Denis (beginning in 1932) grams, a concert given on February 22, bly his Dextera Domini, Offertory for Pierre Cogen (beginning in 1950) 1858 in Orléans, attested that “the piano Easter, op. 11, dedicated to the Abbot Marie-Louise Jaquet-Langlais (begin- will be played by M. César Franck, the Pierre Ambroise Hamelin (priest from ning in 1966) choirmaster and the fi rst organist at the 1857–1883).7 In 1867, Théodore Dubois Jacques Taddei (1980). Sainte-Clotilde parish in Paris.”1 During composed, at Hamelin’s request, his ver- the offi cial inauguration of the church sion of the Seven Last Words of Christ The example of Théodore Dubois on December 19, 1859, during which he for Good Friday. This work was then tra- to Maurice Emmanuel played (as did Lefébure-Wély), the musi- ditionally performed each Good Friday An example of faithful support of a cal press presented him as the “organiste at the Madeleine church. Samuel Rous- professor to his students, that of Théo- titulaire de Sainte-Clotilde.”2 seau, a musician who served this parish dore Dubois to Maurice Emmanuel In his biography of César Franck, between 1870 and 1904, also composed alone illustrates the quality of their re- Maurice Emmanuel justly reveals: religious music with harmonies openly lationship. At the time of Emmanuel’s inspired by Franck, which was used for nomination as choirmaster, on October César Franck was choirmaster at Sainte- the ceremonies at Sainte-Clotilde: two 20, 1904, Dubois wrote him the follow- Clotilde (1858) where Théodore Dubois collections of his music even indicate this ing letter: accompanied his choir. Imposed upon him in their titles: Répertoire de Ste-Clotilde by Abbot Hamelin, the parish priest, this (Le Beau, 1887; reissued by Pérégally & My dear friend, Théodore Dubois (courtesy Francis Dubois) choir could be compared to a loose-fi tting I am delighted that you have accepted overcoat whose sleeves hampered him Parvy, 1893–94) and Hymne à Sainte- Clotilde (1897, Pérégally & Parvy), with the functions of choirmaster at Ste-Clotilde. You remain a Christian and a believer; from conducting. Franck was also organist You have plenty of ideas, a cultivated spirit; in this same church, where he possessed the text by Abbot Le Droz, which was this is good! Strong souls support without you know how to manage, in these particu- weakness all human iniquities. You are one of the most beautiful instruments ever dedicated to Abbot Gardey, General larly diffi cult circumstances when we have constructed by Cavaillé-Coll and whose ad- Vicar of Paris, the main priest at Sainte- among them! imposed the “Motu proprio,” the departure The last phrase of your letter reminded mirable voices gradually aroused his genius Clotilde from 1883–1914. of some good and of some bad. You will as an improviser.3 me of my past. How many times my most scarcely be the sectarian and uncompromis- sincere efforts remained unknown and 2. The heritage ing man from the “Schola Cantorum,” and were ridiculed and how many times I was Franck generously allowed Théodore The Sainte-Clotilde musical tradition you will neither glide to the side of worldly treated unjustly and in a biased manner! Dubois to play this instrument occasion- remains unique because it produced a music, so-called more or less religious or But like you, I can say that I had “received rather more or less poorly written. You sympathy from a minor elite, and that a sin- ally when he conducted the choir, as on group of musicians whose line of transmis- must be fi rm and active. You will have all of April 2, 1861, for the fi rst performance sion from the professors to their students cere work in view of an elevated art is never that, and in addition you are young. Please entirely lost.” of his three-voice Mass in A Major, op. remains unbroken. The line of students accept therefore my congratulations and 4 Madame Dubois joins me and hopes 12 (1860) with orchestra. As Dubois has of the titulars at Sainte-Clotilde who be- my most sincere wishes, and you know that that you will share with Mme. Emmanuel confi rmed in his Souvenirs, it was only in longed to this tradition, listed below, is the I am always affectionately devoted to you. 9 the assurance of our most affectionate 1863 that Franck was fi nally named titu- most complete one to this day, without Théodore Dubois sympathy. lar of this most poetic instrument.5 however pretending to be exhaustive: Théodore Dubois11 Although Dubois left Sainte-Clotilde Two years later, on July 1, 1906, Dubois to begin his functions as choirmaster at César Franck (his organ students at the congratulated him for his actions within The dedications La Madeleine beginning on November Conservatory)8 this parish: The dedications of works by compos- 27, 1868, he remained César Franck’s Samuel Rousseau (Nov. 1871; 2nd acc. ers from the Sainte-Clotilde Tradition close friend. He strongly supported his 1872; 1st acc. 1875 ; 1st prize, 1877) My dear friend, I would like to express to their colleagues demonstrate their nomination in 1871 as organ professor at Guillaume Couture (Canadian) (1873 my complete satisfaction with the beauti- mutual esteem and their fraternal rela- the Paris Conservatory. He recalled this to 1875) ful performance of my Mass in the Pales- tionships. Samuel Rousseau dedicated trinian style this morning at Ste-Clotilde. moment in his short speech given dur- Charles Bordes (ca. 1880) I congratulate and heartily thank you for his Fantaisie, op. 73, “to the memory ing the inauguration of the monument Georges MacMaster (ca. 1880), also a your fi ne artistic interpretation. It is dif- of my dear Master César Franck,” the in César Franck’s memory, by Alfred student of Théodore Dubois fi cult to acquire the necessary suppleness Cantilena of his Fifteen Pieces (Paris, Lenoir, in the square located in front of Gabriel Pierné (Dec. 1880; 2nd prize, in such a style. You must then encourage Leduc, 1892) to Léon Cazajus, and an the Sainte-Clotilde Basilica on October 1881; 1st prize, 1882) the singers of your choir and give them the Offertoire funèbre in this same collec- 22, 1904: Dynam-Victor Fumet (Dec. 1885) compliments they deserve. tion to the Abbot Chazot, named second Charles Tournemire (Dec. 1889; 1st Congratulations also for the Plain-Chant vicar at Sainte-Clotilde in 1889. Maurice When the position as organ professor acc., 1890) [sic], which, thus sung and phrased, loses Emmanuel dedicated his Three Organ became vacant following Benoist’s death, I all of the cavernous severity that one is in the habit of giving to it, and which too often Pieces (Paris, Lemoine, 1986) to his as- went right away to see my master Ambroise Théodore Dubois (his students in har- sistant Emile Poillot. Ermend Bonnal Thomas, then director, and I said to him, renders it disagreeable. “There is only one man truly dignifi ed to mony at the Conservatory) Beautiful organ pieces, well-played. dedicated his Prayer and Chorale, op. Guillaume Couture (1873–1875) All my respects to Mrs. Emmanuel and 27, to the memory of his friend Samuel now occupy this post: it is César Franck”; st he responded to me: “This is true.” And he Maurice Emmanuel (1 acc. 1883) affectionately to you, Rousseau. Gabriel Pierné dedicated the named him to this post.6 Léon Cazajus (2nd prize 1887) Th. Dubois10 Prelude of his Three Pieces, op. 29, to the Jules Meunier (ca. 1895) One year later, after Maurice Emmanuel choirmaster Samuel Rousseau, and the Dubois dedicated to Franck his Prélude, resigned from his position as choirmas- second piece in this collection, the Can- the fi rst piece in his Twelve Pieces for Charles Tournemire (private organ ter at Sainte-Clotilde, Théodore Dubois tilène, to Théodore Dubois, who became Organ or Piano Pédalier (Paris, Leduc, and improvisation students) wrote to him on April 2, 1907: titular of the Grand Orgue at La Mad- 1886). Ermend Bonnal (beginning in 1904) eleine. Pierné also composed a Tombeau Among the liturgical works written for Maurice Durufl é (beginning in 1920) My dear Emmanuel, de César Franck for piano (published ceremonies at Sainte-Clotilde, Franck Daniel-Lesur (ca. 1927) That which you have told me does not posthumously), based on one of César composed several choral works during Henriette Puig-Roger (ca. 1930) surprise me! My long personal experience Franck’s improvisation themes. in this fi eld where I worked for so many years of my life, has not hardly left me any Following Samuel Rousseau, Charles illusions neither on the goodness, nor on Tournemire dedicated his fi rst important the piety nor on the intelligence of those organ work to César Franck, his Triple whom you know! Choral (Sancta Trinitas), op. 41, written I was just going to write to you to say in November, 1910 (Lyon, Janin, 1912) that I just learned about your resignation “to the memory of my venerated Master from Mr. Meunier, without a doubt the César Franck. This work renders hom- one whom you refer to with a M.— He just age to my master’s musical testament, his came to visit me, telling me this: “Mr. Em- Three Chorals (1890).” For Tournemire, manuel resigned from Ste-Clotilde, I am most certain; I am not less certain that my candidacy has a chance; I would be grateful the highest expression of organ music is if you would support me with a recommen- manifest in the choral. The refi ned style which ensues gives it a special signifi cance. dation to the priest.” In these conditions, This is not only a question of writing, its I could not refuse to write him this note, signifi cance is higher: it is the result of especially since I have known him for quite a special state of the soul. . . . From the a long time. I therefore wrote a small letter instant when the composer enters this to the priest conceived more or less in these temple perfumed with incense, he feels terms: “I have been informed that Mr. Em- penetrated with dignity: his prayerful soul manuel has left his position as choirmaster is fi lled with light.12 at Sainte-Clotilde. If this is true, please al- low me to etc. . . .” Since I always tell the truth, I was going Tournemire’s Triple Choral contains to write this to you, really certain that you three sources of inspiration: did not take this solemn decision until af- ter a series of all sorts of disgusting events 1st Choral—You are grand, oh Father! in which you did not want to tarnish your You have created the world. You have regu- dignity. lated the grandiose rhythm. You have cre-
26 THE DIAPASON
Apr 08 pp. 26-29.indd 26 3/10/08 11:24:01 AM gan, which Tournemire had recorded at the beginning of 1931 for Polydor. To his former student, substitute, and friend Ermend Bonnal, Tournemire dedicated several of his works: in 1895, Le Ménétrier (one of his Six Pieces for piano, op. 20—Marseille, Georges Kaufmann, 1900), an Offertory in G Major, op. 21, from the Variae Preces for harmonium (edited in Lyon by Janin in 1904, along with an Entrée in B Ma- jor, dedicated to Samuel-Rousseau) and in 1931, the 33rd offi ce of l’Orgue mystique, op. 57, for the eighth Sunday after Pentecost (Paris, Heugel, 1931). In turn, Bonnal dedicated to his maître his Paysage landais (Paris, A. Durand & Fils, 1904), and to André Fleury, the third piece of his Paysages pyrénées, re- baptized Paysages euskariens, Cloches dans le ciel. Bernard Schulé dedicated in memory of Ermend Bonnal his Icône, the fi fth of his organ pieces entitled En- luminures, op. 12 (Rouart Lerolle et Théodore Dubois with colleagues (courtesy Francis Dubois) Maurice Emmanuel circa 1920 (courtesy Cie., 1946). Anne Eichner-Emmanuel) Tournemire dedicated his Fioretti, his maître Charles Tournemire as well as lio to François Tricot (the fi rst of his Two op. 60, no. 2 (Paris, Hérelle, 1932) to his In Memoriam, op. 231 (Paris, Com- Hosannas on Gregorian texts; Vienna, ated life. We glorify you and we love you. his friend Jean Langlais. It is moving to bre, 1987). Universal, 1985). 2nd Choral—The one who regulates the read the text written to his student, blind In September, 1986, Langlais dedi- To his student and second wife Ma- immense rhythm of the world, this power since the age of two: cated his Three Antiphons to the Holy rie-Louise, Jean Langlais dedicated his that is beyond all our comprehension, in Virgin, op. 242, for solo voice (or for “Il était, Il est et Il vient,” no. 2 of his order to save us took on our humanity, was You judge me well because, to punish unison choir) and organ (Pro Organo, Five Meditations on the Apocalypse, op. born in a manger, grew up among men, me for my deep faults you weakened my lived a life in a miserable world, taught with 1991) to Father Joseph Choné, who had 175, and his “Feux d’artifi ce,” no. 4 of his eyesight and momentarily I lost my sight! just been named head priest at Sainte- Rosace, op. 211 (Paris, Combre, 1981). sublime maxims, died on a cross between Oh! Am I not only too worthy of these two thieves. Admire Christ’s ineffable tribulations? And don’t I deserve even yet Clotilde, as well as several works to his In turn, Marie-Louise Jaquet-Langlais sweetness and admire his unfathomable greater ones?14 colleagues: to his former student and wrote a biography on Langlais and his goodness and greatness. Love Christ. substitute organist Pierre Denis, Hom- work: Ombre et Lumière, Jean Langlais, 3rd Choral—This grandiose manifesta- Let us recall that it was with much mage à Landino from his Twenty-Four 1907–1991 (Paris, Combre, 1995). To tion of the silent march of the stars in space, emotion that Jean Langlais played this Pieces for Harmonium or Organ, op. 10 Jacques Taddei, Jean Langlais dedicated, the sublime act of Christ on the cross, all of these acts beyond our comprehension were work at a concert at Sainte-Clotilde in (Paris, Hérelle, 1939) and his Suite fran- in 1988, “He is Born,” no. 6 of his Christ- dictated by the Holy Spirit.13 homage to Tournemire on November çaise, op. 59 (Paris, Bornemann, 1948); mas Carol Hymn Settings, op. 243 (H. T. 16, 1989 (to commemorate the fi ftieth to his disciple and substitute organist Fitzsimons, 1988). Charles Tournemire dedicated several anniversary of his death). This was the Pierre Cogen in 1973, “Oh oui, viens of his works to his substitute organists: last time that Pierre Cogen heard Lan- Seigneur, viens Seigneur Jésus,” no. 4 Improvisation in 1930, to André Fleury, no. 15 of the glais play in this church that he had from his Five Meditations on the Apoca- Improvisation on the Grand Orgue op. 56 from l’Orgue mystique (Laetare), served as an artist for 43 years. Too weak lypse, op. 175 (Paris, Bornemann, 1974); played a primary role in the music at and to Daniel-Lesur, no. 16. In 1934, he to go up to the Grand Orgue tribune, and to the choirmaster François Tricot, Sainte-Clotilde. As Joël-Marie Fauquet dedicated no. 40 (for the XIVth Sunday Langlais, who strongly wished to per- Dominica in Palmis, op. 83 (Paris, Schola emphasized, after Pentecost) to Emile Poillot as well form this work, decided to perform it on Cantorum, 1984). Pierre Cogen dedicat- as no. 41, op. 57, from l’Orgue mystique the choir organ. Jean Langlais dedicated ed several works to his maître: in 1988, the fame of César Franck as an organ- (for the XVth Sunday after Pentecost) his Rhapsodie Grégorienne (no. 9 of his Offering (Paris, Combre, 1990) and his ist was founded on improvisation. . . . As to Maurice Durufl é. Durufl é, in turn, Nine Pieces, op. 40, published in Paris by Two Chorales (Paris, Combre, 1993); in a composer, he rarely put himself in the reconstituted Five Improvisations for or- Bornemann in 1945) to the memory of 1980, he dedicated his Hosanna in exsi- forefront. . . . Of the six hours of his class
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Apr 08 pp. 26-29.indd 27 3/10/08 11:24:23 AM each week, the Master devoted at least fi ve close to the founder of the Theosophi- of favors. The most noble ones, with char- Monsieur Denis Havard de la Montagne of them to improvisation. This says every- cal Society, and Charles Tournemire, an acter and talent, those who avoid pushing “Le Moulin blanc” thing. . . . Franck intended to bring it to emotional eclectic fond of the writings of others around, meditate, and only claim of 87300 Bellac, France a level of perfection that had never been Ernest Hello, Joseph Péladan and Dom their works that they be written, remain [email protected] achieved, thus transcending the liturgical ignored for too long. César Franck, the ser- requirements which motivated this tran- Guéranger. For Tournemire, “all music vice fi nished, delivered treasures to them. This article fi rst appeared in French in sient art.15 which is not written to glorify God is use- Have the times changed? The parishio- L’Orgue 2007, II-III, no. 278-279, pp. 177–185. less.” This last statement puzzled Jean ners, do they listen to the artist who today His two books of improvisation Langlais who dared to ask his master in (1926) through a close alliance with liturgy Acknowledgements themes, which later belonged to Gabriel 1931: “But what do you do with Debussy, and with art, equally respecting the reli- Carolyn Shuster Fournier warmly expresses Pierné, were used especially at Sainte- Ravel, Stravinsky, Bartók?” “USELESS, gious and musical functions, constructs an her gratitude to Francis Dubois, Anne Eich- Clotilde. This art served as a springboard he responded dryly.”19 A fi rm Christian edifi ce built on the themes taken from the ner-Emmanuel, Denis Havard de la Mon- for his imagination, which he expressed believer from Brittany, Jean Langlais service of the day that is as disciplined in tagne, Helga Schauerte and to the Ruth and its structure, as those by César Franck, of Clarence Mader Memorial Scholarship Fund with fl uidity, poetry and lyricism. Franck was attracted at a young age by the ideals whom he was one of the last students? His for its grant in 2006. transmitted this art to his students. It is of his professor at the Institute for the master bequeathed to him the gift of these notably Charles Tournemire who under- Blind in Paris, Albert Mahaut, the au- contemplative and impassioned impro- A French-American organist and musicolo- stood so well his improvisations and their thor of the book, Le Chrétien: l’homme visations, sometimes serene, other times gist, Carolyn Shuster Fournier is an interna- relationship with specifi c aspects of the d’action.20 tumultuous, and which are like mystical tional concert artist and titular of the Aristide Cavaillé-Coll at Sainte-Clotilde. Maurice In spite of the many diffi culties en- dramas conceived in the secret corners of Cavaillé-Coll choir organ at La Trinité Church Emmanuel was a fi rst-hand witness to countered throughout the history of this the soul. The successor of the master of the in Paris, France (cf. www.shusterfournier. this transmission: parish, the musicians of Sainte-Clotilde Beatitudes also buries himself in the medi- com). Her latest CD, “An American in Paris” tation of his work and only emerges to ex- (Ligia Digital, distribution Harmonia Mun- were able to respond as best they could press the thousand voices of his organ with di), recorded at La Madeleine church, fea- Please allow me, as one of Charles to the aristocratic parishioners’ taste for much lyrical rejoicing, which the congrega- tures French and American music. Chevalier Tournemire’s comrades, to share a past worldly music, to the various reforms of tion does not seem to understand . . .22 in the Order of Arts and Letters, Dr. Shuster experience during a heroic moment when, church music (notably to the separation Fournier has written several articles for THE at Sainte-Clotilde, we attempted to charm DIAPASON. our parishioners with music that was far of the church and state in December, Notes too austere. Several weeks ago, while lis- 1905, to the restoration of plainchant 1. Léon Vallas, La Véritable Histoire de tening to the brilliant postlude he impro- and Gregorian chants and to Palestrin- César Franck, 1822–1890, Paris, Flammarion, Choirmasters and Organists at the vised, this brought back distant memories ian music and much later, to Vatican II). 1955, p. 137. Sainte-Clotilde Basilica, Paris of how amazed I was when I listened to They also kept their artistic ideals, in 2. La France musicale, December 25, The following list was established with Tournemire’s musical commentaries dur- order to strongly adhere to high-qual- 1859. the kind assistance of Denis Havard de la ing the service; on certain days, during ity music. Maurice Emmanuel, who did 3. Maurice Emmanuel, César Franck, Par- Montagne (substitutes and assistants are the Postlude, his playing produced furious not succeed in accomplishing his mis- is, Laurens, 1930, p. 15. indicated in parentheses).1 outbursts from the organ: for this mystic is sion within this parish, remains “histori- 4. Vallas, op. cit., pp. 145–146. also a genuine dramatist. If his art volun- 21 5. Théodore Dubois, Souvenirs de ma vie, tarily brings serenity and peacefulness, it cally victorious” because he later did so ms. autograph, 1912, BNF Rés. Vmc. Ms. 3. Choirmasters can suddenly break forth with energy: and, in other contexts, notably in the circles 6. Vallas, op. cit., p. 173. 1857–1863: César Franck trembling, he attacks the keyboards, which in Saint-Germain-en-Laye and in his 7. Joël-Marie Fauquet, César Franck, Par- 1863–Nov 1868: Théodore Dubois previously sang meditatively, in response to classes at the Paris Conservatory, where is, Fayard, 1999, p. 314. Nov 1868–1869: Edouard Marlois the liturgical functions.16 he formed an entire school of church 8. Ibid., pp. 960–964. The entire list of the 1869?–1875: Stéphane Gaurion musicians, notably Olivier Messiaen. His students of the musicians of the Saint-Clotilde 1876–1882?: Alexandre Georges Tournemire transmitted this art to his lucidity concerning César Franck and church in Paris, France, was established with 1882–1904: Samuel Rousseau Denis Havard de la Montagne. students; his pupil Jean Langlais relates: Charles Tournemire sums up the role of 9. Théodore Dubois, “Lettre à Maurice 1904–1907: Maurice Emmanuel (Emile the musicians in the Sainte-Clotilde mu- Emmanuel,” Paris, October 30, 1904, con- Poillot) His pedagogy, as admirable as it was, was sical tradition: served in the archives l’Association des Amis 1907–1946: Jules Meunier, replaced dur- not lacking in originality. For example, con- de Maurice Emmanuel. The author thanks ing the war by Etienne Audfray (Pierre cerning a plan for improvisation: First, cre- If Franck ignored the joys that the least Madame Anne Eichner-Emmanuel, Presi- Besson and Robert Vincent) ate the atmosphere . . . Secondly, impose it dent, and Helga Schauerte for communica- on your listeners, so that the central part is of artists can ever know, he was conscious Dec 1946–June 1987: François Tricot of their force and of their liberty. The sur- tion these documents to her. June 1987–Sept 1988: Yves Castagnet rich. Rise . . . Rise . . . then, your public will 10. Dubois, Souvenirs, op. cit., July 1, 1906. follow you . . . They will begin to pant . . . vivors of the time when the Saint-Clotilde Sept 1988–Aug 31, 1989: Philippe organ sounded under the fi ngers of a mas- 11. Ibid., April 2, 1907. no longer able to breathe . . . Then play for 12. Charles Tournemire, César Franck Brandeis them two brief and dissonant chords on the ter, his happiness in playing, his improvi- 1989–1993: Pierre-Michel Bédard sations that he delivered, was recalled by (Paris, Delegrave, 1931), p. 69. entire organ . . . Observe a long silence . . . 13. Ibid., p. 69. 1993–June 1994: Marcel Bardon The audience is dead . . . Then, open the privileged listeners, . . . In his organ loft, Franck was king. It took several minutes for 14. Joël-Marie Fauquet, Catalogue de gates of heaven with a poetic conclusion on l’œuvre de Charles Tournemire, Genève, Organist Accompanists a Bourdon 8′ and a Voix Céleste . . .17 his power to break forth in all its fullness, and it brought forth an orchestral tumult, Minkoff, 1979. 1857–1863: Théodore Dubois in which the master played an imposing 15. Fauquet, César Franck, p. 480. 1863?–1869: Stéphane Gaurion 3. In conclusion prelude. To compel him to intone the tri- 16. Maurice Emmanuel, “Les Orgues de 1870–1878: Samuel Rousseau (Guil- umphal hymn, he seemed to shake the key- Sainte-Clotilde” in L’orgue et les organistes in All of the musicians who served Sainte- Le Monde Musical, 1933, p. 247. laume Couture) Clotilde during the past 150 years had boards; suddenly the hymn appeared in a 1879–1887: ? (Dynam-Victor Fumet, grandiose construction . . . More than once 17. Jean Langlais, cited in Marie-Louise Ja- personalities and religious beliefs that the horrible bell, rang by the singers’ ac- quet-Langlais, Ombre et Lumière, Jean Lan- organist of the Catechism Chapel in were strongly different. César Franck, companist “to tell the organist to stop play- glais, 1907–1991, Paris, Combre, 1995, p. 60. 1884) who kept Ernest Renan’s The Life of Je- ing,” announced the end of the offertory 18. Fauquet, César Franck, p. 314. 1888?–1890?: Clotaire-Joseph Franck sus on his bedside table, loved the splen- and the necessity to conclude . . . Franck, 19. Langlais, op. cit., p. 60. 1891–1923: Léon Cazajus (Emile Poil- dor of the worship services, who had just played a series of evocative 20. Albert Mahaut, Le Chrétien: l’homme lot) arpeggios, then began to proclaim: “I have d’action, preface by A. D. Sertillanges, Mul- 1923–ca. 1964: Pierre Besson that which exalts the exemplary and tran- not yet said anything!” or if indeed he was house, edition in Braille, 1918. ca. 1964–June 1987: François Tricot scending quality of sublime drama, above completely inspired: “What a shame.” But 21. Aurélie Decourt, “Maurice Emmanuel, maître de chapelle à Sainte-Clotilde, de 1904 June 1987–Sept 1988: Yves Castagnet all human, as the pediment of Sainte-Clo- he obeyed the bell. During the Vespers, Sept 1988–Aug 31, 1989: Philippe tilde shows, where the sculptor represent- the verses of the Magnifi cat gave him the à 1907: la tentative de réformer la musique ed Christ showing his wounds, according opportunity to create brief masterpieces religieuse et la question du plain-chant,” in Brandeis to the sad bent of the piety that it thus af- in spite of the clergy’s reprimands and the L’Orgue, June, 2007. Sept 1989–1993: Pierre-Michel Bédard fi rms.18 congregation’s impatience, totally insensi- 22. Emmanuel, César Franck, p. 123. 1993–Dec 2003: Sylvie Mallet tive to the splendors of this art. It is at the 2004: Olivier Penin Samuel Rousseau was kind, cordial, organ that Franck spent his best moments For more information concerning the mu- obliging and elegant. His compositions when his energies were renewed, where sicians of the Saint-Clotilde church in Paris, Titulars of the Grand-Orgue were easily accessible to the parishioners. the disdain of his contemporaries no lon- France, one may contact the following asso- 1863–1890: César Franck, but already in ger troubled him, where the dignity of his ciations: Gabriel Pierné was neither a practicing life without intrigues received in the Lord’s 1859 he played the Grand Orgue (Ga- nor a fundamental Christian, a true con- briel Pierné, after 1885) house its supreme reward. Association E. Bonnal trast to the great mystics Dynam-Victor Art is made of new beginnings, the des- “Héritage Musical” 1890–1898: Gabriel Pierné (Georges Fumet, who was closely associated with tiny of artists as well. Franck was not the Chemin des Jardins MacMaster in 1893–1894) anarchists and who married into a family last of musicians for whom life was sparing 30700 St. Victor des Oules, France 1898–1939: Charles Tournemire, nu- www.bonnal.org merous substitutes: [email protected] Ermend Bonnal ca.1910 Roger Stiegler ca. 1920 Association Théodore Dubois Maurice Durufl é 1920–1927 Christopher Hainsworth, président André Fleury ca. 1922–ca. 1930 Rue de la Fontaine 34800 Lacoste, France Daniel-Lesur 1927–1936 [email protected] Henriette Puig-Roger in 1929 Antoine Reboulot ca. 1935 Les Amis de Maurice Emmanuel Bernard Piché in 1938 and 1939 Anne Eichner-Emmanuel, présidente Bernard Schulé 1938–1945 30, rue Céline Dec 1941–Aug 1944: Joseph-Ermend 92160 Anthony, France Bonnal (Bernard Schulé until 1945) The b e s t of the European tradition [email protected] Nov 4, 1945–Dec 1987: Jean Langlais César-Franck-Gesellschaft E. V. (Pierre Denis 1945–1972; Pierre Cogen Proudly made in America Internationale Vereinigung 1972–1975, then titular; Marie-Louise c/o Dr. Christiane Strucken-Paland & Dr. Jaquet-Langlais 1979–Dec 1987) Ralph Paland Jan 1976–June 21, 1994: Pierre Cogen Berrenrather Straße 134 since Easter 1988: Jacques Taddei (Ol- 1003 Barnwood Lane 50937 Köln, Germany ivier Penin) Camillus, New York 13031 tel: 0049-(0) 221-5103355 [email protected] 1. Cf. Denis Havard de la Montagne and (315) 751-0505 L’Association des Amis de Jean Langlais Carolyn Shuster Fournier, “Maîtres de cha- www.lewtakorgan.com Brenda Dean, Présidente pelle et organists de la basilique Sainte-Clotil- 3, rue des Moulins de,” in L’Orgue, no. 278-279, pp. 5–6, as well 35560 La Fontenelle, France as Denis Havard de la Montagne’s website: www.jeanlanglais.eu
28 THE DIAPASON
Apr 08 pp. 26-29.indd 28 3/10/08 11:24:42 AM New Organs
Grand Orgue Pédale 8′ Montre 16′ Soubasse Juget-Sinclair Organbuilders, Separately, the mutations offer a myriad 8′ Flûte à cheminée 8′ Principal Montréal, Québec, Canada of colors. Used together, they give the 4′ Prestant Hatsudai Catholic Church, Cornet a meaty quality, rendered more 4′ Flûte Couplers II/I, I/P, II/P Tokyo, Japan acidic when the Principal 4′ replaces 2′ Doublette 58-note keyboards with boxwood naturals and Installed in the loft at the back of the the Flûte 4′. The Hautbois 8′ is lyrical Fourniture III ebony sharps nave, the instrument is of 17 stops on and blends well with the 8′ fl ue stops. 8′ Trompette 30-note fl at pedalboard with rosewood sharps two 58-note manual divisions (Grand The limited size of the Pédale division Récit expressif All pipe bodies are thinned at the tops Orgue and Récit expressif) and a 30- places increased importance on the suc- 8′ Salicional Suspended key action, self-adjusting on man- note Pédale division. Only the Grand cess of each stop. The Principal 8′ speaks 8′ Bourdon uals and pedal with pneumatic tensioners 8′ Bourdon Céleste (from Bourdon 8′) Mechanical stop-action Orgue is visible from the nave; the Récit quickly throughout, punctuating the ′ White oak casework, with mortise and tenon expressif is behind the Grand Orgue bass line. Due to the favorable acoustics 4 Principal 4′ Flûte 4 construction, hand-planed and oiled and the Pédale is situated beneath the of the church, the basses did not have to 2 Hand-carved pipe shades 2⁄3′ Nazard Récit on fl oor level. Some details of its be forced, speaking naturally and gently 2′ Flûte One cuneiform bellows 3 composition and construction, with its enough for more subtle registrations and 1⁄5′ Tierce oak casework and round towers, sug- gaining power as more stops are drawn. 8′ Hautbois Photo credit: Stephen Sinclair gest a post-classical French inspiration, —Denis Juget, Stephen Sinclair Tremblant doux but our principal guide is really our own mechanical aesthetic. Pipe scales and construction methods are not based on specifi c historical examples, but are our own; they are a synthesis of our experi- ence as organbuilders and an expression of ourselves. Some aspects of the instrument, how- ever, are more often associated with the romantic organ. In the treble range, stops were voiced with increasing power and—in the case of the Grand Orgue principals—wider scale. The disposition of both manual divisions on one level favors the blending of the 8′ voices. In the Récit expressif, the Salicional 8′ and the Principal 4′ have tuning slots, which give a penetrating timbre and enough power to project from within the swell box. The Bourdon 8′ has a second slider, called Bourdon Céleste, which de-tunes the pipes to create a celeste effect when drawn with the Salicional. The Cornet has been broken down into its com- ponent ranks for the sake of fl exibility.
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APRIL, 2008 29
Apr 08 pp. 26-29.indd 29 3/10/08 11:25:02 AM Cover feature
Redman Pipe Organs, Fort Worth, Texas St. Vincent’s Cathedral Church, Bedford, Texas The fi rst organ for St. Vincent’s Epis- copal Church in Euless, Texas, was a tracker-action instrument of 18 stops and 23 ranks. It had an entirely mechani- cal stop action and attached keydesk. I designed the new casework, and we still use it as our logo organ design. The organ was constructed utilizing some recycled windchests and other parts from a Hook & Hastings, originally built for Kava- naugh Methodist Church in Greenville, Texas. The organ had been replaced and broken up for parts. We also utilized some recycled pipes from an 1860 Odell, origi- nally built for Trinity Episcopal Church in New Orleans. Stinkens and Giesecke supplied burnished front pipes of 90% tin and other new pipes. The organ was fi nished in 1972 and voiced in the neo-ba- Façade (photo credit: Dan Hatzenbuehler) roque manner popular at that time. While a student at the University of Redman organ, Opus 4, St. Vincent’s North Texas in Denton, Texas, I had come Episcopal Church, Euless, Texas, April under the infl uence of Otto Hofmann of 16, 1972 Austin, Texas. Otto had been doing pio- neering work in building mechanical-ac- Bedford. A tall rectangular building in tion organs and fi nished the fi rst perma- basilica style was designed by architect nent installation of this type of instrument Jim Bransford. The choir and organ in 1956 at Matthews Memorial Presbyte- were to go in a rear gallery with enough rian Church in Albany, Texas. height for 16′ pedal pipes. A portion of These were very exciting times in the capital campaign fund was set aside organbuilding, with the rediscovery of to modify the organ for use in the new tracker-action organbuilding in the USA. building. The then-rector, Father Louis After fi nishing degrees at the University Tobola, was eager for the room to be of North Texas and Southern Method- good for music, and agreed with Roy ist University, I spent seven years in Redman’s advice to use hard surfaces full-time music ministry. All the while, throughout, and to use double sheet- however, I couldn’t leave organbuilding rock, glued together, for the interior alone and assisted with several projects, walls and ceiling. including the fi rst new tracker in the The new church was completed in Dallas-Fort Worth area at St. Stephen 1989, and the organ was removed from United Methodist Church in Mesquite, the old property to the Redman shop. A Texas. Finally, the opportunity came to year and a half later, now with a 4′ Prin- build the organ for St. Vincent’s, and I cipal in the Swell and new windchests for became a full-time organbuilder. Console (photo credit: Ron Turner) the Great and Swell to allow for addition- In 1989, St. Vincent’s built a splendid al stops, it was re-installed. There had not new church building in nearby Bedford, been enough money in the original cam- Texas. We enlarged the organ with new paign to upgrade the Pedal, so it was a bit windchests, a vertical extension of the “top-heavy.” casework, detached three-manual con- A second capital campaign raised sole, and electric stop action. Frank $60,000 for the Pedal organ. With that Friemel designed this reconstruction as amount, we could build the cases and our Opus 59 with 22 stops and 29 ranks action and have the beautiful tin 16′ of pipes. Additions included a Salicional Principal, but nothing else. Or we could and Vox Coelestis in the Swell. A Schal- have the cases and all the other Pedal mei replaced the original Krummhorn pipes, but no beautiful façade. In a Regal, and a pedal Mixture replaced great leap of faith by the vestry, $40,000 the original 2′ Flute. The organ was re- was taken from reserves to enable us to voiced for the new room, and the sound fi ll the Pedal towers in 1994. Now with was broadened and smoothed from the two 16′ manual stops, and a 32′ in the original concept. Further additions were Pedal, the transformation of the organ planned and prepared, including a Rück- has been amazing. positiv of eleven stops. A transformation of the role of the par- In 1994, the organ was further ex- ish was also begun in 1995, when Bishop panded with new 16′ Pedal towers and Jack L. Iker named St. Vincent’s as the an entirely new Pedal division. Giesecke pro-Cathedral of the Diocese of Fort provided new 90% burnished tin princi- Worth. At the end of 2007, the standing pal pipes, and we found that the metal committee of the diocese made our ca- matched the pipes from 1971, which had thedral status permanent. held their appearance very well. Other Though I never gave up hope for the additions included the 16′ Lieblich Rückpositiv division, it was many years Gedeckt, 8′ Spitzfl ute, Cornet, and a new in coming. At last, in 2007, an anony- and larger 8′ Trompete in the Great. The Festival Trumpet (photo credit: Dan Hatzenbuehler) mous donor contacted Roy and told Swell received a new 16′ Fagott, and an him to go forward with its design, and Oboe replaced the Schalmei. The Pedal contrast to the string celeste in the Swell. A journey and a transformation to include an en-chamade trumpet on now included a 32′ Bourdon and a new Swell shades give additional fl exibility to When I accepted the position of or- the main case—a stop that many in the and larger 16′ Posaune. the division. ganist at St. Vincent’s Church in 1984, I choir and congregation had been hoping Finally, in 2007, the organ has been Many have commented that the or- was already acquainted with the organ. It for. Frank Friemel managed to squeeze completed according to Frank Friemel’s gan has “grown up” and matured. This was only the third mechanical-action in- ten stops into the Rückpositiv, includ- design as Opus 87, with the new Rück- has happened because of the desire of strument in the Dallas-Fort Worth area, ing swell shades behind the 4′ Principal, positiv and a new Festival Trumpet, the congregation to have the fi nest organ and many organists had made a visit. yet the case is only 38 inches deep; and provided by Schopp. Its intention is to possible and to implement the changing Roy Redman had designed and built he made a beautiful arrangement of crown the chorus, but not to obliterate esthetics in organ building. It is perhaps the instrument, which sat on the fl oor at the horizontal trumpets. The Festival it. I believe it does that very well. The a study in how an organ can be enlarged the rear of the small church, snuggled Trumpet stop is commanding, but not other stops of the Rückpositiv provide a and expanded to meet the demands of a against the 17-foot ceiling. This ceiling overpowering, and, happily, when I play more intimate sound than that from the different time and place. appeared to be made of pressed string, it, it makes people smile. Great and Swell, since it is nearest the Those who worked on this project in- an inexpensive building material not In its lovely acoustical environment, ear. Based on a 4′ Principal, they provide clude Roy Redman, Frank Friemel, An- uncommon in the early ’60s. No matter the organ now possesses great warmth as contrast and fullness as well. The larger drew Packard, Wesley Miller, Joel Grey, how many gallons of paint were applied, well as excitement. I feel very fortunate and fuller Krummhorn fi lls that needed Carl Fischer, Joseph Watson, Chris Wil- it still absorbed sound. In this environ- to be on the bench. stop in the organ. We also used a single son, and Jake Morris. ment, the organ more or less made itself —Barbara Burton 1 1 ⁄3′ stop here, instead of a mixture, to —Roy Redman known, but the choir, seated in a corner Music director and organist provide more registration possibilities Redman Pipe Organs next to it, had no chance.
30 THE DIAPASON
Apr 08 pp. 30-31.indd 30 3/10/08 11:25:43 AM 1971 1991 1994 2007 Opus 4 Opus 59 Opus 66 Opus 87 GREAT GREAT GREAT GREAT 8′ Principal 8′ Principal 16′ Lieblich Gedeckt 16′ Lieblich Gedeckt 8′ Rohrgedeckt 8′ Rohrgedeckt 8′ Principal 8′ Principal 4′ Octave 4′ Octave 8′ Rohrgedeckt 8′ Rohrgedeckt 4′ Holzfl ote 4′ Holzfl ote 8′ Spitzfl ote 8′ Spitzfl ote 2′ Blockfl ote 2′ Blockfl ote 4′ Octave 4′ Octave 1 1 1⁄3′ Mixture IV 1⁄3′ Mixture IV 4′ Holzfl ote 4′ Holzfl ote 2 2 8′ Trompete 8′ Trompete 2⁄3′ Cornet II 2⁄3′ Cornet II (from G2) Zimbelstern Tremulant 2′ Octave 2′ Octave 1 1 Zimbelstern 1⁄3′ Mixture IV 1⁄3′ Mixture IV SWELL 8′ Trompete (new) 8′ Trompete 8′ Holzgedeckt SWELL Tremulant Tremulant 4′ Rohrfl ote 8′ Holzgedeckt Zimbelstern Zimbelstern 2′ Principal 8′ Salicional 2 ′ 2⁄3′ Sesquialtera II 8Vox Coelestis SWELL SWELL 1′ Zimbel III 4′ Principal 8′ Holzgedeckt 8′ Holzgedeckt 8′ Krummhorn 4′ Rohrfl ote 8′ Salicional 8′ Salicional Tremulant 2′ Spitzfl ote 8′ Vox Coelestis 8′ Vox Coelestis 2 2⁄3′ Sesquialtera II 4′ Principal 4′ Principal PEDAL 1′ Scharf III 4′ Rohrfl ote 4′ Rohrfl ote 16′ Subbass 8′ Schalmei 2′ Spitzfl ote 2′ Spitzfl ote 2 ′ 2 8′ Principal Tremulant 2⁄3 Sesquialtera II 2⁄3′ Sesquialtera II 4′ Choralbass 1′ Scharf III 1′ Scharf III (new breaks) 2′ Flute PEDAL 16′ Fagott 16′ Fagott Installation of steel beams to support 16′ Fagott 16′ Subbass 8′ Oboe 8′ Oboe new Rückpositiv (photo credit: Ron Turner) 8′ Principal Tremulant Tremulant 4′ Choralbass (new) 2′ Mixture III PEDAL PEDAL 16′ Posaune 32′ Bourdon 32′ Bourdon 16′ Principal 16′ Principal 16′ Subbass 16′ Subbass 8′ Octave 8′ Octave 8′ Gedeckt 8′ Gedeckt 4′ Choralbass 4′ Choralbass 2′ Mixture III 2′ Mixture III 16′ Posaune (new) 16′ Posaune 8′ Trompete 8′ Trompete 4′ Schalmei 4′ Schalmei RÜCKPOSITIV (enclosed) 8′ Bordun 8′ Gemshorn 8′ Gemshorn Celeste (tenor C) 4′ Principal (unenclosed) 4′ Spillfl ote 2 2⁄3′ Nasat 2′ Flachfl ote 3 1⁄5′ Terz 1 1⁄3′ Quinte 8′ Krummhorn Tremulant 8′ Festival Trumpet (mounted on Installation of trackers between central tower) Rückpositiv and console (photo credit: Ron Turner) Installation of steel beams to support new Rückpositiv (photo credit: Ron Turner) A view of the posterior side of the Rückpositiv (photo credit: Ron Turner)
Rückpositiv is almost complete. Shutters at the top of each tower allow Rückpositiv casework is in place and ready for installation of façade pipes (photo the organist to better hear the sound The interior of the Rückpositiv is ready credit: Ron Turner) coming from the Rückpositiv. (photo for pipe installation (photo credit: Ron credit: Ron Turner) Turner)
Roy Redman oversees installation of Rückpositiv casework (photo credit: Ron Turner) Rückpositiv pipework (photo credit: Dan Hatzenbuehler)
APRIL, 2008 31
Apr 08 pp. 30-31.indd 31 3/10/08 11:26:09 AM PAM Westminster Conference Summer Choral Conducting Symposium July 6–11, Westminster College, New Wilm- July 14–18, University of Michigan. ington, PA. Masterclasses, rehearsals, score study, Summer Institutes, John Ferugson, Tom Trenney, Keith reading sessions; Jerry Blackstone, Paul Rar- Hampton, others. din, Julie Skadsem. Workshops & Conferences Contact: 888/728-7228 x5288;
32 THE DIAPASON
Apr 08 pp. 32-37.indd 32 3/10/08 11:27:22 AM Neresheim, Ochsenhausen, Rot and Otto- Corsi di Musica Antica a Magnano beuren. Workshop for professionals and begin- August 14–24, Magnano, Italy. Bert Adams, FAGO ners with Franz Raml. Clavichord, fortepiano, organ, harpsichord, ATRICK LLEN Contact:
American Guild of English Handbell Organ Festival Ringers National Seminar 2008 September 24–28, South Germany. August 8–11, Orlando, FL. Ewald Kooiman; classes, lessons, recitals; Contact:
Calendar Dean W. Billmeyer Paul Jacobs; St. Paul’s Episcopal, Indianapo- This calendar runs from the 15th of the lis, IN 7:30 pm University of Minnesota month of issue through the following month. Bradley Hunter Welch; First Baptist, Chatta- The deadline is the fi rst of the preceding nooga, TN 7:30 pm month (Jan. 1 for Feb. issue). All events are Minneapolis 55455 • [email protected] assumed to be organ recitals unless other- 19 APRIL wise indicated and are grouped within each Paul Bisaccia, piano; Trinity Episcopal, Tor- date north-south and east-west. •=AGO chap- rington, CT 7:30 pm ter event, • •=RCCO centre event, +=new or- James David Christie, masterclass; First gan dedication, ++= OHS event. Presbyterian, Rocky Mount, NC 10 am THOMAS BROWN David Chalmers Information cannot be accepted unless it Cantatas of J. S. Bach, with New Trinity Baroque; UNIVERSITY Concert Organist specifi es artist name, date, location, and Cathedral of St. Philip, Atlanta, GA 7:30 pm hour in writing. Multiple listings should be in Bach, St. Matthew Passion; Gamble Audito- PRESBYTERIAN CHURCH GLORIÆ DEI CANTORES rium, Baldwin-Wallace College, Berea, OH Part chronological order; please do not send du- CHAPEL HILL, NORTH CAROLINA I, 1:30 pm, Part II, 4 pm Orleans, MA plicate listings. THE DIAPASON regrets that Todd Wilson, workshops; First Presbyterian, it cannot assume responsibility for the accu- Birmingham, MI 9 am, 11 am, and 2 pm racy of calendar entries. Festival Bell Choir; Lutheran Church of the Re- deemer, Birmingham, MI 4 pm STEVEN EGLER UNITED STATES 20 APRIL DELBERT DISSELHORST Central Michigan University East of the Mississippi David Spicer; First Church of Christ, Wethers- First Presbyterian Church fi eld, CT 7 pm A. MUS. D. Mt. Pleasant, Michigan 48858 Gail Archer 15 APRIL , works of Messiaen; Church of St. UNIVERSITY OF IOWA SOLO Shelly-Egler Vincent Ferrer, New York, NY 3 pm Hermann Kotzschmar tribute; Portland City RECITALS Flute and Organ Duo Hall, Portland, ME 7:30 pm Bach, Cantata 229; Holy Trinity Lutheran, New Heinrich Christensen; King’s Chapel, Bos- York, NY 5 pm Andrew Scanlon ton, MA 12:15 pm ; St. Thomas Fifth Avenue, New York, NY 5:15 pm Tony Robertson; St. Paul’s Episcopal, Win- Alison Luedecke, with Millennia Consort; Sa- ELLEN KURTZ ston-Salem, NC 7 pm JOHN FENSTERMAKER cred Heart Cathedral, Newark, NJ 4 pm Gillian Weir; First Presbyterian, Newton, NC Vincent Carr; Christ Church, New Brunswick, 7:30 pm NJ 6:30 pm, following 6 pm Vespers TRINITY-BY-THE-COVE FUNK Robert Gant; St. Luke’s Chapel, Medical Uni- M.Mus., A.A.G.O. David Hurd; Washington National Cathedral, versity, Charleston, SC 12:15 pm Washington, DC 5 pm Concord, California Clive Driskill-Smith; St. Luke’s Cathedral, Or- NAPLES, FLORIDA James David Christie; St. Paul’s Episcopal, lando, FL 7:30 pm Greenville, NC 5 pm Christopher Stroh; Church of St. Louis, King Andrew Kotylo; Cathedral of St. Philip, At- of France, St. Paul, MN 12:35 pm lanta, GA 3:15 pm Organist / Pianist Choral Evensong; Cathedral of St. Philip, At- CHRISTOPHER 16 APRIL lanta, GA 4 pm Michael Gailit Ken Cowan; Church of St. Ignatius Loyola, Lessons & Carols for Eastertide; Peachtree [email protected] New York, NY 7 pm Road United Methodist, Atlanta, GA 7:30 pm GARVEN http://www.gailit.at Claudia Dumschat, with choir; Church of the Paul Jacobs; Trinity Episcopal Cathedral, Organist & Music Director Transfi guration, New York, NY 7:30 pm Cleveland, OH 2 pm St. Augustine’s Church Church of the Good Samaritan Nancianne Parrella, with choir and orchestra; Karel Paukert, with viola and cello; St. Paul’s Conservatory / University (Vienna) Paoli, Pennsylvania Church of St. Ignatius Loyola, New York, NY 8 Episcopal, Cleveland Heights, OH 3:30 pm pm Joan Lippincott, Bach, Art of Fugue; United Jessica French; Cathedral Basilica of the Sa- Methodist Church, Berea, OH 2:30 pm cred Heart, Newark, NJ 12 noon Michael Brittenback, with oboe; St. George’s John M. Gearhart III Jose Gascho, harpsichord; St. Luke Catholic Episcopal, Dayton, OH 4 pm Robert Glasgow Church, McLean, VA 1 pm •John Weaver; Mayfl ower Congregational, B.A., M.Mus. John Bostron; Old Salem Visitor Center, Win- Grand Rapids, MI 4 pm St. John the Divine (Episcopal) Professor Emeritus ston-Salem, NC 12 noon Festival Bell Choir; Lutheran Church of the Re- 2450 River Oaks Blvd. Ingrid Pierson; Cathedral of St. John the deemer, Birmingham, MI 4 pm The University of Michigan Evangelist, Milwaukee, WI 12:15 pm Handbell concert; Glenview Community Houston, TX 77019 Ann Arbor Church, Glenview, IL 4 pm 17 APRIL John Bryant; Lincoln Park Presbyterian, Chi- Charles Boyd Tompkins; Furman University, cago, IL 4 pm Greenville, SC 8 pm Gospel Choir concert; Augustana Chapel, Lu- Choral Evensong; Cathedral of St. Philip, At- theran School of Theology, Chicago, IL 4 pm JAMES HAMMANN lanta, GA 5:45 pm Antone Godding DMA-AAGO Clive Driskill-Smith; Piedmont College, De- 21 APRIL Nichols Hills morest, GA 7:30 pm Bruce Neswick, masterclass; St. James Epis- University of New Orleans copal, Greenville, SC 7:30 pm United Methodist Church 18 APRIL Stephen Cleobury, with chorus; Calvary Epis- Oklahoma City Chapel of the Holy Comforter Huw Lewis; Westminster Presbyterian, Al- copal, Cincinnati, OH 7 pm bany, NY 7:30 pm John Weaver, workshop; Mayfl ower Congre- •Barbara Harbach, with AGO members; Slee gational, Grand Rapids, MI 8 pm Hall, SUNY, Buffalo, NY 8 pm LORRAINE BRUGH, Ph.D. Alison Luedecke, with Millennia Consort; St. 22 APRIL John’s Lutheran, Allentown, PA 7:30 pm Lee Ridgway; King’s Chapel, Boston, MA A two-inch Maxine Thevenot; Emmanuel Church, Ches- 12:15 pm Associate Professor tertown, MD 8 pm Domenico Severin; Church of St. Louis, King Professional Card Janette Fishell; Christ United Methodist, of France, St. Paul, MN 12:35 pm University Organist Greensboro, NC 7:30 pm in The Diapason Daniel Sullivan; St. Petersburg College, St. 23 APRIL Valparaiso University Petersburg, FL 7:30 pm Donald Meineke; Cathedral Basilica of the Valparaiso, IN For information on rates and Bach cantatas; Gamble Auditorium, Baldwin- Sacred Heart, Newark, NJ 12 noon www.valpo.edu specifi cations, contact: Wallace College, Berea, OH 4 pm Joby Bell; Old Salem Visitor Center, Winston- Lars Ulrik Mortensen, harpsichord, with violin Salem, NC 12 noon Jerome Butera and cello; Gamble Auditorium, Baldwin-Wallace 219-464-5084 College, Berea, OH 8 pm 25 APRIL [email protected] Dvorák, Stabat Mater; First Presbyterian, Bir- Monteverdi, Vespers of the Blessed Virgin; Wool- [email protected] 847/391-1045 mingham, MI 7:15 pm sey Hall, Yale University, New Haven, CT 8 pm
APRIL, 2008 33
Apr 08 pp. 32-37.indd 33 3/10/08 11:27:41 AM Craig Cramer; Pine Street Presbyterian, Har- Evensong for Ascension; Cathedral of the In- risburg, PA 7:30 pm carnation, Garden City, NY 4 pm WILL HEADLEE Harry H. Huber Alleluia! Ringers; St. Lorenz Lutheran, Fran- Stephen Hamilton, Messiaen, L’Ascension; D. Mus. kenmuth, MI 7 pm St. Thomas Fifth Avenue, New York, NY 5:15 pm 1650 James Street David Schrader; Christ Church Cathedral, In- Gail Archer; Christ Church, New Brunswick, Kansas Wesleyan University, Emeritus dianapolis, IN 4:30 pm NJ 6:30 pm, following 6 pm Vespers Syracuse, NY 13203-2816 University Methodist Church Fauré, Requiem; St. John United Presbyte- Scott Montgomery; First Presbyterian, Lan- rian, New Albany, IN 8 pm caster, PA 4 pm (315) 471-8451 SALINA, KANSAS Choir of St. Thomas Church, New York City; Alan Morrison; Bomberger Hall, Ursinus Col- St. John’s Episcopal, Memphis, TN 7:30 pm lege, Collegeville, PA 4 pm Mozart, Grand Mass in c, K. 427; Cathedral of McCullough, Holocaust Cantata; George MICHELE JOHNS St. John the Evangelist, Milwaukee, WI 8 pm Washington Masonic National Memorial, Wash- Brian Jones ington, DC 4 pm A.Mus.D 26 APRIL Naji Hakim; Washington National Cathedral, Director of Music Emeritus David Briggs, silent fi lm accompaniment; As- Washington, DC 5 pm Organ — Harpsichord cension Memorial Episcopal, Ipswich, MA 4:30 Suspicious Cheese Lords; Cathedral of Mary The University of Michigan TRINITY CHURCH pm Our Queen, Baltimore, MD 5:30 pm School of Music BOSTON Victorian Anthems; Christ & St. Stephen’s Paul Skevington; St. Luke Catholic Church, Episcopal, New York, NY 5 pm McLean, VA 4 pm John Schwandt, with Saginaw Bay Sympho- James David Christie; St. James’s Episco- ny; Temple Theater, Saginaw, MI 8 pm pal, Richmond, VA 7 pm John Gouwens, carillon; The Culver Acad- Julane Rodgers, harpsichord, with friends; KIM R. KASLING JAMES KIBBIE emies, Culver, IN 4 pm Christ Church, Sarasota, FL 4 pm Paul Jacobs; Weidner Center for the Perform- Georgia Festival Chorus; Cathedral of St. Phil- D.M.A. The University of Michigan ing Arts, Green Bay, WI 7:30 pm ip, Atlanta, GA 3:15 pm St. John’s Univeristy Ann Arbor, MI 48109-2085 Choral Evensong; Cathedral of St. Philip, At- 734-764-1591 FAX: 734-763-5097 27 APRIL lanta, GA 4 pm Collegeville, MN 56321 Three Choirs Festival, works of Vaughan Wil- John Weaver; Zion Lutheran, Fort Wayne, IN email: [email protected] liams; South Church, New Britain, CT 4 pm 4 pm Gerre Hancock; St. Peter’s-by-the-Sea Epis- Frederick Swann; First-Trinity Presbyterian, copal, Bay Shore, NY 6 pm Laurel, MS 4 pm Andrew Pester & Enrico Contenti; Cathedral La Crosse Chamber Chorale; Viterbo Univer- David K. Lamb, D.Mus. of the Incarnation, Garden City, NY 4 pm sity Fine Arts Center, LaCrosse, WI 3 pm Richard Litterst Renée Anne Louprette; Church of St. Igna- Director of Music/Organist tius Loyola, New York, NY 4 pm 6 MAY First United Methodist Church First Church of Christ, Scientist Frank Crosio; Cathedral of St. Patrick, New Tom Ferry; Church of St. Louis, King of Columbus, Indiana York, NY 4:45 pm France, St. Paul, MN 12:35 pm 812/372-2851 Rockford, Illinois Bach, Cantata 108; Holy Trinity Lutheran, New York, NY 5 pm 8 MAY Joanna Elliott; St. Thomas Fifth Avenue, New St. Luke’s Choir; St. Luke in the Fields, New York, NY 5:15 pm York, NY 8 pm Vernon Williams; Christ Church, New Bruns- Thierry Escaich, with the Philadelphia Or- BETTY LOUISE LUMBY wick, NJ 6:30 pm, following 6 pm Vespers chestra, Escaich, Organ Concerto No. 1; Verizon David Lowry Rachel Laurin; Shadyside Presbyterian, Pitts- Hall, Philadelphia, PA 8 pm THE EPISCOPAL CHURCH OF THE GOOD SHEPHERD DSM • FAGO burgh, PA 4 pm Aaron David Miller; Queen of All Saints Ba- 1512 BLANDING STREET, COLUMBIA, SC 29201 Children’s Chorus of Washington; Old Presby- silica, Chicago, IL 7:30 pm DEPARTMENT OF MUSIC, WINTHROP UNIVERSITY UNIVERSITY OF MONTEVALLO terian Meeting House, Alexandria, VA 3 pm 9 MAY ROCK HILL, SC 29733 Bruce Neswick, hymn festival; St. James MONTEVALLO, AL 35115 Episcopal, Greenville, SC 7 pm Spring choral concert; All Saints, Worcester, Domenico Severin; Cathedral of St. Philip, MA 7:30 pm Atlanta, GA 3:15 pm Thierry Escaich, with the Philadelphia Or- Choral Evensong; Cathedral of St. Philip, At- chestra, Escaich, Organ Concerto No. 1; Verizon lanta, GA 4 pm Hall, Philadelphia, PA 2 pm Bach, Mass in b; Christ Church Cathedral, In- Dvorak, Stabat Mater; First Presbyterian, Bir- James R. Metzler dianapolis, IN 4:30 pm mingham, MI 7:30 pm Janette Fishell; Christ Church Cathedral, Roger Stanley; St. Chrysostom’s, Chicago, IL PARK CONGREGATIONAL CHURCH Nashville, TN 4 pm 7:30 pm GRAND RAPIDS, MICHIGAN Jeremy David Tarrant; Angelica Lutheran, Al- len Park, MI 4 pm 10 MAY Choir of St. Thomas Church, New York City; Thierry Escaich, with the Philadelphia Or- St. Paul’s Episcopal, Mobile, AL 4 pm chestra, Escaich, Organ Concerto No. 1; Verizon Douglas Cleveland; Winnetka Congregation- Hall, Philadelphia, PA 8 pm, Postlude 10 pm al, Winnetka, IL 5 pm Judith & Gerre Hancock; Christ Episcopal, William H. Murray University of Chicago Motet Choir and Alei Ponte Vedra Beach, FL 7 pm A.S.C.A.P. Gefen Chorus of Tel Aviv; Rockefeller Chapel, Bradley Hunter Welch; Clayton State Univer- FELLOW, AMERICAN GUILD OF ORGANISTS Mus.M., F.A.G.O. Chicago, IL 7:30 pm sity, Morrow, GA 3 pm VocalEssence; Trinity Lutheran, Stillwater, MN 345 SADDLE LAKE DRIVE 28 APRIL 8 pm ROSWELL-ATLANTA, GEORGIA 30076 Fort Smith, Arkansas (770) 594-0949 Choir of St. Thomas Church, New York City; Cathedral Church of the Advent, Birmingham, AL 11 MAY 7:30 pm Lee Dettra; The Reformed Church, Pough- Margaret Kemper; Elliott Chapel, Presbyte- keepsie, NY 3:30 pm MARILYN MASON rian Homes, Evanston, IL 1:30 pm Stephen Hamilton, with narrators and fl ute; CHAIRMAN, DEPARTMENT OF ORGAN Church of the Holy Trinity (Episcopal), New York, UNIVERSITY OF MICHIGAN 29 APRIL NY 4 pm ANN ARBOR Ben van Oosten; Portland City Hall, Portland, Katherine Lordi; Cathedral of St. Patrick, New York, NY 4:45 pm “ . . . Ginastera’s . . . was by all odds the most exciting . . . and Marilyn Mason played it ME 7:30 pm Choir of St. Thomas Church, New York City; John Scott; St. Thomas Fifth Avenue, New with awesome technique and a thrilling command of its daring writing.” Christ Episcopal, Charlotte, NC 7:30 pm York, NY 5:15 pm The American Organist, 1980 Carolyn Diamond; Church of St. Louis, King Music for handbells & fl ute; Church of St. Jo- of France, St. Paul, MN 12:35 pm seph, Bronxville, NY 3 pm Christopher Jennings; Christ Church, New 30 APRIL Brunswick, NJ 6:30 pm, following 6 pm Vespers Aaron Goen; Cathedral Basilica of the Sacred Fillipa Duke; Cathedral of St. Philip, Atlanta, Mary Mozelle LARRY PALMER Heart, Newark, NJ 12 noon GA 3:15 pm Concert Organist Rozanna Vancil; Old Salem Visitor Center, Choral Evensong; Cathedral of St. Philip, At- Professor of Winston-Salem, NC 12 noon lanta, GA 4 pm Bach, Cantata 113; St. Lorenz Lutheran, Fran- Bach Society of Dayton; Kettering Seventh- “The Sights and Harpsichord and Organ kenmuth, MI 7 pm day Adventist Church, Kettering, OH 7:30 pm Paul Kosower; Cathedral of St. John the Music of the Baroque; First United Methodist, Sounds of Meadows School of the Arts Evangelist, Milwaukee, WI 12:15 pm Evanston, IL 7:30 pm
the Pipe Organ” SOUTHERN METHODIST UNIVERSITY 1 MAY 13 MAY Choral Evensong; Emmanuel Church, Ches- Thierry Escaich, with the Philadelphia Or- Dallas, Texas 75275 tertown, MD 6 pm chestra, Escaich, Organ Concerto No. 1; Verizon 703.898.9609 Hall, Philadelphia, PA 8 pm, Postlude 10 pm www.PipeOrganPro.com 2 MAY Atlanta Baroque Orchestra; Peachtree Road Musical Heritage Society recordings Brian Jones; First Religious Society, Carlisle, United Methodist, Atlanta, GA 5 pm MA 7:30 pm Music of the Baroque; Harris Theater, Chi- John Weaver; First Presbyterian, Elkhart, IN cago, IL 7:30 pm 7:30 pm Jeffrey Patry; Church of St. Louis, King of Frederick Swann & Mina Belle Packer Wich- France, St. Paul, MN 12:35 pm Arthur LaMirande mann, lecture/recital; Thomas Fine Arts Center, LaMirande must be complimented upon investi- William Carey University, Hattiesburg, MS 7 pm 14 MAY gating music that few of his fellow organists have Renée Anne Louprette; Church of St. Igna- had the foresight to examine and to bring before the 3 MAY tius Loyola, New York, NY 7 pm public.—American Record Guide Solemn Evensong; St. Paul’s Church, Monteverdi, Vespers of 1610; Church of St. Doylestown, PA 5 pm Ignatius Loyola, New York, NY 8 pm L’organiste traversa son programme entier avec James David Christie, masterclass; St. une authorité, une solidité technique et une fraîcheur James’s Episcopal, Richmond, VA 10 am 15 MAY de registration qui, loin de faiblir en fi n d’exercice, Ken Cowan; Trinity United Methodist, Atlanta, Choral Evensong; Cathedral of St. Philip, At- accompagnèrent les deux rappels d’ailleurs accordé GA 6 pm lanta, GA 5:45 pm sans la moindre hésitation.—La Presse, Montréal 4 MAY 16 MAY 461 Fort Washington Avenue, Suite 33 Malcolm Halliday; Wesley United Methodist, Pierre Pincemaille; Cathedral of St. Joseph, New York, NY 10033 Worcester, MA 12:15 pm Hartford, CT 7:30 pm 212/928-1050 [email protected] Brian Jones; St Paul’s Episcopal, Dedham, Charles Kennedy; Cathedral Church of the MA 7:30 pm Advent, Birmingham, AL 12:30 pm
34 THE DIAPASON
Apr 08 pp. 32-37.indd 34 3/17/08 10:35:34 AM Handel, Dixit Dominus; Rockefeller Chapel, 23 MAY Chicago, IL 8 pm David Jonies; Fourth Presbyterian, Chicago, Bradley Hunter Welch; Trinity Evangelical IL 12:10 pm LEON NELSON Lutheran, Peoria, IL 7:30 pm DOUGLAS REED 25 MAY FIRST PRESBYTERIAN CHURCH 17 MAY Paul Skevington, with National Men’s Chorus; ARLINGTON HEIGHTS, IL 60004 UNIVERSITY OF EVANSVILLE RSCM Anniversary Celebration; St. Thomas St. Luke Catholic Church, McLean, VA 5 pm NORTH PARK UNIVERSITY EVANSVILLE, INDIANA Fifth Avenue, New York, NY CHICAGO, IL 60625 +Paul Jacobs; Christ & St. Stephen’s Episco- 28 MAY pal, New York, NY 4 pm, 7:30 pm Jacques Boucher & Anne Robert; Methuen Marilyn Keiser, workshop; Palma Ceia Pres- Memorial Music Hall, Methuen, MA 8 pm byterian, Tampa, FL 10 am Stephen G. Schaeffer John Gouwens, carillon; The Culver Acad- 29 MAY ROBERT L. emies, Culver, IN 4 pm Gail Archer; Cathedral of St. Patrick, New D.M.A. Handel, Dixit Dominus; Rockefeller Chapel, York, NY 7 pm SIMPSON Chicago, IL 3 pm The Cathedral Church 30 MAY of the Advent Christ Church Cathedral 18 MAY Karen Beaumont; Fourth Presbyterian, Chi- 1117 Texas Avenue Paul Bisaccia, piano; Federated Church of cago, IL 12:10 pm Birmingham, Alabama 35203 Houston, Texas 77002 Orleans, Cape Cod, MA 4 pm David Hurd; St. Peter’s by-the-Sea Episcopal, 31 MAY Bay Shore, NY 6 pm •Frederick Swann, with New Jersey Choral Society; Westside Presbyterian, Ridgewood, NY Works of Roberta Bitgood; First Church of Stephen Tappe 8 pm Christ, Wethersfi eld, CT 6 pm John Gouwens, carillon; The Culver Acad- Organist and Director of Music Joe Utterback Evensong for Trinity Sunday; Cathedral of the emies, Culver, IN 7:30 pm Saint John's Cathedral Incarnation, Garden City, NY 4 pm COMMISSIONS & CONCERTS Frederick Teardo; St. Thomas Fifth Avenue, Denver, Colorado 732 . 747 . 5227 New York, NY 5:15 pm UNITED STATES www.sjcathedral.org Mozart, Requiem; Church of St. Joseph, West of the Mississippi Bronxville, NY 3 pm Jan-Piet Knijff; Christ Church, New Bruns- 18 APRIL wick, NJ 6:30 pm, following 6 pm Vespers Susan Landale; Bales Organ Recital Hall, Alan Morrison; St. John’s Lutheran, Allen- University of Kansas, Lawrence, KS 7:30 pm Marcia Van Oyen David Wagner town, PA 4 pm DMA Rossini, Stabat Mater; Shadyside Presbyte- 19 APRIL First United Methodist Church, Madonna University rian, Pittsburgh, PA 4 pm Choral Evensong; St. Paul’s Episcopal, Burlin- Plymouth, Michigan Livonia, Michigan Marilyn Keiser; Palma Ceia Presbyterian, game, CA 5 pm Tampa, FL 3 pm mvanoyen.com [email protected] Bruce Neswick; Cathedral of St. Philip, At- 20 APRIL lanta, GA 3:15 pm Robert Huw Morgan; Cathedral Church of St. Choral Evensong; Cathedral of St. Philip, At- John, Albuquerque, NM 4 pm lanta, GA 4 pm Clive Driskill-Smith; Grace Cathedral, San A Professional Card in Westminster Presbyterian Church Choir; Francisco, CA 4 pm The Diapason Westminster Presbyterian, Dayton, OH 7 pm Cj Sambach; First United Methodist, Lompoc, Kevin Walters Ken Cowan; Central United Methodist, Mus- CA 3 pm INformance For rates and digital specifi cations, kegon, MI 7 pm M.A., F.A.G.O. contact Jerome Butera True North Brass; First United Methodist, Bir- 21 APRIL 847/391-1045 mingham, MI 7:30 pm The Chenaults; Central United Methodist, Rye, New York [email protected] Choral Evensong; Cathedral Church of the Ad- Kansas City, MO 7:30 pm vent, Birmingham, AL 4 pm Aaron David Miller; St. Paul Lutheran, Michi- 22 APRIL gan City, IN 4 pm Choir of St. Thomas Church, New York City; Boe Chapel, St. Olaf College, Northfi eld, MN Chicago Early Music Consort; Glenview Com- 7:30 pm Cherie Wescott munity Church, Glenview, IL 4 pm KARL WATSON Concerts • Masterclasses • Coaching Apollo Chorus; Fourth Presbyterian, Chicago, 23 APRIL IL 3 pm Lynne Davis, children’s concert; Wiedemann STATEN ISLAND 405/942-3958 Hall, Wichita State University, Wichita, KS 10:30 am 19 MAY e-mail: [email protected] James Russell Brown; Elliott Chapel, Pres- 25 APRIL byterian Homes, Evanston, IL 1:30 pm Frederick Swann; All Saints Episcopal, Fort Worth, TX 8 pm 20 MAY Maxine Thevenot; St. John’s Cathedral, Den- Davis Wortman Youth concert; Portland City Hall, Portland, ver, CO 7:30 pm RONALD WYATT ME 10:30 am •John Ferguson, hymn festival; Bethany Lu- Trinity Choir and Rebel Baroque Orchestra; theran, Englewood, CO 7:30 pm St. James’ Church Trinity Wall Street, New York, NY 7:30 pm Trinity Church Brian Carson; Church of St. Louis, King of 27 APRIL New York Galveston France, St. Paul, MN 12:35 pm Frederick Swann; First Presbyterian, Fort Smith, AR 4 pm 21 MAY Peter Richard Conte; First Presbyterian, Ty- John Weaver; Stowe Community Church, ler, TX 4 pm Stowe, VT 12 noon Bill Rugg, organ, Linda Raney, harpsichord, Charles Dodsley Walker, FAGO Paul Skevington; St. Luke Catholic Church, with instruments; First Presbyterian, Santa Fe, Artist-in-Residence Founder/Conductor McLean, VA 1 pm NM 3 pm Saint Luke’s Parish Canterbury Choral Society 1864 Post Road 2 East 90th Street Darien, CT 06820 New York, NY 10128 (917) 628-7650 (212) 222-9458
Cathedral Church of St. John SYLVIE POIRIER Albuquerque, New Mexico A radio program for the king of instruments www.stjohnsabq.org PHILIP CROZIER 505-247-1581 #0814 - Taking the Prize…hear gifted youthful performers, ORGAN DUO Ji-Yoen Choi, Timothy Olsen, Yoon-mi Lim, and Scott 3355 Queen Mary Road, Apt 424 A Montgomery who have earned top awards during the last four National Young Artist Competitions in Organ Performance Montreal, H3V 1A5, P. Quebec P sponsored by the American Guild of Organists. Canada R (514) 739-8696 #0815 - The Organ at Home…visit the king of instruments I ensconced in residences of the rich and (sometimes) famous, Fax: (514) 739-4752 Iain Quinn Maxine Thevenot Director of Cathedral Associate Organist- L including homes of a music teacher, an organ builder, an [email protected] Music & Organist Choir Director industrialist, a dentist and a duke! 2 #0816 - Going for Baroques…we trace a trail from before Bach to Bingham and beyond, with a collection of music ‘in the DAVID SPICER 0 manner Baroque’. 0 First Church of Christ #0817 - Conventional Wisdom…a preview of some of the Wethersfi eld, Connecticut Carol Williams 8 performers to be featured in this summer’s national convention of the American Guild of Organists (June 21-29, 2008; www.ago2008.org.) San Diego Civic Organist
From American Public Media, Pipedreams® is public radio’s weekly APOBA is a proud program dedicated to the artistry of the pipe organ. Host Michael Barone’s supporter of Website: www.melcot.com celebration of the “king of instruments” is heard on stations nationwide. Pipedreams® Visit www.pipedreams.org to locate a broadcast station in your area. www.apoba.com House Organist E-mail: [email protected] The Bushnell Memorial SPREAD THE WORD. PROMOTE THE SHOW. SUPPORT PUBLIC RADIO Hartford
APRIL, 2008 35
Apr 08 pp. 32-37.indd 35 3/10/08 11:28:21 AM Choral concert; Cathedral of the Madeleine, Pierre Grandmaison; Hollywood United 16 APRIL 14 MAY Salt Lake City, UT 8 pm Methodist, Hollywood, CA 4 pm Hansjürgen Scholze; Kathedrale, Dresden, Holger Gehring; Kreuzkirche, Dresden, Ger- Thomas Foster, with soprano; St. Mark’s Ca- Pierre Pincemaille; St. James’ Episcopal, Germany 8 pm many 8 pm thedral, Seattle, WA 2 pm Los Angeles, CA 6 pm Andrew Reid; Temple Church, London, UK Gillian Weir; Liverpool Metropolitan Cathe- Carole Terry; Grace Lutheran, Tacoma, WA 1:15 pm dral, Liverpool, UK 7:45 pm 3 pm 16 MAY Louis Perazza; St. Mary’s Cathedral, San Jieun Newland; Mercer Island Presbyterian, 17 APRIL 16 MAY Francisco, CA 3:30 pm Mercer Island, WA 7:30 pm David Coram; St. Matthew’s Westminster, Bernhard Marx; Cattedrale di S. Stefano, Bi- Frederick Swann; First Baptist, Seattle, WA London, UK 1:05 pm ella, Italy 9 pm 28 APRIL 8 pm Joseph Adam; Benaroya Hall, Seattle, WA 20 APRIL 17 MAY Choral concert; All Saints’ Episcopal, Beverly 7:30 pm Anthony & Beard; Moscow International Per- Bernhard Marx; Chiesa Parrocchiale SS. Am- Hills, CA 8 pm forming Arts Center, Moscow, Russia 7 pm brogio e Theodulo, Stresa, Italy 9:15 pm 2 MAY Beate Kruppke; Kirche “Zur frohen Botschaft,” Tom Kimber, works of Messiaen; King’s Col- 17 MAY Las Cantantes; Cathedral Church of St. John, Berlin Karlshorst, Germany 5 pm lege Chapel, Cambridge, UK 6:30 pm •Frederick Swann, workshop; First Baptist, Albuquerque, NM 7:30 pm Frank McFarlane; Union St. Reformed and Gillian Weir; Christ Church Cathedral, Ox- Daniel Sullivan; St. Mark’s Cathedral, Seattle, Seattle, WA 9:30 am United Church, Oldham, UK 3 pm ford, UK 8 pm WA 7:30 pm •James David Christie; St. Mark’s Lutheran, San Francisco, CA 7:30 pm 22 APRIL 20 MAY 3 MAY Brian Jones, with Pacifi c Chorale and Or- Jan Hage; Orgelpark, Amsterdam, Nether- Jan Hage, with trumpet; Orgelpark, Amster- Las Cantantes; Keller Hall, University of New chestra; Segerstrom Concert Hall, Costa Mesa, lands 8:15 pm dam, Netherlands 8:15 pm Mexico, Albuquerque, NM 7:30 pm CA 8 pm Martin Penny; Marlborough Road Methodist, St. Albans, UK 12:30 pm 21 MAY 4 MAY 18 MAY Samuel Kummer; Frauenkirche, Dresden, The Chenaults; Moody Memorial First United Les Martin, with baroque violin; Trinity Lu- 23 APRIL Germany 8 pm Methodist, Galveston, TX 4 pm theran, Lynnwood, WA 7 pm Franz Danksagmüller; Kreuzkirche, Dres- Gillian Weir; Jesuit House, Heverlee, Leuven, Paul Jacobs; St. Andrew’s Episcopal, Ama- Giorgio Parolini; St. Mary’s Cathedral, San den, Germany 8 pm Belgium 8 pm rillo, TX 7 pm Francisco, CA 3:30 pm John Kitchen; Temple Church, London, UK Bach, Cantata 172; Christ the King Lutheran, Jeffrey Smith; Grace Cathedral, San Fran- 1:15 pm 22 MAY Houston, TX 5 pm cisco, CA 4 pm Arnfi nn Tobiassen; St. Marylebone Parish Tom Winpenny, works of Messiaen; King’s Horst Buchholz; University of Denver, Den- Cinnabar Women’s Chorus; Knox Presbyte- Church, London, UK 7 pm College Chapel, Cambridge, UK 7:30 pm ver, CO rian, Santa Rosa, CA 5 pm Choral Evensong; Cathedral Church of St. Helena Chan; Trinity Episcopal, Santa Bar- 25 APRIL 24 MAY John, Albuquerque, NM 4 pm bara, CA 3:30 pm Benjamin Righetti; Collégiale, Neuchâtel, Gillian Weir; Newbury Parish Church, New- Switzerland 6:30 pm David Yearsley; Lagerquist Hall, Pacifi c Lu- Mary Preston; First Congregational, Los An- bury, UK 11:45 am Emmanuel Hocdé theran University, Tacoma, WA 3 pm geles, CA 4 pm ; St. Peter’s Church, St. Al- Margherita Sciddurlo, with saxophone; St. 26 APRIL bans, UK 5:30 pm Works of Bach; J. S. Bach-Haus, Bad Hers- Mary’s Cathedral, San Francisco, CA 3:30 pm 24 MAY Michael Messina & George Emblom; Grace feld, Germany 4 pm 25 MAY Paul Bisaccia, piano; St. Mark’s United Meth- Jeroen van Vliet, with trumpet; Orgelpark, Cathedral, San Francisco, CA 4 pm Wolfgang Seifen; St. Josef, Neu-Isenburg, odist, Sacramento, CA 7 pm Amsterdam, Netherlands 8:15 pm Germany 5 pm Philip Scriven; Victoria Hall, Hanley, UK 12 9 MAY 25 MAY noon •Thomas Murray; St. John’s Episcopal Cathe- 28 MAY David Ryall; St. Mary’s Cathedral, San Fran- David Goode; St. Peter’s Church, St. Albans, dral, Denver, CO 7:30 pm Antal Varadi; Kathedrale, Dresden, Germany cisco, CA 3:30 pm UK 5:30 pm 8 pm McNeil Robinson; Grace Cathedral, San Ashley Grote, works of Messiaen; King’s Col- 11 MAY Francisco, CA 4 pm lege Chapel, Cambridge, UK 6:30 pm David Briggs; Cathedral Church of St. John, 30 MAY Terry Riley; Walt Disney Concert Hall, Los Adrian Gunning; St. John the Evangelist Ro- Esther Lenherr; Collégiale, Neuchâtel, Swit- Albuquerque, NM 4 pm Angeles, CA 7:30 pm man Catholic Church, Islington, UK 7:30 pm zerland 6:30 pm Choral Evensong; All Saints’ Episcopal, Las Douglas Laurence & Elizabeth Anderson; Vegas, NV 5:30 pm 27 APRIL Cattedrale di S. Stefano, Biella, Italy 9 pm St. Dominic’s Church Choir; St. Mary’s Cathe- INTERNATIONAL Edith Lang, with fl ute; Temple, Gland, Swit- Darryl Nixon, with percussion and viola; Christ dral, San Francisco, CA 3:30 pm zerland 5 pm Church Cathedral, Vancouver, BC 7:30 pm Benjamin Bachmann; Grace Cathedral, San Francisco, CA 4 pm 15 APRIL 29 APRIL 31 MAY Kenneth Mansfi eld; St. Mark’s Episcopal, Simon Pusey; Marlborough Road Methodist, Andrew West; Marlborough Road Methodist, Douglas Laurence & Elizabeth Anderson; Berkeley, CA 6:10 pm St. Albans, UK 12:30 pm St. Albans, UK 12:30 pm Chiesa Parrocchiale SS. Ambrogio e Theodulo, Stresa, Italy 9:15 pm 30 APRIL martin ott pipe Matthias Grünert; Frauenkirche, Dresden, Germany 8 pm organ Christopher Robinson; Temple Church, Lon- Organ Recitals company don, UK 1:15 pm M. L. BIGELOW & Co. inc. ORGAN BUILDERS 3 MAY ROBERT C. BENNETT, The Church of 1353 Baur Boulevard Daniel Hyde, works of Messiaen; King’s Col- (801) 756-5777 St. Louis, Missouri 63132 St. John the Divine, Houston, TX, January 6: 130 W. 1st S., American Fork, UT 84003 (314) 569-0366 lege Chapel, Cambridge, UK 6:30 pm Wie schön leuchtet der Morgenstern, Drisch- Gillian Weir; Mayfi eld Parish Church, May- ner; Lyric Rhapsody, Wright; A Suite Concer- fi eld, Sussex, UK 7:30 pm tato on O Morning Star, Pelz.
4 MAY Parkey Elisabeth Ullmann; Katholische Pfarrkirche BYRON L. BLACKMORE, Pinnacle Pres- St. Michael, Mühltal, Germany 5 pm byterian Church, Scottsdale, AZ, December OrganBuilders 5: Improvisation, op. 150, no. 7, Saint-Saëns; Distinguished Pipe Organs 7 MAY Nun komm, der Heiden Heiland, BuxWV 211, 3870 Peachtree Ind. Blvd. Voice 770-368-3216 Klaus Eichhorn; Kathedrale, Dresden, Ger- Buxtehude; Prelude and Fugue in c, BWV Suite 150-285 Fax 770-368-3209 many 8 pm 546, Bach; Rondo in G, Gherardeschi; At Duluth, Georgia 30096 www.parkeyorgans.com Compline (The Book of Hours), Pinkham; Ac- 9 MAY clamations (Suite Médiévale), Langlais. NEW INSTRUMENTS sound INSPIRATION Mario Duella, with violin; Cattedrale di S. Ste- MAINTENANCE fano, Biella, Italy 9 pm KEN COWAN, Coral Ridge Presbyterian Church, Fort Lauderdale, FL, January 12: RESTORATIONS Acoustical Design & Testing • Organ Consultation & Denis Bedard; Holy Rosary Cathedral, Van- couver, BC, Canada 8 pm Toccata, Adagio and Fugue in C, BWV 564, 974 AUTUMN DRIVE Inspection • Organ Maintenance & Tuning • Sound & Video Bach; Harmonies du Soir, op. 72, no. 1, Valse System Design, Evaluation & Training ANTIOCH, ILLINOIS 60002 10 MAY Mignonne, op. 142, no. 2, Karg-Elert; Mephis- ABR 847-395-1919 F INCY Mario Duella, with violin; Chiesa Parrocchiale to Waltz No. 1, Liszt, arr. Cowan; Salamanca, PIPE ORGANS FAX 847-395-1991 www.riedelassociates.com • (414) 771-8966 email: [email protected] www.fabryinc.com SS. Ambrogio e Theodulo, Stresa, Italy 9:15 pm Bovet; Reverie, Still; Naïades (Pièces de Fan- 819 NORTH CASS STREET•MILWAUKEE, WI 53202 Peter Stevens, works of Messiaen; King’s tasie, op. 55), Vierne; Fantasy on the Chorale College Chapel, Cambridge, UK 6:30 pm How Brightly Shines the Morning Star, op. 40. no 1, Reger. Hupalo & Repasky 11 MAY _ Pipe Organs Jeremy David Tarrant; Cathedrale St. Eti- PHILIP CROZIER, Hallgrimschurch, enne de Meaux, Meaux, France 4 pm Reykjavik, Iceland, July 28: Air, Gavotte, 1785 Timothy Dr. Unit 4 Gillian Weir, works of Messiaen; Durham Ca- Wesley; Tranquillo, Allegretto (Six Inter- San Leandro, Calif. 94577-2313 thedral, Durham, UK 3:30 pm ludes), Bédard; Praeludium in E, BuxWV 510 483 6905 www.hupalorepasky.com
ORGANBUILDING & RESTORATIONS 3165 Hill Road Eagleville, TN 37060 (615) 274-6400 Dennis, Derek, Jeff, Todd and Greg Milnar and Associates 1717 Belle Street St. Joseph, MO 64503 www.milnarorgan.com E-mail: [email protected] (816) 232-2008 Fax (816) 364-6499
WOLFF & ASSOCIÉS A. David Moore, Inc. Facteurs d’orgues Organbuilders TRACKER ORGAN DESIGNERS & BUILDERS [email protected] www.orgelwolff.com HC 69 Box 6, North Pomfret, Vermont 05053 450-661-2073
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36 THE DIAPASON
Apr 08 pp. 32-37.indd 36 3/10/08 11:28:41 AM 141, Buxtehude; Remembrance (Hommage Gentium, Egidi; Nun komm, A. Mendelssohn; (Symphonie II, op. 13, no. 2), Toccata (Sym- J. RICHARD SZEREMANY, East Lib- à Jean-Philippe Rameau), Langlais; A Festive Moderato, Herzog; In dulci jubilo, BuxWV phonie V, op. 42, no. 1), Widor. erty Presbyterian Church, Pittsburgh, PA, Voluntary, Eben. 197, Buxtehude, BWV 729, Bach, Edmun- November 17: Toccata and Fugue in d, Bach; son; Offertory for Christmas Season, Bar- DANIEL ROTH, Church of the Holy Now Thank We All Our God, Bach; Now EMMA LOU DIEMER, with Mahlon rett; Croon Carol, Whitehead; Es ist ein Ros’ Trinity, New York, NY, January 29: Final Thank We All Our God, Bach, arr. Fox; Largo E. Balderston, carillon, Trinity Episcopal entsprungen, Brahms, Lang; Weihnachten, (7ème Symphonie), Widor; Noël varié en fa (Serse), Handel; Largo (New World Sym- Church, Santa Barbara, CA, December 16: op. 145, no. 3, Reger; Heilige Nacht, op. 36, majeur, Lefébure-Wély; Récits de cromorne phony), Dvorak; Clair de Lune, Debussy; Break forth, O beauteous light, Bach; Awake, Bartmuss; Berceuse, Prière, op. 42, Guilmant; et de cornet en dialogue (1st Suite), Flûtes Simple Gifts, arr. Hebble; The Star-Spangled awake, for night is fl ying, Dinda; Fantasy on Noel, Dubois; Estrelita, Ponce, transcr. Nevin; (2nd Suite), Cléreambault; Offerte en fugue Banner, Key, arr. Hebble; War March of the O how shall I receive thee and Come thou Paraphrase on a Christmas Hymn, op. 151, et dialogue, Nivers; Noël Suisse, Séjan; Choral Priests (Athalie), Mendelssohn; In the Gar- long-expected Jesus, Diemer; Let all mortal no. 1, Faulkes; Greensleeves (Four Carol Pre- (7ème Symphonie), Widor; Preces (Diptyque ludes), Purvis; Deck the Halls, Pasquet. den, Miles, arr. Hebble; Psalm Prelude Twen- fl esh keep silence, Gell; Kindle the Taper, liturgique), Grunenwald; Quia fecit, Et mi- ty-Three, Howells; Scherzetto (Twenty-four Balderston; Infant holy, infant lowly, Good sericordia: (Livre d’orgue pour le Magnifi cat), Pieces in Free Style), Vierne; Spring Song, Christian friends, rejoice!, Dixon; Still, still, DEREK E. NICKELS, First Presbyterian Roth; Paraphrase on Te Deum, Dupré; impro- Mendelssohn; I Love You Truly, Bond; Wed- still, Variations on How can I keep from sing- Church, Arlington Heights, IL, January 30: visation on a submitted theme. ding March (A Midsummer Night’s Dream), ing, Diemer; improvisation on familiar carols. Concerto del Sigr. Torelli, appropriato all’ Mendelssohn; Phantom of the Opera, Music Organo, LV 140, Walther; Wie schön leuchtet DAVID ROTHE, California State Uni- of the Night (Phantom of the Opera), Webber; STEVEN EGLER, Cenrtal Michigan Uni- der Morgenstern, BuxWV 223, Buxtehude; versity, Chico, CA, October 28: Toccata and Toccata (Organ Symphony V), Widor. versity, Mount Pleasant, MI, January 20: Fes- Adagio in E, Bridge; Prelude and Fugue on Fugue in d, BWV 565, Bach; Passacaglia in tival Fanfare for Organ, Leighton; Three Jazz a Theme of Vittoria, Britten; Moto Ostinato d, BuxWV 161, Buxtehude; Apparition de MAXINE THEVENOT, Cathedral of the Organ Preludes, Michel; Passacaglia, Carillon (Sunday Music), Eben. l’Église Éternelle, Messiaen; Funeral March Madeleine, Salt Lake City, UT, September on a Ukrainian Bell, Near; Symphonie VII in of a Marionette (Jeanne d’Arc), Gounod, arr. 23: Cortège et Litanie, Dupré; Five Liturgi- a, op. 42, no. 3, Widor. MASSIMO NOSETTI, Eglise paroissal, Best; Alpine Fantasy and Storm, Flagler; Suite cal Inventions, Togni; Chant de paix, Nazard, Saint-Tropez, France, September 30: Trumpet Gothique, op. 25, Boëllmann; Praeludium in Langlais; Hommage à Messiaen, Robinson; DAVID A. GELL, with Mahlon E. Balder- Tune, Swann; Concerto en ré mineur, BWV g, BuxWV 149, Buxtehude. Alleluyas, Preston; Symphonie III, op. 28, ston, carillon, Carol Ann Manzi, soprano, 596, Bach; “La Chasse”–Divertimento, op. Vierne. Trinity Episcopal Church, Santa Barbara, 257, Fumagalli; Ciaccona con Variazioni, op. ANDREW SCANLON, with Michael CA, December 23: Chorale and Four Varia- 142, no. 7, Karg-Elert; Matin Provençal, Bon- Aaron Wright, baritone, St. Paul’s Within the CHARLES TALMADGE, with Steven R. tions on Psalm 42, Pachelbel; Quand Jesus net; Petite Suite, Giavina; Mode de FA (Huit Walls Anglican Church, Rome, Italy, Novem- O’Connor, carillon, Trinity Episcopal Church, naquit a Noël, Balbastre; Offertoire sur deux Pièces Modales), Langlais; Carillon (Quelques ber 15: Fugue in E-fl at, BWV 552, Bach; Mas- Santa Barbara, CA, December 9: Bring a Noëls, Guilmant; Magnifi cat du premier Ton Pages d’Orgue), Paponaud. ter Tallis’s Testament, Howells; Choral No. 3 Torch, Jeanette Isabella, Fedak; Noël Vosgien, (L’Offi ce Practique de l’Organiste), Tritant; in a, Franck; Chant de Paix, Hymne d’Actions Bouvard; Noël: Ou’ s’en vont ces gais bergers, Virgin’s Slumber Song, Reger; Fantasie over J. CHRISTOPHER PARDINI, East Lib- de Graces–Te Deum, Paraphrase sur Salve Balbastre; Diptych based on Orientis Partibus, Psalm 42, verse 3, Asma; God Rest Ye Merry, erty Presbyterian Church, Pittsburgh, PA, Regina, Langlais; Confl uence, op. 190, Jen- Nave based on Divinum Mysterium, Hebble; Gentlemen, Diggle; Ave Maria, Bach, arr. December 5: In dulci jubilo, BWV 729, Bach; kins; The Holy City, Weatherly & Adams; Of- Ein Kind ist geboren, Bach; Fantasy on Ein Gounod; Fantasy on Wachet auf, Diemer; I Wonder as I Wander, Hebble; Christmas frande, Cogen; Final (Symphonie II), Widor. Kind gebor’n, Hatt; In dulci jubilo, Manz, Sweet Little Jesus Boy, MacGinsey; The Little Rhapsody, Purvis; Nun komm der Heiden Schroeder, Torrans; Wie schön leuchtet der Drummer Boy, Simeone; Cantique de Noël, Heiland, BWV 659, 661, Bach; Sussex Carol, ELIZABETH STEPHENS, with Guy Morgenstern, Reger; The Holy Boy, Ireland; Adam; A Christmas Suite on Irby, Gell. Christmas Is Here (Wood Works for Christ- Stephens, oboe, Trinity Episcopal Church, Silent Night, Holy Night, Wood; Postlude on mas), Wood; Grand Fantasia on Joy to the Aurora, IL, November 16: The Archbishop’s Adeste Fideles, Thiman. STEPHEN HAMILTON, with Steve Dock World, Cheban. Fanfare, Jackson; Little Partita on How Shall and James Rees, narrators, St. Paul’s Episco- I Receive Thee, Post; Sinfonia to Cantata ROBERT E. WOODWORTH JR., Holy pal Church, Greenville, NC, January 24: Le BEDE JAMES McK. PARRY, St. Luke’s 106, Sinfonia to Cantata 21, Bach; Elegie, Name Cathedral, Chicago, IL, December Chemin de la Croix, Dupré. Episcopal Church, Evanston, IL, November op. 38, Peeters; Festival Toccata, Fletcher; 16: Offertoire sur L’Hymne: Creator Alme 18: Prelude and Fugue in b, BWV 544, Bach; Bible Poems, Weinberger; Balm in Gilead, Siderum, Guilmant; Ah, Leave With Us Thy THOMAS KOLAR, St. Mary’s Church, Fugue in C, BuxWV 174, Buxtehude; Caril- Were You There, Utterback; The Grasshop- Grace, Rejoice Greatly O My Soul (Choral- Massillon, OH, December 2: Nun komm, lon, Sowerby; Litanies, Alain; Capriccio on per, Britten; Two Aquarelles, Delius; Finale Improvisations, op. 65, vol. I), Karg-Elert; der Heiden Heiland, Bach; Veni, Redemptor the Notes of the Cuckoo, Purvis; Salve Regina Jubilante, Willan. Magnifi cat du Premier Ton, Tritant.
Advertise in THE DIAPASON For information on rates and digital specifi cations contact Jerome Butera Dia_1ColumnInchAd.ai 4/5/05 10:13:38 847/391-1045,
2151 Madison Street, Bellwood, IL 60104 phone 708-544-4052 • fax 708 544-4058 [email protected] berghausorgan.com
Visit The Diapason website: www.TheDiapason.com
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Regular classifi ed advertising is single Insert the advertisement shown below (or enclosed) in the Classifi ed Advertising section of THE DIAPASON for the following issue(s): paragraph “want ad” style. First line only of ❑ January ❑ February ❑ March ❑ April ❑ May ❑ June ❑ July ❑ August ❑ September ❑ October ❑ November ❑ December each ad in bold face type. Display classifi ed advertisements are set Category ______❑ Regular ❑ Boldface PAYMENT MUST ACCOMPANY ORDER entirely in bold face type with the addition Place on website ❑ of a ruled box (border) surrounding the advertisement. Ad Copy ______Regular Classifi ed, per word $ .95 Regular Classifi ed minimum 19.00 ______Display Classifi ed, per word 1.25 Display Classifi ed minimum 25.00 ______Additional to above charges: ______Box Service (mail forwarding) 8.00 Website placement (includes photo) 15.00 ______($25 if not ordering print ad) ______NOTE: Orders for classifi ed advertising must be accompanied by payment in full ______for the month(s) specifi ed. ______Non-subscribers wanting single copies of the issue in which their advertisement appears ______should include $4.00 per issue desired with their payment. Name ______Phone ______The Diapason reserves the right to designate Address ______Total Enclosed ______appropriate classifi cation to advertisements, and to reject the insertion of advertising City/State ______Zip ______E-mail ______deemed inappropriate to this magazine.
APRIL, 2008 37
Apr 08 pp. 32-37.indd 37 3/10/08 11:29:02 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
POSITIONS PUBLICATIONS/ PUBLICATIONS/ PIPE ORGANS AVAILABLE RECORDINGS RECORDINGS FOR SALE
The Reuter Organ Company has an immedi- The OHS Catalog is online at www.ohscatalog. Historic Organ Surveys on CD: recorded during Three-rank tracker organ, 1975 Hendrickson. ate opening in its engineering department for a org. More than 4,000 organ and theatre organ national conventions of the Organ Historical So- Two manuals and pedal, solid red oak cabinetry, draftsman to produce organ layouts. AutoCAD CDs, books, sheet music, DVDs and VHS vid- ciety. Each set includes photographs, stoplists, excellent condition, $20,000. Located in ZIP 54650. experience preferred, prior pencil drafting ex- eos are listed for browsing and easy ordering. and histories. As many organists as organs and Telephone 608/779-5857, or [email protected]. perience a plus. Organbuilding experience pre- Use a link for adding your address to the OHS repertoire from the usual to the unknown, Arne ferred but not required. Wage commensurate Catalog mailing list. Organ Historical Soci- to Zundel, often in exceptional performances on with experience and performance. Comprehen- ety, Box 26811, Richmond, VA 23261. E-mail: beautiful organs. Each set includes many hymns Continuo organ, 8′, 4′, 2′, 8′ principal c1–g3 sive benefi ts package. Send résumé and sam- [email protected]. sung by 200–400 musicians. Historic Organs of playable at A-440 or A-415; portable. $39,000. ples of your drafting work to 1220 Timberedge Louisville (western Kentucky/eastern Indiana) A. David Moore Inc., telephone: 802/457-3914. Road, Lawrence, KS 66049, or via e-mail to 32 organs on 4 CDs, $29.95. Historic Organs of [email protected]. For more compa- Refl ections: 1947-1997, The Organ Depart- Maine 39 organs on 4 CDs, $29.95. Historic Or- ny information, visit www.reuterorgan.com. ment, School of Music, The University of Michi- gans of Baltimore 30 organs on 4 CDs, $29.95. W. Zimmer & Sons 2-manual organ; 11 ranks gan, edited by Marilyn Mason & Margarete Historic Organs of Milwaukee 25 organs in Wis- unifi ed to 21 stops. Principal, Gedackt, Sesquial- Thomsen; dedicated to the memory of Albert consin on 2 CDs, $19.98. Historic Organs of New ter, Mixture III, Rohrfl öte, Gemshorn, 16′ Fagott, Attention Pipemakers. The Reuter Organ Stanley, Earl V. Moore, and Palmer Christian. Orleans 17 organs in the Bayous to Natchez on 16′ Subbass. Built 1987, casework with hand- Company has an immediate opening in its pipe Includes an informal history-memoir of the organ 2 CDs, $19.98. Historic Organs of San Francisco carved pipe shades. Southern Michigan. Photos shop. Experience preferred but not required. department with papers by 12 current and former 20 organs on 2 CDs, $19.98. Add $4 shipping and stoplist available. 951/452-0339. Wage commensurate with experience and per- faculty and students; 11 scholarly articles; remi- in U.S. per entire order from OHS, Box 26811, formance. Comprehensive benefi ts package. niscences and testimonials by graduates of the Richmond, VA 23261, by telephone with Visa or Send resume to 1220 Timberedge Road, Law- department; 12 appendices, and a CD record- MasterCard 804/353-9226; FAX 804/353-9266. Casavant pipe organ for sale. View www.casa- rence, KS 66049, or via e-mail to operations@ ing, “Marilyn Mason in Recital,” recorded at the vantorganforsale.com. 706/453-0980. National Shrine of the Immaculate Conception reuterorgan.com. For more company informa- in Washington, DC. $50 from The University of tion, visit www.reuterorgan.com. PIPE ORGANS Michigan, Prof. Marilyn Mason, School of Music, 1976 Schantz—19 ranks, 2 manuals and pedal. Ann Arbor, MI 48109-2085. FOR SALE Pristine condition; playable. Asking $185,000 + Position available for Organ Curator. Friends cost of removal. For details contact Pastor Judy of the Kotzschmar Organ, Portland ME, are 1975 Moller Opus 11106 Series 70-7B 2-manu- Anderson at [email protected]. CD Recording, “In memoriam Mark Buxton al pipe organ, 9 ranks. Swell and Great separate seeking organ builder/tuner/technician to provide (1961–1996).” Recorded at Église Notre-Dame regular care for 100-rank, 1912 Austin organ. cases under expression. Excellent condition. de France in Leicester Square, London, between Currently in use. Asking $30,000 or best offer. 1960s Walcker (German) 14-rank tracker Comprehensive annual tuning plus tuning for 1987 and 1996. Works of Callahan, Widor, organ. Open toe voicing on 2″ wind pressure. twenty concerts/year along with general mainte- Buyer to remove. Located South Central PA. Grunewald, Salome, Ropartz, and Boëllmann, Contact Charles Reynolds, 800/752-5080 or Reverse console built into case. Footprint is 6′ nance. Qualifi ed candidate will be familiar with along with Buxton’s improvisations. $15 post- [email protected] for information. wide by 11′6″ deep (including console and pedal Austin actions and have experience tuning large paid: Sandy Buxton, 10 Beachview Crescent, To- stops), 9′10″ tall. All encased with 4′ Principal organs. Send résumé to Executive Director, ronto ON M4E 2L3 Canada. 416/699-5387, FAX façade. Manual I—8′ Gedackt, 4′ Octave, II Ses- FOKO, PO BOX 7455, Portland, ME 04112. 416/964-2492; e-mail [email protected]. A college in Nashville closed its music program quialtera, II–III Mixture. Manual II—8′ Gemshorn, in 1988 and is offering a two-manual and pedal 4′ Rohrfl ote, 2′ Principal, 1-1/3′ Quinte. Pedal— Zimmer and Sons practice organ. Excellent con- 16′ Bourdon, 8′ Flute, 4′ Choralbass. Playing and PUBLICATIONS/ Aging of Organ Leather by Harley Piltingsrud dition with new long cable installed. Cost reduced in use regularly. Asking $28,000. For recordings RECORDINGS tells how to test and select organ leathers for lon- to $10,000. Contact Milnar Organ Co. 615/274- and pictures contact [email protected]. gevity of 60 years or more. Treats other aspects 6400 or www.milnarorgan.com for details. of leather production and the history of testing for François Xavier Mathias (1871–1939) was a longevity. New 48-page edition in 1994, $9.95 + 1999 Morel & Associates organ. Two manual master organist who was called “God’s Extraor- $4 shipping for entire order (within USA). Order 1971 Berkshire tracker rebuild of Steere. New and pedal, 17 stops, 20 ranks. Originally built for dinary Musician.” This is the fi rst playable edition online at www.ohscatalog.org. action, winding, pipework, facade. 15 stops. Ask- a chamber installation, organ has a handsome of his Eucharistic Suite, based on chant and ing $40,000. Church closing. St. John’s Luther- colonial-style case front. Excellent condition. hauntingly beautiful. Visit our website for details. an, Hudson, NY. Phone 518/828-2372 or e-mail Brochure and demonstration CD available. Call michaelsmusicservice.com; 704/567-1066. Classifi eds now available on our website! [email protected] for specs and photos. 303/355-3852, or e-mail [email protected]. glück newyork orgaNbuilders ATOS ExperienceAmerican Theatre Organ Society 170 Park Row, Suite 20A Preserving a unique art form. New York, NY 10038 Concerts, education, silent film, preservation, fellowship and more. www.atos.org 212.608.5651 Jim Merry, Executive Secretary, [email protected] P.O. Box 5327, Fullerton, CA 92838 www.glucknewyork.com
Attention Organbuilders For information on sponsoring a For Sale: This Space color cover for THE DIAPASON, contact editor Jerome Butera, For advertising information contact: 847/391-1045 The Diapason [email protected] 847/391-1045 voice
Send a copy of THE DIAPASON to a friend: 847/390-0408 fax Editor, The Diapason, 847/391-1045; e-mail:
THE ORGAN COMPANY
1220 Timberedge Road Lawrence, Kansas 66049 (785) 843-2622 www.reuterorgan.com
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38 THE DIAPASON
Apr 08 pp. 38-39.indd 38 3/10/08 11:29:48 AM Classifi ed Advertising Rates Classifi ed Advertising will be found on page 37.
REED ORGANS MISCELLANEOUS SERVICES/ SERVICES/ FOR SALE FOR SALE SUPPLIES SUPPLIES
Mason and Hamlin, three manual and pedal. Odell/Hutchings 8′ ViolonCello—32 pipes, full Austin actions: Come to the source. Fast de- Top Quality Releathering. Pouch rails, pri- $3,500, including blower. Rare. A.D. Moore Inc., length. $350. Buyer to remove. Also, old set of livery. Guaranteed. 860/522-8293; www.austin- maries, reservoirs and any other pneumatic 802/457-3914. Maas chimes, 23 tubes—3 have been repaired. organs.com. action. Removal and installation service avail- $150. [email protected]. able. Full warranty. Skinner, Casavant and Kimball specialty. Spencer Organ Company, Mason and Hamlin reed organ, 10 stops plus The Whistle Shop repairs and rebuilds pipe Inc. Call, Fax or visit our website for quotation forte stop and octave coupler, with bench. Excel- 3-manual pipe organ console—new Peter- organs. Southwestern U.S. Also, maintenance and information. 781/893-7624 Voice/Fax, lent condition. Best offer. Nelson, 847/367-5102 son combination action. 10 generals, 5 manual and tonal work. Finest materials, expert work- www.spencerorgan.com. or 312/304-5287. pistons; couplers, transposer, 4-level memory. manship. K.E.M. Pipe Organ Builders, Austin, Oak fi nish. Buyer to remove summer 2008. Can TX. 800/792-8180. be coordinated with installation of new console. RELEATHERING: also Pipe Organ Re- MISCELLANEOUS For further specs contact: [email protected] or building, Repair and Maintenance Service WANTED 718/325-5531. Highest quality organ control systems since in New England area. Years of experience, 1989. Whether just a pipe relay, combination fine workmanship. Reading Organ Works, action or complete control system, all parts A. Richard Hunter, 29 Baker Road, Spring- Still wanted: Old chime tubes 1.5 inches out- Wood pipes. Missing pipes made to match. are compatible. Intelligent design, competitive field, VT 05156. 802/886-2304. E-mail side diameter and 0.65 inches wall thickness. Damaged pipes in any condition repaired. Over pricing, custom software to meet all of your [email protected]. A435 OK. WC Simpson Jr. 256/412-4053. 25 years experience. Filip Cerny, 814/342-0975. requirements. For more information call Westa- cott Organ Systems, 215/353-0286, or e-mail [email protected]. Austin actions recovered. Over 30 years MISCELLANEOUS Laptops, Pocket PCs and Tuning Software— experience. Units thoroughly tested and fully tune harpsichords and pianos. Herb Huestis, guaranteed. Please call or e-mail for quotes. FOR SALE Columbia Organ Leathers sells the fi nest 1502–1574 Gulf Road, Point Roberts, WA 98281. Technical assistance available. Foley-Baker, Phone 604/946-3952, e-mail: [email protected]. leathers available for organ use. We sell pre- Inc., 42 N. River Road, Tolland, CT 06084. Peterson MIDI interface with Yamaha se- Computer tuning software is sensitive to 1/10 punched pouches and pre-assembled pouches, cent, much greater than dial tuners. Over 100 and we specialize in custom releathering ser- Phone 1-800/621-2624. FAX 860/870-7571. quencer, $1500. Consoles, pipes, magnets and [email protected]. numerous miscellaneous parts. Let us know programmable temperaments. Check it out on vices. Call today for a catalogue. 800/423-7003 or e-mail: [email protected]. what you are looking for. E-mail orgnbldr@ www.tunelab-world.com. Pocket PC Ipaq 3650 with shareware tuning software, $150, includes comcat.com (not comcast), phone 215/353-0286 stand, power supply and shipping. 8x10x2 small New classified advertising rates went into or 215/788-3423. Toshiba laptop used for shop tuning: $200 in- effect January 1, 2008. See page 37 for Need help with your re-leathering information. cluding shipping. Requires external microphone project? All pneumatics including which is included. Spreadsheets of historical 1969 Spencer Orgoblo, 5 HP, Cat. No. 7542, Austin. Over 45 years experience ″ tunings showing both aural and electronic tun- (on the job assistance available). 1150 RPU, 3000 CFM, 3–4 pressure, serial ing data, $18 including shipping. Improve your If your company was not listed in THE DIA- #30441. Contact Homer at 480/205-1857 or e- tuning skills! 615/274-6400. PASON 2008 Resource Directory, be sure to be mail [email protected]. Asking $1,000 part of the 2009 issue! Visit our website, www. or best offer, buyer to remove. TheDiapason.com, and from the upper left col- umn select Supplier Login. For information, DIAPASON classifi ed ads are ALL REPLIES contact Joyce Robinson, 847/391-1044, e-mail: 1920s Gottfried French Horn, very good re- now available on our website! TO BOX NUMBERS [email protected]. storable condition. $2,000 +shipping/handling; Visit www.TheDiapason.com—clas- 1929/1930 Skinner Harp/Celesta unit, very good that appear restorable condition $2,000 FOB Eagleville, sifi ed ads also include photos! Tenn. 615/274-6400 or www.milnarorgan.com. Rates are $15 per month for ads that without an address Postal regulations require that mail are also in print, or $25 for web place- should be sent to: to THE DIAPASON include a suite num- ment only. Rates include a photo. ber to assure delivery. Please send Atlantic City Pipe Organ Co.—Johnson pipe- THE DIAPASON For more information or to place an all correspondence to: THE DIAPASON, work, good condition: Principal chorus with ad, contact Joyce Robinson, 817/391- 3030 W. Salt Creek Lane, Suite 201 3030 W. Salt Creek Lane, Suite 201, Mixture, broad scale Strings, 16′ Tuba, 8′ Cor- 1044; [email protected]. nopean, Oboe, Cornet. Check website: http://my- Arlington Heights, IL 60005 Arlington Heights, IL 60005. webpages.comcast.net/acorgan; 609/641-9422.
Builders of high quality Pipe Organ Components 7047 S. Comstock Avenue, Whittier, California 90602 U.S.A. • (562) 693-3442 David C. Harris, Member: International Society of Organ Builders, American Institute of Organ Builders, Associated Pipe Organ Buiders of America
Advertise in The Diapason H.W. DEMARSE For rates and digital specifi cations, TRACKER ORGANS contact Jerome Butera 847/391-1045 518-761-0239 REFINED INSTRUMENTS FOR WORSHIP SINCE 1859 [email protected] 2 Zenus Dr., Queensbury, NY 12804-1930
GUZOWSKI & STEPPE New! ORGANBUILDERS INC Charles W. McManis Classifi ed advertising on NEW INSTRUMENTS REBUILDS - ADDITIONS In Memoriam THE DIAPASON website: TUNING & SERVICE 1070 N.E. 48th Court March 17, 1913–December 3, 2004 www.TheDiapason.com FT. LAUDERDALE, FL 33334 (954) 491-6852
Patrick j. Murphy & associates, inc. THE DIAPASON organbuilders 3030 W. Salt Creek Lane, Suite 201 • Arlington Heights, IL 60005
300 Old Reading Pike • Suite 1D • Stowe, PA 19464 ❑ NEW SUBSCRIBER 610-970-9817 • 610-970-9297 fax Name ______❑ RENEWAL [email protected] • www.pjmorgans.com Street ______ENCLOSED IS ❑ $70.00—3 YEARS City ______❑ $55.00—2 YEARS Jacques Stinkens W. Zimmer & Sons ❑ $35.00—1 YEAR Organpipes - since 1914 pipe organ builders State ______Zip ______FOREIGN SUBSCRIPTIONS ❑ $85.00—3 YEARS Flues - Reeds P.O. Box 520 ❑ $65.00—2 YEARS Bedrijvenpark "Seyst" Pineville, NC 28134 Please allow four weeks for delivery of fi rst issue E-1 ❑ Woudenbergseweg 19 Tel. +31 343 491 122 [email protected] on new subscriptions. $45.00—1 YEAR NL - 3707 HW Zeist Fax +31 343 493 400 www.stinkens.nl (803) 547-2073
APRIL, 2008 39
Apr 08 pp. 38-39.indd 39 3/10/08 11:30:11 AM KKaraararreneenenn MMcFMMcFccFFarlaneaarlanearrllaannee AArAArrrtisttistiisststtstss 33563 Seneca Drive, Cleveland, OH 44139-5578 Toll Free: 1-866-721-9095 Phone: 440-542-1882 Fax: 440-542-1890 E-mail: [email protected] [email protected] Web Site: www.concertorganists.com
George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan Scott Montgomery AGO National Competition Winner Available 2006-2008
Vincent Dubois* Stefan Engels* Thierry Escaich* László Fassang* Janette Fishell David Goode*
CHOIRSCHOIRS AVAILABLEAILABLE
The Choir of Saint Thomas Church, NYC John Scott, Director April 21-27, 2008
The Choir of St. John’s College Gerre Hancock Judith Hancock Martin Haselböck* David Higgs Marilyn Keiser Susan Landale* Cambridge, UK West Coast USA Tour Spring 2009
*=European artists available 2008 -2009
Olivier Latry* Joan Lippincott Alan Morrison Thomas Murray James O’Donnell* Jane Parker-Smith*
Peter Planyavsky* Simon Preston Daniel Roth* Ann Elise Smoot Donald Sutherland Thomas Trotter*
WEBWEB SSITE:ITE: wwwwww.concertorganists.com..concertorganists.coconcertorganists.com
John Weaver Gillian Weir* Todd Wilson Christopher Young