THE DIAPASON JULY 2016

St. Joseph’s Church in Village New York, New York Cover feature on pages 26–27

THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Seventh Year: No. 7, In this issue Whole No. 1280 We present Steven Egler’s interview with Marilyn Keiser this JULY 2016 month, which also marks Marilyn Keiser’s 75th birthday. We Established in 1909 also offer Larry Palmer’s tribute to the late artist Jane Johnson, Joyce Robinson ISSN 0012-2378 whose witty drawings of so many musicians have graced these 847/391-1044; [email protected] pages numerous times over the years. www.TheDiapason.com An International Monthly Devoted to the Organ, John discusses —including its , and the Harpsichord, Carillon, and Church the fi rm of Harrison & Harrison that was based there. John Gentle reminders describes his visit to the Harrison & Harrison workshop, their We are pleased to publish events in our calendar (print and CONTENTS major projects, and how Great Britain uses lottery proceeds a on our website) and programs of events that have taken place. FEATURES bit differently than we do here. As you complete plans for your upcoming concert season, Celebrating Marilyn Keiser at 75 Gavin Black continues his musings on the nature of record- please send them along so that we may mention them. by Steven Egler 19 ings—whether they are to be objective representations of the Don’t forget to send us your recital programs (if possible, Drawings by Jane Johnson composer’s intentions or free expressions by the performer. We send them as Word fi le attachments). You can also enter events (September 22, 1923–May 11, 2016) also continue our summer carillon concert listings, as well as and recital programs directly via TheDiapason.com (click on An Appreciation by Larry Palmer 24 our usual calendar of events. Magazine, then on Submit, and then choose the item desired). Our cover feature this month is Orgues Létourneau Limi- And do spread the good word about The Diapason to NEWS & DEPARTMENTS tée’s new organ at St. Joseph’s Church in Greenwich Village in friends, students, and colleagues. We’ll be pleased to send Editor’s Notebook 3 New York City. them a sample copy. Just let me know. Q Letters to the Editor 3 Here & There 3 Appointments 6 Nunc Dimittis 10 Letters to the Editor In the wind . . . by John Bishop 16 On Teaching by Gavin Black 18 Correction students were called to the —and and got so they could see it coming. REVIEWS When I was a freshman at Oberlin, more than one left the room in tears. (There he goes again!) Music for Voices and Organ 12 I, like most in my class, took the year- But forty years later, when I sit at a Imagine my embarrassment when I Book Reviews 12 long course Music Theory 101–102 keyboard, fi ngers wandering idly, I hear started hearing from readers, noting that New Recordings 13 with Robert Melcher at the helm. the contrary motion I learned from in the June issue of The Diapason, I New Organ Music 14 New Handbell Music 15 Melcher was a tough old bird whose him, I see the parallel fi fths coming had Beethoven and Isaac Newton both mission in life was to be sure every before I play them, and I thank him for dying in 1727, in my comments about NEW ORGANS 28 student understood four-part harmony, the solid foundation. graves and memorials at Westminster SUMMER CARILLON CALENDAR 29 or died trying. He was rough on singers Before a particularly important test, . A whopper like that is a good and orchestral players who were one- Melcher announced that he’d give one thing—it’s fl attering to be reminded how CALENDAR 30 line musicians, and he touted organ point of extra credit for every “com- many readers there are. But I especially ORGAN RECITALS 33 majors as “theory prone” because of poser’s dates” we could write at the like writing about the history of music CLASSIFIED ADVERTISING 34 their focus on bass lines. He was will- bottom of the page. I saw my opening, as it compares with social and politi- ing to humiliate a student for a wrong and scored 175 points—100 on the quiz cal history, and I’m sorry to imply that answer—a hard way to learn, but if you plus 75 composers. Of course, one was Beethoven and Bach would have been THE DIAPASON did learn, you never forgot. No one who Beethoven (1770–1827). I thought it was contemporaries, and that Beethoven JULY 2016 took that class would forget him sing- a minor triumph, but those dates stuck died before the American Revolution. ing the theme to Beethoven’s Eroica with me. When leading a choir, I could In fact, he was born fi ve years before Symphony in a goofy tremulous voice: rattle off dates to help singers under- the start of the Revolution. Please keep Looooo Loo Looooo Loo loo-loo-loo, stand the historical signifi cance of what reading, and watch me carefully. loo-loooo. There were weekly quizzes, they were singing. They were impressed, John Bishop Here & There St. Joseph’s Catholic Church in Greenwich Village New York, New York Cover feature on pages 26–27 Events and Alice Fiedlerova; 8/17, David First Parish Church, UCC in COVER O’Shea; 8/24, Bruce Bengtson; 8/31, Brunswick, Maine, announces its 31st Orgues Létourneau Limitée, -Hyacinthe, Québec, Canada; St. Joseph’s Church in Stephen Steely. For information: annual summer organ concert series, Greenwich Village, New York, New York 26 www.sinsinawa.org. held at 12:10 p.m. on the church’s Hutchings, Plaisted & Co. organ, which Northfi eld Noontime Organ was restored by the Andover Organ Editorial Director JOYCE ROBINSON Recitals in Northfi eld, Minnesota, Company of Methuen, Massachusetts, and Publisher [email protected] presents its tenth season. Recitals will in 2003: July 12, Harold Stover; 7/19, 847/391-1044 be held at different venues, Wednes- Christopher Pelonzi; 7/26, Margaret Sr. Vice President RICK SCHWER days from 12:15 to 12:45 p.m.: July Harper; August 2, Hanna Powell; 8/9, [email protected] 6, Richard F. Collman with David K. Jacques Boucher, with Sophie Poulin de 847/391-1048 Miller, piano, Northfi eld United Meth- Courval, saxophonist; 8/16, Ray Cornils. Editor-at-Large STEPHEN SCHNURR odist Church; 7/13, Rosalie Alcoser, For information: 207/729-7331. [email protected] First United Church of Christ; 7/20, 219/531-0922 Catherine Rodland and Jamie Bobb, Augsburg Fortress presents six free Sales Director JEROME BUTERA Boe Memorial Chapel, St. Olaf Col- summer music clinics, featuring reading [email protected] lege; 7/27, Kraig Windschitl, Carleton sessions of new seasonal music, work- 608/634-6253 College, Music & Drama Center; shops led by clinicians Michael Bur- Circulation/ Subscriptions DONNA HEUBERGER August 3, Stephen May, Carleton khardt and Kristina Langlois, a hymn [email protected] College, Skinner Chapel; 8/10, David festival, and more. Scheduled clinics are: 847/954-7986 Lim, St. John’s Lutheran Church. July 15–16, Roseville Lutheran Church, Designer CATHY LEPENSKE Casavant organ, Sinsinawa Mound For information, contact Richard Roseville, Minnesota; 7/22–23, St. Paul’s [email protected] Collman at 507/645-1357 or e-mail Lutheran Church, Columbia, South 847/954-7964 The Sinsinawa Mound Center, [email protected]. Carolina; 7/25–26, Lutheran School of Contributing Editors LARRY PALMER Sinsinawa, Wisconsin, continues the Theology, Chicago, Illinois; 7/29–30, Harpsichord 25th season of their summer organ The Aspen Community Church in Trinity Lutheran Church, Lynnwood, concert series, which began in June: Aspen, Colorado, presents its free sum- Washington; August 1–2, Gethsemane JAMES MCCRAY July 6, Bang Lang Do and Friends; mer recital series, Mondays at 8 p.m.: Lutheran Church, Columbus, Ohio; Choral Music 7/13, Ahreum Han; 7/20, Jeff Verkui- July 11, Stephen Hamilton; 7/25, Kurt 8/4–5, St. Paul’s Lutheran Church, Ard- BRIAN SWAGER len; 7/27, Jeffrey Arnold; August 3, Schakel; August 8, Joseph Galema. For more, Pennsylvania. For information: Carillon Dalaie Choi; 8/10, Joan DeVee Dixon information: 970/925-1571. www.augsburgmusic.org. JOHN BISHOP ³ page 4 In the wind . . .

GAVIN BLACK THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette This journal is indexed in the The Music Index, and abstracted in RILM Abstracts. On Teaching Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, IL 60005- Copyright ©2016. Printed in the U.S.A. 5025. Phone 847/391-1044. Fax 847/390-0408. E-mail: [email protected]. Subscriptions: 1 yr. $40; 2 yr. $64; 3 yr. $88 (United States and U.S. Possessions). No portion of the contents of this issue may be reproduced in any form without the Reviewers John L. Speller Foreign subscriptions: 1 yr. $50; 2 yr. $80; 3 yr. $99. Single copies $6 (U.S.A.); specifi c written permission of the Editor, except that libraries are authorized to make David Wagner $8 (foreign). photocopies of the material contained herein for the purpose of course reserve reading John Collins Periodical postage paid at Pontiac, IL and at additional mailing offices. POSTMASTER: at the rate of one copy for every fi fteen students. Such copies may be reused for other Send address changes to THE DIAPASON, 3030 W. Salt Creek Lane, Suite 201, Arlington courses or for the same course offered subsequently. Andrew Schaeffer Heights, IL 60005-5025. Charlie Steele Routine items for publication must be received six weeks in advance of the month of THE DIAPASON accepts no responsibility or liability for the issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles validity of information supplied by contributors, vendors, Leon Nelson should request a style sheet. Unsolicited reviews cannot be accepted. advertisers or advertising agencies.

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 3 Here & There

³ page 3 At the Cathedral of St. Mary of the Assumption, concerts at 4 p.m.: August 14, Paul Fejko; 8/21, Thomas Joyce; September 4, David Hatt; 9/11, Stephen Hamilton; 9/18, Angela Kraft Cross; and at Trinity Episcopal Church, concerts July 28 at 7 pm and 7/29 at 12 noon by Angela Kraft Cross; September 2 at 12 noon, Thomas Joyce. For information: 415/640-6815. In 2008 the festival presented Isa- belle Demers in her fi rst West Coast appearances, two concerts at St. Mary’s Spreckels Organ April 23 celebratory concert (photo credit: Bob Lang) Cathedral, San Francisco, where she performed the complete Fanta- On April 23, with a special concert, the Spreckels Organ in San Diego’s Goulding & Wood organ, Madonna della sias of . Balboa Park dedicated the latest and fi nal ranks of pipes that completed its Strada Chapel, Loyola University “Drive to 5000” capital campaign and took the title as the world’s largest out- The Friends of the Kotzschmar door . Long ranked as second, the organ has been expanded to 5,005 Loyola University Chicago presents Organ present their 2016–17 season pipes, outranking the Heroes’ organ in Austria’s Kufstein Fortress with 4,948 its 2016 Summer Celebrity Organ Con- of organ recitals at 7:30 p.m. in Merrill pipes. The campaign led to the addition of 280 pipes. certs, free and open to the public, on its Auditorium, Portland, Maine: August San Diego Civic Organist Carol Williams premiered “A La Romantique” Goulding & Wood instrument, Sundays 2, Frederick Swann; 8/9, Dave Wicker- from her Organ Symphonie, a new composition written for the occasion. Wil- at 3 p.m.: July 17, George Baker; August ham; 8/16, Katelyn Emerson; 8/23, Ray liams was joined by Civic Organist Emeritus Robert Plimpton, Russ Peck, 21, Renée Anne Louprette. For informa- Cornils and Festival Brass; September soprano Diane Alexander, percussionist Jason Ginter, Balboa Park Carillonist tion: www.LUC.edu/organ. 20, Thomas Heywood; October 29, Jona- Gina Seashore, actor Miles Anderson, and the House of Scotland Pipe Band. than Ortloff, silent fi lm accompaniment; The evening was sponsored by the Spreckels Organ Society. December 20, Ray Cornils, The Spreckels Organ was inaugurated on December 31, 1914, when from with Cornils; March 5 (3 p.m.), Ray his presidential desk, Woodrow Wilson touched a telegraph key that set off Cornils, children’s program. For infor- fi reworks and lit the organ pavilion’s 1,644 incandescent bulbs launching the mation: www.foko.org. Panama-California International Exposition.

The American Institute of On May 7, 2016, the Organbuilders (AIO) will host its fourteenth class of the annual convention in Boston, Mas- Young Organist Col- sachusetts, August 28–31. Organs laborative, centered demonstrated during the convention, in Portsmouth, New including the pre- and post-convention Hampshire, performed tours, include those at Church of the a year-end recital on St. Mary’s Cathedral, San Francisco , Church of the Covenant, Holy the 43-stop, 2,621-pipe Cross Cathedral, Old South Church, Lively-Fulcher organ at The Bay Area Max Reger Festival Old West Church, Symphony Hall, Christ Episcopal Church announces a series of nine concerts by and First Lutheran, all in Boston; the in Exeter, New Hamp- fi ve artists at two venues, to celebrate Parish of All , Ashmont; Christ shire. The students per- the centennial of the death of Max Reger Church, Andover; Groton School, formed pieces by Bach, (1873–1916). Paul Fejko, Stephen Ham- St. John’s Chapel, Groton; Methuen Young Organist Collaborative recital Vierne, Saint-Saëns, ilton, David Hatt, Thomas Joyce, and Memorial Music Hall, Methuen; St. Widor, Franck, Penfi eld, Angela Kraft Cross will perform at the John Seminary, Brighton; the United Weaver, and Fedak. The YOC, funded exclusively by donations, supports area Cathedral of St. Mary of the Assump- Parish, Brookline; Trinitarian Con- students in seventh through twelfth grade by providing fi nancial support for tion, San Francisco (Ruffatti IV/84) and gregational, Concord; St. Andrew’s, lessons with local organists, opportunities for master-classes with well-known Trinity Episcopal Church, Reno, Nevada Wellesley; and the Kotzschmar Organ organists and fi eld trips to area pipe organs and organ-builders. Students (Casavant III/44). Repertoire includes in Merrill Auditorium of Portland City participating in the program come from southern Maine, the Seacoast of portions of Easily Performed Preludes Hall, Portland, Maine. New Hampshire, and northeastern portions of Massachusetts. Participants and (op. 56), Monologues (op. Lectures and demonstrations will (pictured left to right) included, fi rst row: Gillian Croteau, Colette Sevey, 63), Ten Pieces (op. 59), Chorale Fantasia be offered by Jonathan Ambrosino, Emmeline Sevey, Emma Masse; second row: Seamus Gethicker, Noah Jacobs, on Wie schoen leuchtet der Morgenstern, Matthew Bellocchio, Joseph F. Dzeda, Ben Taylor, Alexander Marin, Philip Pampreen, Brigham Parker, Roric Cun- and the Introduction and Passacaglia in Katelyn Emerson, Michael Fazio, ningham, Marshall Joos. D Minor. ³ page 6

The Bay Area Max Reger Festival 2016

honoring the centennial of the death of Max Reger (1873–1916)

at the Cathedral of St. Mary of the Assumption, San Francisco, concerts at 4 pm —‰—•–ͳͶ Ǧ ƒ—Ž ‡Œ‘ —‰—•–ʹͳ Ǧ Š‘ƒ• ‘› ‡ ‡’–‡„‡”Ͷ Ǧ ƒ˜‹† ƒ–– ‡’–‡„‡”ͳͳ Ǧ –‡’Š‡ ƒ‹Ž–‘ ‡’–‡„‡”ͳͺ Ǧ ‰‡Žƒ”ƒˆ–”‘••

at Trinity Episcopal Church, Reno, Nevada concerts at 7 pm/noon

—Ž›ʹͺȀʹͻ Ǧ ‰‡Žƒ”ƒˆ–”‘•• ‡’–‡„‡”ʹ Ǧ Š‘ƒ• ‘› ‡

For information call 415/640-6815

4 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Colin Andrews Cristina Garcia Banegas R. Monty Bennett Colin A. Campbell Shin-Ae Chun Leon W. Couch III Organist/Lecture Organist/Conductor/Lecturer Organist/Presenter Assistant Professor of Organ Organist/Harpsichordist Organist/Lecturer Recording Artist Montevideo, Uruguay Charlotte, North Carolina Texas A&M, Laredo TX Ann Arbor, Michigan Birmingham, Alabama

Joan DeVee Dixon Rhonda Sider Edgington Laura Ellis Faythe Freese Simone Gheller Sarah Hawbecker Organist/Pianist Organist Organ/Carillon Professor of Organ Organist/Recording Artist Organist/Presenter Hutchinson, MN Holland, Michigan University of Florida University of Alabama Oconomowoc, WI Atlanta, GA

James D. Hicks Michael Kaminski Sarah Mahler Kraaz Angela Kraft Cross David K. Lamb Mark Laubach Organist Organist Musicologist/Organist Organist/Pianist/Composer Organist/Conductor Organist/Presenter Bernardsville, NJ Brooklyn, New York Ripon College San Mateo, California Clarksville, Indiana Wilkes-Barre, Pennsylvania

Yoon-Mi Lim Wynford S. Lyddane Colin Lynch Philip Manwell Christopher Marks Katherine Meloan Assoc. Prof. of Organ Pianist/Instructor Organist/Conductor Organist Organist/Professor of Music Organist/Faculty SWBTS, Fort Worth, TX Washington, D.C. Boston, Massachusetts Reno, Nevada U of Nebraska-Lincoln Manhattan School of Music

Scott Montgomery Shelly Moorman-Stahlman Anna Myeong David F. Oliver Ann Marie Rigler Edward Taylor Organist/Presenter Organist/Pianist Organist/Lecturer Organist Organist/Presenter Organist/ Choral Conductor Champaign, Illinois Lebanon Valley College Mission, Kansas Morehouse College William Jewell College , UK

Clarion Duo Duo Majoya Rodland Duo Christine Westhoff Keith Benjamin, trumpet Organ/Piano Viola and Organ & Timothy Allen University of Missouri - Kansas City Marnie Giesbrecht, Joachim Segger Eastman School of Music/ Soprano & Organ Melody Steed, organ, Bethany College U of Alberta, King's U, Canada St. Olaf College Little Rock, Arkansas www.ConcertArtist Cooperative.com Beth Zucchino, Founder and Director 7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956 a non-traditional representation celebrating its 29th year of operation Here & There

Appointments Murray. Other teachers include Jeffrey Brillhart and Bruce Neswick. A member Bruce J. Barber, II, has been appointed direc- of The Diapason’s “20 under 30” class of 2016, Buzard has recorded In Light or tor of music for Christ Church Christiana Hundred, Darkness on the Delos label. In 2013, he was appointed assistant organist to John Greenville, Delaware. Prior to his work at Christ Scott at St. Thomas Church, Fifth Avenue, New York, New York, and became Church, he served as director of cathedral music acting organist and director of music following Scott’s untimely death in August for St. James Episcopal Cathedral, Chicago, Illinois 2015. Previously, Buzard served as for Trinity Church, Princeton, (2004–2015); as and Director of (UK), and Trinity Church on the Green, New Haven, as well as Cathedral Music at the Cathedral Church of St. John, organist for the Episcopal Church at Princeton University and for Yale Univer- Albuquerque, New Mexico (1994–2004); and as parish sity’s Marquand Chapel and Berkeley Divinity School. A native of Champaign, musician at Christ and Holy Trinity Church, Westport, Illinois, he began organ studies with Dana Robinson at the University of Illinois Connecticut (1984–1994). Barber becomes the fi fth at Urbana-Champaign. He comes from a musical household, as his mother is organist-choirmaster at Christ Church since 1890 and organist and choirmaster for the Chapel of St. John the Divine, and his father follows the 32-year tenure of William Owen. is president and artistic director of Buzard Pipe Organ Builders of Champaign. Bruce Barber An avid conductor, Barber has conducted a wide range of sacred music, orchestral literature, and con- Victoria Harden has been named director of music certo repertoire ranging from Bach to Beethoven, Haydn, and Mozart, Brahms to at Trinity Episcopal Cathedral, Little Rock, Arkan- Durufl é, Bernstein, and Stravinsky. As an orchestral organist, he has performed sas, where she has served as interim director since with the New Haven Symphony Orchestra, the Florida Symphony Orchestra, and January. Harden began studying piano at age 8 and the New Mexico Symphony Orchestra. During his time in Chicago, he regularly organ at the age of 14, taking lessons from Fletcher performed with the Chicago Symphony Orchestra under the direction of such Trotter at First United Methodist Church, Camden, maestros as Riccardo Muti, Bernard Haitink, James Conlon, David Zinman, Arkansas. Two years later she began her organ stud- Helmuth Rilling, Semyon Bychkov, Charles Dutoit, and Michael Tilson Thomas. ies at Henderson State University with Robert Ellis In 2010, the Cathedral Choir of St. James Cathedral released its fi rst record- and received her bachelor of music degree in 1972. ing in over 25 years under Barber’s direction—Arise, Shine! (MSR Classics). He Harden then attended North Texas State University has made two CD recordings with the musicians of St. John’s Cathedral, To the and Memphis State University to earn a master of Creator of Light: Choral Music from the Cathedral Church of St. John and All music in organ performance and a master of arts in This Time: Music for Advent and Christmas. Victoria Harden musicology. During these years she served as organist- Trained as a choral and orchestral conductor, an organist, and cellist, Barber choirmaster at St. John’s Episcopal Church, Camden; holds a bachelor of arts degree from Rollins College, Winter Park, Florida, and Westminster Presbyterian Church, Hot Springs; and associate organist at St. a master of music degree from the Yale School of Michael’s and All Angels Episcopal Church, Dallas. Organ positions in Memphis Music and the Institute of Sacred Music. His primary included Barth House Episcopal Chaplaincy, Christ Church Episcopal, and teachers include Alexander Anderson (Rollins), Rob- guest organist at St. Mary’s Episcopal Cathedral. ert S. Baker, and Gerre E. Hancock (Yale). After moving to New York City in 1977, Harden played at St. Peter’s Church, St. Bartholomew’s Episcopal Church, and held the organist-choirmaster posi- Stephen Buzard has been appointed director of tion at Bedford Park Presbyterian Church. While pursuing a doctoral pedagogy music for St. James Episcopal Cathedral, Chicago, degree at Columbia University Teacher’s College, Harden was one of 35 profes- Illinois, effective September 1, where he will serve sional choir members at St. Bartholomew’s Church, where she met and mar- as organist-choirmaster for the Cathedral Choir ried her husband, Shelton. Upon returning to Arkansas in the 1990s, Harden and principal musician of the cathedral. He holds taught at Southern Arkansas University, Southern Arkansas University Technical degrees from Westminster Choir College, Princeton, Branch, and in 2001 became the music faculty at South Arkansas Community New Jersey, where he studied with Ken Cowan, and College. During these years she served as organist-choirmaster of First Pres- the Yale University Institute of Sacred Music, New byterian Church and St. John’s Episcopal Church, Camden. For information: Stephen Buzard Haven, Connecticut, where he studied with Thomas www.trinitylittlerock.org.

³ page 4 Toulouse les Orgues of Toulouse, William Finch, Mike Foley, Jon C. France, will celebrate its 20th anniver- Jones, Chris Nagorka, Martin Near, sary festival October 6–16. This year’s Sean O’Donnell, Barbara Owen, John theme is “Dialogue between Cultures.” A. Panning, Deneb Puchalski, Rich- This festival features not only organ ard Rabin, Joseph K. Rotella, John recitals, but also events that merge the (Brooks) Sullivan, Jeff Weiler, Thomas organ with other artistic disciplines Wood, and Sandra Wyman. For infor- and instruments. The fi rst weekend of mation: www.pipeorgan.org. the festival will feature “The Sultan’s Organ,” a program of music of Arab- The Course on Italian Organ Andalusian, Balkan, Turkish, and Eng- Music will be held September 1–6 lish traditions. Throughout the festival, in the Sanctuary of La Verna, Arezzo performances on organs will be com- (Tuscany), Italy. Eugenio Maria bined with traditional Japanese drums, Fagiani will lead the course. Course the Estonian kannel, choirs, and a sym- fee is €60; room and full board at phony orchestra. Special programs will the sanctuary is available at a cost of feature artists who have participated in Paul Jacobs and Diane Bish (photo credit: €260. For information: e.fagiani@ previous festivals and young artists. An Richard Termine) gmail.com, or www.laverna.it/2016/ Church of the Gesu, Toulouse, open console day is also included. For corso-di-interpretazione-organistica-2. France further information: On April 28, Diane Bish led a www.toulouse-les-orgues.org. public masterclass for the students of Paul Jacobs at the Juilliard School, The Associated Pipe Organ New York City. The students played Builders of America held its regular music of Mendelssohn, Mozart, and spring meeting in suburban Chicago, Vierne for Bish to critique. Following Illinois, on April 29 and 30. Those who this, Bish shared stories from her long arrived early were given the oppor- career as host of The Joy of Music tele- tunity to visit the new Quimby Pipe vision show as well as inspiring words Organs, Inc., instrument at the Fourth for the students. Presbyterian Church, downtown Chi- cago, prior to a recital by the church’s The Curtis Institute of Music, organist and director of music, John Philadelphia, Pennsylvania, has received W. W. Sherer. (See Stephen Schnurr, a $55 million gift from Nina Baroness “A new organ for Fourth Presbyterian von Maltzahn, who stepped down at the Church in Chicago,” May 2016 issue, end of May as the school’s board chair. p. 25.) ³ page 8

6 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM IT’S ALL IN THE DETAILS.

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Symphonic Choir by 11:59 p.m. (EST), of The Diapason’s “20 under 30” class August 31, 2016. Compositions must be of 2016, and their biographies can be in PDF format and e-mailed to com- reviewed in the May issue. Caroline Rob- [email protected]. A cash prize of inson and David von Behren will present $1,000, plus travel and lodging for the a recital in the Rye Presbyterian Church world premiere in December 2016, will on March 17, 2017. be awarded to the winning composer. Full details are available at indychoir.org. People

(Above left) Katrina Leshan, Larry Palmer, and Michael Alonzo (Above right) Larry Palmer shows one of the four random examples used when providing a requested quick introduction to the “Palmer Collection”— here the work in question is Vincent Persichetti’s Serenade No. 15 for Harp- sichord—fi rst score copy of the holograph, with handwritten dedication/ex- planation from the composer. (photo credit: Arlene Bakner)

Guitarist Katrina Leshan, organist/harpsichordist Larry Palmer, and tenor Michael Alonzo presented a half-hour concert as part of the April 27 celebratory reception hosted by Palmer and partner Clyde Putman for alumni and friends of the University of Rochester’s Eastman School of Music. The Hank Glass and Dawn Riske three musicians collaborated in music by Balbastre, Palmer, Puccini, and De Blasio. Jamal Rossi of the Eastman School was present to announce Caroline Robinson Hank Glass, director of music/organ- that Larry Palmer’s valuable collection of research materials, rare scores, and ist of St. Michael and All Angels Church autograph items from many of the large number of composers he has com- on Sanibel Island, Florida, received a missioned to write music for harpsichord, organ, and voices, will be housed, special resolution honoring him on sixty ultimately, in the Sibley Music Library at Eastman, with a supporting endow- years of membership in the St. Louis ment to aid research projects involving the collection. The event was attended AGO . Dawn Riske, director of by more than 30, all of whom enjoyed a bountiful reception catered by Two music/organist of Christ the King Parish Sisters Catering of Dallas. in University City, Missouri, and dean of the St. Louis chapter, presented the award. Glass is also a member of the page 6 ³ Division is now $3,000. Second and Southwest Florida AGO chapter. Considering adjustments for infl ation, third prizes have also been increased. the gift is the largest to Curtis since Mary The competition’s website contains Louis Curtis Bok established the school further information on requirements as tuition-free in 1928. Maltzahn and her and repertoire. For information: husband have given gifts totaling $70 albertschweitzerorganfestival.org. million over a span of years. This recent commitment will be added largely to The Indianapolis Symphonic David von Behren the Curtis endowment, to help assure Choir announces the seventh annual the endowment is suffi cient to keep the Christmas Carol Commission Competi- Rye Presbyterian Church, Rye, school tuition-free. tion. Submitted works must be original, New York, announces selection of its unpublished, and have not been publicly 25th annual Peter B. Knock Memo- performed; between three and fi ve min- rial Awards for studies in sacred music. Competitions utes long; written for SATB, mixed adult Caroline Robinson, a student of the Kael Sherrard, Stephen Hamilton, and The 19th Albert Schweitzer choir; and may be a cappella or utilize Eastman School of Music and music Douglas Cleveland at Plymouth Church, Organ Festival Hartford has keyboard accompaniment. Text and lan- associate for Third Presbyterian Church, Seattle, dedicatory concert announced changes to its prizes and guage are at the composer’s discretion both of Rochester, New York, has been application deadline. Prizes have and should be suitable for a Christmas/ awarded $18,000. David von Behren, Stephen Hamilton presented the been increased and the application holiday performance. Composers 35 a student of the Cleveland Institute of third dedicatory concert on the newly deadline has been moved to August years of age or younger (as of December Music and music intern at Plymouth installed C. B. Fisk, Inc., Opus 140, at 1. First prize for the “Young Profes- 1, 2016) who are United States citizens Church (United Church of Christ), Plymouth Church in Seattle, Washing- sional” division is now $5,000 and or legal residents may submit one com- Shaker Heights, Ohio, has been awarded ton, on Palm Sunday, March 20, with the fi rst prize for the “High School” position via e-mail to the Indianapolis $12,000. Both recipients are members a performance of Marcel Dupré’s Le Chemin de la Croix. Shown in the pho- tograph are Kael Sherrard, who read the Paul Claudel poetry before each station; Stephen Hamilton, guest organist; and Douglas Cleveland, director of music and organist at Plymouth Church.

Sarah Kraaz was selected to partici- pate in the seminar “Sight and Sound in Renaissance and Baroque Europe (c. 1300–1700),” sponsored by the Council of Independent Colleges and held at the High Museum of Art in Atlanta, Geor- gia, June 20–24. Only twenty scholars are accepted for the seminar, which is designed for music historians who also teach art history in some capacity. The ³ page 10

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³ page 8 Nunc Dimittis in Indianapolis, Indiana. seminar was led by Gary Radke, emeri- Peter McNeely Fyfe, Born in Indianapolis, he tus professor of art history at Syracuse 92, died May 7 in Nashville, spent much of his child- University, and Amanda Eubanks Win- Tennessee. For 35 years, he hood and adolescence kler, associate professor of music history served as organist and choir- there along with three and cultures and director of undergradu- master for Christ Church brothers and two sisters. ate studies in the department of art and Cathedral (Episcopal) in By 1969 he worked for music histories at Syracuse. downtown Nashville. He Edward H. Holloway was an adjunct instructor of Corporation tuning and organ at the Blair School of maintaining area pipe Music, Vanderbilt University. organs and then training Born August 23, 1923, in as a voicer. His budding Covington, Tennessee, Fyfe career was interrupted became organist for St. Mat- when he was drafted into Peter McNeely Fyfe thew Episcopal Church in his Brandon F. Woods the U. S. Army in 1971 hometown while he was in and served a two-year high school. In 1943, he left for service in the U. S. Army stint in the military police. Following his return to India- in World War II, and while in battle in North Africa, played napolis, Brandon voiced countless instruments through a for chapel services. Returning from service, the 1970s and early 1980s for the Holloway Corporation, he earned degrees from the American Conservatory of eventually becoming a partner in the fi rm. Music in Chicago and the Union Theological Seminary After Goulding & Wood Organbuilders was established, School of Sacred Music in New York City. Brandon joined fellow former Holloway employees John Peter Fyfe married Lois Gainer Fyfe on November Goulding and Thomas Wood. He voiced and fi nished all 28, 1953. In January 1959, the Fyfes moved to Nashville, organs beginning with the fi rm’s sixth instrument and con- when Peter was appointed to Christ Church. In 1993, Lois tinuing through their most recently completed installation Brenda Portman established Lois Fyfe Music of Nashville. At the 2012 in Mobile, Alabama. Notable projects in his career include national convention of the American Guild of Organists, the Catholic cathedral in Atlanta, Georgia; the Episcopal Brenda Portman is featured on a Peter and Lois Fyfe were presented the Guild’s Edward cathedral in New Orleans, Louisiana; St. Meinrad Benedic- new recording, Pilgrimages: Organ Music Hansen Leadership Award. Lois Gainer Fyfe passed away tine Archabbey in southern Indiana; Ball State University in of Rachel Laurin Inspired by Sacred June 18, 2014. Muncie, Indiana; Loyola University in Chicago, Illinois; and Themes, on the Raven label (Raven OAR- Peter Fyfe is survived by one daughter, Catharine Fyfe large organs in Greenville, South Carolina; Indianapolis, 975). Portman plays the four-manual, McEacham, two grandsons, Charles and Joseph, all of St. Indiana; and Dallas, Texas. He also completed refurbish- 88-rank Casavant organ, Opus 3671, built Paul, Minnesota, and one sister, Nancy Fyfe Cardozier, of ments of large, historically signifi cant Aeolian-Skinner in 1990/2015 at Hyde Park Community Austin, Texas. Funeral services were conducted June 6 at organs at Fourth Presbyterian Church in Chicago and East United Methodist Church in Cincinnati, Christ Church Cathedral, Nashville. Liberty Presbyterian Church in Pittsburgh. Ohio, where she is resident organist. Brandon maintained a dedication to and intense care for Portman met Rachel Laurin in 2014, Robert (“Bob”) Triplett (1936–2016), former organist every project, regardless of size or locale, with an uncom- when Portman competed in the Cana- and director of music of Trinity Episcopal Church in Iowa promising attention to detail and meticulous approach to dian International Organ Competition in City, died on April 25. A native of Chester, South Carolina, . A lifelong student of the art, he actively sought Montréal. Her performance there led to he studied at the University of Georgia and later earned out techniques and skills from contemporary voicers and collaboration on the new CD, including graduate degrees at Union Theological Seminary, where by studying historic instruments. Brandon’s greatest gift, a work for organ duet in which Laurin he studied organ with Robert Baker. He taught at the Uni- however, was his instinctive understanding of the physics joins Portman, Fantasy and on versity of North Carolina in Chapel Hill and in 1964 joined of sound, the principles of acoustics, and the aesthetics of the Genevan Psalm 47. For information: the faculty of Cornell College in Mt. Vernon, Iowa, where musical taste. He synthesized these dynamics and used www.ravencd.com. he served as professor of music until his retirement in his perception of human audiology to produce organs of 2001. He was also a visiting professor at the University of exquisite beauty. Iowa. During his tenure at Cornell, he studied with Anton Brandon complemented his artistic pursuits with pipe Publishers Heiller in . He was one of the founders of the River organs with a number of outside interests. He was a life- Augsburg Fortress announces pub- Valley Chapter of the AGO and was active throughout his long musician and an accomplished guitarist in the jazz- lication of Sundays and Seasons: Year A career as a recitalist, teacher, and church musician. rock genre. He preferred the sound of Fender Stratocaster 2017, a guide to worship planning that Triplett was the director of music at Trinity Episcopal guitars with an aggressive playing style that accentuated follows the church year and the Revised Church in Iowa City from 1986 to 2000. After retirement, the inherent nature of the design. Brandon was a fervent Common Lectionary. The publication he returned to his native South Carolina and lived in the fan of motor racing, particularly around the Indianapolis includes resources for planning the city of Columbia where he was active as an organist and as Motor Speedway. He attended the famed Indy 500 reli- observance of the 500th anniversary of a docent at several important historic homes in the city. He giously from an early age, and he was actively preparing to the Reformation. Cost is $39, or $32 each had profound interests in art, , history, antiques, attend the 2016 100th race at the time of his death. Bran- for orders of multiple copies. For further music, and performance. His book Stagefright: Letting It don was also an avid tennis player for many years, reaching information, www.augsburgfortress.org. Work for You led to classes and lectures throughout the a high level of accomplishment in amateur competitions United States, infl uencing many individuals in various walks and casual matches. Greenway Music Press, a division of life. At his death he was revising that text. Robert Triplett Brandon Woods is survived by his wife, Linda Passwater of A-R Editions, Inc., announces the is survived by two sisters-in-law and several nieces. Woods; stepchildren Chris Beatty, Nikki Smythe, Tiffany following editions of organ music: Ten Cornelius, Lia Cornelius-Glenn, and Danica Park; Broth- Preludes and Fugues from the 19th and Brandon F. Woods, voicer of Goulding & Wood Pipe ers Monte, Loren, and Lyle Woods, sisters Fontane and- 20th Centuries for Organ (GMP001, Organs who defi ned the musical character of the company’s Marcy Woods, and eleven grandchildren. ISMN 979-0-58039-000-4, $25.00), pre- instruments for over thirty years, died May 25 at age 65 —Jason Overall ludes, fugues, and prelude-fugue pairs by Charles Zeuner, Carl Czerny, Joseph Sulzer, and others, in a range of diffi culties

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10 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Will, with world premiere recordings of Alain, Oliver Messiaen, and Maurice Organ Builders three contemporary settings of texts by (or Durufl é—interpreted and developed fur- attributed to) St. Francis composed by Eli ther their master’s understanding of music. Tamar. The recording also includes solos Widor: Organ Symphonies Vol. 5, the and duets from various settings of Stabat fi fth in Signum’s sequence of the organ Mater from the Baroque period to the symphonies of Charles-Marie Widor, fea- mid-twentieth century. For information: tures Joseph Nolan on the Cavaillé-Coll parmarecordings.com. organs of La Madeleine, Paris, and Saint- Sernin, Toulouse. For information: www.naxos.com.

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Buzard Pipe Organ Builders recently welcomed Urbana Girl Scout Troup 2207 to the Buzard shop in Champaign, Illinois. Dave Brown, service depart- ment foreman, is shown with the troop as they posed in front of a Noehren organ being rebuilt for the Lutheran Church of the Holy Spirit in Charleston, South Carolina, to be installed this summer. John Worgan: Complete Organ Music For the Beauty of the Earth Naxos announces new releases. Wor- and lengths, with and without pedals; at 800/451-5006, ext. 328 or 309. For gan: Complete Organ Music, Organ Pieces Paraclete Recordings announces For Ten Voluntaries for Organ (Manuals information: https://paraclete.leadpages. Nos. 1–15 presents Timothy Roberts play- the Beauty of the Earth: Celebrating Cre- Only) (GMP002, ISMN 979-0-58039- co/summerorganpackets. ing organ works by John Worgan (1724– ation with Brass, Organ, and Percussion, 001-1, $25.00), works by John Bennett, 90), an English organist and harpsichordist a new recording by SharonRose Pfeiffer Maurice Greene, William Walond, and Trumph AB announces new pub- who was admired by Handel and was with the Gabriel V Brass Ensemble (ISBN Carl Czerny; Baroque Organ Music from lications: John Philip Sousa, Twelve described by Burney as “very masterly and 978-1-61261-698-8, $18.95). The CD Central Europe, Germany, and France Marches (T071002), and John Alcock learned.” These pieces are performed on includes works by Widor, Vaughan Wil- (GMP003, ISMN 979-0-58039-002-8, Jr., Eight Easy Voluntaries for the Organ the organ of St. Botolph’s without Aldgate liams, David Marlatt, Anthony DiLorenzo, $25.00), fi fteen works by Telemann, Cor- (T071001), both arranged by Michael (possibly ’s oldest church organ.) James Curnow, and others. For informa- rette, and others, as well as anonymous Casey; , For information: www.naxos.com. tion: www.paracleterecordings.com. pieces from the Brasov Tablature; easy to Piano Concerto No. 21 (T074012-Organ/ intermediate, in chorale- and plainchant- T074012-Piano), and Sergei Rachmani- based genres as well as free compositions, nov, Piano Concerto No. 2, (T074011- with and without pedals. For information: Organ/T074011-Piano), both arranged www.areditions.com. for piano and organ by Kiyo Watanabe. For information: www.trumph.se. Michael’s Music Service announces new sheet music reprints: Prelude in A and Postlude in C, by Henry Smart; Rondoletto, Recordings by Louis Spohr, arranged by William Diller; Festintrade, by Wilhelm Volckmar, a duet for the opening of a festival in which Recordings each performer gets a pedal part; Valen- Bradley Welch and Ken Cowan at the cia, by Jose Padilla, arranged by Charles Broadway Baptist console Cronham. Additional titles include Bridal Song by Adolf Jensen, arranged by Samuel The Britannic Organ, Vol. 11 Pro Organo announces a new record- P. Warren; Marche aux Flambeaux, by ing (Pro Organo 7275) by Texas-based Ken Isaac Barton; Vesper Hymn, by Everett The Britannic Organ, Vol. 11: Historic Cowan and Bradley Welch of music for Truette, suitable for an evening service or Improvisations by British & German two organists, recorded on the fi ve-manual as an offertory; Finlandia, by Jean Sibelius, Organists features recordings of improvi- Casavant organ at Broadway Baptist arranged by Herbert Fricker. For infor- sations made on the Welte Philharmonie Church, Fort Worth, Texas. Cowan and mation: michaelsmusic.com. Organ in the Museum for Musical Auto- Welch had presented a program of duo- mations in Seewen. organist music at Broadway Baptist, and Paraclete Press announces organ Bottle Post Secrets presents seventeen- the response to the concert was so positive music packets, which offer a 20% sav- Laudato Si year-old organist Sebastian Heindl, a that Al Travis, organist at Broadway Bap- ings. The summer packet of seven pieces former member of the Leipzig Thom- tist, encouraged them to record a program. for $48 includes works by Hancock, Lau, Navona Records (of Parma Record- anerchor, playing his new transcription of Bradley Welch is active as a freelance Nagy, Weidner, and Powell; the student ings) announces the release of Laudato Si: Paul Dukas’s ballet, La Péri, in honor of organ recitalist, and Ken Cowan divides his organ packet offers four works by Mar- In the Spirit of St. Francis of Assisi, featur- Dukas’s 150th birthday anniversary. In this time between concert engagements and tinson, Lind, Weidner, and Powell, at ing soprano Charlene Canty, countertenor transcription, Heindl displays the ways in teaching at Rice University in Houston. a price of $60. Packets can be ordered Andrey Nemzer, and organist Nicholas which three of Dukas’s students—Jehan For information: https://proorgano.com.

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 11 Reviews

Music for Voices and Organ the service, so directors will want it to MorningStar Music Publishers, solo (8552) or vocal duet (8681). Highly by James McCray last in the congregation’s memory. Sum- MSM-60-6300, $1.95 (M-). recommended in multiple settings for mer may be a more relaxed period, but it The tune is Festal Song by William various needs. Rally Day: A variety of approaches should also be a time when planning for Walter (1825–93); however, Chepponis fall is critical for the music director. has added an alternate text to emphasize Great Is Thy Faithfulness, arr. A certain Music, never known before, Here soothed the pensive melancholy discipleship and mission, which makes Michael Burkhardt. SATB divisi, two- Mind; Festive music with brass this setting great for Rally Sunday, espe- part children’s choir, congregation, The God of Winds drew Sounds of deep Start the year by singing loud, exciting cially suitable for a closing hymn. The handbells, brass quintet, piano, and Delight: music with a brass choir! choral music is on two staves and very organ, MorningStar Music Publish- Whence, with just Cause, The Harp of Aeolus in Light. easy. The melody and text are on the back ers, MSM-50-5311, $2.25 (M). Ah me! What hand can touch the strings All Hail the Power of Jesus’ Name, cover for congregational duplication. This work is for those choirs wanting so fi ne? arr. Bryan L. Greer. Unison, con- to impress the congregation; the set- Who up the lofty Diapason roll gregation, brass sextet, percussion, Protective music ting is not diffi cult, but still grandiose. Such sweet, such sad, such solemn Airs divine, and organ, MorningStar Music Pub- The emphasis here is on texts empha- The full score is available as MSM-50- Then let them down again into the Soul? lishers, MSM-20-719 (all parts and sizing the Lord who protects us. 311A and instrumental parts as MSM- — James Thomson (1700–48) conductor score), $25.00 (M). 50-5311B. There are three verses with Castle of Indolence This is one of those “wow” settings that I Look to Thee in Every Need, Scott the children singing the refrain on two will be certain to get Rally Sunday off to a Perkins. SATB, piano, and optional of them, and then the congregation In the relaxing days of summer, church grand start. Described as a congregational assembly, Augsburg Fortress, 978-1- joins on the last verse. There is an choir directors should be planning for hymn setting, this arrangement of Coro- 5064-1390-7, $1.95 (M-). instrumental interlude and a big fi n- the fall Rally Day in their churches. nation by Oliver Holden (1765–1844) The text by Samuel Longfellow ish involving both the piano and the This happy event usually occurs in early features three B-fl at trumpets and three (1819–92) is set to a slow, smoothly organ accompanying all the singers. A September, most often the Sunday after trombones, timpani, suspended cymbal, fl owing accompaniment. There are dramatic setting all will enjoy. Labor Day, which in 2016 is September and organ. Note there is no choral score; four verses with numbers two and three 11 (that day also commemorates Patriots’ the choir/congregation sing the hymn for choir alone; a unison score for the Fun music Day and Grandparents’ Day). from their hymnals, which makes it even assembly is found on the back cover for Start the year with fun, yet interesting In the comments below, I have divided more appealing. There is a long instru- duplication. The verses for the choir are music. Rally Day repertoire into categories so mental introduction and later an instru- more elaborate for both the singers and that directors may have options in ways mental interlude between the verses. A the accompanist. The choral music is on Satan, Down!, arr. William Allen to emphasize the music for that Sunday: unison vocal line is also supported by two staves with the melody emphasized Pasch. SATB, organ or keyboard, festive music with brass, protective the brass, which play on the verses to for all four verses. optional solo, and optional string music, emotional music, and fun music. help with the singing. The music is not or electric bass, Augsburg Fortress, It is strongly recommended that the diffi cult, just exciting and festive with I Need Thee Every Hour, Mark Shep- 978-0-8066-9828-1, $1.90 (M). director choose a direction that would lots of trumpet fi guration to drive the perd. SATB and piano, MorningStar This African-American spiritual has be appropriate for his or her church. tune forward. Highly recommended—a Music Publishers, MSM-50-3426, a text that says “Satan, we’re gonna The director may want to consult the guaranteed winner for the unison choir $1.95 (M). tear your kingdom down,” which might minister to seek additional guidance for to start the year! This well-known and popular hymn be a great way to start the year. The the emphasis of music to start the year. tune (Need) moves emotionally from accompaniment is not diffi cult, although Rally Day signals such matters as Sing Ye a Joyful Song, Ann MacDon- a quiet beginning to a louder and more the string bass will drive the music changes in new Sunday School classes ald Diers. SATB, brass quartet, and dramatic setting. The piano music is with its of syncopated phrases or teachers, new schedules for services, organ, Paraclete Press, PPNM01502 busy and fi lled with fl owing triplets; the contrasted with a straight jazz line. The new church or congregation goals for the (choral score), $3.70 (M+). accompaniment adds signifi cantly to the solo section has a few sopranos singing a year, and a host of other possible things. The text is drawn from Psalms 68, arrangement while keeping the hymn repeated “No” in various rhythms above It is important that the service music 57, and 47. There are many tempo tune always present. Certain to be a the choir. The ending has a choral glis- make a positive impact on the congrega- changes as the mood shifts. The clos- favorite with many in the congregation. sando and “Sfp-crescendo” that give the tion. Most people in the congregation ing section is a celebrative and at times piece a very exciting fi nish. This work will be members of the church; however, contrapuntal Alleluia. The brass quartet God Who Watches Over Me, arr. Mark will excite everyone and start the year some may be people looking for a new often plays antiphonally with the organ Shepperd. SATB, keyboard, optional with great enthusiasm. church. This is also a good time for as it accompanies the choir; the choral fl ute, guitar, bass, and hand drum, recruitment for the choir; there may music is usually more challenging than Augsburg Fortress 978-1-4514-9247- be interested singers in the Rally Day the accompaniment. 7, $1.95 (M-). Book Reviews congregation who could be encouraged The instrumental parts are available Johnson Organs 1844–1898: Wm. A. to join the choir. Sing Joyfully to God! (alternate text: for download at www.augsburgfortress. Johnson, Johnson Organ Co., John- Rally Day Sunday is important to the Go Forth into the World!), James org. This score indicates where they son & Son: A Documentary issued in life of the church. The music used may Chepponis. SATB, congregation, play using +/- signs. Originally by honor of the Two Hundredth Anni- continue to be remembered long after brass quartet, timpani, and organ, Robyn Lensch, who also adapted the versary of his [sic.] Birth, by Scot L. text based on Psalm 121, the music Huntington, Barbara Owen, Stephen has a folk-like fl avor. There is a solo L. Pinel, and Martin L. Walsh. Pub- that begins the setting, has a limited lication design by Len Levasseur. range for a variety of voices, and then Cranbury, New Jersey: The Princ- A Precious Gift later returns to sing above the choir. eton Academy of the Arts, Culture The fl ute part, here in the choral score, and Society, 2015. Paperback, viii + from the Past plays above the soloist and, later, the 239 pp. ISBN 978-1-5121-6955-3. choir. Simple, tuneful music. In the early 1940s John Van Varick Elsworth (1905–71) began a series of for the Present Emotional music articles in The American Organist and Popular hymn tunes that stir emotions. elsewhere on Victorian tracker organs. He had a particular interest in the and the Future Then Sings My Soul (How Great Thou Westfi eld, Massachusetts, organbuilder Supremely beautiful and blendable Art), arr. Mary McDonald. Two-part William A. Johnson (1816–1901), who, mixed voices and piano, Hope Publi- later assisted by his son, William H. tonal color – a Gift from the Venetian cations, C 5993, $2.25 (M-). Johnson (1841–1922), between 1844 School of organbuilding, a monumental part of our For those choirs wanting to start the and 1898 built 860 organs ranging in JUHDWKHULWDJH7KHUHVXOWDYHUVDWLOHDQGÁH[LEOH year with a strong accompaniment and size from one to three manuals. On one SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN a favorite tune of the congregation, this of his pilgrimages to Westfi eld, Els- may be for you. The piano music is busy worth met Ned Hedges (1872–1967), and somewhat soloistic in style; it plays a retired pipemaker who was possibly Intriguing? Let us build your dream. below the choir, whose two-part music the last Johnson employee alive. They is not diffi cult but will sound forcefully struck up a friendship and carried on a solid. This is certain to be a popular correspondence about the Johnson fi rm choice that will move the congregation. over a number of years. Around 1955 It is also scored for SATB (C5701), Elsworth compiled a manuscript about SAB (C5720), TTBB (C5724), vocal the Johnson company, based in part on

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12 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Reviews this correspondence, and, following Els- own sonic landscape, and explores the of music degree in organ performance on the composers and the music are worth’s death in 1971, the manuscript colors and textures of four instruments from the Manhattan School of Music. essential for the full enjoyment of this was edited by in the Baltimore, Maryland, area. As always, the presentation from music, and these insights are included in member Donald M. Paterson (1933–93) Featured on this disc is the 2007 Raven Recordings is absolutely fi rst the excellent booklet that accompanies and published in 1984 by the Boston Schantz organ at the Cathedral of Mary rate. It includes extensive, informative, the recording. chapter of the Organ Historical Soci- Our Queen, a large instrument of 130 and well-written program notes on the This “concept” disc attempts to feature ety as The Johnson Organs: the Story ranks in both gallery and sanctuary set- music and the composers, complete four distinct instruments in Baltimore of one of our famous American Organ tings that incorporates a good portion of specifi cations of the organs with attached over a 75-year period from the time of Builders. The present book, Johnson M. P. Möller’s Opus 9200 of 1959. That pictures, and technical recording prow- G. Donald Harrison through the organ Organs 1844–1898, is partly an attempt is followed by the 2007 Andover organ ess that in each instance captures the reform movement to the embrace most to update Elsworth’s book, though most at Christ Lutheran Church of 81 stops clarity of the organ’s presence along with recently of the large and colorful “Ameri- of the material it contains is entirely and 82 ranks, also in gallery and chancel the acoustics of the room in which that can classic/new neo-romantic organ” now original. The confl uence of the impend- confi guration. Then we move to Brown particular instrument lives and interacts. in favor in many quarters. The operative ing bicentennial of William A. Johnson’s Memorial Presbyterian Church and its With the changes that are now occur- word here for this reviewer is “attempts.” birth and the location of the 2015 Organ 1931 Skinner organ with tonal fi nishing ring in the music recording industry It is a great concept, although all of the Historical Society Convention near by G. Donald Harrison and, fi nally, to (or what remains of it), this particular music on this recording does not totally Westfi eld make it a most auspicious Mount Calvary Church with its 1961 recording is a good example of why the represent a broad cross section of stylis- time for the publication of such a book. Andover organ that Charles Fisk built CD format could survive and continue tic approaches. All of the music is what The book is profusely illustrated with in consultation with Flentrop Orgelbau to offer a unique experience for indi- the casual listener and even collectors of photographs of the people mentioned, just before Fisk moved to Gloucester to viduals who are interested in music, organ recordings would consider “avant- of the organs, and of some of Johnson’s establish what is now C. B. Fisk, Inc. sonic experiences, and an aural experi- garde” in the extreme. If one is expecting advertising material. Diane Luchese is professor of music ence not found anywhere else. To truly to hear the 1931 Skinner organ with lush The book begins with an introduc- theory at Towson University with an understand and appreciate this music it romantic tonal music, the music of John tion by Barbara Owen that explains impressive list of credentials. Luchese is important—and I would even venture Cage and Keith A. Carpenter will not fi t the genesis of the book in rather more earned a PhD in music theory from to state, imperative—that one needs the bill of those expectations. detail than I have done above, following Northwestern University, a master of to understand the “back story” of the Every single composition here which there is a timeline or annuary of music degree in both organ and theo- composer and what he or she is attempt- presented is fascinating and challeng- the Johnsons and their fi rm, compiled retical studies from the New England ing to portray in these individual works. ing. This can hardly be said for many by Stephen L. Pinel. After this Martin L. Conservatory of Music, and a bachelor Complete and thorough program notes ³ page 14 Walsh has produced an annotated opus list of Johnson organs, giving details of all 860 organs, together with brief histories and details of their ultimate fate, so far as these details are known. At the end of this section there is a gazetteer by state of all the Johnson organs, followed by a gazetteer of extant Johnson organs, of which there appear to be 110, or just under 13 percent of the total built. UTHENTIC SOUND Following this there is a detailed A chapter describing the 2013 restoration by Scot L. Huntington of Johnson Opus FROM REAL PIPES: 16 of 1850, built for the Congregational Church in Haydenville, Massachusetts, and now in the Union Church in Heath, Massachusetts. There is then an appen- dix containing facsimiles of various THE ORIGINAL TECHNOLOGY. items such as patents and promotional material, and the book is completed by an extensive bibliography. Altogether a fascinating book and a very fi ne piece of scholarship. —John L. Speller Port Huron, Michigan INVEST ONCE...

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 13 Reviews

³ page 13 Live with this recording, and let it chal- gives us a simple biography of the com- versus, and a fuga) and Bartholomaus recordings, but be prepared for what will lenge you. It draws you in and takes you poser and a description of the source Weisthoma (two pieces, a Capriccio on be presented. One of the most fascinating to a different space . . . just be ready and for these two sonatas. Although their the Sixth Tone, omitted from the index, pieces is No Attack of Organic Metals by open for the journey. performance can usually be deduced and a Versus on the Eighth Tone). Robert Cogan, a work that includes the —David Wagner fairly readily, an explanation of the orna- After the sets of verses on each of the organ and “the sounds of our everyday Detroit, Michigan ment signs would have been helpful to eight tones there follows a set in B-fl at electromechanical environment.” That the player not familiar with the explana- major, which includes two arias by Elias means everything from pre-recorded tions given primarily by C. P. E. Bach de Silva dated 1710 and 1698, respec- material, to a slide whistle, with vocal New Organ Music and Daniel Gottlob Türk, particularly of tively, the latter marked Pro Elevatione yells (!) and outbursts that appear and J. Th. Cramer: 2 Organ Sonatas, the subtle way of playing the two-note (For the Elevation). In addition to the disappear within the organ wall of sound. edited by Willem Poot. Interlude appoggiatura-like grace. Quite tricky in set of 30 Arias sub Elevazione published This is a brave recording. This is a Music Productions I.M.P. 2003, places, with some fast passages in parallel by Paganelli, Johann Nauss describes the recording for musicians and organists €9.50; www.interlude.nl. sixths for the right hand, and demanding practice of playing arias during the Ele- who want to experience the sonic land- Johann Thielemann Cramer is one of nimble manual changes, these sonatas vation in the preface to his collection of scape of a musical instrument. Diane the nebulous eighteenth-century fi gures offer further examples of the galant style, pieces on the eight tones, which suggests Luchese is to be commended for pre- of whom we know very little, other than and are worthy companions to the organ that arias by Pachelbel and de Neufville senting this challenging and fascinating that he wrote some chamber music and sonatas of C. P. E. Bach, with the second were perhaps played at this point in the recording, but keep in mind that this is C. P. E. Bach published two Cramer key- sonata approaching more closely the Mass as well. The collection concludes probably not the recording that you want board sonatas in 1779 in Musikalisches Sturm und Drang style. with pieces in C minor, including two to give to a friend as an introduction Vielerlei. Ernst Ludwig Gerber states further arias, one in C major and a da to the glories of pipe organ. Your non- that he died in 1793. These two sonatas A Baroque Organ Book (Austria capo Menuet on the Eighth Tone. organist friends will be totally baffl ed by are now available in this modern edition 1690–1731), edited by Rudolf Scholz. There is no biographical information this recording—even those with whom and require an organ with two manuals. Doblinger, Vienna: Diletto Musicale concerning the composers apart from you have shared recordings before. It The sonata in C is in three movements, DM 1474, €27.95; www.doblinger- scanty details about de Silva. While might even baffl e some of your friends opening with a binary form allegro in musikverlag.at. Fischer, Kerll, and Muffat should need who do have organ recordings. Maybe common time that covers seven pages. This extensive volume of some 90 no introduction to keyboard players, the you will want to keep this recording for The texture varies between mainly two pages offers a large number of pieces others are scarcely household names. yourself as you experience something and three parts with predominantly based upon the eight church tones, There is great stylistic variety: the pre- not available from your “off the shelf sixteenth-note movement. The central according to the requirements of the ludial pieces, for instance, are miniature standard repertoire” organ recordings. movement is an adagio, which opens in Catholic liturgy throughout France, toccatas from six to twenty bars in length, It is also fair to say that this is not the A minor and closes in G, with a varied Spain, and Italy, and also in southern with the possibility of abbreviating the recording that you will want to purchase texture ranging from repeated eighth- Germany and present-day Austria. There longer pieces (as Frescobaldi had done) because of the organs themselves. If you note chords to thirty-second-note pas- are numerous similar collections written indicated in the text. are planning to purchase this because sages. The closing movement, an allegro and, in many instances, also published The pieces offer a wide range of you want a record of these very impor- in C in 3/4 time, is in binary form, with during the eighteenth century by a num- contrasting styles, most of them being tant and individual instruments in the plenty of scale passages in sixteenth ber of composers with varying degrees quite short, although a few are more Baltimore, Maryland, area, you will be notes against held notes or chords, each of skill, but this volume, seemingly substantial; some offer suggestions for disappointed. There are organ record- half closing with a passage marked p in compiled over 40 years, presents a much abbreviating. The praeludia and toc- ings that are as much about the organs single notes concluding with a written- larger compilation than many from the catas are generally freer, some based on and their history as about the music, but out long appoggiatura. German-speaking lands, most of which sequential passages, others exploiting this is a recording more about the music The second sonata is in G, in common probably served as aids to improvisa- rapid passagework. The Versus groups that is presented. time and in one movement only, in binary tion or were used by organists who were are also mainly short, from three bars You also must have a really good sound form; it covers four pages. There is much either diffi dent about their skills or who to ten. Most of the versi are fugal, a few system; otherwise all of these dynam- rhythmic switching, typical of the galant, were just not up to it. being homophonic and more chordal; a ics and the dynamic range of the music and arpeggiated fi gures and scalar runs Most pieces in this collection are Versus on the First Tone combines the will be lost. This is a serious “at home in thirty-second notes, sometimes in unattributed, but named composers, descending chromatic tetrachord with listening” disc, impossible to experience octaves (one note per hand), in addition some of whose pieces may be unique a fugal subject. A few items are actually on most musical reproducing devices to extended passages of left-hand eighth to this source, include Elias de Silva (23 marked Fuga, an example being the (standard-issue MP3 players with com- notes against right-hand arpeggiated pieces including praeludia, fugas, arias), lengthy piece by de Silva dated 1696 in pressed fi les or fi les downloaded to a fi gures of a rest followed by three thirty- Giacomo Carissimi (one piece, a fugue 12/8 on the eighth tone, which resembles phone). It just might be, however, one second notes. Again, this piece fi nishes on the Eighth Tone published in the a north German gigue. A handful of of the most interesting and challenging with a passage marked p, concluding with Wegweiser collection of 1689), Johann slower pieces are marked Pro Tremulo, recordings of music conceived for and a written-out appoggiatura. Both sonatas Caspar Ferdinand Fischer (four pieces, but unfortunately no explanation is given played on the organ that you may ever have carefully furnished dynamics and including a Praeludium and Fuga on as to the precise meaning of this phrase; own in your collection. Be prepared for a phrasing and some printed ornaments. the Third Tone published in his collec- it may well simply imply the use of the musical journey. Take time to listen with The printing is clear with between fi ve tion Musica, a Toccata Sexti . The Versus by Weissthoma your entire being, because this recording to seven systems per page, which avoids Toni cum Pedali, and a Menuet and opens with seven repeated sixteenth- and this music demands it. One listening awkward or impossible page turns with- Bourée from the Sixth Suite published note Ds. is not even enough for an introduction. out an assistant. The brief introduction in his Musikalisches Blumen-Buschlein), An unexpected feature is the appear- Johann Caspar Kerll (one piece, a Prae- ance of a number of dances including ludium secundi toni), Georg Muffat (7 the Menuet, Courante, Sarabande, pieces, including a Praeludium primi toni and Bourée, several of which are taken which is also in manuscript in Vienna, a from published or manuscript collec- Gavotte on the Fifth Tone, two Menuets tions by Fischer and Muffat. De Silva’s and a Sarabande on the Fifth Tone, and piece in 6/8 in the fourth tone carries Menuets on the Sixth and Eighth Tones), the unusual title of Guigetta Ariosa. Severin Schwaighofer (a Versus on the Some information about whether these First Tone), Johann Jakob Walther (12 pieces were actually played during the pieces including four praeludia, seven liturgy or were purely for domestic performance on harpsichord, clavi- 1 &HOHEUDWLQJ%DFKLQWKLV¿UVWRIWKUHH%DFKUHODWHG SURJUDPVWKLVPRQWKQRWDEOHSHUIRUPHUVEULQJGHFLGHG chord, or chamber organ would have < LQGLYLGXDOLW\WRWKHLULQWHUSUHWDWLRQVDQGWULEXWHV been helpful. 3 It would also have been valuable if :KDW¶V1HZ"DVHOHFWLYHVXPPDU\RIVRPHLQWULJXLQJ specifi cations of contemporary organs @ DQGXQXVXDODOEXPVRIRUJDQPXVLFLVVXHGRQ&' from the area had been included, to offer a guide to the possibilities :KDW¶V1HZ7ZR"DIXUWKHUVHOHFWLYHVXPPDU\RI VRPHLQWULJXLQJDQGXQXVXDODOEXPVRIRUJDQPXVLFLVVXHG  RQ&'  THE ,Q0DQ\0RRGVIURPKXPRURXVDQGZKLPVLFDOWR  WKRXJKWIXOLQWURVSHFWLYHDQGLPSUHVVLRQLVWLFWKHFODVVLFDO  RUJDQ¶VUHSHUWRLUHFRYHUVLWDOO Listen to it worldwide over the Internet! Hourlong streamcasts are featured at 5pm ET 7PWLKYLHTZŽ PZ (TLYPJHU 7\ISPJ 4LKPH»Z ^LLRS` WYVNYHT KLKPJH[LK [V [OL HY[PZ[Y` VM [OL WPWL VYNHU /VZ[ 4PJOHLS )HYVUL»Z JLSLIYH[PVU VM the first Sunday of [OL RPUN VM PUZ[Y\TLU[Z PZ OLHYK VU Z[H[PVUZ UH[PVU^PKL HUK ^VYSK^PKL PZHWYV\KZ\WWVY[LY ]PH WPWLKYLHTZVYN .V VUSPUL [V SVJH[L H IYVHKJHZ[ Z[H[PVU ULHY `V\ VM7PWLKYLHTZŽ HWVIHJVT each month at wrti.org :79,(+;/,>69+79646;,;/,:/6>:<7769;7<)30*9(+06 www.pipe-organ.com

14 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Reviews then available. Almost all the pieces in a variety of styles, and its level of be portrayed by actors of any age. After addition of handchimes and the optional can be performed quite satisfactorily on diffi culty is easy. Given the lack of reg- an organ prelude, the pageant proceeds instrument will only enhance this daz- manuals only, with just a few requiring istration indications, these pieces could through each section of the story with zling composition. pedals; there are occasional intervals that serve as blank canvases for the student the narration, the characters for each would have been easily manageable on a learning about tone color. passage getting into place during the Keep It Simple 2, arranged for 2 short octave instrument. Charles Callahan obviously worked playing of an organ carol arrangement, octaves of handbell or handchime The introduction to the volume (in tirelessly to uncover these relatively and a suggested congregational hymn choirs by Lloyd Larson. Agape (a German and English) describes its unknown pieces by equally obscure com- to be used. Because of the variation division of Hope Publishing Com- discovery in 1995 in an antique shop; posers—from 17th-century French com- that exists in the carols among various pany), Code No. 2554, $8.95, Level comparison with a second manuscript poser Elizabeth Jacquet de la Guerre hymnals, the music for the hymns is not 1 (E+). (3-octave edition, Code No. indicates a shared provenance. There to 20th-century composer Germaine included in the score. The hymn ver- 2389.) is discussion concerning whether the Tailleferre. Some of these composers are sions common to the specifi c denomi- This collection of eight titles is a composer de Silva compiled the col- so obscure that not even the New Grove nation or church should be used. To lifesaver in planning pieces for worship. lection. The short commentary at the Dictionary of Music and Musicians has assist those directing a production of Every hymn tune is creatively arranged end of the volume (in German only) entries on them. the pageant, a page of suggestions and by Lloyd Larson, and sounds more dif- includes a description of the manu- Of particular interest to me was Flor- instructions for the pageant is included fi cult than it is to learn. Titles include script and a discussion of ornament ence B. Price’s Adoration. A student of in the score. Were You There?; Fairest Lord Jesus; symbols and their interpretation. The George Whitefi eld Chadwick and Leo As a Christmas pageant, A Carol Be Thou My Vision; Praise to the Lord, index presents the pieces in order of Sowerby, Price was the fi rst African- Nativity may easily be produced and the Almighty; Jesus! What A Friend for their tone, so that a set or individual American woman to be recognized as a adapted to the resources on hand. Sinners; When I Survey the Wondrous piece in a specifi c key can be located symphonic composer. Equally haunting Because of its fl exibility, the program Cross; Come, Thou Fount of Every quickly, with a list of pieces attributed is Alice Sauvrezis’s Choral in E Major. can be used by a congregation of any Blessing; and Holy, Holy, Holy! Lord to specifi c composers. Sauvrezis was a student of César Franck size; it also offers the opportunity for God Almighty. A bargain to boot! The printing is clear, with six systems and Théodore Dubois, and this is per- multi-generational participation. For the to a page, and given the large number haps her only organ composition. organist involved, preparation time will I Was There to Hear Your Borning of pieces it contains, the book is an Rounding out this collection are pieces not be extensive, though it will be neces- Cry, arranged for 3–5 octaves of excellent value. It will be very useful by Elizabeth Turner, Anna Bon, Fanny sary. The carol arrangements could also handbells with optional 3–4 octaves for occasions when a short prelude or Mendelssohn Hensel, Clara Schumann, be used for other services and events of handchimes, by Cathy Moklebust. interlude is required in the liturgy, as Elizabeth von Herzogenberg, Luise during the Christmas season. For those Agape (a division of Hope Publishing well as adding to our knowledge of the Adolpha Le Beau, Adela Douglas-Pen- who are searching for a new or slightly Company), Code No. 2746, $5.50, wide-ranging style of such compositions nant, Hedwige Chrétien, Kate Boundy, different approach to the annual Christ- Level 3+ (D-). in Austria during this period. Many of and Henriette Renié. While some pieces mas pageant, A Carol Nativity is an John Ylvisaker’s text in this popular the pieces are accessible to players of are newly transcribed by Callahan, many excellent resource that should be given hymn tune, Waterlife, has given a moderate ability, although a few are are pieces originally written for the strong consideration. arranger Cathy Moklebust a wide gamut somewhat more demanding. It is to be organ. Recommended. Alfred V. Fedak has composed more of styles and techniques to illustrate this hoped that they will be added to the —Andrew Schaeffer than two hundred published organ piece. From randomly malleted bells repertoire of functional liturgical music First United Methodist Church and choral works, as well as more than and a free tempo to various staccato by many organists. Edmond, Oklahoma one hundred hymn tunes that appear techniques and a variety of tempos, —John Collins in hymnals and collections around the this hymn comes alive in so many ways Sussex, England A Carol Nativity: A Biblical Pageant world. Fedak holds degrees in organ from beginning to end. The fi nal result for one or more Narrators, Organ, from Hope College and Montclair State should be rewarding for the players and Women Composers’ Album: Twenty Congregation, and optional Actors, University and Fellow and Choirmaster the listeners. Pieces for Organ from the 17th–20th Alfred V. Fedak. Wayne Leupold certifi cation from the American Guild Centuries, edited by Charles Calla- Editions WL600287, $15.00; www. of Organists. He currently serves as First Praise, arranged for 2, 3, or 5 han. MorningStar Music Publishers wayneleupold.com. minister of music and arts at Westmin- octaves of handbells or handchimes 10-774, $25.00; A Carol Nativity is one of the works ster Presbyterian Church in Albany, by Bill Ingram. Choristers Guild, www.morningstarmusic.com. from the organ demonstrator series pub- New York, as an adjunct faculty mem- CGB940, $4.50, Level 1 (E+). If you’re anything like me, good lished by Wayne Leupold Editions, Inc. ber at Schenectady County Community The composer has given us a joyful, anthologies are among the most well- These compositions serve as a resource College, and as the accompanist for the original composition that is especially worn volumes of music in your library. for introducing the pipe organ to various Burnt Hills Oratorio Society and the effective with the special effects he has One of the reasons I value anthologies age groups. The multi-movement works Mohawk Valley Chorus. indicated. A prevalence of quarter notes, is that they often contain hard-to-fi nd are designed so that each movement —Charlie Steele half notes, and whole notes make this pieces and expose me to music that highlights one of the basic sounds of the Brevard, North Carolina piece easy to learn. Special notes are I may have never explored. Charles organ (principals, strings, fl utes, reeds) given for handchime choirs. Callahan’s Women Composers’ Album: and/or other aspects and features of the Twenty Pieces for Organ from the 17th- organ. Many compositions in the series New Handbell Music Resound, arranged for 3, 4, or 20th Centuries is no exception. These incorporate a narrator whose function is Rejoice, Ye Pure in Heart, arranged 5 octaves of handbells by Karen short pieces are ideal for church volun- to provide information about the organ for 2 or 3 octaves of handbells with Thompson. Choristers Guild, taries and are easily accommodated on or to tell a story. optional B-fl at or C instrument CGB934, $4.50, Level 3 (D-). a variety of different instruments. With Alfred V. Fedak’s A Carol Nativity and 2 or 3 octaves of handchimes, Karen Thompson has provided this in mind, Callahan also thoughtfully centers on the telling of the Christmas by Margaret R. Tucker. Choristers a wonderful challenging piece that includes key signatures in the index so story through the use of scripture, carol Guild, CGB921, $4.95, also available exudes the emotion of its title. The key you can easily pair pieces with other singing, staged tableaux, and organ for 3, 4, 5, or 6 octaves of handbells, of C major pervades throughout, and liturgical music. music. With the exception of the narra- CGB922, Level 2+ (M). with just a few special effects and some In addition to liturgical use, this vol- tor, there are no speaking parts. The cast Using the refrain as a fanfare rhythmic demands, this music should ume could also serve as a unique peda- of characters includes Mary and Joseph, introduction, this arrangement of the be dazzling. gogical tool since it contains many pieces Baby Jesus, the three kings, angels, hymn tune Marion is given a festive —Leon Nelson with minimal to non-existent pedal parts shepherds, and animals. The parts may treatment from beginning to end. The Vernon Hills, Illinois Saving organs throughout America....affordably!

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WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 15 In the wind...

Cuthbert and the Cow gravity, relying on exterior buttresses to (634–687 AD) was a monk support the weight of huge high ceil- and later a bishop in the Northumbrian ings while walls are nearly all glass and Church, in the northeast of England, apparently structure-free, the Norman the area of modern Newcastle, near architecture of Durham Cathedral is the Scottish border. After his death, his gravity-intensive. The ancient fabric remains had remarkable adventures, of the building is solid, and it seems as which seemed to contribute as much though the engineers and architects were to his eventual sainthood as did his experimenting as they went. Some arches activities while breathing. Eleven years are round while others are pointed, after his death, his tomb was opened in and clerestory windows don’t line up preparation for his reburial, and to the above those in lower stories. Buttresses amazement of those present, his corpse between the windows are integral with was miraculously preserved, inspiring the the building, amounting to “thickening” swift development of a cult honoring his of the walls rather than fl ying free. memory and making him the most popu- Wendy and I spent one night in Dur- lar saint in England at the time. ham during our recent trip to England. Several centuries after his death, his After dinner, we walked up to the cathe- admirers dug up his remains again to dral where bellringers’ practice was going take him on the lam, protecting him on, and the building was bathed in light. from a Danish invasion. Suddenly and I had the sense that we were witnessing mysteriously, the cart carrying the coffi n the early development of monumental became stuck in the road. According to ecclesiastical architecture, a prelude for the legend, it wasn’t mud, and it wasn’t a our visit the next day to the High Gothic mechanical breakdown, it was just stuck. masterpiece of . The 150 Bishop Aldun, the leader of Cuthbert’s or so years between the buildings at groupies, had a vision that St. Cuthbert Durham and York, just seventy miles was asking to be taken to Dunholme. apart, brought incredible advances in Trouble was, no one knew where that construction techniques. Those builders was. As they pondered, a milkmaid wan- were true innovators, and I wonder how dered by looking for her lost cow. When much communication there was between she asked if anyone had seen her cow, a builders in England and those in France young woman pointed up the road, say- at the same time. There was no Chunnel ing she had seen the cow heading toward facilitating travel between the two coun- Dunholme (now Durham). Miraculously, tries, but there must have been plenty of King’s College façade repairs the cart was freed, and the roadies con- interchange. Maybe there were interna- tinued to Durham. Cuthbert was buried tional job fairs for medieval stonecutters. there and a great church was built to Come visit us at booth #1081. honor his memory. The present cathedral Durham is home to 65,000 people was built on the same site a century later, and is about 270 miles from London. and Cuthbert was unearthed again and It’s a long way to go for a one-night visit, moved to a shrine attached to the new but besides visiting the cathedral, I was building. Apparently that was the end of being offered a cobblers’ dream holiday. Cuthbert’s travels, more than 400 years Church musicians make pilgrimages to after his death, though after all that, I the Chapel of King’s College in Cam- wouldn’t stand too close to his grave, bridge to hear the world-famous choir beautifully preserved or not. and organ. I got to see that iconic Har- The episode with the cart might have rison & Harrison organ in the workshop been the fi rst time on record that the during its reconstruction. men stood around wondering where they were, while a woman asked for directions. Not that Harrison, By the way, she found her cow, whose The American organ world celebrates role in the legend is commemorated by a British immigrant organbuilder who a Victorian bovine statue, in a niche high started his working life as a patent attor- on the exterior of the cathedral. ney before “catching the bug.” G. Donald King’s College façade toe repair Lowering the pitch at Peterborough § Harrison was largely responsible for the development of the American Classic City and the Riverside Church in New off when his sons Arthur and Harry took Durham Cathedral is an incredible pipe organ —that unique style of instru- York City. over in 1896. They were exceptionally place. appointed ment found in places like the Church of I mention Mr. Harrison somewhat gifted organbuilders, Harry at the design William of St. Carilef as the fi rst bishop the Advent in Boston, known for sprightly out of context here because we’ve just table and Arthur in the voicing room. there in 1081. Construction of the new Principal choruses and Baroque-inspired passed the 60th anniversary of his death. The catalogue of Harrison & Harrison cathedral started in 1093, and the nave secondary choruses on Positiv divisions In June of 1956, he was working fever- organs shows dozens of instruments built was completed around 1130 (AD, not with low wind pressure. They represent a ishly to complete the rebuilding of the in the fi rst decades of the twentieth cen- AM). It’s offi cially called the Cathedral style unto themselves and helped inspire Aeolian-Skinner organ at St. Thomas tury. Arthur and Harry must have been Church of Christ, Blessed Mary the Vir- the mid-twentieth century revival of Church in New York City in time for especially pleased to have the hometown gin, and St. Cuthbert of Durham. “Dur- classic styles of organbuilding. Harrison the convention of the American Guild opportunity to rebuild the 1876 Willis ham Cathedral” works for me. While the was also responsible for the great organs of Organists, while New York was suf- organ in Durham Cathedral in 1905. great buildings of the High Gothic defy of the Mormon Tabernacle in Salt Lake fering the unfortunate combination of Arthur Harrison died in 1936, and Harry a heat wave and strike of taxi drivers. retired in 1946, and the cows came home After work on June 14, Harrison walked when control of the fi rm was passed on the eight blocks from St. Thomas to his to Harry’s son, Cuthbert in 1945. Cuth- Third Avenue apartment, stopping on bert was director of the fi rm until 1975 the way to pick up a dose of smelling and remained Chairman of the Board salts. After dinner, while watching Victor until his death in 1991. Borge on television with his wife, Helen, Mark Venning ran the company from Harrison suffered a fatal heart attack. 1975 until 2011, when Christopher Four days after Harrison’s death, the Batchelor was appointed managing British organist John Scott was born in director. Dr. Batchelor was my tour Wakefi eld, Yorkshire, foreshadowing guide in the busy workshop, where, Church of Saint Jude the Apostle Scott’s brilliant career as organist and among other projects, the King’s College Wauwatosa, Wisconsin director of music at St. Thomas Church, organ was being prepared for shipment Three manuals – forty ranks so sadly cut short last August by his sud- back to Cambridge. den death. A member of the Harrison & Harrison A RTISTRY – R ELIABILITY – A DAPTABILITY staff met us at the train station, dropped That Harrison (& Harrison). Wendy off at The Victoria Inn (a crazy In 1861, Thomas Harrison estab- little B&B above a six-stool pub), and lished a pipe organ building company in took me to the workshop, a snazzy place Rochdale, near Manchester in the U. K., built in 1996 to replace a 124-year-old and in 1876, he moved the company to building that had outlived its usefulness. Durham. He built a number of wonder- There’s a small entry vestibule (narthex?) ful organs, and the company really took inside the front door that contained two

16 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM By John Bishop

tour, I saw many pipes from the Peter- borough organ, both wood and metal, with their extensions and new tuning scrolls in various stages of completion. I was impressed that big projects on two huge and famous organs were underway in the workshop at the same time. There sure were a lot of organ parts stacked about. And that wasn’t all. A new two- manual tracker-action instrument was underway as well.

When one is not enough The morning after my tour of the Harrison & Harrison workshops, H&H operations manager Jeremy Maritz met Wendy and me “by the font” at the west projects are not countless—the lottery’s end of Durham Cathedral to show us website claims that £6.8 billion have the organ. The three of us crowded into been awarded to support 39,000 projects the tiny console gallery above the quire since 1994. King’s College stopjamb on the bench Organ parts for King’s College and explored the kaleidoscope of tone Durham Cathedral has an ongo- color revealed by the luxurious ivory ing project called Open Treasure that items of interest. One was a four-stop structure, expression boxes, and other drawknobs. Isn’t it rich when a Great involves restoration and preservation of dual-pitched continuo organ (which appliances. Maintenance passage boards division has both First and Second 8′ the building itself as well as new pro- is for sale), and the other was a letter are mounted on hinges to swing up, pro- Diapasons? But wait—this organ has grams and uses for the enclosed spaces. signed by Queen Elizabeth, framed viding freer egress of sound, especially four! It’s the Swell division that has Exhibition spaces are being developed with a special commemorative medal allowing the organists to better hear the “only” First and Second Diapasons. And for the display of incredible treasures honoring the work done by Harrison organ from the console. All of the new here’s a new one—in the Pedal division, owned by the cathedral, and the lottery & Harrison as part of the restoration of structure was standing in the shop during Open Wood 16′ I and Open Wood 16′ has provided £3,850,000. Peterborough Windsor Castle following the devastating my visit. A large part of the project was II. Those two huge stops are located on 900 has received grants totaling £2.5 mil- fi re there in 1992. complete before the organ was removed opposite sides of quire, in the surround- lion from the lottery. early in 2016. ing ambulatory—and it’s Open Wood 16′ Go to the website www.hlf.org.uk, type An organ fi t for a king The original pipes are being cleaned II that’s extended to 32-foot. Heavens! “pipe organs” into the search fi eld, and Reading that letter, I remembered and repaired, ready for installation And as if that’s not enough, there’s also a you’ll fi nd a list of projects that have been thoughts I had while watching the during the summer, with the project 16′ Diapason made of metal. Reeds, you supported by grants from the Heritage wedding of Prince William and Kate scheduled for completion in September. ask? 32′ Double (an exten- Lottery Fund—from £44,000 for the res- Middleton on television in 2011. That We (along with millions of others) can sion of the Solo Tuba) and 32′ Double toration of the 1881 organ built by K. C. was some job for the organ tuners. The all look forward to hearing the reno- Trombone. It’s embarrassing. Reiter in the parish church of All Saints’, Harrison & Harrison organ at Westmin- vated instrument in the broadcast of the I’m grateful to Jeremy Maritz, Chris- Roos, to £950,000 toward the restora- ster Abbey was installed in 1937 and Festival of Nine Lessons and Carols on topher Batchelor, and the staff of Har- tion of the Harrison & Harrison organ at was played for the fi rst time for the Cor- Christmas Eve. rison & Harrison for their hospitality Royal Festival Hall. onation of King George VI, the father I found it strangely moving to see and for the great education I received at During our trip, we saw signs pro- of Queen Elizabeth. We were recently pipes in crates from particular stops I their hands. claiming the support of the HLF at York reminded of King George VI, as he was remember hearing on recordings and Minster, , and the Ash- the central character in the 2010 movie, radio broadcasts, like the English Horn in Betting on the future of the past molean Museum in Oxford. We saw it at The King’s Speech. Remember, he’s the Berlioz’s Shepherds’ Farewell. And who Here in the United States, lotteries and at St. Martin in one who became king when his brother among us hasn’t wept to the strains of operated by governments are a mixed the Fields at Trafalgar Square. King Edward VIII abdicated the throne that Tuba pointing out the melody under bag. In Colorado, proceeds from the The Heritage Lottery Fund is one of to marry Wallis Simpson. descants in Hark, the Herald Angels Sing, state lottery are largely invested in parks twelve specialty funds that disperse the All of us in the business of organ build- or O Come, All Ye Faithful? (Special and recreational facilities, while in Kan- proceeds of the National Lottery (www. ing have been involved in projects that thanks to the late David Willcocks.) I also sas signifi cant lottery money goes to the national-lottery.co.uk). Other funds must be fi nished by Christmas, by , saw the famous gold-leafed façade pipes, construction and maintenance of pris- support arts councils, sports organiza- or in time for the wedding of the donor’s many of which date from the original ons. In Great Britain, the Heritage Lot- tions, and the British Film Institute. As daughter. But who else besides the organ built in 1605, some of which had tery Fund provides funding for countless a short-term observer from the outside, people of Harrison & Harrison have been suffered terrible gravity-induced dam- projects related to the preservation of the it seemed pretty enlightened to me. faced with such momentous events, so age. A pair of cheerful metal workers country’s heritage, from steam-powered Can you imagine our federal legislature many times? An internationally televised showed me how they were cutting off tugboats to church bells, from medieval coming up with something like that? I’d royal wedding or coronation is a terrible time- and weight-ravaged toes, reinforc- to pipe organs. Actually, the buy a ticket. Q time for a cipher! ing the pipe feet, and soldering on new And speaking of kings, the marvelous cast toes—a sort of galvanized pedicure. Harrison & Harrison organ at King’s Col- lege was built in 1934. There are famous A fund-lowering pitch photographs that show the organ case As celebrates

perched atop the central screen. Grace- its 900th anniversary, they’ve embarked — 40 ranks ful towers on either side of the case seem on an ambitious campaign, raising funds like upraised arms, while the center of for a large number of extraordinary the main case ducks out of the way of the projects. You can see the scope of Peter- winchester, virginia view. It looks monumental, but in fact, borough 900 on the cathedral’s website opus 124 the case is not large enough to house the at www.peterborough-cathedral.org. massive organ, so much of the instrument uk/home/campaign-objectives.aspx. Church Methodi is concealed within the screen, below the Two of the projects are directly related level of the organ’s console. to music. One is a £1,000,000 Cathedral Braddock Street United Street Braddock Installing a large organ in an ancient and Community Music School (when building is charged with diffi culties. we were in the U. K. last month, £1 cost Even though the chapel building is almost $1.50), and the other is lowering huge (those at King’s College, Duke the pitch of the 1884 Hill Organ. The University, and Valparaiso University are organ was originally built at “Old Philhar- supposedly the world’s largest collegiate monic Pitch,” commonly used in the late follow us on chapels), the original designers made no nineteenth century. While modern con- facebook! provision for placement of an organ. And cert pitch is A = 440 cycles per second, if they had, they would never have con- Old Philharmonic Pitch is A = 453 Hz, ceived of our modern instruments with enough higher that singers are surprised 32-foot pipes, heavy expression boxes, by it, and many modern orchestral instru- and all the other pneumatic goodies that ments can’t match it. Photo courtesy of John Westervelt take up so much space. Changing the pitch of a large pipe The organ at King’s College is organ is a complicated process. Each used very heavily, and after 80 years, pipe has to be made longer (the Peter- 16355, av. Savoie, St-Hyacinthe, Québec J2T 3N1 CANADA mechanical systems became increasingly borough organ has 5,286 pipes). It’s also t 800 625-7473 [email protected] diffi cult to maintain, so much of the a tricky decision because lengthening an mechanical structure of the instrument changes its scale, which is the Visit our website at www.letourneauorgans.com is new, including windchests, reservoirs, ratio of length by diameter. During my

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 17 On Teaching By Gavin Black

Recording Notes II add out of his or her own artistic stance wanting to hear the for-the-ages objective Last month I recounted some musings and experience, then the result would correctness in his way of playing. that passed through my mind during prep- almost certainly be boring. That approach A little bit later I reacted to Alfred Bren- aration for my recent Frescobaldi record- wouldn’t result in recordings that gave a del’s Beethoven recordings in a similar ing sessions, about why one might want pure unvarnished version of the music, way. I don’t know in retrospect how much to make recordings. Now I offer related but with recordings that misrepresented any of this came from something intrinsic musings about what exactly a recording is the music as stiff and not alive. to those recordings and how much came or should be. This is a pastiche of notes Each of these musicians (both teach- from something about the circumstances that I took during the weeks before the ers) felt that performers who wanted in which I encountered them or about me recording sessions began, blended with to approach recording the other way as a listener at that time. some later thoughts arising from perusal shouldn’t make recordings. “If you are of those notes and out of my memories of going to make a record of something, Like it or not, the past infl uences what I was thinking during that time. show the music as itself without impos- the present So, what is a recording or what should a ing anything on it. If you can’t do that, What does any of this say about how recording be? Should it be a simple record don’t record,” as opposed to “If you are I should approach recording now? I (in the colloquial sense) of something that going to make a record of something, have to remember two things that tug in section. It is appropriate harmonically happened? That is the source of the name play it the way you really feel it, other- opposite directions. First, I really don’t and can be made to work rhythmically. In that we use for the process of playing wise there’s no point, so don’t record.” want to think of what I am doing as hav- no way does the composer indicate this or music in the presence of machinery that Diametrically opposed ideas. (There was ing that “reference” quality. I don’t want suggest it. (It could have been indicated enables someone else later to listen to anger involved, something that surprised any of what I create to have a feeling of with a “fi rst ending—second ending” some other music that is closely derived and disturbed me at the time, especially objectivity, and I really don’t want it to be setup.) I know of no musicology to back from what was played in the presence of since each discussant turned to me look- used to create a sense that this is how it it up. It is hauntingly beautiful to me. I that machinery. (Notice that it’s hard even ing for agreement!) At the time, I tended should be. I understand that the amount usually do it in concert. Should I do it on to describe the process without actually towards the fi rst view, though with an of dissemination that any recording of the recording? using the word “record.” I didn’t want to uncomfortable awareness that it could mine will have will be modest enough to (Did I? Of course as I sit here writing I write “that is the source of the name that lead to boring recordings. Now I am only limit the damage that could come from know the answer . . .) we use for the process of recording . . .,” interested in approaching things the sec- anyone’s taking it that way, unlike with There are places where I am convinced so I had to devise something convoluted.) ond way: a complete reversal for me that Gould, Landowska, Walcha, or Brendel. that the surviving sources have made a The original concept seems to be simple: has happened gradually over more than But (ideally) I don’t want anyone to take small mistake: that something—a note, this is happening, let’s make a record of thirty years. it that way. Whether I am right, wrong, or an accidental, a rhythm—should be it, as we might make a written or pho- There is a concept that people turn to neither, to feel that way I have no idea. different. (Usually by that I mean that tographic record of something. I would once in a while of a “reference” record- But I do feel that way. On the other hand, the composer actually intended it to be think that photography, which existed ing. That phrase can mean a number of stemming from the relationship for me different and that the “mistake” is an out- fi rst, could easily have decided to claim things. It probably most often means what between recording and nostalgia, I do and-out typo. Sometimes I mean I believe the word “record” to be used as we now the fi rst member of the above-referenced feel the tug of trying to create the kind that on further refl ection, the composer use the word “photo.” conversation meant: a recording that has of edifi ce that I thought I was encounter- probably would have done something a But recording is also something else (as an air of objectivity to it, that is trying to ing in those Walcha Bach boxes, even as I little bit differently.) In concert I usually is a photograph). It is the source of artistic stake a claim to be “just the music” and avowedly don’t want to do so. feel absolutely fi ne about changing the experience on the part of a listener. Should not a performance with any quirkiness That probably means that when I passage to be what I think it should be. that experience be the same as what it to it. As an ideal this has to be based on fi nd myself actually sitting there with What about in a recording? Again the “for would have been for the listener to have a feeling that certain ways of playing are the tape rolling (so to speak), I have to the ages” idea comes into play. Any one been in the room where the recording more objective than others. That’s compli- remind myself not to tighten up, not concert performance is ephemeral. If I took place? Or at a similar performance cated. Does objective mean moderate— to mimic, unconsciously, some sort of try out something that may be “wrong” of the same music? Is that possible? Does medium tempi, only a little bit of rubato, image of the magisterial, objective, for- (Frescobaldi surely meant C# there—the trying to achieve that lead to a better or and so on—or does it mean specifi cally the-ages performer. It’s not that I think C-natural sounds odd) there’s a limit a worse potential artistic experience for true to what the composer wanted? That that those recording artists whose work to how much artistic damage that can that listener? Do the answers to any of opens up problems that come with trying I react to as having that objective quality be done if it is in fact I rather than the this tell me anything practical or specifi c to know what the composer wanted. necessarily felt that way during record- composer or copyist who was wrong. Is about how to approach this recording? But there’s another thing: sometimes ing sessions. They probably didn’t. It’s it different in a recording because it will Or anything not too practical or not that recordings that are clearly quirky and that I am aware of a pull to try to feel be listened to repeatedly (if I’m lucky!) or specifi c, but still meaningful? personal become established as reference that way, though I know that I shouldn’t, because it will still be around many years recordings because of something about and don’t want to. If I give in to that pull from now? Overhearing the battle their circumstances. That is true of the and sit there playing, thinking, “this is We allotted a whole fi ve-day workweek I once listened in on a conversation Bach recordings of both Glenn Gould a well-crafted, defi nitive performance,” for this series of recording sessions. That’s about the nature of recording that has and Wanda Landowska. Neither of those that will only lead to stiffness. It would rather a long time. There’s a bit more than remained with me for a long time. I have performers was striving for a middle of also likely be a distraction. ninety minutes of music in this project. measured and understood some of my the road objectivity. And although one In concert performance, I want there to If I want to play everything fi ve times— own feelings about music by referring or the other of them might have wanted be an element of spontaneity, something which is somewhere between average back to this conversation. The ways I relate to dispute this, it’s clear that neither of that at least part of the time leaves people and safe for getting good takes of it all and to what I remember was said then have them was doing specifi cally what the reacting as they would to improvisation. for having choices among takes—that is changed. In this conversation, which took composer would have done or would (That’s not only my idea, of course: it’s a about eight hours. In a pinch one could place about 1980 and involved two older have expected to hear. Nonetheless, many common ideal and often a fruitful one.) do eight hours of taping in one day. (My colleagues of mine, as I remember it, I listeners assume that these recordings are Sometimes this means being willing to do fi rst recording for the PGM label was didn’t have much of my own to say. That somehow “defi nitive,” and many students very specifi c performance and interpre- taped in one day, since we only had the was probably just as well: I didn’t have the assume they should listen to these record- tive things that are unplanned and that venue for that long, and the producer was relevant experience to know what to think. ings for the express purpose of learning the player might not do again. Certainly very eager to use that particular venue. It The point was this: two musicians, older how they should play the pieces. in the areas of arpeggiation, articulation, was a very grueling day!) But we want to and more experienced than I was, both So, either a self-consciously objective some sorts of rubato, shaping of certain allow for noise, tuning, regulation issues, harpsichordists among other things, were or an unapologetically personal recorded ornaments, etc., I might do something in periods of time when I space out and fail discussing Ton Koopman’s recording of performance can come to exercise a sub- a performance that I hadn’t planned in to play adequately for several takes in a harpsichord music of Giovanni Picchi. As stantial infl uence on how people think advance and don’t consciously plan even row, stretching, relaxing, lunch breaks, it happened, they were both themselves about and play a particular repertoire. as I am doing it. Some of these things and in general for it not to be too gruel- specialists in Picchi. They had studied come out as noticeably quirky. Is it OK for ing—no more so than is necessary. and performed his music and had various As the years go by, one’s that to happen in a recording session? If I Next month I will present the fruits thoughts, feelings, and ideas about it. viewpoint evolves play a piece in concert a dozen times and of the note-taking that I did during each The conversation began when one When I was growing up, I reacted to in each of those performances a particular of those fi ve days and close with some of them commented that the Koopman the Bach recordings of Helmut Walcha spot in the piece is discernibly different, thoughts that stem from where I am now: recording, then quite recent, struck him as having a quality of objectivity, of is it acceptable if the fi nished recorded taping done, a bit of listening done (more as too quirky. (At that time there was a being some sort of settled reality, rather product has one of those and not the by the time I am writing for next month), lot about Koopman’s approach to rhythm than just how one amazingly gifted and others? Of course it has to, but does editing begun, but with a long way to go. and articulation that was new and seemed thoughtful performer chose to play the there have to be some sort of hierarchy Here, as a sort of appetizer, is a link startling to many.) Beyond just not liking music. I got a lot of excitement from of how suitable those interpretive quirks to a short video from the fi nal day of the Koopman’s approach, he asserted that a basking in the feeling as I listened to are to be “immortalized?” If there is such sessions. The piece is the second Gal- recording should be objective—that it his records (drawn from the boxes that I a hierarchy, does that feed into the quest liarda from the Second Book of Toccatas should present the music “as is” without loved so much as physical objects), that I to make the recording sound “objective?” and Partitas: https://www.youtube.com/ the imposition of personal whim. The was hearing something as close as would There’s a spot in one Frescobaldi piece watch?v=YxQgs1m5Hls. Q other member of the discussion strongly ever be possible to the fi ngers and feet of where I really love the effect that I get by disagreed. She felt that if a performer Bach himself. Now, as much as I admire eliding a certain repeat, actually omitting Gavin Black is director of the Princeton were to embrace the idea of recording Walcha’s extraordinary artistry and skill the fi nal chord of a particular section Early Keyboard Center in Princeton, New in an impersonalized way, stripping away and still enjoy listening to his record- the fi rst time through and replacing it Jersey. He can be reached by e-mail at whatever that performer would normally ings, I have moved away from hearing or with the beginning of the repeat of that [email protected].

18 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Interview

Celebrating MarilynKeiser at 75 Marilyn Keiser practices Twinkle, Twinkle, Little Star with Lucas and Orion By Steven Egler Meyer n honor of Marilyn Keiser’s 75th birth- So in 1943 or 1944, we moved to Florida, and I played my Chopin piano played for First Congregational Church. Iday (she was born on July 12, 1941), Springfi eld, where we lived with my pieces on his little Hammond organ. This was my fi rst church job, and I was we offer this glimpse into her journey as grandparents for a while, and my dad I wanted to start organ, but my parents paid $7.50 a week! They were meeting a well-respected musician and person. went to work at Allis-Chalmers Manu- couldn’t afford to pay the three-dollar in the Jewish synagogue because their One of our country’s foremost concert facturing Company. We rented a little organ lessons fee that was charged by one church had burned down in November organists, Marilyn Keiser is a person of house close to Allis-Chalmers, where of the local church organists, so I took les- 1956. My senior year in high school, deep faith, humility, and tireless devo- he was on the night shift. During World sons at Bruce’s Music Store for 50 cents a First Congregational built a new church tion to her family, students, and friends. War II, the company was making tanks, lesson. I did that for four years from the and I got to play and help dedicate a In this interview, conducted on May so since he was a foreman, he didn’t have age of 12 to the week before I turned 16. brand-new two-manual Casavant organ. 8, 2015, she talks at length about the to go to the war. I pedaled with only my left foot, and the Another important teacher in my life importance of her family, her work ethic When I was four we moved to the week before I turned 16, I had my fi rst was Paul Koch, the successor to Frank and practicing, and her love of and devo- house on South Douglas in Springfi eld, pipe organ lesson with Frank Perkins who Perkins at First Methodist Church in tion to church music. She also discusses where my parents lived for 54-1/2 years. was organist at First Methodist Church. Springfi eld and another graduate of Union her longtime association with composer There were great schools—Butler Grade He was a Union Theological Seminary Theological Seminary. I studied with Paul Dan Locklair and offers her pearls of School and Springfi eld High School— graduate and a wonderful human being. during the summers between my college wisdom to church musicians. that both my brother and I attended. I rode my bike to practice for two to studies at Illinois Wesleyan University. Marilyn Keiser is Chancellor’s Pro- I was 3 or 4 when I started taking three hours every day, and I learned how fessor of Music Emerita at the Jacobs piano lessons. My brother was taking to pedal with both feet in one week. That Tell us more about your family. School of Music, Indiana University, lessons, and I was trying to play what he was in mid-July, and at the end of the My parents both loved music and they Bloomington, where she taught courses played, so my parents let me start piano. summer, I supplied for him on the big both sang. My mom played piano, and in sacred music and applied organ for I loved it. I practiced every day, usually four-manual Möller at First Methodist my dad always wanted to play trombone: 25 years. Prior to her appointment at before school so that I could play with when he went to New York City for some he could even make his mouth sound like Indiana University, Dr. Keiser was my friends after school. lessons with Alec Wyton. During my a trombone! My brother played clarinet. organist and director of music at junior and senior years of high school, I I could not have had a more wonderful All Souls Parish (now Cathedral) in Your father was a Methodist minister. Asheville, North Carolina, and music Did your family move frequently? consultant for the Episcopal Diocese Dad was an ordained Methodist min- of Western North Carolina, holding ister, but for the fi rst 25 or 30 years of both positions from 1970–83. She is his ministry he was a supply minister currently organist and choirmaster at and wasn’t moved around like the other Trinity Episcopal Church, Blooming- clergy were. While other clergy stayed ton, a position she has held for over only three or four years, he was able to 30 years. She is represented by Karen stay in one place for a longer period. McFarlane Artists. When I was about 7 or 8, my father Acknowledgements and sincere thanks started supplying in small churches are due to First Congregational Church, around Springfi eld, and at one time Saginaw, Michigan; for the interview he had three churches whose services recording and photo, Kenneth Wuepper, were at 9, 10, and 11 a.m. respectively. Saginaw, Michigan; and for fi nal editing, He started the 9 o’clock service and Marilyn Keiser. delivered the sermon, drove to the next church where their lay leaders had started the service, preached the sermon, then drove to the third church, where they also would have started that service at 11, and he fi nished the service there. A few years later he had two churches south of Springfi eld in the morning and one on Sunday night north of Spring- fi eld. I don’t know how he did all that because he had hospital visitations and other duties as well. In 1972, when he was 62, he retired from Allis-Chalmers and spent 15 years as a minister of pastoral visitation at Laurel Methodist With Trinity choral scholars Christine Church, Springfi eld. Buras and Arwen Myers How did you become interested in Steven Egler: What can you recall playing the organ? As a young organ- about your early formative years, ist, what do you recall about playing before you started music lessons? for church services? What were the Marilyn Keiser: When I was born, organs like that you played? my parents, Oliver and Eleanor Keiser, When I was eight, I recall telling my lived in Benld, Illinois, which was a river piano teacher that I wanted to be a church town. My father was the minister of the organist because I heard the organ at Methodist church, but it was during Laurel Church where my family attended World War II, and the church was not when my dad wasn’t preaching some- always able to pay my father. They gener- where else. Laurel had a two-manual ally paid him with potatoes or chickens, Möller organ, which I thought was mag- but he was clearly not going to be able to nifi cent. When I was in seventh grade, my raise a family that way. family visited my Uncle Dave in Miami,

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 19 Interview family. I had loving, nurturing, and sup- Keisers and the Schellers had a double portive parents, who traveled to many male quartet that sang at the Methodist places over the years to hear me play Church in Mount Olive. In addition, my concerts and services. My mother was dad’s sisters all played piano and organ, a fabulous cook and a bookkeeper for and my mother’s fi rst cousin played organ, Sears; she managed the accounts for the so there was lots of music all around me. large Sears store in Springfi eld along with six other regional stores. My dad Did you study any other instruments worked two jobs most of the years I was besides the organ and piano? growing up. He was a great communica- I did study the violin, but I didn’t tor, and, having grown up on a farm, he really play after eighth grade. My mater- could fi x or build anything. He was a nal grandfather was a great violinist and wonderful athlete and had a great sense had a beautiful German violin that I of humor (as did all of his siblings.) gave to a 14-year-old, a fabulous violin- Preparing for a recital at Laurel United They are both deceased now: my ist, who studied at Indiana University. Methodist Church, 1969 dad died in 2003 at the age of 92, and He had it restored to its original, beauti- With Trinity musicians Carolyn Craig, my mother died in 2012 at the age of ful sound. I actually got a recording of What I remember about practicing is Katie Burk, and Brent te Velde 98-1/2. They both had a wonderful sense it for my mom, and she was thrilled to that my dad would go with me after sup- of rhythm, and while they listened to hear Grandpa’s violin played by such a per a couple of nights a week to sit with to the organ. I’ll always remember this music, my dad often tapped his hand or talented young man. me while I practiced on the pipe organ at because when we were walking up the foot. Mom would also tap her heel on church. I also practiced at a music store winding staircase to the organ loft, Alec the fl oor. I have a wonderful video of her Did you ever feel any “competition” close to my school. said, “Isn’t music fun?” After that, my dad doing that a month before she died. between organ and violin? quoted him all of the time. Not violin, but I did study piano After graduation from high school, Please speak about the rest of your all through high school. I did a lot of you decided to major in music at Illi- What was Alec Wyton like as a family. Were they musical as well? accompanying in college and played for nois Wesleyan University in Bloom- teacher? I had an older brother Ralph (deceased two honor recitals my senior year. I also ington where you studied organ with He was a great teacher. I became his September 2015), and we grew up in studied harpsichord with Bedford Wat- Lillian McCord. assistant later, but as a student I was Springfi eld where we lived close to our kins at Illinois Wesleyan University. I loved chemistry, math, and history in impressed by his tremendous repertoire maternal grandparents but were only an school, but yes I decided to go into music. and how incredibly musical he was. I hour away from my dad’s father and his Do you recall any of the repertoire I auditioned at MacMurray College in heard him improvise many times at daily siblings. My dad’s mother died in 1938 so that you learned when you fi rst stud- Jacksonville, Illinois, and Illinois Wes- services and on Sundays, and I never neither my brother nor I knew her, but ied with Frank Perkins? leyan University, but Wesleyan gave me heard a trite improvisation. He had an all four of my grandparents were from I learned the Krebs/Bach Eight Little a full tuition scholarship, so I went there. incredible creative gift. musical families. Preludes and Fugues and the Boëllmann Lillian McCord was amazing. She What I remember specifi cally about his My mom’s mother played the piano for Suite Gothique. I just loved that fi rst had parties for all of her students after teaching was his concentration on musical silent movies when she was 16, and it was movement! I learned the “Dorian” Toc- their recitals. She drove us around to line. Sometimes in a Bach trio sonata he’d there that she met my grandfather who cata of Bach and played it for the dedica- hear André Marchal, Marilyn Mason, say, “Let your right hand be an oboe.” was a violinist and had a band. His family tion of the Casavant organ at First Congre- Virgil Fox, and Alec Wyton. Wyton came He talked a lot about hand position and had lots of musicians: my dad’s mother’s gational. Another piece I learned was the to Peoria my senior year, but I was not about preparing your hand position. This family, the Schellers, also had tons of Carillon in the 24 Pièces of Vierne, the one able to go due to a confl ict. She took to was especially helpful since I learned a lot musicians. One of her brothers was an with the big pedal part. I played it so many him my copy of his Fanfare that I was of Messiaen during my doctoral studies. I organist and a piano tuner, and my father’s times that the sexton at Laurel Methodist learning for my senior recital, and he did the whole Mass along with father had a beautiful bass voice. The Church called me the “boom boom girl!” autographed it for me. many other Messiaen compositions. In Lillian was so musical and so nurtur- regard to preparing hand and feet posi- ing and encouraging. She also attended tions, he often quoted his teacher George a lot of conferences and was always Cunningham who would say, “Have your learning new things and new repertoire. foot right over the note you need to play She never hesitated to suggest pieces for before you play it.” me to study, even though she had never Alec also was very drawn to new music played them herself. and very supportive of it, and he com- IWU gave me a great education in missioned a lot of new works. There music history and theory, choral litera- were many concerts during the years I PIPE ORGANS OF THE RICH AND FAMOUS ture, and contemporary music. was in New York including Sunday after- noon concerts, and many included new ROLLIN SMITH Tell us about your time after you music of various sorts. He commissioned ROLLIN SMITH has won the 2016 NICHOLAS BESSARABOFF PRIZE, an graduated from Illinois Wesleyan Richard Felciano to write a piece, God of award presented by the AMERICAN MUSICAL INSTRUMENT SOCIETY University. the Expanding Universe, for tape, organ, After IWU, I went to Union Theo- choir, and strobe lights. for the most distinguished book-length publication written in English. logical Seminary in New York (1963–65). Largest, loudest, and most complex of musical instruments, the organ has tradi- Lillian McCord had gone to Union, and After receiving the Master of Sacred tionally been found in churches—from country parishes to great cathedrals— Paul Koch, Frank Perkins, and Lewis Music degree in 1965, you were and, for centuries, small “chamber organs” were found in the homes of the elite, Whikehart, my choral director at Wes- assistant organist at the Riverside most often, royalty. Then, in the mid-19th century, with the application of mechanical blowing devices, organs leyan, had all gone to Union. Church where you worked with entered the private homes of the well-to-do and professional musicians. Automatic player devices provided those Although I had been to New York City Fred Swann for one year. How did who could afford them with a self-playing organ and the opulent mansions of the new American aristocracy of- on a choir tour in my senior year of col- this come about? fered unlimited space for extremely large instruments. lege, I hadn’t seen Union at that time; After my master’s I applied for a however, Robert Baker came to IWU German government grant to study in Rollin Smith’s Pipe Organs of the Rich and Famous is the story of organs in more than 50 private homes. It my senior year, and I auditioned for him , but during that spring I encoun- recounts a time when the organ was not only a symbol of those who had arrived socially, but was considered the there. He also suggested, as did Lillian, tered Fred Swann. Evidently, Robert ultimate appointment of the luxurious home, indeed, the Home Orchestra of the Twentieth Century. Included are that I study with Alec. I wrote a letter to Baker had mentioned my name to him royalty, captains of industry, famous organists and composers, organbuilders, and those whose names are less Alec to ask if I could study with him, and and that I might be interested in applying familiar, but who were patrons of the King of Instruments on a lavish scale. Well-known subjects include Andrew he replied saying he would be happy to for the job as assistant organist at River- Carnegie, Horace Dodge, Marcel Dupré, George Eastman, Henry Ford, Henry Clay Frick, Charles Gounod, John accept me as a student. side Church. Virgil Fox was leaving and Hays Hammond, Robert Todd Lincoln, John D. Rockefeller, Louis Comfort Tiffany, Wm. K. Vanderbilt, Charles-Marie There were always 35 to 40 students Fred was going to become the organist, Widor, and Frank W. Woolworth. in each of the two graduate classes at and so I was one of three candidates who Designed by Len Levasseur and profusely illustrated with 300 photographs and engravings, this large-format, Union: two years of master’s students. applied for the job. Subsequently, I was hard-cover book documents the work of more than 25 organbuilders in the United States, England, France, and You said it right: it really was a mecca offered the job the day my boat ticket Germany; stoplists of each instrument are included. OHS PRESS ~ SALE $45.95 for future church musicians. Daniel Day arrived for Germany, and that was really Williams taught systematic theology. a diffi cult decision. I remember lying face IN STOCK FOR IMMEDIATE SHIPMENT! NOW CHOOSE FROM 4,367 SELECTIONS! Cyril Richardson taught liturgics, and down on the fl oor trying to decide what to Samuel Terrien, a great Biblical scholar, do, and I fi nally decided that the thing to ORDER ANY TIME ONLINE WWW.OHSCATALOG.ORG was also on the faculty. do was to stay in New York: I would have After my parents drove me to New opportunities to go to Germany again, but York City to begin my master’s degree I wouldn’t have another opportunity to be ORGAN HISTORICAL SOCIETY UPS shipping to U.S. addresses, which we and before they left the city, we went over Fred Swann’s assistant at Riverside. P.O. Box 26811 Richmond, VA 23261 recommend, is $10.00 for your entire order. to the cathedral so they could see where The fi rst Sunday I played was in Media Mail shipping is $5.00 for your entire I would be taking organ lessons. Just as mid-August 1965, and the preacher was Telephone: (804) 353-9226 order. Shipping outside U.S. is $4.50, plus Monday–Friday 9:30am–5:00pm ET we were leaving, Alec Wyton was walking Martin Luther King, Jr.! That year was the cost of air postage, charged to your VISA down the driveway. We waited for him wonderful. Fred was so funny and such [email protected] SHIPPING or MasterCard. inside the choir room, and he took us up a master. I learned so much by watching

20 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Marilyn Keiser with Alec Wyton at the Receiving a red ribbon at the Abraham Montreat Conference, Montreat, North Lincoln Hotel, March 1950 Carolina, June 1968 Playing fi rst chair violin in the Butler Grade School orchestra, spring 1955 Yes. I did that for four years (1966–70), eleven rehearsals a week with the choir That summer, I was the fi rst person but most of what I did was leading con- boys—twice a day—and Thursday night hired by an Episcopal diocese to serve gregational hymn sings. Of course, these with the men. My fi rst week there Alec as a music consultant and work with were the years prior to The Hymnal had just been elected president of the small churches throughout the diocese. 1982, and I led many hymn sings. AGO. He was there one day and gone four. So I had a joint appointment: I worked All Souls Parish—now Cathedral of We sang two psalms to Anglican chant three-quarter time at the church and the Diocese of Western North Carolina Monday through Thursday and plainsong one-quarter time for the Diocese of as of 1995—was the church built by on Fridays. Alec transposed every chant up Western North Carolina, and I traveled George Vanderbilt and had a fi ne music a third, so not only did I have to learn how to the small churches at their invitation. tradition. F. Flaxington Harker was one to do Anglican chant—which I’d never When I went to All Souls, the choir of my predecessors there. Clem San- done—but also I had to learn how to do it was pretty small. I recall there were dresky, who later became the head of and then transpose it up a third! I worked maybe twelve people, whose average age the School of the Arts in Winston-Salem, very hard that fi rst week along with all of was about 68. They did, however, have North Carolina, was also a predecessor of the choir rehearsals. It was a big learning a few paid soloists—one student and mine, and in the early years he was also curve for me. some adults— and over the course of the the organist at the Grove Park Inn, which years, we established a music committee had a big organ no longer in existence. With brother Ralph (left) and their par- You might as well have been called that was instrumental in establishing a ents (below) at Marilyn’s Indiana Uni- co-organist and choirmaster. choral scholar program similar to what What sorts of music did you perform versity 20th-anniversary celebration, January 2003 Yes. He was gone a lot during his time a colleague of mine had instituted in while at All Souls? as president but particularly that fi rst year. Milwaukee. We then brought in two I had great support from the clergy, him play that big fi ve-manual organ. students from Mars Hill College—now and in fact, I have had that in every posi- Fred had such incredible control of the In 1970, you moved to Asheville, North University—who received a $50 stipend tion I’ve ever held. Neil Zabriskie was a organ, and his accompanying of oratorios Carolina. Tell us about the responsi- each semester. After that, we soon had fantastic rector and very supportive dur- was spectacular. The choir sang an orato- bilities there in those positions. four and then eight by the time I left ing my years there. We did Noye’s Fludde rio every Sunday afternoon. In my fourth year at St. John the in 1983. The choral scholars with their by Benjamin Britten twice: the fi rst time He was gone quite a bit, and the fi rst Divine, I met the Reverend Alex Viola— young voices transformed the choir. was for the 75th anniversary celebration Sunday he was gone I was just starting the at Alec Wyton’s recommendation—in My diocesan work turned out to be of the church. We involved 200 people in improvisation after the offertory anthem New York. He had just moved to Ashe- the topic of my doctoral dissertation at it one way or another and had kids from leading into the Doxology, and Richard ville as the associate rector at All Souls Union, which was called Singing the Lit- all over the city. We also had a team of Weagly, who was the choir director, Episcopal Church and said they were urgy in Small Communities: Pilot Project about 20 women who made the most leaned over and said that a man was hav- looking for a new musician. I had also in the Diocese of Western North Carolina. fabulous costumes. ing a heart attack and just to keep playing. looked at a couple of other options, but We also presented Menotti’s Amahl I had started to build the organ up he persuaded me to go to Asheville to Describe your work as consultant and the Night Visitors twice. When we really loud and kept playing, but it was audition. I was really interested in this, to the Diocese of Western North did Amahl, I actually played the organ starting to get really loud, and I thought, because in addition, Alex had gone to the Carolina. and had a small orchestra around me: I “Oh, my gosh! What if this man is really diocesan foundation to ask for a three- I worked with choirs and organists as played and conducted from the organ. dying?” So I pulled the organ way back year grant for someone to travel around well as with clergy groups. I also worked When we performed Noye’s Fludde, we and just kept playing: it seemed like an the diocese (Diocese of Western North with children’s choirs and had a chil- had a full orchestra, so I stood in the pul- eternity. Eventually, they were able to Carolina) to work with small churches. dren’s choir festival and acolyte festival, pit in order to conduct the congregation. get him out on a stretcher, and he did not die. That was a memorable moment! Did you have any other church posi- AN ORGAN FOR A PRIVATE CHAPEL tions while you were in New York City? It is not often that a private chapel is built these days. We have completed an instru- During the two years I was work- ment for such a chapel. It is a one manual and pedal instrument and has some unusual ing on my master’s degree, I did have elements. Firstly, the organ has a traditional old English feature of including a GG and a church job at a Methodist church in AA below bottom C, with a split C# key so that AA and C# can be played. Most stops Bergenfi eld, New Jersey. That was my fi rst experience working with a chil- are divided at middle c. The client also requested a thunder pedal, nightingale and a dren’s choir. I also played the organ and wind-operated cymbelstern. But the most unusual request was for a bear to be hidden directed the adult choir. in the case and to emerge when a stop was pulled, making a bear-like sound. This is operated pneumatically and can be viewed at https://youtu.be/iusa0miwHb0. The After one year at Riverside Church, organ has a fine walnut case with gilded cast bronze pipe-shades and decorated keys. you were appointed associate organist and choirmaster of the Cathedral of St. John the Divine where you served for four years. You were now a col- league of your teacher, Alec Wyton. Eugene Hancock was leaving St. John the Divine, so Alec asked me to become his associate at the end of that summer. He thought that they would not acknowl- edge that I was a woman and, instead, put M. J. Keiser on the masthead of the ³ St Peter’s Square - London E 2 7AF - England ³ [t] +44 (0) 20 7739 4747 - [f] +44 (0) 20 7729 4718 ³ [e] [email protected] cathedral bulletin, but they did in fact print my name as Marilyn Keiser. When I fi rst went there, I even had to wear a black MANDER ORGANS beanie on my head during the service. www.mander-organs.com Times have changed, haven’t they?

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 21 Interview

We commissioned and premiered the “stable” as they called it, got to know in anthems and motets and the other one children’s opera Genesis (1971) from Lilian and eventually took over the in large forms. Malcolm Williamson and gave the fi rst management in 1976. I didn’t have any of his notes, so I just performance of his opera The Red Sea developed those courses on my own. I (1972). We did the fi rst performance of Your performing career has taken added courses in hymnody and organ Alec’s opera Journey with Jonah. In 1980 you across the U. S. and abroad. improvisation, and I developed a church we did a performance with full orches- I’ve performed a lot in this country, but music practicum where we talked about tra of Mendelsohn’s Elijah and had a I haven’t traveled abroad too much. I’ve hymn playing, conducting from the con- “Mostly Mozart” concert one year, and played a couple of times in England and sole, anthem repertoire, wedding music, a Haydn concert another year. Then for once in Paris and Brazil and Singapore. handbells, working relationships with six or seven years we presented a proces- Three years ago, I went to China with the clergy, and other issues facing church musi- sion of Advent Lessons and Carols, an Indianapolis Symphonic Chorus where I cians. I would also bring in a psychiatrist to idea that I had gotten from Jim Litton at played the Brahms Requiem for them on talk about confl ict and communication. In Princeton. I always had wonderful sup- the organ at the Shanghai Oriental Arts addition, I usually had 10–14 private organ port from the parish and the community. Center on two hours’ practice. It was the students and a lot of doctoral dissertation most nerve-racking thing I’ve ever done! and research director responsibilities. You also taught at the University of There were 1,100 people, even sitting Steven Egler and Marilyn Keiser North Carolina at Asheville during behind the choir. It was jam-packed! Please tell us about your teaching. this time. Since the Brahms ends so quietly, I How is it rewarding for you? engineer is very important. Some of I taught at Brevard College my fi rst offered to play the Widor Toccata as an I love teaching—I really, truly did them are so encouraging. three years in Asheville, and then during encore. It was well received. and do love teaching. You’re a teacher: the last two years of my tenure in Asheville I know you love it since I can see it in Please tell us about your longtime I taught at UNC Asheville. During those What do you like about being a con- your face. I loved seeing students grow. collaboration with composer Dan two years, I conducted the community cert organist? Their interest and eagerness to learn was Locklair. chorus of about 75 people and performed I love playing beautiful organs, and I always so inspiring to me. I learned so Dan was a senior at Mars Hill College the Fauré Requiem the fi rst year and the love fi nding beautiful sounds on those much from my students—I think that we when I went to Asheville as music con- Honegger King David the second year. organs. I also love learning the geogra- all do—just in learning how to articulate sultant for the Diocese of Western North I recall starting to conduct the Fauré, phy of every organ, which is so unique something that might come naturally to Carolina in 1970. Dan called to ask me to and my baton hit the music rack and and very challenging. Some people love you but that might involve a more care- come out to his church in Flat Rock, North fl ipped over into the French horn sec- crossword puzzles: I love getting to know ful explanation to a young student. Carolina, so that’s how I fi rst met him. tion. I just kept conducting and the horn new instruments. I also enjoy seeing for- I tried to help students bring the I didn’t realize then that he was a com- player handed the baton back to me! mer students and classmates and friends music to life, to help them with interpre- poser. He went on to Union Theological from over the years. tation, articulation, and timing, and to Seminary for his master’s and then to the How do you balance being a per- help them learn to listen to melodic lines Eastman School of Music for his doctor- former, a church musician, and an What’s the schedule like in a day of and harmonic development. I found it a ate. It was after that that I learned about educator? Marilyn Keiser’s life? challenge to help students fi nd their bal- his compositions, after which he sent me I have had the best of all worlds. I When I was teaching I got up at 5 ance and learn to relax at the organ. a few things. used to think when I was driving to IU o’clock every morning and walked, had Robert Baker used to say, “Find your The fi rst piece that I really became that so many people work in factories or breakfast, dressed, said my prayers, and nest and make a nest at the organ.” He deeply acquainted with was Rubrics clean houses and shovel coal, and I go to I always tried to get to school by at least also said, “If you don’t sit on the organ, (1988). He gave me a copy of it when work and make music all day long. What 7:30 a.m. so I could get a parking place. the organ will sit on you!” I recall work- he was at the Brevard Music Festival. I a gift to be able to spend your life making I’d teach sometimes fi ve or six hours with ing with an older student who was play- listened to a recording of it [Mary Pres- music: I cannot imagine a more fulfi lling maybe a 15 to 20-minute break before ing the Mendelssohn ton’s premiere performance in 1989 in and wonderful way to spend your life. my classes began in the afternoon. in G Major, and I noticed that his legs Pittsburgh] and was just blown away. I I fi rst joined Phyllis Stringham’s I always try to practice every day. One were very tight and stiff. I suggested that just loved it and wanted to learn it. The management and was with her for just a of the gifts I got from my parents—not he imagine sitting on a soft brown pil- fi rst time that I performed it was for the couple of years. Then Karen McFarlane just the gift of interest in and ear for low. All of a sudden, the pedal part just 1994 AGO national convention in Dallas. and Ralph McFarlane began their own music—was discipline. In my parents, fl oated. I then realized that the sound Before that I had gone to Winston-Salem management. I had met Karen when I I saw great discipline and the ability to that had been coming out of him was due to play it for him. Dan danced, sang, was in St. Louis during the summer of keep working at something. My mother to the tension in his legs and in his body. and carried on with such energy while I 1963. Karen was also a student of Frank was a fantastic seamstress and quilter. That’s not easy when you’re working played it for him. Perkins during her undergraduate stud- She also crocheted, and with a project with young students. I think it’s hard to ies at Lindenwood College. almost complete, she’d see where she help them to get to that point. What is it about his music that dropped a stitch, take it up and go back attracts you? So this was before the Murtagh years? and repair that spot. Her stitches and I think that we, myself included, His music has integrity and energy Yes. Karen and Ralph had a man- quilts are absolutely exquisite. forget that images can really help a and freshness, and it’s so appealing to agement which, I believe, was called I think both Ralph and I inherited student. One image I use is sitting at ordinary people. There’s joy and, at the McFarlane Artists. The summer before the energy and the will to work hard at the edge of a pond or on a dock and same time, deep serenity. You’ll hear I moved to New York I stayed in Frank things. I admit that for me practicing dangling your feet into the water. this serenity in his new composition, In Perkins’s house with another Linden- has never been a burden: it is something The image that Marie-Claire Alain Memory —HHL, originally composed wood graduate, Linda Street, who was that I just love to do. I have always loved used for neutral touch was to imagine for orchestra in 2005 after his mother’s also going to attend Union Seminary that learning new music and still do. a string of pearls: neither do the pearls death and revised for solo organ in 2014. fall. She and Karen were good friends, so overlap nor is there space between the I certainly don’t play all of his music, this is how I got to know Karen. In 1983 you were appointed to the pearls. I think that is a fantastic image. but I’ve learned a lot of it. Spiritual Pair Karen then moved to New York at faculty at Indiana University where (1994) was composed for and dedicated the end of my year with Fred Swann at you served until 2008, and in addi- Are you still teaching? to me. It was a nice surprise. Tom Wood Riverside, and she became Fred’s sec- tion to applied organ, you taught I do teach privately and have a few and I had been talking about my doing a retary. We stayed in contact for a long classes as well. students. I did retire from IU in 2008, recording on the new Goulding & Wood time and became good friends, so I was I was brought to Indiana University to but I did go back this past semester organ at Christ Church Cathedral in with her management for a number of develop the church music curriculum. (spring of 2015), and I am supervising New Orleans, and because of the strong years. When Lilian Murtagh became ill, I added to the choral literature courses the Sacred Music Practicum course this history and tradition of jazz in that city, I Karen of course, being at Riverside with that Oswald Ragatz had created. He school year (2015–16). decided that the CD should include that Fred and Fred being in the Murtaugh taught two choral literature courses: one music and be titled Spiritual Pairs. You have recorded several CDs that include a wide variety of repertoire. Retirement: this word means many What is the recording process like things to many people. What does it for you? mean to you? It is very easy to record in a quiet Well, I haven’t really retired (hearty church, such as St. Paul’s Episcopal, laughter)! Indianapolis. It’s only frustrating when there is a lot of noise outside and you I assume that you are continuing have to keep repeating passages over in your post at Trinity Episcopal and over. Additionally, the recording Church, Bloomington.

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22 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM North Carolina Chapter, and I’m cur- we had recitals at the cathedral every rently serving on the National Nominat- Sunday before Evensong, and I usually ing Committee. played at least one—sometimes two—a I’m also on a Task Force on Denomi- month. So, I had many opportunities to national Music Organizations that learn new repertoire. Never stop learn- we started this past year. One of the ing new music: new organ music, new important things about this Task Force service music, and new choral music. is that we are trying to make connections Also, it’s really important to keep being between the various denominations, fl exible. That’s one of the things that I both in the sharing of information and fi nd in working with Charlie Dupree. in fi nding ways to work with each other. Both of us feel that way. Sometimes, I Those things are good for everyone. see colleagues who feel that it has to be just one way. Marilyn Keiser after All Souls recital, You were also a consultant to the Developing a spirit of cooperation, Asheville, North Carolina, c. 1985 Hymnal Music Committee of the 1982 collaboration, and fl exibility is so impor- Hymnal of the Episcopal Church. tant, especially when you’re working in I’m considered half-time at Trinity Marilyn Keiser and Dan Locklair after St. That was a phenomenal experience. the church. As I have mentioned before, Church, but since I retired from IU, John the Divine recital at the AGO Gala, I was on the Committee during my fi rst I’ve taught church music practicum I’ve spent much more time there and April 2013 year at IU (1983–84). It was so important courses, and at the end of every semes- have had much more time to plan. I have to me because it kept me in touch with ter, I left them with this quote that I 11 paid choral scholars in my choir. We sing on Thursday night rehearsals is very the church music scene; I did not play found on the choir room wall in a church began the choral scholar program when moving. I am so lucky—and so grateful! for a church during those fi rst two years in Pittsburgh, “May you always be young I became the organist in 1985. I took We have a fantastic clergy presence at that I was at IU. It was a fabulous group and glad, and even if it is Sunday, may over from Tom Wood when Goulding the church. Our rector, Charlie Dupree, of people: Jim Litton, Ray Glover, Rich- you be wrong, because when men and & Wood came into being. He had been studied organ with Janette Fishell when ard Proulx, and David Hurd. women are always right, they are no co-organist with Robert Rayfi eld who he was an undergraduate student in Early on, I served on the Standing Com- longer young.” Isn’t that great? was on the faculty at IU, so Bob Rayfi eld graphic arts at East Carolina University. mission in the 1970s and then again during continued as the 9 a.m. organist and I He is a magnifi cent preacher, administra- the actual Hymnal 1982 process. I was on Can you comment about what your was the 11:15 a.m. organist. Tom was tor, leader, and amazing colleague. He’s the commission again in the late 1980s and legacy might be to our profession? around occasionally to substitute. a composer and writes a lot of the Psalm early 1990s and was asked to develop a At the end of each semester, I would That arrangement continued until refrains we sing. They are all beautiful, program for musicians in small churches, always talk to my students about the Bob died very suddenly in 1999 of an very singable, and very creative. so I got together Ray Glover, who was then importance of reaching out to area musi- aortic aneurysm. There was nobody to at Virginia Seminary, and Carol Doran, cians who work in small churches or in take over his service that next Sunday, Why is it important for you to still who was at Colgate–Rochester Divinity small communities. So many of them so I agreed to take over both services have a church job? School. The three of us met in India- had not had the opportunities that our until Christmas. In the end, however, I Well, I grew up in the church. My napolis and put together a curriculum for college and university students have had, continued to play for both services on a father was a Methodist minister, and I what became the Leadership Program and they are so eager to learn. I love my regular basis. went to church with my parents every for Musicians Serving in Small Churches, life in music, my life as a church musi- Bob had a wonderful and very close- Sunday. I began piano when I was four which was eventually called LPM. cian and teacher, and I love my church. knit choir, and so for the remainder of and often played at my father’s churches. We then added people from the Stand- And I’ve tried to pass this love on to my that school year, I rehearsed his choir When I was eight I told my piano teacher ing Commission and brought on two students. And—embrace your gifts and separately (as we had done previously). that I wanted to be a church organist. I more people from the Washington, D. C., share them freely and with joy. I kept Bob’s 9 o’clock choir separate began organ at the age of twelve and area: Martin Rideout, who was in Burke, Another quote that I always end my from the 11:15 choir until the end of that had my fi rst real church organist posi- Virginia, and Ed Kryder who taught workshops with comes from George school year, at which time I combined tion when I was sixteen. I have been at liturgics at Virginia Seminary. They ulti- Cunningham, organist for the BBC and the choirs. We still have the 9 o’clock Trinity Church now for over thirty years, mately became the advisory board for the Birmingham Town Hall, a teacher at choir and the 11:15 choir. and I feel so blessed. It is my calling. Leadership Program for Musicians Serv- the Royal Academy of Music and Presi- When I went there in 1985, I spoke to It feeds me. Also, I keep learning new ing Small Churches, for which I served as dent of the Royal College of Organists. the rector and expressed my concern that organ music, new service music, and new chair for the fi rst fi ve years of its life. He was Alec Wyton’s teacher. The old the 11:15 choir was down to about seven choral music. I also worked for 3–4 years with the American Organist published four people, so I told him about the choral Association of Anglican Musicians speeches of his, one of which ended scholar program that I had started in What books do you like to read? (AAM) to try to develop a mentoring with the following [I always get choked Asheville. He then approached Genevieve I love history—American history and program for young musicians just com- up when I read this]: Daniel, widow of former School of Music world history—and biographies and the ing out of school. Our hope was to pair “Our work as musicians must be for Dean Ralph Daniel, who gave $5,000 a works of Barbara Brown Taylor. I really them with seasoned professionals. AAM us a call and a challenge: a call to more year for 20 years. So, we were able to get enjoy the writings of Tom Brokaw and continues its work to fi nd internships for eager study and a search for the beauty choral scholars, starting with four, then Charles Kuralt. Right now I am read- young church musicians. and truth of music, and a challenge to eight. Now I have 11 choral scholars, but ing his book entitled Charles Kuralt’s carry everywhere its message of joy, of there are also seven or eight IU students America. I also read The Smithsonian What advice do you have for the order, and of peace. That is our reason- who sing at either one or the other ser- and National Geographic, which my dad younger generation of musicians able service.” vices. The choral scholars sing at both. would read from cover to cover. entering the organ and church music Then there is a fabulous group of profession today? Thank you, Marilyn. You are a heroine volunteers, many of whom are retired Is there any aspect of your career I think that it’s really important to for all of us. Godspeed to you! Q professors—Latin, French, and Greek, you’d like to do another way? learn a lot of repertoire while you’re in physics, speech/theater lighting. It is a No! I feel that I have been enor- school. When I began working full time, Steven Egler is professor of music great group of people. mously blessed. The only thing that I it was much more diffi cult to learn new at Central Michigan University in Mt. would like to do someday before I die is repertoire. During my years in New York, Pleasant. Do you plan the same music for both to go to Leipzig. services? Yes. We all rehearse together and sing What are your favorite organs? 1988 Berghaus Tracker Pipe Organ for Sale the same anthem at both services. With I absolutely love the new Fisk organ in the choral scholars present at both, the Auer Hall at IU. It is just a magnifi cent Q Two manuals continuity is there, even though the 9 instrument—never overpowering, just o’clock choir is considerably bigger than a fabulous organ. St. John the Divine is Q 18 ranks the 11:15 choir. There are also several another instrument I love. The sound fi ne instrumentalists and singers in the of that instrument in that room is quite Q 17 stops parish, many who are music professors. remarkable and thrilling! Q 59 inches deep One other thing that I wanted to say about my choir is that I often say to Please comment about your service Q 142 inches wide them, “If the whole world could hear to the American Guild of Organists you sing, wars would cease.” Of all the and other organizations. Q 112 inches high things that I do in my life, standing in the I served as registrar on the AGO’s middle of that choir and hearing them National Council, Dean of the Western Built for a private residence in Valparaiso, Indiana.

Absolutely in like new condition! Contact: [email protected] or cell phone 219/929-7558

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 23 In memoriam

Drawings by Jane Johnson (September 22, 1923–May 11, 2016) An Appreciation By Larry Palmer

eaders of a report on the third in a historically accurate harpsichord, Jane’s drawing William Dowd Posing as RSoutheastern Historical Keyboard but also provided our readers with the Earl “Fatha” Hines, itself a clever refer- Society conclave, published in The image of a historically-correct pistol ence to one of the harpsichord builder’s Diapason for February 1983, were based on an engraving from Diderot’s several unexpected musical likes. treated to four clever caricatures of 18th-century Encyclopedia. (Illustra- Another of Jane’s Dowd caricatures harpsichordists featured at the Florida tion 7: Murder and the Harpsichord. ) graced the honoree’s written response event: Edward Parmentier, Ton Koop- The eminent harpsichord maker Wil- to and clarifi cation of the various cel- Jane at the house organ built by hus- man, Robert Conant, and Glen Wil- liam Dowd was honored with a 70th ebratory offerings, issued exactly one band David (courtesy Roger Johnson) son. These drawings by Jane Johnson birthday tribute in The Diapason for year later in February 1993. (Illustra- introduced her work to this journal, for February 1992. In addition to fourteen tions 8–9: Dowd as “Fatha” Hines and Kipnis when he played a concert in Oak which she became, de facto, a treasured short essays by Bill’s friends, co-work- William Dowd.) Ridge, Tennessee (we had a reception “house” illustrator during the succeed- ers, and players of his instruments, this The Diapason drawings continued for him at our house after the concert). ing decades. issue included the fi rst publication of a with a beautifully bewigged Henry I arranged to have his instrument stored Throughout my entire career as a harpsichord solo, William Dowd: His for “Purcell Postscripts” for a few days at the home of a friend (a musician I have been drawn to friend- Bleu by composer Glenn Spring and (April 1996); an irreverent J. S. Bach fi ne violinist and violist) who had studied ships with graphic artists. These associ- to accompany the master composer’s at the American Conservatory as I did.” ations began a long time ago during my “Letter from J S B” (July 2000); and a (Jane, born in Illinois, went on to teach last two high school years when, playing memorial sketch of Igor Kipnis illus- piano in that Chicago conservatory’s oboe with the All Ohio Boys’ Band at trating “Remembering Igor” (April Robyn Children’s Department from the State Fair in Columbus, during rare 2002). (Illustrations 10–12: Purcell, 1941 to 1945, after which she and her times that were free from performing Bach, Kipnis.) engineer husband David moved south, duties I hung around the Arts Barn Drawing the twentieth-century remaining there in a productive retire- and thus came to know the fair’s fi ne harpsichordist’s portrait evoked some ment as he indulged his hobby of histori- arts director, painter Charlotte [Astar] memories from Jane: “ . . . I fi rst met Igor cal instrument building and restoration.) Daniels. So it was not unusual for me “Fast Fingers” was Jane’s 1992 to take note of an interesting-looking, response to my request for a caricature white-haired woman sketching away at of “ye harpsichord editor.” It soon various concerts during the Tallahas- became a logo for my personal note see conclave. I asked to see her work, pads, as well as a frequent cover illustra- requested copies of some drawings, tion for recital programs. (Illustration submitted them with my article—and 13: Fast Fingers: Larry Palmer.) thus began a long-lasting continuing All of the illustrations thus far were association with Jane Johnson and her included in a tribute to Jane Johnson, immediately recognizable art. (Illustra- tions 1–4: Harpsichordists Parmentier, Koopman, Conant, Wilson.) SEHKS Conclave Five was held at Sweet Briar College in Virginia. Julane Jane at the piano, Oak Ridge Playhouse, Rodgers wrote our review of this event mid-1950s (courtesy Roger Johnson) (published in September 1985) for which Jane provided two illustrations: highly lauded harpsichordist Lisa Craw- ford and her fellow soloists performing Bach’s Brandenburg Concerto V and organist Fenner Douglass accompany- ing soprano Penelope Jensen. (Illus- trations 5–6: Brandenburg Ensemble, Douglass and Jensen.) Jane’s willingness to contribute several illustrations for my 1989 book Harpsichord in America: a 20th- Illustration 2: Ton Koopman Century Revival saved two elusive subjects from being un-imaged. Both Frances Pelton-Jones and Claude Jean Chiasson were to be seen in faded Illustration 4: Glen Wilson newspaper prints and sepia magazine photographs, but portraits of suitable clarity for reproduction could not be found. This fi rst experience of asking Jane to create specifi c drawings led to a number of subsequent requests. The fi rst one for The Diapason resulted in the evocative image that accompanied “Murder and the Harpsichord” (July 1991), which appeared again when “Murder, Part Two” was published in the August 1992 issue. The artist’s keen eye for period detail resulted not only Illustration 1: Edward Parmentier Illustration 3: Robert Conant Illustration 5: Brandenburg Ensemble

24 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Illustration 12: Kipnis

Illustration 6: Douglass and Jensen the prior Diapason retrospective, offered on pages 18–19 in August 2002. The artist was very pleased with the recognition and display of her contribu- tions; we continued to correspond and I continued to request the occasional illustration, projects always graciously accepted by Jane. For the April 2004 journal article on harpsichord music by Illustration 7: Murder and the Harpsichord Rudy Davenport, Jane halved one that had originally included harpsichordist Peter Marshall, both featured at a joint Texas meeting of SEHKS and its sister organization MHKS (the Midwestern Historical Keyboard Society). Illustration 13: Fast Fingers: Larry Palmer Mozart, depicted in profi le at a harp- sichord, was the subject in October 2006 as illustration for my article on an alternative ending for the composer’s incomplete Fantasia in D Minor, K. 397. (Illustrations 14: Rudy Davenport and 15: Mozart at the Harpsichord.) For the 25th anniversary conclave of SEHKS I was midway through my four-year term as president of the organization. Founder George Luck- tenberg and all of the subsequent SEHKS presidents were alive, and I Illustration 8: Dowd as “Fatha” Hines Illustration 10: Purcell had the brilliant idea of commission- ing Jane to create a composite sketch of all of us. Gracious, as always, she took on this daunting task, producing twelve signed and numbered copies, which we distributed in numerical order to founder (number one), past executives, and incumbent (number twelve). This group portrait was published most recently by The Dia- pason as part of our tribute to the now-deceased Dr. Lucktenberg, in the issue for February 2015. Other “re-prints” of Jane’s oeuvre include the sketch of William Dowd (as himself), in the January 2009 appreciation of his life and work, and, Illustration 14: Rudy Davenport yet again, her ever-welcome gun-toting harpsichordist reappeared in August 2014 to anchor the heading for “Joys of Rereading,” a listing of still more mys- teries that mention one of our favorite Illustration 11: Bach revived instruments. Illustration 9: William Dowd If this current retrospective has Multi-faceted woman that she was, fomented a desire to view even more and suggestions generously forwarded Jane Louise (Somers) Johnson contrib- of Johnson’s drawings, Harpsichord to me as I prepared in 2000 for a con- uted to the early music community in Playing: Then & Now, another of her cert trip to play and hear the Oldovini a widely varied number of ways. She 1992 works, is to be found on page 120 instruments in the Alentejo. I still refer passed away peacefully on May 11, but of Frances Bedford’s Harpsichord and to her handwritten notes about things I both art and musical legacies endure. Clavichord Music of the 20th Century. simply “had to visit and experience”— Predeceased by her husband David, she While holding this book in hand, be papers and citations that were addition- leaves four children, six grandchildren, sure to check Jane Johnson’s own com- ally valued (and disseminated) during and two great-grandchildren. A memo- poser entry (for her solo keyboard work that segment of the biennial organ rial service is scheduled for Friday, July 8, Appalachian Excursion). literature course offered for decades 2016 at 11 a.m. in St. Stephen’s Episcopal Jane had an extensive knowledge in the Meadows School of the Arts at Church, Oak Ridge, Tennessee. Q of Iberian baroque instruments and Southern Methodist University. the literature composed for them. She Part of the allure of Tennessee for This revised and expanded version travelled multiple times to the Clavi- Mrs. Johnson was the opportunity to of a feature article published in THE chord Symposia in Magnano (Italy) study with Judy Glass at Southern Col- DIAPASON for August 2002 comprises where she contributed both scholarly lege in Collegedale. There, in 1991 Jane information from Jane Johnson’s cor- papers and recitals. I, too, was the gave an all-Iberian concert on the very respondence and deeply appreciated grateful recipient of information about appropriate meantone organ built by e-mail communications from her son Portuguese organs, with her citations John Brombaugh. Roger Ward Johnson. Illustration 15: Mozart at the Harpsichord

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 25 Cover feature

Orgues Létourneau Opus 128, St. Joseph’s Church in Greenwich Village, New York, New York (photo credit: Regan Wood Photography)

Orgues Létourneau, St-Hyacinthe, Québec, Canada The Sabbatino Family Memo- rial Pipe Organ, St. Joseph’s Church in Greenwich Village, New York, New York

From the organist and director of music For more than 187 years, the con- gregation of St. Joseph’s Church has worshipped and praised God in the sacred liturgy through prayer and song. Founded in 1829, St. Joseph’s Parish was the sixth to be established among those still in existence in the Archdio- cese of New York. The cornerstone of the present structure was laid on June 10, 1833, “at the corner of Barrow Street and Sixth Avenue” and allows St. Joseph’s Church the distinction of being the oldest Catholic church edifi ce in Manhattan and perhaps the entire archdiocese. View of Great pipework Preparing a gilded pipe mouth Dedicated on Sunday, March 16, 1834, St. Joseph’s Church is today an action as well as electric stop action and St. Joseph’s Church, and dedicated perfect instrument for the environment integral part of the vibrant neighbor- contains 31 stops and 39 ranks over the by Kyler Brown, organist, on April 10, at St. Joseph’s Church. hoods of Greenwich Village, Chelsea, three manuals and pedal. 2015. As director of music ministries —Kyler Brown and Tribeca. In 2003, the Archdiocese of Known as the Sabbatino Family and organist, I am thrilled to have such New York invited the Order of Preach- Memorial Organ, the instrument and its an instrument for worship and concerts From the builder ers (the “Dominicans”) to care for the installation were made possible through in Greenwich Village. We remember fondly our fi rst visit combined ministries of both the neigh- a bequest from Clare C. Sabbatino, a The organ has enriched the musical with Father John McGuire at St. borhood residents and the students and lifelong resident of Greenwich Village life of this area greatly with its perfectly Joseph’s Church in Greenwich Village to faculty of New York University. Today, and faithful parishioner of St. Joseph’s voiced stops whose individual colors talk about a new Létourneau pipe organ four friars serve these constituents of St. Church. Clare had a deep appreciation combine so fl awlessly. Each fl ute stop for the parish. The church is a hand- Joseph’s Church in Greenwich Village. for music—her father and uncle were is different in color and weight, making some space, tucked away in a busy block The organ at St. Joseph’s has always both musicians with the New York possible endless solo possibilities as well on the Avenue of the Americas and been an important element of the music Philharmonic—and her gift in honor as exquisite combinations, while the boasts gracious acoustics. This historic program. Earlier instruments by Henry and memory of her entire family is a reeds have both power and an ability to building appears skewed, an impression Erben (1836) and Aeolian-Skinner permanent reminder of her extraordi- sing as solo stops. The mechanical key that is confi rmed visually where the (1952) had been in use prior to the instal- nary generosity to her beloved parish. action weds with the vocal nature of the barrel ceiling’s coffers intersect lation of Létourneau’s Opus 128. This The Sabbatino Family Memorial Organ stops, and this combination opens the awkwardly with the back wall. The nave new organ, built in Saint-Hyacinthe, was blessed by the Reverend John P. path for great expressivity. In sum, the seats approximately 700 people but Québec, Canada, has mechanical key McGuire, O.P., nineteenth of organ is grand and delicate at once, a perhaps this risks overstating its size; the

26 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM deep side galleries account for perhaps a third of this number. Replacing an 11-rank Aeolian-Skinner, our Opus 128 resides in the rear gallery and projects sound easily throughout the church. Given the size of the nave and its kind acoustic, we set out to cre- ate an instrument that charms with the elegance of its colors and the fl uidity with which its stops can be combined. Indeed, the organ impresses with its warmth and calm demeanor rather than trying to dazzling with muscle. With this patrician bearing, the organ truly excels in all its roles as the music ministry’s primary instrument. The instrument is arrayed within a wide wooden case made from painted solid maple with walnut highlights. Taken from the Great 8′ Principal, Pedal 16′ Principal, and Pedal 8′ Octave stops, the façade pipes are made from 70% hand-polished tin and sport Roman mouths gilded with 23k gold leaf. A large Swell division sits immediately behind the console, while the Great is divided into C and C# wind chests on either side. The Pedal is located at the extremities of the organ case, again on divided wind chests. The horizontal trumpet project- ing from the casework—the 8′ Festival The Sabbatino Family Memorial Organ, seen from the side gallery (photo credit: Regan Wood Photography) Trumpet—was a relatively late addition to the project and has its own dedicated a balance between snap and body while manual; the chest pallets are actu- the 8′ Festival Trumpet features domed ated electrically due to the spread-out shallots in the style of Bertounèche. arrangement of pipes across the top of The organ has proved itself at ease the organ case. in concert with music from all periods The organ is played from a three- and nationalities, beginning with the manual terraced console attached to inaugural recital played by Kyler Brown. the organ case. The combination action Maurice Clerc, organiste titulare at offers 256 levels of memory with 12 Dijon Cathedral in France, wrote the general pistons and a general piston following after his concert at St. Joseph’s sequencer. The interior of the console during the summer of 2015: is fi nished in a dark walnut, while the three manuals have bone overlays and I was greatly impressed by the qual- solid ebony accidentals. The drawknobs ity of your pipe organ. As an instrument, are likewise made from turned ebony. A the stops are properly balanced and their short and pallet box were voicing permits them to sound beautifully in the church. I specifi cally enjoyed the 8′ provided for the console’s third manual ′ Festival Trumpet which, in partnership (controlling the 8 Festival Trumpet) with the superb of the Great, per- despite its electric action so as to pre- mits an excellent French grand jeu. Also serve a consistent mechanical pluck noteworthy are the Swell stops, which of- when moving from manual to manual. fer numerous possibilities for honoring We were given a largely free hand the romantic and modern repertoire. The to develop the organ’s stop list, and it console and the piston sequencer further refl ects the space available, the acoustic, multiply the possibilities in terms of inter- and the musical roles the organ fi lls. The pretation, making this overall a very com- Great and Swell offer generous founda- fortable organ to play . . . This is a pipe tions; scalings in the principal ranks tend organ of rich potential on which one can towards the modest for good harmonic present a great deal of repertoire with exceptional ease and authenticity . . . I development within the individual stops. already knew fi rsthand the quality of Lé- The Great Cornet, a compound stop of tourneau’s instruments but in New York, three wide-scale tapered fl utes, pairs my impressions were confi rmed. Bravo! handsomely with the 8′ Chimney Flute and 4′ Open Flute for this characteristi- —Andrew Forrest, Artistic Director cally French sonority. The organ’s chorus —Fernand Létourneau, President reeds feature tapered English shallots with long triangular openings to achieve Cover photo: Regan Wood Photography Console

Orgues Létourneau Limitée Opus 128 St. Joseph’s Church in Greenwich Village, New York, New York

GREAT (3″ wind) SWELL (expressive, 3¼″ wind) PEDAL (3¼″ wind) 16′ (c1–g20 wood) 58 pipes 8′ Geigen Diapason 58 pipes 32′ Resultant (derived from Subbass and Bourdon) 8′ Principal 58 pipes 8′ Gamba 58 pipes 16′ Principal 32 pipes 8′ Flûte harmonique 58 pipes 8′ Voix Celeste (from g8) 51 pipes 16′ Subbass (wood) 32 pipes 8′ Salicional 58 pipes 8′ Bourdon (c1–to b12 wood) 58 pipes 16′ Bourdon Great 8′ Stopped Diapason 58 pipes 4′ Octave 58 pipes 8′ Octave 32 pipes (c1–b12 wood) 4′ Flute 58 pipes 8′ Bass Flute 32 pipes 4′ Octave 58 pipes 2′ Flageolet 58 pipes 4′ Choral Bass 32 pipes 1 4′ Open Flute 58 pipes 1⁄3′ Larigot 58 pipes 16′ Trombone (full length) 32 pipes 2′ Super Octave 58 pipes 2′ Mixture III–IV 215 pipes 16′ Fagotto Swell 1 1⁄3′ Mixture IV 232 pipes 16′ Fagotto (full length) 58 pipes 8′ Trumpet 32 pipes 2 2⁄3′ Cornet III 174 pipes 8′ Trumpet 58 pipes 8′ Festival Trumpet Solo 8′ Trumpet 58 pipes (harmonic resonators from f#43) (harmonic resonators from f#43) 8′ Oboe (capped resonators) 58 pipes Usual unison intermanual couplers. Tremulant Tremulant Pallet and slider wind chests with mechanical key actions. 8′ Festival Trumpet Solo 31 independent stops; 39 ranks; 2,056 pipes SOLO (3¼″ wind) 8′ Festival Trumpet 58 pipes

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 27 New Organs

Schoenstein & Co. Pipe Organ Builders, Benicia, California Ladue Chapel Presbyterian Church, St. Louis, Missouri This new organ is the result of a musi- cal journey common to many American congregations. Ladue Chapel Presbyterian Church’s fi rst organ, built by Kilgen and dedicated by William H. Barnes, was warmly received with praise for its “digni- fi ed and churchly ensemble.” By 1971, however, the academic pressure to forsake “accompaniment” organs in favor of “solo repertoire” instruments was so great that a large mechanical-action organ by the Ger- man fi rm of Werner Bosch replaced the Kilgen. The congregation began to miss the pleasing tones of the old organ. After two major attempts at remaking the neo- Baroque instrument, it was decided that it was time to start fresh. The exceptionally fi ne music program developed by direc- tor of music ministry and organist David Erwin deserved an equally fi ne instrument. Schoenstein & Co. was selected to design an organ primarily to support and accompany the service. Our approach recognizes that a church organ is a specifi c type of instrument that must be able to capture and hold the interest of listeners and musicians. If it lacks enough variety and the ability to make a strong emotional connection—to celebrate joy, to comfort in grief—it is a failure. The church organ has a heavy musical job to accomplish, and its most important characteristics are versatil- ity and beauty. The main divisions are located in side chancel chambers for excellent control of dynamics. The large open wood pipes are arranged horizontally behind the choir ris- ers. The Echo organ is in a chamber at the rear of the balcony. Acoustical renovation was designed by Scott Riedel & Associates of Milwaukee, Wisconsin. Casework was built by New Holland Church Furniture. The organ was dedicated in a recital by Scott Dettra on March 6, 2016, before a packed audience and included stunning performances of works by Gigout, Bach, Guilmant, Saint-Saëns, Craig Phillips, Howells, Whitlock, and Stanford. It was broadcast via live streaming over Organ- Live.com, a project of the Organ Media Foundation. At the Sunday, April 10, Cho- ral Vespers, “ laudamus” by Rob- ert Lehman received its world premiere. —Jack M. Bethards President and tonal director Sanctuary of Ladue Chapel Presbyterian Church (photo credit: Louis Patterson) Schoenstein & Co. Ladue Chapel Presbyterian Church, St. Louis, Missouri

GREAT (Enclosed) 4′ Harmonic Flute 61 pipes ECHO (Enclosed – Floating) 4′ Fifteenth 12 pipes 16′ Contra Salicional 12 pipes 2′ Fifteenth (ext Gems) 12 pipes 8′ Chimney Flute† 61 pipes 4′ Flute (Great Harmonic Flute) 8′ First Open Diapason 2′ Mixture (III–IV) 209 pipes 8′ Voix Sérénissime 61 pipes 4′ Flutes Unison+ (unenclosed) 61 pipes 16′ Contra Fagotto 61 pipes 8′ Voix Céleste (TC) 49 pipes 32′ Contra Fagotto (ext Sw)++ 12 pipes 8′ Second Open Diapason 61 pipes 8′ Trumpet 61 pipes 4′ Chimney Flute (ext.) 12 pipes 16′ Bass Tuba (Choir) 8′ Harmonic Flute 8′ Fagotto 12 pipes 4′ Voix Sérénissime (ext.) 12 pipes 16′ Contra Fagotto (Swell) (unenclosed) 61 pipes 8′ Oboe Horn 61 pipes 4′ Voix Céleste (ext.) 12 pipes 8′ Tuba (Choir) 8′ Salicional 61 pipes Tremulant 8′ 61 pipes 8′ Fagotto (Swell) 8′ Bourdon 61 pipes Tremulant 4′ English Horn (Choir) 4′ Principal 61 pipes CHOIR (Enclosed) 4′ Clarinet (Choir) 4′ Silver Flute 61 pipes 8′ Dulciana 61 pipes Chimes (Echo) † 2 2⁄3′ Twelfth 61 pipes 8′ Unda-Maris (TC) 49 pipes * From 8′ Traverse Flute and 4′ Harmonic 2′ Fifteenth 61 pipes 8′ Concert Flute 61 pipes Flute Mechanicals 1 1⁄3′ Mixture (III–IV) 186 pipes 8′ Lieblich Gedeckt 49 pipes † From existing organ Usual Couplers 8′ Tuba (Choir) (Concert Flute Bass) †† High pressure Peterson ICS System 8′ Clarinet (Choir) 4′ Fugara 61 pipes + From Great Silver Flute, Swell Traverse 100 Memories Chimes (Echo) † 4′ Concert Flute (Lieb Ged treble) Flute, Swell Harmonic Flute, and Choir Programmable piston range for each 4′ Lieblich Gedeckt 12 pipes Concert Flute memory level 2 SWELL (Enclosed) 2⁄3′ Twelfth (TC, from Nineteenth) ++Full length 58 Pistons and toe studs 2 16′ Bourdon 12 pipes 2⁄3′ Nazard (from Lieblich Gedeckt) 7 Reversibles including Full Organ 8′ Horn Diapason 61 pipes 2′ Harmonic Piccolo 61 pipes PEDAL Piston Sequencer 3 8′ Traverse Flute 49 pipes 1⁄5′ Tierce (TC) 42 pipes 32′ Acoustic Bass Record/Playback 1 (Stopped Diapason Bass) 1⁄3′ Nineteenth 54 pipes 16′ Open Wood 32 pipes 8′ Flutes Unison (TC)* 8′ English Horn 61 pipes 16′ Contra Salicional (Great) All Swells to Swell 8′ Stopped Diapason 61 pipes 8′ Clarinet 61 pipes 16′ Bourdon (Swell) Manual I–II Transfer 8′ Gamba 61 pipes 16′ Bass Tuba†† 12 pipes 8′ Principal 32 pipes Expression selector for Echo 8′ Gamba Celeste 61 pipes 8′ Tuba†† 61 pipes 8′ Flute (Great Harmonic Flute) Adjustable bench 8′ Erzähler 49 pipes Tremulant 8′ Salicional (Great) (Stopped Diapason Bass) Chimes (Echo)† 8′ Horn Diapason (Swell) Three manuals, 40 voices, 46 ranks 8′ Erzähler Celeste (TC) 49 pipes 8′ Stopped Diapason (Swell) 4′ Gemshorn 61 pipes 8′ Dulciana (Choir)

28 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM 2016 Summer Carillon Concert Calendar Bert Adams, FAGO PATRICK ALLEN By Brian Swager Park Ridge Presbyterian Church Park Ridge, IL GRACE CHURCH Albany, New York July 9, Tiffany Ng Pickle Piano / Johannus Midwest NEW YORK Albany City Hall, Sundays at 1 pm July 16, Tin-Shi Tam Bloomingdale, IL July 3, Gerald Martindale July 23, Helen Hawley July 30, Patrick Macoska Alfred, New York Alfred University, Davis Memorial Carillon East Lansing, Michigan Christopher Babcock Tuesdays at 7 pm Michigan State University, Beaumont Tower Michael J. Batcho July 5, Rachel Perfecto & Jakob De Carillon, Wednesdays at 6 pm Director of Music Vreese Duo July 6, Tiffany Ng St. Andrew’s by the Sea, July 12, Mathieu Polak July 13, Tin-Shi Tam CATHEDRAL OF ST. JOHN July 19, Gordon Slater July 20, Ray McLellan Hyannis Port MILWAUKEE July 26, Toru Takao July 27, Hylke Banning August 3, Mathieu Polak Allendale, Michigan Grand Valley State University, Cook Caril- Erie, Pennsylvania lon, Sundays at 8 pm Penn State University, Behrend Campus, Dean W. Billmeyer July 3, Open Tower, Julianne Vanden Smith Chapel, Thursdays at 7 pm Wyngaard, host, 7 pm July 7, Rachel Perfecto & Jakob De University of Minnesota July 10, Linda Dzuris Vreese Duo July 14, Mathieu Polak July 17, Tin-Shi Tam Minneapolis 55455 • [email protected] July 24, Ray McLellan July 21, Gordon Slater July 31, Helen Hawley July 28, Toru Takao August 7, Dennis Curry August 14, Mathieu Polack Fort Washington, Pennsylvania August 21, Tim Sleep St. Thomas Church, Whitemarsh AVIN LACK Byron L. Blackmore August 28, Julianne Vanden Wyngaard Tuesdays at 7 pm G B July 5, Ulla Laage Princeton Early Keyboard Center Crown of Life Lutheran Church Bloomfi eld Hills, Michigan July 12, Rachel Perfecto & Jakob De Christ Church Cranbrook Vreese Duo 732/599-0392 Sun City West, Arizona Sundays at 4 pm July 19, Lisa Lonie & Janet Tebbel Duo www.pekc.org 623/214-4903 July 3, Rachel Perfecto & Jakob De July 26, Auke deBoer Vreese Duo July 10, Tiffany Ng Frederick, Maryland July 31, Hykle Banning Baker Park August 7, Mathieu Polak First & Third Sundays at 12:30 pm THOMAS BROWN ROBERT CLARK John Widmann, City Carillonneur UNIVERSITY Houston Texas Kirk in the Hills Presbyterian Church PRESBYTERIAN CHURCH Master Classes, Consultation Sundays at 10 am & noon Gainesville, Florida University of Florida, Century Tower CHAPEL HILL, NORTH CAROLINA [email protected] July 3, Rachel Perfecto & Jakob De 513/478-0079 Vreese Duo Sundays at 3 pm ThomasBrownMusic.com July 10, Tiffany Ng July 17, UF Carillon Studio July 17, Tin-Shi Tam August 21, Laura Ellis July 24, Linda Dzuris Gates Mills, Ohio JAMES DORROH, AAGO, PhD July 31, Hykle Banning St Christopher’s By-the-River Episcopal August 7, Mathieu Polak Church DELBERT DISSELHORST Saint Luke’s Episcopal Church August 14, Open Tower July 4, David Osburn, 10:15 am August 21, Open Tower Professor Emeritus Samford University August 28, Dennis Curry Glencoe, Illinois University of Iowa–Iowa City Birmingham, Alabama Chicago Botanic Garden, Mondays at 7 pm Organ Consultant Organ Recitals St. Hugo of the Hills Catholic Church July 4, Carol Jickling Lens Thursdays at 7 pm July 11, Wesley Arai July 7, Tiffany Ng July 18, Hylke Banning July 14, Tin-Shi Tam July 25, Kymberly Stone (Christmas in July) STEVEN EGLER July 28, Mathieu Polak JOHN FENSTERMAKER August 1, Ellen Dickinson Central Michigan University August 8, Joey Brink School of Music RINITY BY THE OVE Chicago, Illinois August 15, Sally Harwood T - - -C University of Chicago, Rockefeller Chapel August 22, Hunter Chase Mt. Pleasant, MI 48859 Sundays at 5 pm NAPLES, FLORIDA July 3, Carol Jickling Lens August 29, Kimberly Schafer [email protected] July 10, Wesley Arai September 5, Sue Bergren July 17, Hylke Banning Tuesdays at 10 am Norberto July 24, Kymberly Stone July 12, Wylie Crawford July 31, Ellen Dickinson August 9, Hunter Chase TEPHEN AMILTON August 7, Joey Brink Guinaldo S H Grand Rapids, Michigan recitalist–clinician–educator Clemson, South Carolina Grand Valley State University His Music Clemson University, Thursdays at 7 pm Wednesdays at noon See—Listen—Buy www.stephenjonhamilton.com July 7, Elizabeth Vitu & Laurent Pie July 6, Linda Dzuris www.GuinaldoPublications.com Cohasset, Massachusetts July 13, Tin-Shi Tam St. Stephen’s Episcopal Church July 20, Hylke Banning Sundays at 6 pm July 27, Ray McLellan July 3, David Maker July 10, Laura Ellis Grosse Point Farms, Michigan Grosse Point Memorial Church David Herman July 17, Sergei Gratchev, Nikita Gratchev, Tuesdays at 7 pm Trustees Distinguished Professor Emeritus of Music and University Organist Elena Sadina July 5, Phyllis Webb & GPMC Players July 24, Gordon Slater July 12, Ray McLellan The University of Delaware Q [email protected] July 31, Thomas Lee July 19, Dennis Curry August 7, Toru Takao July 26, Hylke Banning August 14, John Whiteside

Culver, Indiana Madison, Wisconsin A Professional Card in Culver Academies, Saturdays at 4 pm University of Wisconsin Thursdays at 7:30 pm July 2, 16, 23 John Gouwens July 7, John Widmann The Diapason July 9, Wesley Arai July 21, Tin-Shi Tam For rates and digital specifi cations, contact Jerome Butera September 3, John Gouwens 847/391-1045; [email protected] Mariemont, Ohio Danbury, Connecticut Mary M. Emery Memorial Carillon St. James Episcopal Church Sundays at 7 pm July 6, Gerald Martindale, 12:30 pm July 3, Richard D. Gegner July 4, Richard M. Watson; Richard D. Denver, Colorado University of Denver, Williams Carillon Gegner, assisting (2 pm) Sundays at 7 pm July 10, Richard D. Gegner July 3, Hunter Chase July 17, Richard M. Watson Lorraine Brugh, Ph.D. July 17, Carol Jickling Lens July 24, Laura Ellis July 31, Carolyn Bolden July 31, Richard D. Gegner & Richard M. Professor of Music August 14, Ray McLellan Watson Duo University Organist August 28, Carlo Van Ulft August 7, Richard D. Gegner August 14, Richard M. Watson Valparaiso, Ind. Detroit, Michigan August 21, Richard D. Gegner valpo.edu St. Mary’s of Redford Catholic Church August 28, Richard D. Gegner & Richard Saturdays at 5:15 pm M. Watson Duo 219.464.5084 July 2, Rachel Perfecto & Jakob De September 4, Richard M. Watson [email protected] Vreese Duo September 5, Richard D. Gegner (2 pm)

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 29 WILL HEADLEE ANDREW HENDERSON, DMA 2016 Summer Carillon Concert Calendar 1650 James Street Madison Avenue Presbyterian Church Middlebury, Vermont July 25, Gordon Slater New York, NY Syracuse, NY 13203-2816 Middlebury College, Friday at 5 pm August 1, Thomas Lee www.andrewhenderson.net July 1, Laurent Pie & Elizabeth Vitu Duo August 8, Toru Takao (315) 471-8451 August 15, David Maker Minneapolis, Minnesota Central Lutheran Church Ottawa, Ontario Sundays at 11:15 am Peace Tower Carillon Gary L. Jenkins July 10, John Widmann July & August, weekdays at 11 am Director, Schmidt Concert Series Brian Jones July 17, Povl Christian Balslev Andrea McCrady, Carillonneur July 24, Carolyn Bolden July 1, Andrea McCrady (10 am) Director of Music, Carmelite Monastery Director of Music Emeritus July 31, Jim Fackenthal July 26, Student recital Curator of Organs TRINITY CHURCH August 7, Carol Jickling Lens August 2, Lisa Lonie & Janet Tebbel Duo Rose-Hulman Institute of Technology August 9, Brian Tang Terre Haute, Indiana BOSTON Montréal, Québec Oratoire Saint-Joseph, Sundays at 2:30 pm Owings Mills, Maryland July 31, Lisa Lonie & Janet Tebbel McDonogh School, Fridays at 7 pm August 7, Brian Tang July 1, Gerald Martindale KIM R. KASLING JAMES KIBBIE August 15, Andrée-Anne Doane, David July 8, Rachel Perfecto & Jakob D.M.A. The University of Michigan Doane & Gabriel Doane-Picard DeVreese Duo July 15, Buck Lyon-Vaiden St. John’s University Ann Arbor, MI 48109-2085 Naperville, Illinois July 22, Auke de Boer 734-764-1591 FAX: 734-763-5097 Naperville Millennium Carillon July 29, Toru Takao Collegeville, MN 56321 email: [email protected] Tuesdays at 7 pm July 5, Carol Jickling Lens Philadelphia, Pennsylvania July 12, Wesley Arai First United Methodist Church of German- July 19, Hylke Banning town, Mondays at 7:30 pm David K. Lamb, D.Mus. July 26, Kymberly Stone July 11, Lisa Lonie & Janet Tebbel Duo August 2, Ellen Dickinson July 18, Brian Tang Director of Music August 9, Joey Brink July 24, Auke de Boer Trinity United Methodist Church August 16, Sally Harwood August 1, Toru Takao ORGAN CONSULTANT New Albany, Indiana August 23, Hunter Chase www.gabrielkney.com 812/944-2229 Northfi eld, Vermont Princeton, New Jersey Norwich University, Saturdays at 1 pm Princeton University, Grover Cleveland July 2, Laurent Pie & Elizabeth Vitu Duo Tower, Sundays at 1 pm July 30, Charles Semowich July 3, Ulla Laage July 10, Rachel Perfecto & Jakob DeVreese Duo A.S.C.A.P. Norwood, Massachusetts FELLOW, AMERICAN GUILD OF ORGANISTS Norwood Memorial Municipal Building July 17, Lisa Lonie & Janet Tebbel Duo Mondays at 7 pm July 24, Auke deBoer 345 SADDLE LAKE DRIVE July 4, Margaret Angelini & Lee B. Leach July 31, Toru Takao ROSWELL-ATLANTA, GEORGIA 30076 (770) 594-0949 (3 pm) August 7, Tiffany Lin & Michael Solotke July 11, Laura Ellis August 14, Lisa Lonie July 18, Sergei Gratchev, Nikita Gratchev, August 21, Daniel Kehoe Elena Sadina August 28, Janet Tebbel Calendar Professor Emeritus – University of Michigan – Ann Arbor Professor of Organ for 67 years 23 JULY MarilynThe University’s longest-serving faculty memberMason This calendar runs from the 15th of the month John Gouwens, carillon; Memorial Cha- of issue through the following month. The deadline pel, Culver Academies, Culver, IN 4 pm is the fi rst of the preceding month (Jan. 1 for Feb. issue). All events are assumed to be organ 24 JULY A two-inch Professional Card in The Diapason recitals unless otherwise indicated and are grouped Elna Johnson; St. Paul Cathedral, Pitts- within each date north-south and east-west. •=AGO burgh, PA 4 pm For information on and specifi cations, contact Jerome Butera: chapter event, • •=RCCO centre event, +=new organ Evensong; Myers Park Baptist, Charlotte, dedication, ++= OHS event. NC 4 pm [email protected] 608/634-6253 Information cannot be accepted unless it specifi es artist name, date, location, and hour in 26 JULY writing. Multiple listings should be in chronological Margaret Harper; First Parish Church order; please do not send duplicate listings. UCC, Brunswick, ME 12:10 pm THE DIAPASON regrets that it cannot assume responsibility for the accuracy of calendar entries. 27 JULY George Sargeant; Methuen Memorial PHILIP CROZIER LARRY PALMER Music Hall, Methuen, MA 8 pm UNITED STATES Michael Hey; Ocean Grove Auditorium, CONCERT ORGANIST Harpsichord – Organ East of the Mississippi Ocean Grove, NJ 7:30 pm Raymond Ebert; Old Salem Visitors ACCOMPANIST Center, Winston-Salem, NC 12 noon Professor of Music, Emeritus 3355 Queen Mary Road, Apt 424 15 JULY Martin Baker; Peachtree Road United Martin Jean; Immanuel Lutheran, Le- Methodist, Atlanta, GA 7:30 pm Montreal, H3V 1A5, P. Quebec SMU, Dallas, Texas land, MI 10 am masterclass; 7:30 pm recital Robert Myers; Trinity Lutheran, Cleve- Canada land, OH 12:15 pm 16 JULY Cary Scheck; Christ Church, Michigan (514) 739-8696 Recitals — Lectures — Consultancies John Gouwens, carillon; Memorial Cha- City, IN 12:15 pm [email protected] pel, Culver Academies, Culver, IN 4 pm Michael Burkhardt, hymn festival; [email protected] + 214.350-3628 Fourth Presbyterian, Chicago, IL 7:30 pm 17 JULY Matthew Buller; First Presbyterian, Rev. Cyprian Constantine; St. Paul Ca- Neenah, WI 12:15 pm thedral, Pittsburgh, PA 4 pm Jeffrey Arnold; Sinsinawa Mound, Sin- Kyle Ritter; Unity Presbyterian, Fort Mill, sinawa, WI 7 pm SC 7 pm George Baker; Madonna della Strada 31 JULY The Diapason announces... Chapel, Loyola University, Chicago, IL 3 pm Mary Catherine Levri; St. Paul Cathe- Karen Beaumont; St. Hedwig Catholic dral, Pittsburgh, PA 4 pm Church, Milwaukee, WI 2 pm Nathaniel Gumbs; First United Method- 2020 Underunder 30 NominationsClass of 2016 Jared Ostermann; Shrine of Our Lady of ist, Charlotte, NC 7 pm Deadline: February 1, 2016 Guadalupe, La Crosse, WI 3 pm Civic Chorale of Greater Miami; St. An- We offer our congratulations to the drew’s Episcopal, Palmetto Bay, FL 4 pm We will be recognizing 20 young 20 under 30 Class of 2016. Thanks 19 JULY Christopher Pelonzi; First Parish 2 AUGUST men and women whose career Hanna Powell; First Parish Church UCC, are also extended to those who Church UCC, Brunswick, ME 12:10 pm accomplishments place them at Brunswick, ME 12:10 pm submittedthe forefront nominations. of the organ, We church encour- Frederick Swann; Merrill Auditorium, age you to submit nominations next 20 JULY Portland, ME 7:30 pm music, harpsichord, carillon, and Mark Thewes & Chad Pittman; Methuen yearorgan-building for the Class offi elds—before2017. Memorial Music Hall, Methuen, MA 8 pm 3 AUGUST their 30th birthday. Susan Heaton Bates; Old Salem Visi- Sean Redrow; Mechanics Hall, Worces- You can read the profi les of this tors Center, Winston-Salem, NC 12 noon ter, MA 12 noon year’sVisit TheDiapason.com winners on our website. Albert Bellefeuille; Trinity Lutheran, Matthias Havinga; Methuen Memorial Clickfor more 20 under information 30, then and 2016 to. nominate. Cleveland, OH 12:15 pm Music Hall, Methuen, MA 8 pm Kent Jager; Christ Church, Michigan Matt Gerhard; Christ Church, Michigan City, IN 12:15 pm City, IN 12:15 pm Ryan Mueller; First English Lutheran, Jonathan Oblander; St. Bernard Catho- Stay up to date on all of the latest industry news and events. Appleton, WI 12:15 pm lic Church, Appleton, WI 12:15 pm Visit TheDiapason.com regularly. Jeff Verkuilen; Sinsinawa Mound, Sin- Dalaie Choi; Sinsinawa Mound, Sinsin- sinawa, WI 7 pm awa, WI 7 pm

30 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM

Gabriel Kney pro card.indd 1 4/15/09 7:28:17 AM Calendar Scott Montgomery Concert Organist 4 AUGUST 16 JULY ALLISON; St. Andrew’s by the Sea Epis- Angela Kraft Cross; Legion of Honor www.ScoMo.org copal, Little Compton, RI 6 pm Museum, San Francisco, CA 4 pm [email protected] Donald Verkuilen; St. Joseph Catholic Church, Appleton, WI 7 pm 17 JULY Angela Kraft Cross; Legion of Honor 7 AUGUST Museum, San Francisco, CA 4 pm Don Fellows; St. Paul Cathedral, Pitts- ANDREW PAUL MOORE LEON NELSON burgh, PA 4 pm 18 JULY Director of Traditional Music Richard Gray; Myers Park Baptist, Char- Daryl Robinson; Spreckels Organ Pavil- CHRIST CHURCH lotte, NC 7 pm ion, Balboa Park, San Diego, CA 7:30 pm Southminster Presbyterian Church SHORT HILLS Arlington Heights, IL 60005 9 AUGUST 20 JULY Jacques Boucher, with saxophone; Catherine Rodland & Jamie Bobb; St. First Parish Church UCC, Brunswick, ME Olaf College, Northfi eld, MN 12:15 pm 12:10 pm Peter Latona; St. James Catholic Cathe- A one-inch Professional Card Dave Wickerham Stephen G. Schaeffer ; Merrill Auditorium, dral, Seattle, WA 7 pm in The Diapason Portland, ME 7:30 pm Recitals – Consultations 21 JULY For information on rates and specifi cations, 10 AUGUST James David Christie; St. Alphonsus Director of Music Emeritus Brett Maguire; Mechanics Hall, Worces- Catholic Church, Seattle, WA 7:30 pm Cathedral Church of the Advent contact Jerome Butera: ter, MA 12 noon Katelyn Emerson; Methuen Memorial 22 JULY Birmingham, Alabama [email protected] 608/634-6253 Music Hall, Methuen, MA 8 pm Larry Aynesmith & Philip Manwell; Br. Benjamin Basile; Christ Church, Trinity Episcopal, Reno, NV 12 noon Michigan City, IN 12:15 pm Mario Buchanan; St. Mary Catholic 23 JULY Nicholas E. Schmelter ROBERT L. Church, Menasha, WI 12:15 pm John Walko; Legion of Honor Museum, Organist Joan DeVee Dixon & Alice Fiedlerova; San Francisco, CA 4 pm SIMPSON 989/980-9912 Sinsinawa Mound, Sinsinawa, WI 7 pm Christ Church Cathedral 24 JULY 1117 Texas Avenue 11 AUGUST Mark McClellan; St. Matthew’s By-the- [email protected] Houston, Texas 77002 Naomi Rowley; St. Paul Lutheran, Bridge Episcopal, Iowa Falls, IA 4 pm Neenah, WI 12:15 pm John Walko; Legion of Honor Museum, San Francisco, CA 4 pm 14 AUGUST ORGAN MUSIC OF THE SPANISH BAROQUE Justin Wallace; St. Paul Cathedral, Pitts- 25 JULY burgh, PA 4 pm Kurt Schakel; Aspen Community United Mark Steinbach David Troiano Brennan Szafron; Myers Park Presbyte- Methodist, Aspen, CO 8 pm DMA MAPM rian, Charlotte, NC 7 pm Brown University Karen Beaumont; St. John’s Lutheran, 27 JULY 586.778.8035 Milwaukee, WI 2 pm Kraig Windschitl; Music & Drama Center, [email protected] Carleton College, Northfi eld, MN 12:15 pm 16 AUGUST Ray Cornils; First Parish Church UCC, 28 JULY Brunswick, ME 12:10 pm Angela Kraft Cross; Trinity Episcopal, Marcia Van Oyen Katelyn Emerson; Merrill Auditorium, Reno, NV 7 pm David Wagner Portland, ME 7:30 pm First United Methodist Church 29 JULY DMA Plymouth, Michigan 17 AUGUST Angela Kraft Cross; Trinity Episcopal, www.davidwagnerorganist.com Monica Harper; Methuen Memorial Mu- Reno, NV 12 noon mvanoyen.com sic Hall, Methuen, MA 8 pm David Bohn; First Congregational UCC, 30 JULY Appleton, WI 12:15 pm Bruce Neswick; First Presbyterian, Oak- David O’Shea; Sinsinawa Mound, Sin- land, CA 3 pm sinawa, WI 7 pm Steve Main; Legion of Honor Museum, San Francisco, CA 4 pm Kevin Walters KARL WATSON 21 AUGUST Brian Gurley; St. Paul Cathedral, Pitts- 31 JULY M.A., F.A.G.O. SAINT LUKE’S burgh, PA 4 pm Steve Main; Legion of Honor Museum, Thomas Russell; St. John’s Baptist, San Francisco, CA 4 pm Rye, New York METUCHEN Charlotte, NC 7 pm Christoph Tietze; St. Mary’s Cathedral, Mark Sudeith; Christ Church, Michigan San Francisco, CA 4 pm City, IN 12:15 pm Karen Beaumont; St. Hedwig Catholic 1 AUGUST Church, Milwaukee, WI 2 pm Joseph Adam; Benaroya Hall, Seattle, Alan G Woolley PhD RONALD WYATT Leon W. Couch III; Shrine of Our Lady of WA 12:30 pm Musical Instrument Research Guadalupe, La Crosse, WI 3 pm 3 AUGUST Edinburgh Trinity Church

23 AUGUST Stephen May; Skinner Chapel, Carleton [email protected] Galveston Ray Cornils, with brass; Merrill Audito- College, Northfi eld, MN 12:15 pm rium, Portland, ME 7:30 pm Michelle Horsley & Ruth Draper; First Baptist, Seattle, WA 7 pm 24 AUGUST A one-inch Professional Card Neal Campbell; Methuen Memorial Mu- 5 AUGUST in The Diapason sic Hall, Methuen, MA 8 pm Philip Manwell; Trinity Episcopal, Reno, RUDOLF ZUIDERVELD Stephen Buzard; Christ Church, Michi- NV 12 noon For information on rates and specifi cations, gan City, IN 12:15 p Illinois College, Jacksonville Charles Barland; Memorial Presbyte- 6 AUGUST First Presbyterian Church, contact Jerome Butera: David Hegarty; Legion of Honor Muse- rian, Appleton, WI 12:15 pm Springfi eld [email protected] 608/634-6253 Bruce Bengtson; Sinsinawa Mound, um, San Francisco, CA 4 pm Sinsinawa, WI 7 pm 7 AUGUST 26 AUGUST David Hegarty; Legion of Honor Muse- Hector Olivera; Valparaiso University, um, San Francisco, CA 4 pm A two-inch Professional Card in The Diapason Valparaiso, IN 7 pm Robert Gurney; Cathedral of St. Mary of the Assumption, San Francisco, CA 4 pm For information on rates and specifi cations, contact Jerome Butera: 28 AUGUST Choirs of Covenant Presbyterian and My- 8 AUGUST [email protected] 608/634-6253 ers Park United Methodist; Covenant Pres- Joseph Galema; Aspen Community byterian, Charlotte, NC 7 pm United Methodist, Aspen, CO 8 pm 31 AUGUST 10 AUGUST Anne Horsch; Methuen Memorial Music David Lim; St. John’s Lutheran, North- ArtistArtist Spotlights Spotlightspotlight s DAVID SPICER Hall, Methuen, MA 8 pm fi eld, MN 12:15 pm Ralph & Marillyn Freeman; St. Paul Lu- Artist Spotlights First Church of Christ 13 AUGUST theran, Neenah, WI 12:15 pm are available on Wethersfi eld, Connecticut Stephen Steely; Sinsinawa Mound, Sin- Tony Baldwin; Legion of Honor Muse- sinawa, WI 7 pm um, San Francisco, CA 4 pm The Diapason website and UNITED STATES 14 AUGUST e-mail newsletter. West of the Mississippi Tony Baldwin; Legion of Honor Muse- um, San Francisco, CA 4 pm Contact Jerome Paul Fejko; Cathedral of St. Mary of the Butera for rates 15 JULY Assumption, San Francisco, CA 4 pm and specifi cations. Jim Heller & Philip Manwell; Trinity 608/634-6253 Episcopal, Reno, NV 12 noon 17 AUGUST Artistic Director [email protected] Isaac Drewes; Christ Episcopal, Taco- Craig Cramer; St. James Catholic Ca- Albert Schweitzer Organ Festival ma, WA 12:10 pm thedral, Seattle, WA 7 pm

WWW.THEDIAPASON.COM THE DIAPASON Q JULY 2016 Q 31 Calendar

19 AUGUST Sebastian Freitag; Münster, Herford, 26 JULY Stephen Hamilton; St. James United Michael Lynch; Trinity Episcopal, Reno, Germany 6 pm Heinz Balli; Münster, Bern, Switzerland Church, Montreal, QC, Canada 12:15 pm NV 12 noon Steven Patchell; St. Paul’s Cathedral, 8 pm London, UK 4:45 pm James O’Donnell; Westminster Abbey, 10 AUGUST 20 AUGUST Benjamin Cunningham; Westminster London, UK 7 pm Alessandra Mazzanti; Chiesa di S. Ste- Angela Kraft Cross; Legion of Honor Abbey, London, UK 5:45 pm Alexander Ross; St. James United fano, Piode, Italy 9 pm Museum, San Francisco, CA 4 pm Church, Montreal, QC, Canada 12:15 pm Andrzej Chorosinski; St. Michaelis 19 JULY Kirche, Hamburg, Germany 7 pm 21 AUGUST Matthias Dreissig; Münster, Bern, Swit- 27 JULY Paul Rosoman; Kathedrale, Dresden, Nancy Ypma; St. Matthew’s By-the- zerland 8 pm Moritz Schott; St. Michaelis Kirche, Germany 8 pm Bridge Episcopal, Iowa Falls, IA 4 pm Winfried Bönig Hamburg, Germany 7 pm ; Westminster Abbey, 11 AUGUST Angela Kraft Cross; Legion of Honor London, UK 7 pm Iveta Apkalna; Frauenkirche, Dresden, Museum, San Francisco, CA 4 pm Germany 8 pm Alessandra Mazzanti; Chiesa di S. Kurt-Ludwig Forg; St. James United Thomas Joyce; Cathedral of St. Mary of Giovanni Battista, Sabbia, Italy 9 pm Church, Montreal, QC, Canada 12:30 pm the Assumption, San Francisco, CA 4 pm 28 JULY Bernhard Buttmann; Markuskirche, Mu- Burkhard Ascherl; Herz Jesu, Bad Kiss- nich, Germany 8 pm 22 AUGUST 20 JULY ingen, Germany 8 pm Tom Trenney, silent fi lm accompani- Daniel Zaretsky; Kathedrale, Dresden, Christophe Mantoux; St. Bavo Kerk, 12 AUGUST ment; Spreckels Organ Pavilion, Balboa Germany 8 pm Haarlem, Netherlands 4 pm Guido Donati; Chiesa di S. Bartolomeo, Park, San Diego, CA 7:30 pm Nico Declerck; Chiesa di Santa Maria Philip Crozier; Dom, Altenberg, Ger- Scopa, Italy 9 pm Vergine Assunta, Viverone, Italy 9 pm many 8pm Ulfert Smidt & Markus Becker; Markt- 27 AUGUST Peter Stevens; Westminster Cathedral, kirche, Hannover, Germany 12 noon John Walko; Legion of Honor Museum, London, UK 7:30 pm 29 JULY Stephen Tharp; Our Lady’s Church, Bre- San Francisco, CA 4 pm Ludger Lohmann; Our Lady’s Church, da, Netherlands 8 pm 22 JULY Breda, Netherlands 8 pm 28 AUGUST Bernhard Buttmann; St. Mang, Füssen, 13 AUGUST John Walko; Legion of Honor Museum, Germany 7:30 pm 30 JULY Renato Negri; Chiesa di S. Lorenzo, San Francisco, CA 4 pm Adriaan Hoek; Our Lady’s Church, Bre- Mario Verdicchio; Basilica Antica, Oro- Crevola, Italy 9 pm da, Netherlands 8 pm pa, Italy 9 pm Giovanna Franzoni & Fabiola Frontalini; 29 AUGUST Bernhard Buttmann; Maria Himmel- Chiesa di S. Lorenzo, Sostegno, Italy 9 pm Aaron David Miller & Carol Williams; 23 JULY fahrt, Landsberg, Germany 11:15 am Spreckels Organ Pavilion, Balboa Park, Andreas Jost; St. Michaelis Kirche, Philip Crozier; Dom, Hildesheim, Ger- 14 AUGUST Giovanna Franzoni & Fabiola Frontalini; San Diego, CA 7:30 pm Hamburg, Germany 7 pm many 8 pm Chiesa di Santa Croce, Rassa, Italy 9 pm Christoph Schoener; St. Michaelis Peter Frisée; Klosterkirche, Fürstenfeld- Kirche, Hamburg, Germany 7:30 pm 31 JULY INTERNATIONAL Mario Verdicchio; Cappella di S. Marta bruck, Germany 12:10 pm Philip Crozier; Brigidakerk, Geldrop, Thomas Lennartz; St. Nikolaus, Immen- Holland 4:15pm e Chiesa di S. Giacomo, Campertogno, 16 JULY Italy 9 pm stadt, Germany, 7 pm Martin Bernreuther; Dom, Eichstätt, Christoph Hauser; Klosterkirche, Bernhard Buttmann; Münster, Ingol- 24 JULY stadt, Germany 8:15 pm Germany 11:30 am Holger Gehring; Klosterkirche, Fürsten- Fürstenfeldbruck, Germany 12:10 pm Philip Crozier; Barockkirche St. Andrew Forbes; Westminster Abbey, Bernhard Haas; Marktkirche, Hannover, feldbruck, Germany 12:10 pm Franziskus, Zwillbrock, Germany 4:30 pm London, UK 5:45 pm Germany 12 noon Craig Cramer; St. Willibald Kirche, Mu- Bernhard Buttmann Christoph Schoener; Münster, Herford, ; St. Sebald, Nürn- nich/Laim, Germany 4 pm 16 AUGUST berg, Germany 7:30 pm Germany 6 pm The Chenaults; St. Sulpice, Paris, Bernhard Buttmann; Maria Himmel- Daniel Glaus, with brass; Münster, Bern, Gerben Budding; Our Lady’s Church, Switzerland 8 pm Breda, Netherlands 8 pm France 12 noon fahrt, Weilheim, Germany 8 pm David Henning; St. Paul’s Cathedral, Anna Lapwood; Westminster Abbey, Matthew Larkin; St. James United Church, Montreal, QC, Canada 12:15 pm 17 JULY London, UK 4:45 pm London, UK 5:45 pm Kees Nottrot; Westminster Abbey, Lon- Craig Cramer; Basilika, Steinfeld/Eifel, 17 AUGUST Germany 4 pm don, UK 5:45 pm 1 AUGUST Sandro Carnelos; Collegiata di S. Gaud- Espen Melbø; St. Michaelis Kirche, enzio, Verallo, Italy 4 pm Hamburg, Germany 7 pm Nathan Laube; Frauenkirche, Dresden, Sandro Carnelos; Chiesa di S. Maria Germany 8 pm delle Grazie, Verallo, Italy 9 pm 19 AUGUST 2 AUGUST Ben van Oosten; Our Lady’s Church, Mario Duella; Chiesa di S. Sebastiano, Breda, Netherlands 8 pm Trivero/Bulliana, Italy 9 pm Daniel Cook; Westminster Abbey, Lon- 21 AUGUST don, UK 7 pm Christian Schmitt; Klosterkirche, János Kristófi ; St. James United Fürstenfeldbruck, Germany 12:10 pm Church, Montreal, QC, Canada 12:15 pm Simon Harden; St. Justinus, Frankfurt, Germany 5 pm 3 AUGUST Daniele Dori; St. Johannes Baptist, Her- Michal Kocot; St. Michaelis Kirche, ford, Germany 6 pm Hamburg, Germany 7 pm Malcolm Sinn; Westminster Abbey, Lon- Massimilliano di Fino; Kreuzkirche, don, UK 5:45 pm Dresden, Germany 8 pm Christina Hutten; Christ Church Cathe- 23 AUGUST dral, Vancouver, BC, Canada 1 pm Felix Pachlatko; Münster, Bern, Switzer- Davitt Moroney, harpsichord, Bach, Art land 8 pm of the Fugue; Christ Church Cathedral, ORGAN BUILDERS Scott Bradford; St. James United Member Firm: The Associated Pipe Organ Builders of America Vancouver, BC, Canada 7:30 pm Church, Montreal, QC, Canada 12:15 pm RANDALL DYER 5 AUGUST 24 AUGUST L. W. BLACKINTON & ASSOCIATES, INC. Massimo Andrea Verzilli; Chiesa dei Markus Eichenlaub; St. Michaelis and associates, inc. PIPE ORGANS OF QUALITY AND DISTINCTION SS. Giovanni e Giuseppe, Mollia, Italy 9 pm Kirche, Hamburg, Germany 7 pm BOX 489 JEFFERSON CITY, TENNESSEE 37760 865-475-9539 Hansjörg Albrecht; Stadtkirche, Csaba Kerály; Kreuzkirche, Dresden, 380 FRONT ST. Bayreuth, Germany 8 pm Germany 8 pm [email protected] ◆ www.rdyerorgans.com EL CAJON, CA 92020 Kerstin Wolf; Our Lady’s Church, Breda, Felix Pachlatko, masterclass; Münster, Netherlands 8 pm Bern, Switzerland 8 pm Bach, Mass in B Minor; Christ Church Ca- thedral, Vancouver, BC, Canada 7:30 pm 25 AUGUST A. David Moore, Inc. Thomas Kladeck, with oboe; Ab- Pipe Organ Builders Since 1915 6 AUGUST teikirche, Köln, Germany 7:30 pm TRACKER ORGAN DESIGNERS & BUILDERS Mario Duella; Chiesa di S. Michele Ar- 11561 Edmonston Rd. Gereon Krahforst & Maria Laach; Ab- cangelo, Rastiglione, Italy 9 pm teikirche, Köln, Germany 8:30 pm Beltsville, MD 20705 HC 69 Box 6, North Pomfret, Vermont 05053 800/952-PIPE 802/457-3914 7 AUGUST 28 AUGUST Laurent Fievet; Chiesa di Maria Vergine Christophe Guida; Klosterkirche, Assunta, Grignasco, Italy 9 pm Fürstenfeldbruck, Germany 12:10 pm Nicolò Sari; Klosterkirche, Fürstenfeld- Jos van der Kooy; St. Nikolaus Kirche, bruck, Germany 12:10 pm Frankfurt, Germany 6 pm David E. Wallace Ignace Michiels; Jakobikirche, Herford, Roberto Marini; Münster, Herford, Ger- A N D C O M PA N Y, L. L. C. Germany 6 pm many 6 pm Pipe Organ Builders Andrej Kouznetsov; Westminster Ab- Ian Wicks; Westminster Abbey, London, New Organs bey, London, UK 5:45 pm UK 5:45 pm Restoration / Renovation / Relocation www.wallacepipeorgans.com 8 AUGUST 30 AUGUST Sergio Paolini; Parrocchia di Brugaro, Gian Paolo di Rosa, masterclass; Mün- Cravagliana, Italy 9 pm ster, Bern, Switzerland 8 pm

9 AUGUST 31 AUGUST Visit The Diapason Laurent Fievet; Chiesa della Beata Barry Jordan; St. Michaelis Kirche, Vergine Assunta, Scopello, Italy 9 pm Hamburg, Germany 7 pm website: Thilo Muster; Münster, Bern, Switzer- Peter King; Kathedrale, Dresden, Ger- land 8 pm many 8 pm www.TheDiapason.com David Goode; Westminster Abbey, Lon- Juan de la Rubia; Westminster Cathe- don, UK 7 pm dral, London, UK 7:30 pm

32 Q THE DIAPASON Q JULY 2016 WWW.THEDIAPASON.COM Organ Recitals

STEPHEN BUZARD and BENJAMIN JILLIAN GARDNER, Jones Concert JAMES O’DONNELL, St. Chrysostom’s NICHOLAS SCHMELTER, Immacu- SHEEN, St. Thomas Church Fifth Avenue, Hall, Baylor University, Waco, TX, February Episcopal Church, Chicago, IL, February 16: late Conception of the Blessed Virgin Mary New York, NY, March 5: Fantasia super 15: Allegro, Choral (Symphonie No. 2, op. Veni Creator Spiritus, de Grigny; Fantasie Catholic Church, Lapeer, MI, February 13: Komm Heiliger Geist, BWV 651, Ich ruf’ zu 20), Vierne; Trio Sonata No. 5 in C, BWV 529, in E-fl at, Saint-Saëns; Lebhaft, Mit sanften Festival (Two Pieces for Organ), Willan; In- dir, BWV 639, Sonata VI in G, BWV 530, Wo Bach; Introduktion, Passacaglia (Monologe Stimmen, Mäßig, nach und nach schneller termezzo, Stanford; Praeludium et Fuga in G, soll ich fl iehen hin, BWV 646, Wer nur den für Orgel, op. 63), Reger; Master Tallis’s Tes- (Fugues on the Name of BACH, op. 60), BWV 541, Bach; Prelude, Air, and Gavotte, lieben Gott, BWV 657, Toccata in F, BWV tament, Howells; For All the Saints, Weaver. Schumann; Scherzetto (Sonata in c), Whit- Wesley; Variations on Old Folks at Home, 540, Ach bleib bei uns, Herr Jesu Christ, lock; Prelude in E-fl at, BWV 552/1, Allein Buck; Toccata, Sowerby. BWV 649, O Lamm Gottes, unschuldig, SARAH HAWBECKER, Advent Luther- Gott in der Höh sei Ehr, BWV 676, Dies sind BWV 618, Kommst du nun, Jesu, vom Him- an Church, Melbourne, FL, February 14: die heilgen zehn Gebot, BWV 678, Christ, un- STEPHEN SCHNURR, Augustana Cha- mel herunter auf Erden, BWV 650, Passaca- Rhapsody for Organ, Phillips; Ein feste Burg ser Herr, zum Jordan kam, BWV 684, Fugue pel, Lutheran School of Theology at Chicago, glia in c, BWV 582, Bach. (Cantata 80), Bach, arr. Near; Prelude and in E fl at, BWV 552/2, Bach Chicago, IL, February 2: Praeludium in g, Fugue on O Traurigkeit, o Herzeleid, WoO 7, BuxWV 148, Buxtehude; Variations on Mein CRAIG CRAMER, Westminster Presby- Brahms; Fantasy and Fugue in g, BWV 542, SERGIO ORABONA, St. Thomas Church Junges Leben hat ein End, Sweelinck; Ein terian Church, Charlottesville, NC, March Bach; Aria, Carter; Prelude and Fugue in c, Fifth Avenue, New York, NY, February 28: feste Burg ist unser Gott, BuxWV 184, Bux- 11: Toccata in D, BuxWV 155, Buxtehude; op. 37, no. 1, Mendelssohn; Pastorale (Sym- Allegro risoluto (Symphonie No. 2 in e, op. tehude; Ein feste Burg ist unser Gott, Pachel- Intrada-Tanz-Nachtanz, Tantz-Proportio-Cu- phony I, op. 14), Vierne; Prelude et Fugue sur 20), Vierne; Scherzo in g, op. 49, no. 2, Bossi; bel; Praeludium in e, Bruhns. ranta-Final, Danz Beurlin-Nachtanz, Tantz le nom d’Alain, op. 7, Durufl é. Elegy, Thalben-Ball; Tu es petra (Esquisses “Jesu Du zartes Lämblein”-Proportio, Tantz- Byzantines), Mulet; Allegro cantabile (Sym- HAROLD STOVER, First Parish Unitar- Nachtanz (Linz Orgeltablaturbuch); Freu CHRISTOPHER HOULIHAN, West- phonie No. 5 in f, op. 42, no. 1), Widor; Pre- ian-Universalist, Portland, Maine, February dich sehr, o meine Seele, Böhm; Kingsfold minster Presbyterian Church, Knoxville, TN, lude and Fugue in B, op. 7, no. 1, Dupré. 18: Allein Gott in der Höh sei Ehr, BWV 715, Suite, Martinson; Herr Gott, nun schleuss den February 12: Toccata, Sowerby; Toccata, Ada- Bach; Was Gott tut, das ist wohlgetan, Pachel- Himmel auf, BWV 1092, Allein zu dir, Herr gio, and Fugue in C, BWV 564, Bach; Prelude CHRISTA RAKICH, Christ Episcopal bel; Praeludium in d, Böhm; Von Gott will ich Jesu Christ, BWV 1100, Herr Jesu Christ, du and Fugue in e, BWV 548; Prelude and Fugue Church, Macon, GA, February 26: Prae- nicht lassen, BWV 658, Prelude and Fugue in höchstes Gut, BWV 1114, Passacaglia and ludium in d, Böhm; Aria and Five Varia- in a, WoO 9, O Welt, ich muss dich lassen, op. C, BWV 545, Bach. Fugue in c, BWV 582, Bach. tions, BWV 988, Bach; Praeludium in F, 122, no. 11, Brahms; March on a Theme by Fanny Mendelssohn; Andante Sostenuto Handel, op. 15, Guilmant; Scherzo (Sympho- ERIK WM. SUTER, Finney Chapel, JOHN CUMMINS, Shirley Recital Hall, (Symphonie Gothique, op. 70), Widor; Fanta- ny No. 2, op. 20), Romance (Symphony No. 4, Oberlin College, Oberlin, OH, February 9: Eberson Fine Arts Center, Salem College, sia on Salve Regina, de Jong; Sonata in Sea: op. 32), Vierne. Fugue sur le Thème du Carillon des Heures Winston-Salem, NC, February 9: Variations Cape Cod, Woodman. de la Cathédrale de Soissons, op. 12, Médita- on Wie schön leuchtet der Morgenstern, BuxWV 223, Buxtehude; Sonata I in E-fl at, DAVID JONIES, St. John the Evangelist DANIEL ROTH, St. Brigid Catholic tion pour Orgue, op. posth., Prélude et Fugue BWV 525, Dies sind die heil’gen zehn Gebot’, Catholic Cathedral, Milwaukee, WI, January Church, Richmond, VA, February 16: Pre- sur le nom d’Alain, op. 7, Prélude, Adagio, et BWV 678, O Lamm Gottes unschuldig, BWV 27: Sonata II, Hindemith; Partita on Christ, lude and Fugue in C, BWV 547, Canonic Choral Varié sur le thème du Veni Creator, 656, Bach. der du bist der helle Tag, Bach; Improvisation Variations on Vom Himmel hoch da komm op. 4, Prélude sur l’Introit de l’Epiphanie, (Sonata II, op. 60), Reger. ich her, BWV 769; Interlude Symphonique op. 13, Scherzo, op. 2, Suite pour Orgue, op. LYNNE DAVIS, Wiedemann Hall, Wichita (Rédemption for orchestra), Franck, transcr. 5, Durufl é. State University, Wichita, KS, March 2: Theme MICHAL MARKUSZEWSKI, St. Thom- Roth; Scherzo (Six Duos for piano and har- and Variations on Est-ce-Mars?, Sweelinck; as Church Fifth Avenue, New York, NY, monium), Saint-Saëns, transcr. Roth; Et mi- JEREMY DAVID TARRANT, First Pres- Variations sur un thème du Clément Janne- February 21: Prelude and Fugue in E-fl at, sericordia (Livre d’orgue pour le Magnifi cat), byterian Church, Ypsilanti, MI, February 14: quin, Alain; Passacaglia in c, BWV 582, Bach. BWV 552, Bach; Prière, Borowski; Fantasia Roth; Overture to Der Fliegende Holländer, Prelude and Fugue in G, BWV 541, Bach; per Organo, Bloch; Prelude and Fugue in F, Wagner, transcr. Lemare; Improvisation on Sonata in C, K. 255, Scarlatti; Lotus Blossom, MARGARET DICKINSON, St. James op. 13, Gawlas; Festive Prelude on Lobe den submitted themes. Strayhorn; Four Sketches, op. 58, Schumann; Catholic Church, Louisville, KY, March 10: Herren, Gade. Cortège et Litanie, Dupré; Allegretto (Sym- A Mighty Fortress Is Our God, op. 13, Paine; WOLFGANG RÜBSAM, Seitoku Uni- phonie VII, op. 42, no. 3), Widor; Clair de Trio in G, K. 443, Fugue in g, K. 401, Mozart; PASCAL MARSAULT, Presbyterian versity, Matsudo, Chiba, Japan, January 14: lune, Toccata (Pièces de fantaisie), Vierne. Sonata VIII in e, op. 132, Rheinberger. Homes, Evanston, IL, February 22: Praeludi- Toccata and Fugue in d, BWV 565, Wachet, um in C, BuxWV 137, Buxtehude; Le jardin auf, ruft uns die Stimme, BWV 645, Wo soll DAVID TROIANO, Church of St. Louis, DAVID ENLOW, Westminster United suspendu, JA 71, Alain; Prelude and Fugue in ich fl iehen hin, BWV 646, Wer nur den lieben King of France, St. Paul, MN, February 16: Church, Winnipeg, MB, Canada, February a, BWV 543, Bach; Schafe können sicher wei- Gott läßt walten, BWV 647, Meine Seele er- Voluntary in A, Selby; Psalm 33, Diemer; 28: Furiant, Dumka, Polka (Slavonic Dances, den (Cantata 208, BWV 208), Bach, transcr. hebt den Herren, BWV 648, Ach bleib bei uns, Fugue for Three Voices, Zeuner; Toccata in op. 46), Dvorak, transcr. Enlow; Naïades, Isoir; Concerto in a, BWV 1065, Bach, transcr. Herr Jesu Christ, BWV 649, Kommst du nun, F, Becker; “ . . . I will love thee . . .” (Glory Vierne; Prelude and Fugue in D, BWV 532, Bovet; Prelude, Fugue, and Variation, op. 18, Jesu, vom Himmel herunter, BWV 650, Sona- and Peace), Locklair; Trumpet Tune, Hebble; Bach; Folk Tune, Fanfare, Whitlock; Choral Franck; Chorale varié sur le Veni Creator, op. ta No. 2 in c, BWV 526, Präludium und Fugue Andante, Foote; En la Silencio de la Noche, in E, Franck; Petite Suite, Debussy. 4, Durufl é. in E-fl at, BWV 552, Bach. Goemanne; Festive Gloria, Miller.

  Patrick j. Murphy The Organ Clearing House 035DWKNH,QF & associates, inc. PO Box 290786 3LSH2UJDQ%XLOGHUV organbuilders   Charlestown, MA 02129 3RVW2IILFH%R[ 300 Old Reading Pike • Suite 1D • Stowe, PA 19464 Ph: 617.688.9290 6SLFHODQG,QGLDQD86$ 7HO)D[ 610-970-9817 • 610-970-9297 fax www.organclearinghouse.com [email protected] • www.pjmorgans.com ZZZUDWKNHSLSHRUJDQVFRP

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Pipe Organ Technician: Fabry Inc. is looking for World Library Publications: From the Piano Christmas for the Organ. Quiet to Festive. The Tracker—The Organ Historical Society a full-time organ technician with at least 5 years Bench to the Organ Bench, by Alan J. Hommerd- Twenty titles to choose from! Singles. Collec- quarterly journal includes news and articles experience in organ tuning and maintenance. ing. This complete method book offers a variety tions. The whole gamut of sound and color. about the organ and its history, organ builders, Compensation determined based on skills of exercises to increase pedal technique and Explore our website. Listen. Buy. www.guinaldo exemplary organs, and regional surveys of and experience. Please contact Dave Fabry: manual/pedal dexterity. Explore topics such as publications.com. instruments. Both American and European organ [email protected]. service playing/accompanying—when to lead, topics are discussed, and most issues run 32 when to follow; playing pianistic accompani- pages with many illustrations and photographs. ments on the organ; introduction to improvisation Membership in the OHS includes a subscrip- Wanted: Organists visiting Maui. Lahaina’s Raven, America’s leading label for organ record- Holy Innocents Episcopal Church invites visit- on the organ; basics of choral conducting from ings since 1978, offers one hundred CDs and tion to The Tracker. Visit the OHS Web site for ing organists to play its Beckerath Positiv organ the console; and much more. 003057, $19.95, videos at RavenCD.com. Titles include the 4-disc subscription and membership information: www. at Sunday services. Built in 1972 by Rudolf von 800/566-6150, Wlpmusic.com. DVD/CD set about César Franck, 5-disc DVD/ organsociety.org. 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The parish community Cathedral, UK), Mark Brombaugh (David Dahl hotmail.com. is “exemplary in its hospitality to all visitors,” and cation and other unique offerings for organ from organ works on the Christ Church, Tacoma, John FMP. that especially includes visiting organists. For Brombaugh organ) Jack Mitchener, Stephen Wil- information: 808/661-4202; holyimaui.org liams, J. Thoams Mitts, Adam Brakel (Beckerath, PIPE ORGANS FOR SALE The OHS Catalog is online with more than Pittsburgh Cathedral), Peter Sykes (Bach, clavi- PUBLICATIONS / RECORDINGS 5,000 classical and theater organ CDs, books, chord), Maxine Thévenot, Damin Spritzer, Faythe Holtkamp residence organ, 2 manuals, 10 sheet music, and DVD/VHS videos. Visit www. Freese (Magdeburg Cathedral), Rachel Laurin, stops, 13 ranks, electro-pneumatic action. Com- ohscatalog.org. To add your name to the OHS pleted winter 2014. Beautiful oiled walnut case- My restoration of Weinberger’s Bible Poems Colin Lynch Ken Cowan, Daniel Sullivan, John Catalog mailing list, send an email to catalog@ work with clear lacquer and gold façade pipes. includes the original Foreword, Editor’s Note, Brock, many more. www.RavenCD.com. Located in the south east USA. Easily modifi ed and Program Notes by Weinberger: Abide organsociety.org or mail to Organ Historical with Us, Lord Jesus Walking on the Sea, The Society, Box 26811, Richmond, VA 23261. for a small to medium sized church. $160,000 Marriage at Cana, Hosanna, The Last Supper, Ed Nowak, Chicago-area composer, arranger, includes removal, shipping, and installation. and church musician, announces his new web- Dimensions: 12′-6″ wide x 7′-7″ deep x 12′-6″ Hear, O Israel. michaelsmusicservice.com The new Nordic Journey series of CD record- 704/567-1066. site, featuring Nowak’s original choral works, high. 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Circa 1860 Pfeffer eight-rank organ, available Bedient Pipe Organ, 2005. Mechanical key, Möller 16′ Principal (32 pipes) in zinc. Suit- Aeolian/Robert Morton-style maroon rebuilt and custom fi nished. Also 1884 choir electric stop action, 2 manuals/pedal 58/30,12 able for a façade with over-length bodies. Asking leather is now available from Columbia Organ organ by Louis Debierre. Both are pictured on the stops,11 ranks, Zimbelstern, combination action. $5,000. For information: Létourneau Pipe Organs Leathers! Highest quality. 800/423-7003, Redman website: www.redmanpipeorgans.com. Main case, external pipes, pedalboard: 100″D at [email protected] or 800/625-7473. www.columbiaorgan.com. x 87″W x 115″H. Blower: 30″D x 22″W x 24″H. Voiced by Gene Bedient for Seattle residence. 1981 Casavant tracker—3 manuals, 23 $250,000 obo. Contact: [email protected], Consoles, pipes and numerous miscellaneous Professional organ consultants assist stops, 30 ranks. Footprint 10′ x 14′; height 18′. 206/784-1690. parts. Let us know what you are looking for. with your church’s pipe organ project. New Good working order. Available now. Seller will E-mail [email protected] (not comcast), organs, rebuilding, renovations, repairs, tonal consider offers on a competitive basis. For phone 215/353-0286 or 215/788-3423. designs. Contact: Audio Forum, 254/230-8476, details, contact consultant Dr. David Lowry at George Hutchings, rebuilt by Philip Beaudry. [email protected]. [email protected]. 2 manuals, 29 stops, tracker action, detached console, good condition, Boston, MA. No sale E. M. Skinner 32′ Bourdon (44 notes) with Releathering all types of pipe organ actions price, new owner is responsible for removal chests and racks. E. M. Skinner 16′ Double 1981/2015 BIGELOW tracker, II+Ped, six stops: and mechanisms. Highest quality materi- and relocation. Contact John Bishop, the Organ 8′, 4′; 8′, 4′; 16′, 8′. Excellent for a small chapel, Open Wood Diapason (32 notes) with chests als and workmanship. Reasonable rates. Clearing House, [email protected]. residence, or practice room. www.bigeloworgans. and racks. $17,500 each, or $30,000 for both, Columbia Organ Leathers 800/423-7003. com. Click on News.SOLD FOB Newcastle, Maine. Delivery services avail- www.columbiaorgan.com/col. able. The Organ Clearing House, 617/688-9290, 1944 Aeolian-Skinner, 3 manuals, 43 stops. [email protected]. Historic 1859 ROBJOHN, II+Ped, 11 ranks. Excellent condition in its original location. Drop dead gorgeous rosewood case, 14′-2″ tall. $45,000. Contact John Bishop, Organ Clearing THE DIAPASON E-Newsletters are e-mailed House, [email protected]. Lovely for chapel, large residence, or museum. SERVICES / SUPPLIES monthly to subscribers who sign up to www.bigeloworgans.com. Click on News. receive them. Don’t miss the latest news, Expressive and compact—3/27 Kilgen (1940). Do you have a pipe organ that you would featured artists, and classifi ed ads—all 1928 Casavant pipe organ, completely restored Two expressive divisions. 17 manual 8-foot fl ues. like to interface with an electronic or digital with photos—some before they appear in with fi ve new stops by Létourneau in 1987. Two Reeds include Tuba, Cornopean, Oboe, Clarinet, organ? We can interface any digital organ or print! To register for the newsletters, visit manuals and pedals, 24 ranks. Organ is in excel- Vox Humana. Harp. 16′ Open Wood. H: 237″, W: any with any pipe organ. For more www.TheDiapason.com and click on Sub- condition and is a good candidate for solid- 170″, D: 189″. Stopkey console. Original restor- information e-mail [email protected] (not scribe to our newsletter. For assistance, state conversion. Asking $65,000 “as is” or can able condition. $30,000. Organ Clearing House, Comcast) or call 215/353-0286. contact Joyce Robinson, 847/391-1044, be rebuilt with modifi cations. For more informa- 617/688-9290, [email protected]. [email protected]. tion, contact Létourneau Pipe Organs at info@ letourneauorgans.com or 800/625-7473. Complete Pipe Organ Services from the Organ HYBRID ORGANS FOR SALE Clearing House: 450 vintage pipe organs avail- Postal regulations require that mail to THE able, renovation, tuning, consultation. Other Kimball Organ (3/29, 1930), all enclosed, terrifi c DIAPASON include a suite number to assure Swell reeds, four 8-foot Diapasons, two sets of Three-manual Rodgers Hybrid with eight services include transportation, cleaning and delivery. Please send all correspondence to: renovation of carvings, reredos, liturgical furnish- celestes (and you know those Kimball strings!). sets of Laukhuff/Stinkens pipes; all working THE DIAPASON, 3030 W. Salt Creek Lane, Suite $70,000. The Organ Clearing House, 617/688- fi ne. For more information please go to www. ings. Call John Bishop at 617/688-9290. john@ 201, Arlington Heights, IL 60005. 9290, [email protected]. milnarorgan.com. organclearinghouse.com.

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