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THE DIAPASON FEBRUARY 2021 Quimby Pipe Organs, Inc. 50th Anniversary Cover feature on pages 18–20 PHILLIP TRUCKENBROD CONCERT ARTISTS ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Twelfth Year: No. 2, 20 Under 30 Whole No. 1335 We thank the many people who submitted nominations for FEBRUARY 2021 our 20 Under 30 Class of 2021. Nominations closed on Feb- Established in 1909 ruary 1. We will reveal our awardees in the May issue, with Stephen Schnurr ISSN 0012-2378 biographical information and photographs! 847/954-7989; [email protected] www.TheDiapason.com An International Monthly Devoted to the Organ, A gift subscription is always appropriate. the Harpsichord, Carillon, and Church Music Remember, a gift subscription of The Diapason for a In this issue friend, colleague, or student is a gift that is remembered each Gunther Göttsche surveys organs and organbuilding in the CONTENTS month. (And our student subscription rate cannot be beat at Holy Land. There are approximately sixty pipe organs in this FEATURES $20/year!) Subscriptions can be ordered by calling our sub- region of the world. -
The Curtis Sesquicentennial Exposition Organ
The Curtis Sesquicentennial Exposition Organ Opus 1416, Austin Organ Co., Hartford, Connecticut Opus 1416 was built in 1926 for the Sesquicentennial International Exposition held in Philadelphia. Afterward, the organ was purchased by publisher Cyrus Curtis, donated to the University of Pennsylvania, and installed in the newly-built Irvine Auditorium in 1928-29. It was named the Cyrus H. K. Curtis Organ in honor of Mr. Curtis. Opus 1416, at four manuals, 162 ranks (10,731 pipes) residing in Irvine Auditorium of the University of Pennsylvania, is the magnum opus (executed under a single contract) of the Austin firm. Built for Sesquicentennial Exposition in Philadelphia (in only six months!), it is a masterpiece of Symphonic organ building, remaining one of the very few, if not uniquely, unchanged symphonic instruments of the period. Gilt bust of Benjamin Franklin and Proscenium and principal stenciling detail. University Seal on proscenium beam. Irvine Auditorium: Interior. A grand space for a grand instrument. The majority of the organ is installed behind the stenciled scrims visible at left and right. A portion only of the Pedal Division is housed behind the non-speaking façade pipes. Grey reflector panels were installed in the 1997-2002 renovations. Opus 1416 was relocated to Irvine Auditorium during the building’s construction, occupying the two side second-balconies, originally designated to seat 600. Installation delayed the opening of the hall by nearly two years. The organ also happens to be the second largest instrument in Philadelphia area (after the Wanamaker Organ)! While comparatives and lists change and Irvine Auditorium: Exterior (pre-restoration). -
CAZAGO 50 Year History
1948:1999 Years W? Central 19 Arizona w Chapter J? 50th ANNIVERSARY CELEBRATION Januaw 15-17. 1999 jfi TABLE OF CONTENTS 50th Anniversarv Weekend Programs Member’sRecital.......r....r..., .................................... 2 Saturday Morning Workshops ............................................ 3 Gala Banquet ......................................................... 4 Mel Butler Recital Program .............................................. 5 Mel Butler Biography & Dessert Reception Invitation .......................... 6 111 Merrill N. Davis Recital Program ....................................... 7 N1 Merrill Davis 111 Biography ............................................ 8 Anniversary Greetings Recent Greetings Mrs Louise Bergmann, Ventura County Chapter Dean .................... 9 Gordon McMillan, Past Dean 1972-73 ............................... 10 Laurel Watkins, Chapter Dean 1975-55 .............................. 11 Noel-Paul Laur, Chapter Member 1982-86 ............................ 11 Previous Greetings (reprinted from Yearbook) Philip Hahn, National President .................................... 12 Margaret Kemper, Past National President ............................ 12 Wilbur (Bill) Martin, Region IX Councillor ............................ 13 Sandra Soderlund, Past Region IX Councillor .......................... 13 Janet Tolman, Grand Canyon District Convener ........................ 14 Charter Members & Chapter Deans ............................................. 15 Current Chapter Executive Board Members ...................................... -
Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. -
JANUARY, 2010 Cathedral Church of St. Peter Regensburg, Germany
THE DIAPASON JANUARY, 2010 photo credit: Michael Vogl, Regensburg Cathedral Church of St. Peter Regensburg, Germany Cover feature on pages 28–29 Jan 2010 Cover.indd 1 12/14/09 7:25:20 AM Jan 2010 pp. 2-18.indd 2 12/14/09 7:27:04 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 1, Whole No. 1202 JANUARY, 2010 Gavin Black: On Teaching the fi fties to hear Myra Hess, Burt Lan- Established in 1909 ISSN 0012-2378 I’ve been enjoying Gavin Black’s col- caster walked right past my wife and me, An International Monthly Devoted to the Organ, umn “On Teaching” in The Diapason. big deal! the Harpsichord, Carillon, and Church Music Although I don’t have organ students, And Bovard Auditorium (I am a USC I’m learning a lot from the articles. Be- alumnus, grad school, as well as UCLA sides being an organist, I’m also a piano grad)—what memories! I remember the technician. The article about tuning original console well, and Mr. Lewis has CONTENTS Editor & Publisher JEROME BUTERA [email protected] systems (September) is, by far, the best it all correct. This was a major loss, which 847/391-1045 description of tuning and tuning systems should not have happened, and I am not FEATURES that I’ve ever read! I’m going to save this alone in my opinion. It was a powerful Poulenc and Durufl é ‘premieres’ in Woolsey Hall Associate Editor JOYCE ROBINSON issue in case I have to give a talk about and impressive instrument. -
Concert Programs for Pipe Organ Encounter 2012 July 22 — July 28
Concert Programs For Pipe Organ Encounter 2012 July 22 — July 28 Sponsored by the San Diego Chapter of The American Guild of Organists Ron McKean First Presbyterian Church, 320 Date Street San Diego, CA 92101 Sunday July 22 7:00 PM PROGRAM Improvisation: Toccata, Variations and Fugue — Ronald McKean (b.1958) (Amer.) Trumpet Medley — Henry Purcell (1659-1695) arranged by Williams Prelude and Fugue in G Minor (BWV 525) — J.S. Bach (1685-1750) Dance Etudes (2010-11) — Ronald McKean Bojnurdi Abenaki Luri Fandango Improvisations on Popular Themes — Ronald McKean Short vignettes, in classic or free form, will be based on submitted popular or current themes from movie, TV or video. BRIEF INTERMISSION Improvisations on POE Themes — Ronald McKean Improvisations will be based on hymn, chant or composed themes submitted by POE stu- dents. Improvisations will be in the form of: symphonic tone poem, prelude and fugue or French symphony in the 18th, 19th or 20th century styles. Alison Luedecke, Organ Bill Owens, Trumpet St. James by-the-Sea Episcopal Church 743 Prospect Street, La Jolla, CA 92037 Monday July 23 3:30 PM PROGRAM Prelude to Te Deum — Marc-Antoine Charpentier (1634-1704) (Fr.) Sonata Prima Per Trombetta Sola — Giovanni Bonaventura Viviani (1638-1693) (It.) Andante Allegro Presto Allegro Adagio "Landrellec” — a Plinn (a traditional Breton Dance) — arranged by Étienne André Gavotte — Montagne Ceathair: Irish Summer Carol — John Karl Hirten (b. 1956) (Amer.) Choral and Variations on “Veni Creator” — Maurice Duruflé (1902-1986) (Fr.) O Voy — Roman (C. 1474-1516) Si n’os Huviera Mirado — Anonymous (circa 1556) Sentirete Una Canzonetta — Tarquinio Merula (1595-1665) (It.) Suite in D Major — Jeremiah Clarke (1674-1707) (Engl.) Prelude - (The Duke of Gloucester's March) Minuet Sybelle Rondeau - (The Prince of Denmark’s March) Serenade Bourree Ecossaise Hornpipe Gigue Diane Bish Spreckel’s Organ Pavilion, Balboa Park San Diego, CA 92101 Monday July 23 7:30 PM CONCERT PROGRAM Toccata — Gaston Bélier (1863-1938 ) (Fr.) Adagio Cantabile — J. -
Sept 2011 Pp. 30-32.Indd 30 8/10/11 9:52:40 AM Stop Tabs
Cover feature A Symphonic Organ in the Cradle mixtures that add brilliance and clarity to of the Symphony the contrapuntal lines of the music with- The new Rieger Organ in the out ever becoming overbearing or harsh. Golden Hall of the Music Society The organ’s copious reed stops made it in Vienna possible for Lohmann to select ones that, in the Germanic tradition, added color Introduction while retaining the music’s transparency For centuries, Vienna, the capital of and lightness of texture. The direct ac- Austria, has been regarded by many as tion and responsiveness of the mechani- Europe’s music capital. It is here that cal console allowed the organist to artic- the symphony was developed as a musi- ulate his playing in a way that suited the cal form by composers such as Haydn, Baroque style admirably. Mozart, and Beethoven. So pervasive Martin Haselböck, internationally was the symphony in the development of known as conductor of performances Western art music that it not only domi- on original instruments with the Wiener nated creative music-making until well Akademie, recitalist and organ professor, into the 20th century, but also worldwide led the audience into the Romantic era became the most common adjective de- with Franz Liszt’s Prelude and Fugue on scribing orchestras and concert halls. It B.A.C.H. This piece enabled him to dem- is also used to denote a style of organ- onstrate the organ’s symphonic versatility building that developed towards the end and ability to swell in sound from the soft- of the 19th century, when organs were est whisper to the point where it convinc- often used as substitutes for orchestras, ingly fi lls the hall. -
History of the 1917 Casavant Organ (Opus 700) Ian Wakeley
History of the 1917 Casavant organ (Opus 700) Ian Wakeley Emmanuel Church, 15 Newbury St, Boston MA The Casavant organ now in the Gulangyu Organ Museum was originally built for the Emmanuel Church, Boston in the USA. The cornerstone of the Emmanuel Church was laid in 1861, however, the building was expanded in 1864 by the addition of a west transept and largely remodelled between 1898 and 1899, when the church acquired the main elements of its present form: a large stone building with neogothic architectural features. In 1913, Mr Lynnwood Farnam was appointed organist of the Emmanuel Church, a post that he held until 1918. Mr Farnam was a very accomplished musician, and it is he, who was largely responsible for having the Emmanuel Church’s organ remodelled and enlarged in 1917, which resulted in the instrument that eventually found its way to Gulangyu The Hutchings-Casavant Organ When the Emmanuel Church organ was bought for the Gulangyu Museum, it consisted of two main parts: the first had been in the chancel of the church, and the second placed on a gallery at the back of the building. A small third section was placed in the Church’s Chapel. The Chancel organ was originally built in 1890 by G.S. Hutchings as a separate instrument (Opus 216). However, in 1899, Hutchings rebuilt the organ with electric action, a moveable console and the addition of pedal reeds, which resulted in 52 stops on 3 manuals and pedals (Opus 444). It was housed in an organ chamber adjacent to the choir and thus only required a limited case, consisting mainly of display pipes behind the choir pews, with a small additional façade in the Church’s south aisle, pipes that still grace the façade of the Chancel Organ in Gulangyu today. -
Historic Organs of Pennsylvania Pl
The Organ Historical Society Post Office Box 26811, Richmond, Virginia 23261 • (804)353-9226 • FAX (804)353-9266 e-mail: [email protected] • web: www. organsociety.org • online catalog: www.ohscatalog.org MEMBERS MAY JOIN ANY NUMBER OF CHAPTERS THE NATIONAL COUNCIL CHAPTERS NEWSLETTER, EDITOR & MEMBERSHIP INQUIRIES Officers and Councillors Term Expires FOUNDING DATE ANNUAL DUES Michael Friesen ......................................................................... President 2005 CENTRAL NEW YORK The Coupler, Phil Williams 1976 Cullie Mowers, $5 Box F 1979 Piney River Dr., Loveland, CO 80538 Remsen NY 14438 Scott Huntington ............................................................... Vice-President 2005 CHICAGO MIDWEST The Stopt Diapason, George Horwath 34 Summer St., Westerly, RI 02891 [email protected] 1980 Robert Voves, George Horwath, 4640 North Opal Avenue Stephen Schnurr ......................................................................... Secretary 2007 & Derek Nickels, $15 Norridge, IL 60706-4404 St. Paul Catholic Church, Box 1475, Valparaiso, IN 46384 [email protected] EASTERN IOWA Newsletter, August Knoll Dennis Ungs, $7.50 Box 486 David M. Barnett (ex officio) ................................................. Treasurer appointed 1982 Wheatland IA 52777 34 Summer St., Westerly, RI 02891 [email protected] GREATER NEW YORK Allison Alcorn-Oppedahl ................................... Councillor for Archives 2007 CITY 1969 Trinity International University, 2065 Half Day Rd., Deerfield, IL 60015 [email protected] GREATER ST. LOUIS The Cypher, John D. Phillipe Rachelen Lien ............................ Councillor for Organizational Concerns 2005 1975 Elizabeth Schmitt, $5 3901 Triple Crown Dr. 1010 Nashville Ave., New Orleans, LA 70115 (504) 899-1139 [email protected] Columbia MO 65201-4814 Paul R. Marchesano .......................................... Councillor for Education 2007 HARMONY SOCIETY Clariana, Walt Adkins University of Pennsylvania, Dept of Chemistry, 231 S 34th St, Philadelphia PA 19104 Western PA & Ohio The Rev. -
Theerzahler Ournal of the Symphonic
the ERZAHLERournal of the Symphonic Organ Society Volume 4 Number 3 $4.00 January 1995 Page 1 empering Winter’s chill rgan tuning in winter- Otime has been like prize-fighting, nothing less. As Fall’s frost has turned to Winter’s chill, with furnaces roar- ing away in re- sponse, you could just hear Winter slip- ping on his gloves, his usual cronies gathered around him. Dust, Hu- midity, Temperature—Na- ture’s star sales representa- tives—are constantly egging Winter on, daring him to discord, prodding him to set the pitch of one division against another and unleash cacophony. Temperamentally weak in the knees, the organ never saw a second round, as a once-sweet tuning pitched headlong under the assault. Small pipes withered under the heat; humidity de- ances and tempering complaints so that mind, whose timely tithe promises to ceived the wood pipes where the metal harmony might again predominate. But banish confusion and silence all noise. ones knew better; and flues and reeds re- perfection proves unattainable; even as Perfect harmony and resonance are at verted to their old finger-pointing and the tuner packs his tools and dims the hand, from a temperament without wolf: long-standing quarrel. A simple nudge of lights, a single Vox Humana pipe sneaks a tuning for eternity. the thermostat scored a direct hit. back into the ring for a final jab, a squawk As we go about our seasonal labors, we After a few months’ absence, the tuner of retort to Winter’s cruelty. might remember the need to restore not will climb his pine rungs once more and uckily, one thing has always conquered one harmony but many—to forgive Win- survey the wounds. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
General Comments
Specific Comments from AGO Members [Note: Space was provided at the end of the long-range planning surveys for respondents to add comments. We have arranged these anonymous responses in random order by category. Several comments that seemed to fit into multiple categories were divided accordingly. Comments from the surveys of lapsed members and national leaders, included at the end of this document, are not divided by category, but are arranged in roughly the same order by topic. In addition, comments that were specifically directed toward one AGO officer or committee were placed in a separate document (“Comments for Committees”) and forwarded to the appropriate official for action. Comments have been lightly edited for spelling and grammar. — Long-Range Planning Task Force.] General Culture I love my AGO. I donate annually, and I read my TAO cover to cover. I fear that we are too cloistered, and are relevant to ourselves only. We must make the leap to introduce ourselves to the greater outside world as an exciting source of music. We must be kind to the Miss Susies while still insisting on high musicianship. We must not be defined as religion-only oriented, while demanding respect from seminaries. We must not be ashamed of being smart and capable, but also be able “to work and play well with others,” which may mean choking on a sappy anthem from time to time. We have to step up to the plate and forge our new place in this heathen society that does not value culture and education. We must make ourselves irresistible to those who have no trouble resisting us right now.